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Universitas Negeri Surabaya
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TIPE PEMBELAJARAN KOOPERATIF THINK PAIR SHARE PADA SUB KOMPETENSI PENATAAN SANGGUL KREATIF BACK STYLE QOLBI, TSAMROTUL; KUSSTIANTI, NIA
Jurnal Tata Rias Vol 9, No 3 (2020)
Publisher : Program Studi Pendidikan Tata Rias

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

Abstract

AbstrakThink Pair Share merupakan tipe pembelajaran inovatif dalam kurikulum 2013 dimana siswa dituntut lebih aktif selama pembelajaran, mengajak untuk bekerja mandiri kemudian bekerja sama dengan pasangannya. Tipe Think Pair Share dapat digunakan dalam mata pelajaran Penataan Sanggul Kreatif Backstyle Dengan Teknik Sasakan. Dengan bekerja sama atau berpasangan dalam satu kali pertemuan peserta didik mampu mempelajari sekaligus mempraktikkan macam-macam penataan sanggul dengan ide yang inovatif kemudian menyampaikannya dengan baik dan benar sehingga lebih efisien waktu. Jenis penelitian ini adalah deskriptif kualitatif. Tujuan penelitian yaitu menguraikan tipe pembelajaran kooperatif Think Pair Share, dan keefektifan tipe pembelajaran kooperatif Think Pair Share. Metode penelitian menggunakan studi kepustakaan dengan mengacu pada buku dan jurnal nasional yang membahas: 1) kajian model pembelajaran kooperatif dan tipe pembelajaran kooperatif Think Pair Share (TPS,) 2) kajian sub materi pembelajaran Penataan Sanggul Kreatif Back Style , dan 3) kajian pengelolaan kelas dengan menerapkan tipe pembelajaran Think Pair Share (TPS) dimana didalamnya dapat meningkatkan aktivitas dan hasil belajar, dan kelayakan atau kefektifan tipe pembelajaran pada materi praktik. Hasil dari penelitian diperoleh kesimpulan berupa: 1) penjelasan mengenai model pembelajaran kooperatif dan tipe pembelajaran kooperatif Think Pair Share, 2) penjelasan materi sub kompetensi Penataan Sanggul Kreatif Back Style, dan 3) tipe pembelajaran kooperatif Think Pair Share dapat diterapkan dan menjadi acuan guru penataan sanggul kreatif sehingga proses pembelajaran mampu dimaksimalkan dengan tujuan untuk meningkatkan prestasi belajar siswa. Kata Kunci: think pair share, penataan sanggul kreatif backstyle. Abstract Think Pair Share is a type of innovative learning in the 2013 curriculum where students are required to be more active during learning, inviting to work independently then working with their partners. Think Pair Share type can be used in the subject of Backstyle Creative Hair Styling with Feeling Technique. By working together or in pairs in one meeting students are able to learn while practicing various types of bun arrangement with innovative ideas and then convey them properly and correctly so that it is more time efficient. This type of research is descriptive qualitative. The research objective is to describe the type of Think Pair Share cooperative learning, and the effectiveness of Think Pair Share cooperative learning types. The research method uses literature study by referring to books and national journals that discuss: 1) the study of cooperative learning models and the types of cooperative learning Think Pair Share (TPS, 2) the study of sub-learning materials for the Styling of the Back Style Creative Bun, and 3) the study of classroom management by applying the Think Pair Share (TPS) learning type in which can improve learning activities and outcomes, and the feasibility or effectiveness of learning types in practice material. The results of the study obtained conclusions in the form of: 1) an explanation of the cooperative learning model and the type of cooperative learning Think Pair Share, 2) an explanation of the material material sub-competence of the Back Style Creative Hairdressing Arrangement, and 3) Think Pair Share cooperative learning types can be applied and used as a reference for the teacher in structuring the creative bun so that the learning process can be maximized with the aim of improving student achievement. Keywords: think pair share, back hair styling
Bentuk dan Makna Tata Rias Pengantin Tradisional Sari Agung Lumajang Jawa Timur Maspiyah, Maspiyah; Lutfiati, Dewi; Kusstianti, Nia
Journal of Beauty and Cosmetology (JBC) Vol. 1 No. 1 (2019): Journal of Beauty and Cosmetology (JBC)
Publisher : Universitas Negeri Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26740/jbc.v1n1.p1-8

Abstract

The purpose of this study is to identify the type and meaning of Sari Agung bridal make-up from Lumajang, East Java, which includes makeup and hairdo, and also clothing and accessories worn. This study is a descriptive study with qualitative approach. Data collection techniques using triangulation methods, which includes 1) interviews, 2) observation, and 3) documentation. Data sources in this study are senior bridal makeup artist in Lumajang, chairman of DPC Harpi Melati, and head of the Arts and Culture section of the Lumajang City Tourism Office. From the study results it is known that the Lamajang Sari Agung Bridal Makeup is a beautiful makeup, while the form of hair makeup is in the form of ˜ukel konde. Clothing and jewelry worn by the Lamajang Sari Agung bride; such as: jewelry made of silver; illustrates that Lumajang is a producer of silver crafts. The ˜dodot sinebab motives illustrate ˜pisang agung which is an icon of Lumajang. ˜Sekar manggis, ˜sulur pakis, etc describes natural wealth of Lumajang. Cinde fabric with empty palace motive describes the Lumajangs community belief that humans are born empty, carrying nothing.
Pembuatan Srinatha pada Tata Rias Pengantin Bali Agung Usodoningtyas, Sri; Kusstianti, Nia
Journal of Beauty and Cosmetology (JBC) Vol. 1 No. 2 (2020): Journal of Beauty and Cosmetology (JBC)
Publisher : Universitas Negeri Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26740/jbc.v1n2.p57-67

Abstract

 Srinatha is a dumanggal (crescent-shaped) decoration on the forehead of Bali Agung's bride to make it look elegant, beautiful and attractive. The method of forming Srinatha generally uses the finger gauge. This method often causes problems, because the fingers have different sizes, and so do the forehead brides have different sizes. The purpose of this study is to describe the technique of making Srinatha with traditional and proportional methods and to find the suitability of Srinatha between traditional methods and proportional methods. This type of research is descriptive qualitative. Data collection techniques with observation to provide an assessment of the work. The results of this study note that the making of srinatha by traditional methods relies on fingers and ignores the shape of the bride's forehead, making it difficult to produce an exact and symmetrical Srinatha. The proportional method is adjusted to visualize the bride's face and pay attention to the shape of the forehead. In terms of flexibility, symmetry, compatibility and accuracy with the face shape the proportional method is better than traditional methods. This research contributes an alternative method of making Srinatha by considering the shape of the face.
SURVEI PENGGUNAAN MASKER RAMBUT BERBAHAN DASAR JAHE UNTUK PERAWATAN RAMBUT Prastyani, Desi Nur; Kusstianti, Nia
Journal of Beauty and Cosmetology (JBC) Vol. 2 No. 2 (2021): Journal of Beauty and Cosmetology (JBC)
Publisher : Universitas Negeri Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26740/jbc.v2n2.p34-45

Abstract

Chemical exposure is a factor that causes a decrease in hair health, especially when there is no adequate nutrition in the hair. This research was conducted to analyze the function of hair masks made of ginger in improving hair health. The method used is a survey. The data collection technique used was sampling on a sample of customers in one of the salons, namely Salon Tiya, totaling 100 respondents. It is in accordance with the method that the required instrument is SPSS. The results showed that 31% of respondents aged 18 years experienced damage in the form of hair loss. Meanwhile, 55% have never used a ginger mask. Most of the respondents do not understand the ingredients in the hair care products they use, especially anti-dandruff products. Keywords: ginger mask, hair care, survey
Perbandingan Hasil Penggunaan Nail Gel Pada Kuku Asli dan Kuku Palsu Motif Leopard FilaHasena; Puspitorini, Arita; Kusstianti, Nia; windayani, novia
Journal of Beauty and Cosmetology (JBC) Vol. 3 No. 1 (2021): Journal of Beauty and Cosmetology (JBC)
Publisher : Universitas Negeri Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26740/jbc.v3n1.p31-38

Abstract

Nail art is the art of decorating nails so that one's appearance can look more presentable and beautiful by adjusting the condition of the client's nails. Nail art uses nail gel as a nail dye. This study aims to determine the comparison of the results of using nail gel applied to real nails and false nails with a leopard pattern. This research is a type of descriptive quantitative research. The purpose of this study was to determine the results of applying nail gel to natural nails and artificial nails and to compare the results between the two nails. Data collection was obtained through an online questionnaire distributed through social media facilities, namely Google forms to students of SMK Negeri 4 Banjarmasin, Skin & Hair Beauty Department. The data analysis technique uses the results of the percentage in terms of neatness, the result of greasing, in terms of beauty, suitability of motifs, and the results of the respondent's overall preference and the average result is calculated from the results of calculating these percentages. The results showed that (1) in terms of neatness of nail gel on natural nails scored 90.3% while false nails were 9.7% (2) In terms of applying nail gel on natural nails a score of 80.6% while fake nails 19.4 % (3) In terms of the suitability of nail gel motifs on natural nails, the score is 92.5% while fake nails are 7.5% (4) In terms of the beauty of nail gel on natural nails, the score is 91.4% while false nails are 8.6% ( 5) Overall preference for nail gel on real nails scored 92.5% while fake nails were 7.5%. From the score obtained when calculated using the average formula for nail gel on natural nails, it scores 89.46% and fake nails gets a score of 10.54%. Keywords: Nail art; nail gel; nails; fake nail
PENGARUH PROPORSI SELEDRI (APIUM GRAVEOLENS) DAN TEPUNG BERAS TERHADAP HASIL PENGGUNAAN MASKER WAJAH UNTUK KULIT BERJERAWAT VENTIANA WATI, DICHA; KUSSTIANTI, NIA
Jurnal Tata Rias Vol. 7 No. 2 (2018)
Publisher : Program Studi Pendidikan Tata Rias

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26740/jtr.v7n2.24187

Abstract

Abstrak: Masker wajah merupakan sediaan kosmetik yang berbahan dasar dari bahan alami segar atau bahan yang sudah dikeringkan berasal dari sayur, buah, atau dari limbah. Masker memiliki fungsi untuk mengencangkan kulit, merawat kulit, dan mengangkat kotoran pada kulit. Seledri dan tepung beras dapat dimanfaatkan sebagai bahan tambahan masker karena seledri memiliki khasiat yang sangat baik untuk kulit diantaranya vitamin A, B, dan C serta kandungan flavonoid yang tinggi, dapat menyembuhkan peradangan pada kulit seperti jerawat jika digunakan sebagai masker. Penelitian ini bertujuan untuk mengetahui pengaruh proporsi seledri dengan 3 proporsi yaitu X1 2 gram seledri dan 8 gram tepung beras , X2 4 gram seledri dan 6 gram tepung beras, dan X3 6 gram seledri dan 4 gram tepung beras pada hasil jadi masker wajah berbahan dasar tepung beras terhadap perubahan jerawat, waktu penyembuhan, dan kondisi kulit. Jenis penelitian ini adalah penelitian eksperimen. Teknik pengumpulan data yang digunakan adalah observasi terhadap 30 observer diantaranya 26 mahasiswa tata rias dan 4 dosen tata rias. Analisis data menggunakan uji Anava tunggal dengan program SPSS 16 taraf signifikan 5% dan uji lanjutan menggunakan uji Duncan. Berdasarkan hasil uji Anava yang telah dilakukan terhadap pemakaian masker seledri selama 7 hari oleh 6 sampel menunjukkan bahwa masker dengan proporsi X3 ( 6 gram seledri dan 4 gram tepung beras) berpengaruh terhadap perubahan jerawat dengan nilai 3,3, waktu penyembuhan jerawat dengan nilai 3,3 , dan kondisi kulit dengan nilai 3,1. Kata kunci : Seledri, Masker Wajah, Kulit Wajah Berjerawat. Abstract: A mask is a cosmetic preparation made from fresh from natural materials or material on which have dried derived from vegetable , fruit , or from the wastes .Having the function of a mask to tighten the skin , treat leather , and raised dirt on the skin .Celery and flour rice can be utilized as an additional material for a mask because celery having efficacy are excellent for the skin of them vitamin a , b , and c and the flavonoid content high , could heal the skin inflammation of as a pimple if used as a masker. Research aims to understand the influence of the proportion of celery with 3 the proportion of namely! 2 grams of celery and 8 grams of rice flour ," 4 grams of celery and 6 grams rice flour , and# 6 grams of celery and 4 grams of flour rice on the outcome so a face mask made from flour rice on changes in acne , healing time , and skin condition .The kind of research this is research experiment .The technique of the collection of the data used was an observer at the 30 observation of them 26 students 4 he got from his lecturers and make-up make-up .Analysis of test data using single anava program spss 16 at 5 percent and the economic situation of significant test using advanced test Duncan. Based on the results of the anava who have been done on the mask celery for 7 day by sample 6 show that masks proportions# ( 6 gram celery and 4 grams of rice ) influences change acne worth 3,3, the healing acne worth 3,3, and skin condition with the 3,1. Keywords: celery, acne, traditional mask, face skin.
MODIFIKASI TATA RIAS PENGANTIN MUSLIM PUTRI JENGGOLO SIDOARJO Edo Shamsidar, Afzalur; KUSSTIANTI, NIA
Jurnal Tata Rias Vol. 7 No. 3 (2018)
Publisher : Program Studi Pendidikan Tata Rias

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26740/jtr.v7n3.25116

Abstract

PENERAPAN MEDIA VIDEO TUTORIAL MENATA SANGGUL UP STYLE KELAS XI KECANTIKAN RAMBUT DI SMK NEGERI 3 KEDIRI VIA LAKSHITA, YUNANDA; KUSSTIANTI, NIA
Jurnal Tata Rias Vol. 7 No. 3 (2018)
Publisher : Program Studi Pendidikan Tata Rias

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26740/jtr.v7n3.26403

Abstract

PENINGKATAN KETERAMPILAN RIAS WAJAH PANGGUNG MELALUI PELATIHAN DI EKSTRAKURIKULER BEAUTY INNOVATIONS SMK NEGERI 2 JOMBANG SUZENTY, INDRYA; KUSSTIANTI, NIA
Jurnal Tata Rias Vol. 8 No. 1 (2019)
Publisher : Program Studi Pendidikan Tata Rias

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26740/jtr.v8n1.27088

Abstract

MODIFIKASI TATA RIAS WAJAH PENGANTIN BLITAR KRISNAYANA ELOK PUTRI BAHARI, RUSYNTA; KUSSTIANTI, NIA
Jurnal Tata Rias Vol. 8 No. 3 (2019)
Publisher : Program Studi Pendidikan Tata Rias

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26740/jtr.v8n3.29151

Abstract

Abstrak: Tata rias pengantin Blitar Krisnayana merupakan salah satu budaya yang harus dilestarikan oleh masyarakat Blitar. Modifikasi tata rias wajah merupakan salah satu upaya agar masyarakat Blitar lebih tertarik untuk melestarikannya. Tujuan penelitian ini yaitu mendeskripsikan bentuk desain modifikasi tata rias wajah pengantin Blitar Krisnayana, dan mendeskripsikan hasil jadi desain modifikasi tata rias wajah pengantin Blitar Krisnayana. Jenis penelitian yang diterapkan pada penelitian ini yaitu penelitian deskriptif kualitatif. Desain penelitian yang digunakan adalah dengan tahapan eksplorasi, perancangan, dan perwujudan. Instrumen penelitianya itu berupa lembar observasi yang dibagikan kepada 18 orang panelis. Hasil penelitian menunjukkan bentuk desain modifikasi tata rias wajah pengantin Blitar Krisnayana berdasarkan prinsip desain mendapatkan kategori sangat baik. Bentuk desain secara keseluruhan berkategori sangat baik dari segi aplikasi eye shadow yang berwarna orange mewakili warna langit senja serta warna kuning keemasan mewakili warna stalagmite dan stalaktit di Goa Embultuk, high light berwarna silver mewakili warna candi-candi di Blitar, dan blush on berwarna merah muda mewakili salah satu warna langit senja. Hasil jadi desain modifikasi tata rias wajah pengantin Blitar Krisnayana dari segi hasil foundation, alis, eye shadow, blush on, dan bulu mata, secara keseluruhanya itu berkategori sangat baik karenasesuai dengan sumber inspirasi. Hasil desain berdasarkan prinsip secara keseluruhan berkategori sangat baik terutama pada prinsip Kesatuan yang memiliki skor rata-rata tertinggi, sedangkan prinsip yang memiliki skor rata-rata terendah yaitu prinsip Keutuhan. Kata Kunci: Modifikasi tata rias wajah, Blitar Krisnayana, prinsip desain.. Abstract Blitar Krisnayanas bridal make-up is one of the culture that must be preserved by the Blitar society. Modification of makeup is an effort so that the people of Blitar are more interested in preserving it. The purpose of this research were to describe the modified design form of Blitar Krisnayanas bridal makeup, and describe the results of the modified design of Blitar Krisnayanas bridal makeup. The type of this research is qualitative descriptive research. The research design used is the stages of exploration, design, and embodiment. The research instrument is in the form of an observation sheet distributed to 18 panelists. The research method is interviewing the experts and distributing the questionnaire of the observation sheet to the panelists. The results of the study showed that the form of Blitar Krisnayanas bridal makeup modification design based on the design principle had a very good category. The overall design form is categorized very well in terms of the application of orange shadow representing the color of the twilight sky and golden yellow representing the colors of stalagmites and stalactites in Goa Embultuk, silver high light representing the colors of Blitar temples, and pink blush one of the colors of the twilight sky. The result is a modified design of bridal makeup Blitar Krisnayana in terms of the results of foundation, eyebrows, eye shadow, blush, and eyelashes as a whole which is very good category because it fits with the source of inspiration. The design results based on the overall principle are categorized very well, especially in the Unity principle which has the highest average score, while the principle that has the lowest average score is the Integrity principle. Keywords: Make up modification, Blitar Krisnayana, design principal..
Co-Authors Afida, Ummu Nadia Afkarina, Risqa Alfin Afifi, Astrida AMELIA, LINDA Ampouw, Debby Arita Puspitorini Ascaya, Made Milenia Candrawati Atmaka, Srinirmala Nindya Azizah, latiffany Balqois, Ratu Bella, Yuniar Anisa Binagdy, Vennas Amalla Chasanah, Ilfa Damaranti, Angger dewayana, Agatha Dewi Lutfiati DIAH DWI JAYANTHI, KADEK Dindy Sinta Megasari Edo Shamsidar, Afzalur EKI PURBOSETYO, MIFTASYA ELOK PUTRI BAHARI, RUSYNTA Evanggelista, Delaya FAJAR MAGFIROH, SITI Fatin, Hanani Auliya Febriana, Aulia Rizqiika Febrianti, Mitha Indah Festiana, Ailsa FilaHasena Fitriyani, Pramitha Anisa Hartanti Wulandari, Ririn Noor Helmi, Dian Atika Ikbar, Idel Eg Nidia Imansari, Inez Dwina Inayati, Indah Indra, Zahra Natasya Jayanti, Khusmira Dwi KECVARA PRITASARI, OCTAVERINA Lailla Putri Anggita Dewi Leony, Dita Angie Luftha Rudiyanto, Michelle Grezanda Madani, Ekki Febijay Maspiyah Maspiyah Megasari, Dindy Muliana, Amma Mutimmatul Faidah Ningrum, Fatichatul Ilma Wahyu ningrum, Yuliana Ni’mah, Alfiatun Nofitasari, Sonia Novia Restu Windayani, Novia Restu Nurwulandari, Laily Dewi Oktavia, Rhelen Bunga Piwi, Adela Sanya Prahesti, Salsabila Prajastiwi, Handika Pramesti, Adetyas Prastyani, Desi Nur Pratiwi, Evita Citra Pritasari, Octaverina Pritasari, Octaverina Kecvara Puspita, Vivian putri, Monique Jingga Trifinda QOLBI, TSAMROTUL Qoyyimah, Millah Rachmawati, Eka Yolanda Sakila Ramadhanti, Rizqullah Rekhananda , Karin Safitri, Binti Inna safitri, Yesi intan SILVI GHONI MAHFIRO, KHAFIDHATUL SOFIA MAHARANI, NITA Sri Dwiyanti Suhartiningsih Suhartiningsih SUZENTY, INDRYA swardika, Farah SYAH PRASTIKA NOOR SHOLIKIN, WENDI Trishantini, namira Usodoingtyas, Sri Usodoningtyas, Sri VEGATAMI, PRADITA VENTIANA WATI, DICHA Verina Mayang Sari VIA LAKSHITA, YUNANDA WAHYUNIH, SRI Waluyo, Nadya Sabrine Wardani, Annisa Aprilia Wijaya, Nieke Andina Wilujeng, Biyan Wilujeng, Biyan Yesi windayani, novia yuhaa, Fastami limaa YUSNI, ALIFIA SHAFIRA