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All Journal Gorga : Jurnal Seni Rupa Lekesan: Interdisciplinary Journal of Asia Pacific Arts Jurnal Rupa Dinamika Kerajinan dan Batik : MAJALAH ILMIAH Serat Rupa: Journal of Design Dinamika Kerajinan dan Batik: Majalah Ilmiah
Puspita, Eka Arifianty
Institut Teknologi Bandung
Arts Humanities Chemical Engineering, Chemistry & Bioengineering Education Engineering Environmental Science Industrial & Manufacturing Engineering Languange, Linguistic, Communication & Media Materials Science & Nanotechnology Social Sciences

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Studi Komparasi Partisipasi Dalam Proses Perancangan Material Terbarukan Eka Arifianty Puspita; Kahfiati Kahdar
JURNAL RUPA Vol 6 No 2 (2021): Open Issue
Publisher : Telkom University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25124/rupa.v6i2.3788

Abstract

The participation approach has long been recognized in sustainable design projects. Some recent material innovations strive for demonstrating community participation in their design process to achieve a sustainable outcome. However, the terminology of participation can be perceived and implemented differently for actors involved in the process. Responding to the diverse understanding of participation, this paper tries to examine the implementation of participation in the making of two well-known renewable materials innovations, namely Totomoxtle and Pinatex. The methodology used in this research is a comparative descriptive which is analyzed through literature and comparative studies by referring to the ladder of participation theory by Arnstein, the form of participation by White, and the participation in design by Lee. Based on the analysis, there are different levels of participation held by actors and also various forms of participation occur in the design process. Moreover, the comparative studies also show that the actors who occupy a similar level of participation do not directly comprise a similar form and function of participation. However, the diverse forms and levels of participation in sustainable innovation establish a different type of relation and space for interaction between designers and other actors involved.
Material Experience: Kebaruan Dalam Desain Yang Berfokus Pada Material Studi Kasus: Desain Aksesori Fashion Berbasis Material Polyvinyl Chloride (PVC) John Martono; Eka Arifianty Puspita
JURNAL RUPA Vol 7 No 2 (2022): Open Issue
Publisher : Telkom University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25124/rupa.v7i2.4790

Abstract

Material selection is indubitably prominent in design creation. Technical and physical properties of a material are highly considered to determine function, utility, and manufacturing process. However, material selection is not only pivotal to design but also central to the users. Users have their own experiences with material that constructs their perception, association, and definition of materials. In fashion, the material experiences influence consumers’ purchasing decisions. Fashion consumers begin their reasoning with material thinking and interaction (if possible). The hands-on interaction of the product, where the material is implemented, stimulates memories that help their consuming decisions. Prior researches also argued that integration of material experiences in design will optimize outcomes, specifically providing user satisfaction. Those arguments inspired this research to investigate material experience in the design process. Experiences of material polyvinylchloride were observed by adopting the Material Driven Design method and the material experience’s pattern were illustrated by utilizing the Meaning of Material model. According to the research done in the Do-It-Yourself approach, material experiences were identified and seen transforming in every step of the process. Furthermore, the study of material experience was found beneficial for helping designers in understanding and measuring the intangible success of product, specifically user satisfaction.
Diversifikasi Desain Batik Ciwaringin Cirebon melalui Adobsi Trend John Martono; Eka Arifianty Puspita
Dinamika Kerajinan dan Batik: Majalah Ilmiah Vol 40, No 1 (2023): DINAMIKA KERAJINAN DAN BATIK : MAJALAH ILMIAH
Publisher : Balai Besar Standardisasi dan Pelayanan Jasa Industri Kerajinan dan Batik

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22322/dkb.v40i1.8097

Abstract

Ragam hias batik merupakan identitas warisan budaya tak benda di Indonesia yang menjadi kebanggan masing-masing sentra. Sebagian besar penerapan ragam hias dalam praktik desain pada media digital hanya meminjamnya sebagai konten atau elemen visual semata, karya tersebut tidak memenuhi kaidah sebagai karya batik tradisi. Batik Madura (maduraan) memiliki karakter khas yang dikenal dengan penggambaran hewan, tanaman akar-akaran, juga gori (isen-isen) yang menarik untuk dieksplorasi menembus batas dunia kriya tekstil tradisional beralih menjadi karya animasi digital. Penelitian ini bertujuan mengidentifikasi visual ragam hias batik maduraan sebagai aset visual karya Animateutik (animasi batik tulis); mendefinisikan dan merumuskan model “Batik Digital Indonesia”; dan menerapkan model tersebut melalui inovasi desain Animateutik. Penelitian dilakukan menggunakan metodologi kualitatif dengan kajian pustaka untuk merumuskan definisi dan model batik digital Indonesia, serta pendekatan perancangan desain (design action) untuk mewujudkan Animateutik bergaya maduraan. Penelitian menghasilkan rumusan definisi dan model “Batik Digital Indonesia” dan karya inovasi desain berupa Animateutik (animasi batik tulis) bergaya maduraan yang berperan strategis memperluas inovasi, sinergi interdisiplin, dan memberikan alternatif peluang pengembangan antara ranah kriya batik tulis tradisional dengan media digital.
INSPIRASI HYPERNATURE PADA BATIK TULIS CIWARINGIN CIREBON UNTUK DESAIN HOME DÉCOR John Martono; Eka Arifianty Puspita
Gorga : Jurnal Seni Rupa Vol 12, No 1 (2023): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v12i1.44758

Abstract

Batik culture has succeeded in becoming a driving force of the creative economy and providing employment opportunities in various areas of Indonesia. However, the rapid development of batik does not guarantee the success of the batik businesses to be sustainable. One example occurs in one of the national batik industry centers, namely Cirebon. The famous culture of batik in Cirebon is synonymous with the craft center located in Trusmi Village. However, Cirebon also has other areas that are actively producing batik, such as Ciwaringin Village. Contrast to the popular Trusmi Village, Ciwaringin Village's batik tends to fade. The craftmanship of hand-written batik is assumed as one obstacle in responding to consumer trends and demands. In regards, this research aims to explore the alternative designs in developing Ciwaringin batik by infusing the trendy hypernature concept for home décor product. The idea of the batik development design is initiated to respond the growing trend of home décor consumption and the rise of hype nature concept of innovations, which is the integration of technology and nature to support sustainability. Thus, the design method used is a collaboration of Ciwaringin batik traditional elements with the trend of 2022/2023. The collaboration of traditional and the trend elements is considered sufficient in helping craftsmen to be responsive to the latest developments happened amidst society. Through the design process, it was discovered the potency of new designs and the rise of new market segments. Although the design project should be considered as an early stage of development, but it can be concluded that there are positive indications of implementing the trend elements for developing traditional batik designs.Keywords: batik Ciwaringin, home décor, hypernature. AbstrakBudaya batik kini berhasil menjadi satu penggerak ekonomi kreatif hingga membuka peluang ketenagakerjaan di beragam wilayah Indonesia. Namun maraknya perkembangan batik, tidak lantas menjanjikan kesuksesan seluruh pelaku usaha batik untuk mampu berkelanjutan. Sebagai contoh adalah sentra industri batik nasional, yaitu kota Cirebon. Hingga kini budaya pembatikan di Cirebon identik dengan sentra yang berlokasi di Desa Trusmi. Namun kota Cirebon pun memiliki beragam wilayah lainnya yang aktif menghasilkan batik, seperti Desa Ciwaringin. Berbeda dengan Desa Trusmi yang populer, industri batik Desa Ciwaringin cenderung meredup. Ciri khas batik tulis yang mengandalkan keahlian tangan para pengrajin batik digadang menjadi kendala dalam merespon tren dan permintaan konsumen. Menanggapi hal tersebut, penelitian ini bertujuan menggali potensi rancangan alternatif untuk pengembangan batik Ciwaringin, yaitu melalui desain batik dengan inspirasi hypernature untuk home décor. Gagasan desain batik tersebut didasari oleh tumbuhnya tren konsumsi produk home décor yang meningkat dan berkembangnya inovasi dengan konsep hypernature, yaitu terpadunya teknologi dan alam untuk mendukung keberlanjutan. Oleh karena itu, metode perancangan yang digunakan adalah kolaborasi unsur tradisi batik Ciwaringin dengan unsur tren 22/23. Kolaborasi unsur tradisional dan unsur tren dinilai sesuai dengan tujuan penelitian karena mendorong para pengrajin untuk tanggap terhadap perkembangan masyarakat terkini. Melalui proses desain, ditemukan potensi rancangan batik Ciwaringin baru dan terbukanya segmentasi pasar baru. Meskipun proyek desain dalam penelitian ini masih tergolong sebagai tahap awal, namun terindikasi adanya dampak positif dari implementasi unsur tren pada pengembangan desain batik tradisional.Kata Kunci: batik Ciwaringin, home décor, hypernature. Authors:John Martono : Institut Teknologi BandungEka Arifianty Puspita : Institut Teknologi Bandung References:Barber,T.,Krivoshlykova,M. (2007). End-Market Study for Indonesian Home Accessories. United States Agency International Development (USAID).Brownell, B., Swackhamer, M., Satterfield, B., & Weinstock, M. (2015). Hypernatural: Architecture’s New Relationship with Nature. Princeton Architectural Press.Damayanti, N. Y., Pandanwangi, A., Dewi, B. S., & Apin, A. M. (2021). The Batik Kompeni Ornament Variety As An Acculturation Result In The Development Of Batik Decorative Motifs In Cirebon Coastal: ICON ARCCADE 2021: The 2nd International Conference on Art, Craft, Culture and Design (ICON-ARCCADE 2021), Bandung, Indonesia. https://doi.org/10.2991/assehr.k.211228.004.Evans, M. (2004). A Design Approach to Trends and Forecasting: FUTUREGROUND: The Design Research Society Conference, Melbourne, Australia.Hk, A. A. P., Wulandari, D. (2019). Analisis Makna Motif Batik Ciwaringin Cirebon. Cirebon: Seminar Nasional Seni dan Desain: Reinvensi Budaya Visual Nusantara, Surabaya, Indonesia.Kim, E., Fiore, A. M., & Kim, H. (2011). Fashion trends: Analysis and forecasting (English edition). England: Bloomsbury.Kudiya, K., & Atik, S. K.(2020). Kekuatan Desain Motif Batik Cirebon sebagai Ruang Identitas Indikasi Geografis Indonesia. Waca Cipta Ruang:Jurnal Ilmiah Desain Interior,6(1), 1-12.Kusumaningtyas, W. R. (2022). Perancangan Batik Tulis Dengan Inspirasi Terciptanya Tari Eklek Pacitan. Gorga : Jurnal Seni Rupa, 11(1), 16. https://doi.org/10.24114/gr.v11i1.32212.Kuwala, R.N., & Zulfia Novrita, S. (2022). Ragam Hias Motif Batik Tanah Liek Dharmasraya (Studi Kasus di Kerajinan Batik Tanah Liek Citra). Gorga : Jurnal Seni Rupa, 11(1), 08. https://doi.org/10.24114/gr.v11i1.32358.Nursalim, R, I. (2022), “Batik Ciwaringin Cirebon”. Hasil Wawancara Pribadi: 31 Mei 2022, Institut Teknologi Bandung.Paramita, N.G.A., Mudra,I. W., & Rai Remawa,A.A.G. (2022). Cengkeh Sebagai Inspirasi Pengembangan Motif Batik Berbasis Digital Di Kabupaten Buleleng. Gorga : Jurnal Seni Rupa, 11(2), 426. https://doi.org/10.24114/gr.v11i2.38894.Prawira, N. G., Prawira, M. F. A., & Susanto, E. (2020). Coastal Batik Ornament Design: Aesthetic Analysis and Meaning of Batik Ornaments in Ciwaringin Cirebon, West Java. Lekesan: Interdisciplinary Journal of Asia Pacific Arts, 3(2), 48-53.Saputra, R. (2021). Motivasi Indonesia Dalam Kerjasama Ekspor Home Decoration Indonesia-Belanda Ke Eropa. Jurnal Online Mahasiswa Fakultas Ilmu Sosial dan Ilmu Politik Universitas Riau, 8.8–53.Sumintarsih. (2009). Pelestarian Batik dan Ekonomi Kreatif. Jantra: Jurnal Sejarah dan Budaya, 4(8), 689-696.Tucholke, K., & Frohm, P. (2020). The Trend Forecasting Paradox? [Master’s thesis, The Swedish School of Textiles]. Boras: University of Boras.Tresnawati, N., Saleh, I., Sudarmin, & Wardani, S. (2020). Scientific reconstruction of local plants as the basic materials of Batik Natural Dyes. Journal of Physics: Conference Series, 1511(1), 012062.Tresnawati, N., Saleh, I., & Wardani, S. (2020). The utilization of local plants as natural dye Ciwaringin Batik, Cirebon, Indonesia. EurAsian Journal of Bio Sciences.Valenta, N. S., & Adriani, A. (2022). Studi Tentang Batik Batam (Studi Kasus di Indra Batik Batam di Kota Batam). Gorga : Jurnal Seni Rupa, 11(1), 89. https://doi.org/10.24114/gr.v11i1.29696.Zahidi, M.S. (2017). Batik As Indonesian Public Diplomacy in ASEAN Economic Community (AEC). International Journal of International Relations, Media and Mass Communication Studies, 3(2), 1-9.
Surface Design Exploration to Diversify Ciwaringin Cirebon Batik Design JOHN MARTONO; EKA ARIFIANTY PUSPITA
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 6 No. 2 (2023)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v6i2.2549

Abstract

Diversification has been recognized as effective in developing commercial enterprises. However, this strategy requires the commercial business to deeply understand its basic competencies and be aware of changing market trends. In the efforts to develop Ciwaringin batik SMEs, the diversification plan necessitates the Ciwaringin batik SMEs revisiting their unique competencies, namely the hand-writing batik process and the popular trend in 2022/2033, particularly the rising consumption of home décor and hypernature themes. As a result, implementing a diversification strategy in Ciwaringin batik SMEs requires investigating opportunities for developing Ciwaringin batik designs that are unique in their written batik techniques through surface design exploration in order to be responsive to the hypernature-themed home décor trend. Exploration of surface design on textiles was carried out to develop the appearance of Ciwaringin hand-writting batik so that it is relevant to the changing home decor market trends, namely the organic and textured appearances of the hypernature theme. The surface design exploration process is equipped with a data analysis to implement appropriate surface design exploration that supports the Ciwaringin batik diversification strategy. The creative method that combines data analysis and surface design exploration produced several Ciwaringin hand-writing batik designs that display the quality of the organic textured textile surfaces with bright colors typical of the hypernature theme. The Ciwaringin batik designs from surface design exploration are also designed to be home décor items, namely aesthetic wall elements that beautify a residential space.
Craft Design Collaboration: Exploring a Locally Inspired Motif for The Tasikmalaya Embroidery Martono, John; Puspita, Eka Arifianty; Batik, Iradaniatri Rejeky
Gorga : Jurnal Seni Rupa Vol. 14 No. 1 (2025): Gorga: Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v14i1.64493

Abstract

Traditional crafts are important for exposing regional identity. Lack of originality in the way crafts represent regional characteristics will expose them to imitation, trap them in a competitive market, and eventually threaten their sustainability in a creative economy. Consumer trends are certainly important for traditional craft growth, but so is the intangible dimension, which is typically shaped by economic, cultural, and technological factors. The potential economic value of culture-based enterprises is revealed by attempts to commercialize the distinctive intangible creativity, just like in creative industries, by highlighting the distinctiveness of locale. The purpose of this study was to explore the creative potentials that show the distinctiveness of the local Tasikmalayan embroidery craft. Since designers are taught to consider collective factors while making design decisions, design intervention is required for this endeavor. Thus, Tung's craft and design collaboration model will be used for the research, which encourages Tasikmalayan embroidery designers and craftsmen to work together from the beginning to the end. A team of designers will work together with Gallery Kiwari, a Tasikmalayan embroidery craft MSME, to create new embroidery craft motifs that promote local identity. Although the research yielded two prototypes that reflected the location and the character of the artisans, the collaborative method also gave the craftsmen opportunities to learn and create designs that supported local richness. Through the experience, it is anticipated that the craftsmen will be able to develop their future original ideas and elevate the variety of embroidery crafts that symbolize the local value of Tasikmalaya.
KAJIAN MATERIAL DRIVEN DESIGN DALAM DESAIN AKSESORIS FASHION BERBASIS EKSPLORASI MATERIAL SWAKRIYA Martono, John; Puspita, Eka Arifianty
Serat Rupa: Journal of Design Vol 6 No 2 (2022): SRJD - JULI
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.v6i2.4770

Abstract

Fashion design has a prominent role in constructing people’s performance due to its capability of communicating user’s personality. However, prior studies reveal that fashion design is not only able to work as a medium of self-representation, but also as an agent to stimulate certain action to the user. In response to the statements, material selection of fashion design contributes significantly in building consumer appraisement towards products because the material is the dominant element in fashion product aesthetic. Consumers may have various personal experiences and perception regarding material in a fashion product. Following the statement, this research is trying to investigate the integration of material experience study in a fashion design process to reach a more successful outcome of fashion design. Thus, this research is adopting Karana (2015) method of Material Driven Design. By conducting MDD method in the design of fashion product, it was found that there were diverse material experiences amid the users. Furthermore, by utilizing do-it-yourself approach of material development in the fashion design process reveals the possibilities of transforming material experience and the emergence of a new quality for the users to experience, especially an interpretative experience. The research outcome suggests the implementation of material experience study in the fashion design process, like the MDD method. The integration of material studies may not guarantee achieving a perfect user satisfaction, but the material experience study will help designers in understanding the background of user perceptions and finding novelty in the creation fashion design.
Diversifikasi Desain Batik Ciwaringin Cirebon melalui Adobsi Trend Martono, John; Puspita, Eka Arifianty
Dinamika Kerajinan dan Batik: Majalah Ilmiah Vol. 40 No. 1 (2023): DINAMIKA KERAJINAN DAN BATIK : MAJALAH ILMIAH
Publisher : Balai Besar Standardisasi dan Pelayanan Jasa Industri Kerajinan dan Batik

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22322/dkb.v40i1.8097

Abstract

Ragam hias batik merupakan identitas warisan budaya tak benda di Indonesia yang menjadi kebanggan masing-masing sentra. Sebagian besar penerapan ragam hias dalam praktik desain pada media digital hanya meminjamnya sebagai konten atau elemen visual semata, karya tersebut tidak memenuhi kaidah sebagai karya batik tradisi. Batik Madura (maduraan) memiliki karakter khas yang dikenal dengan penggambaran hewan, tanaman akar-akaran, juga gori (isen-isen) yang menarik untuk dieksplorasi menembus batas dunia kriya tekstil tradisional beralih menjadi karya animasi digital. Penelitian ini bertujuan mengidentifikasi visual ragam hias batik maduraan sebagai aset visual karya Animateutik (animasi batik tulis); mendefinisikan dan merumuskan model “Batik Digital Indonesia”; dan menerapkan model tersebut melalui inovasi desain Animateutik. Penelitian dilakukan menggunakan metodologi kualitatif dengan kajian pustaka untuk merumuskan definisi dan model batik digital Indonesia, serta pendekatan perancangan desain (design action) untuk mewujudkan Animateutik bergaya maduraan. Penelitian menghasilkan rumusan definisi dan model “Batik Digital Indonesia” dan karya inovasi desain berupa Animateutik (animasi batik tulis) bergaya maduraan yang berperan strategis memperluas inovasi, sinergi interdisiplin, dan memberikan alternatif peluang pengembangan antara ranah kriya batik tulis tradisional dengan media digital.
Understanding Participations in The Design Development of Jumputan Micro Small Medium-sized Enterprises in Palembang, Indonesia Puspita, Eka Arifianty
Dinamika Kerajinan dan Batik: Majalah Ilmiah Vol. 42 No. 1 (2025): DINAMIKA KERAJINAN DAN BATIK : MAJALAH ILMIAH
Publisher : Balai Besar Standardisasi dan Pelayanan Jasa Industri Kerajinan dan Batik

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22322/dkb.v42i1.8547

Abstract

Effective participation in the design process is projected to provide better outcomes in the development program of Micro, Small, and Medium-sized Enterprises (MSMEs). Allowing all parties impacted by the development program to engage properly in the process will provide relevant improvement and offer sustainability.Given the imperative of determining suitable participation, this research delves into the forms of participation that arise during the design process using Yanki Lee's theory. This theory classifies participation according to four objectives: innovation, collaboration, emancipation, and motivation. In regard to the study, the design development, particularly using the Transforming Tradition design model, served for two MSMEs in Palembang, South Sumatra, were analyzed to determine the type of participation that arose during the design process. While the design process successfully produced a series of designs for both MSMEs, the research discovered an interconnection between the types of roles, relationships, and interactions that each actors possesses, influence the diverse mode of participation. The research also reveals that an actor's capacity and interest to participate in the design process define their role of participation, which is primarily responsible for determining the dynamics of participation in a development program are optimized.
Co-Authors Batik, Iradaniatri Rejeky John Martono JOHN MARTONO John Martono Kahfiati Kahdar