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All Journal Jurnal Pendidikan Teknologi dan Kejuruan Jurnal Tata Rias Jurnal Tata Busana KELUARGA: Jurnal Ilmiah Pendidikan Kesejahteraan Keluarga JISIP: Jurnal Ilmu Sosial dan Pendidikan International Journal for Educational and Vocational Studies Didaktika: Jurnal Kependidikan JURPIKAT (Jurnal Pengabdian Kepada Masyarakat) Abimanyu: Journal of Community Engagement JBC Jurnal Tata Rias JPBD (Jurnal Penelitian Busana dan Desain) Jurnal Online Tata Busana
Dewi Lutfiati
Universitas Negeri Surabaya
Arts Humanities Dentistry Economics, Econometrics & Finance Education Engineering Environmental Science Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Mathematics Public Health Social Sciences Other

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Journal : JBC

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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.
Pemanfaatan Clay Tepung Sebagai Aksesoris Rambut Restiana, Verna; Lutfiati, Dewi
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.p13-24

Abstract

Flour-based clay are frequently used to create 3D figures, various handcrafts, along with a play and learning tool. Other than that, flour-based clay could also be an alternative material for accessory making. It is regularly made of corn starch, tapioca starch, rice flour, as well as white glue. To get the right dough consistency, finding out the accurate components and composition is needed. As a result, the finish product would be made into hair accessories. The technique used for making the hair accessory is wire wrapping. This research aims to find out the accurate dough components and composition, the ideal size of hair accessories, and wire-wrapped technique for accessory making. This research used literature review method, data are obtained from journals combined with articles that correlated with flour-based clay, hair accessories, including wire wrapping technique. Results from the data that has been obtained showed a good clay component consists of flour that contained amylose (tapioca flour, corn starch, et cetera), flour with higher amylopectin content for example waxy corn starch, waxy potato starch, and waxy rice starch, preservative, lubricant, white glue, and salt. The clay dough indicators are soft, pliant, non-sticky, low in viscosity, and resistant in retrogradation Based on the data, the ideal size of a hair accessory is 1:4 and one third from facial height. Jewelry making technique namely filigree and straw weaving could be applied for the purpose of making hair accessory.
Pemanfaatan Pressed Flowers sebagai Dekorasi Undangan Pernikahan Hapsari, Ardian Sesarina; Lutfiati, Dewi
Journal of Beauty and Cosmetology (JBC) Vol. 2 No. 1 (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.v2n1.p1-10

Abstract

Pressed flowers are a flat form of dried flowers and foliages that can be utilized to make crafts and decorations. This research was conducted to discover the result of the utilization of pressed flowers as decoration for the wedding invitation. The type of this research is the literature review, by doing exploration from book, article, and journal that has been done beforehand which related to this research to find deeper insight about visual of wedding invitation, the process of making pressed flowers, also the utilization of pressed flowers, then analyzed using literature review procedure. The result of this research showed that pressed flowers can be used as decoration to beautify the cover of a wedding invitation which made based on principles of design dan basic principles of flower arranging  combined with decorative elements of Victorian Art and Craft also Art Nouveau style design. This wedding invitation not only has an aesthetic and high selling value but also has its uniqueness and potential which differentiate from the commonly printed wedding invitation, by using pressed flowers as an environmentally friendly material, also generates product innovation of wedding invitation that can be contended in wedding invitation industry.Keywords:  pressed flowers; decoration; wedding invitation.
Survei Penggunaan Pupur Bangkal Cap Galuh Licin sebagai Kosmetik Tradisional Khas Banjarmasin Apriani, Dini; Lutfiati, Dewi
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.p11-24

Abstract

Pupur bangkal is a facial skin care product made from natural ingredients and has been used by women in Banjarmasin. Pupur bangkal is a culture and characteristic of the Banjar people. This study aims to determine: 1) The process of making pupur bangkal. 2) How to use and benefit from the powdered root. 3) Analyzing consumer buying interest in traditional cosmetics, powdered ginger, in the era of modern cosmetics. This type of research is descriptive including quantitative and qualitative research with the object of consumer buying interest in traditional cosmetics powder bangkal. Data collection methods used were questionnaires, interviews, and observations. Data were obtained from 30 respondents in 5 cosmetic shops. The data analysis used was descriptive statistical data analysis in the form of percentages. The results showed that 1) The process of making traditional masks is very easy to practice at home because it uses simple equipment and materials that are easily available in traditional markets. 2) Regular use of cold powder products has benefits, namely the face that looks brighter, dries up, heals acne, shrinks pores, and makes facial skin smoother and can absorb excess oil. 3) Factors that influence consumer buying interest, namely product quality factor of 50%, price affordability factor of 40% and testimonials of 10% and the results of the age of women using puppets are 17% adolescents and 83% adults. The results showed that the product quality factor of Cap Galuh Banjar powdered powder was more attractive to women aged 40 years and over.Keywords: powder bangkal, traditional cosmetics, consumer interest.
Perbandingan Teknik Aplikatif Cat Eyes Eyeliner dengan Winged Eyeliner pada Tata Rias Pengantin Muslim untuk Bentuk Mata Bulat Putri, Adillah Amirul; Lutfiati, Dewi
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.p59-71

Abstract

Eyeliner is a cosmetic that is commonly used on the eye line to emphasize the eye line. The use of eyeliner can also manipulate the shape of the eyes so that the eyes will look more beautiful and defined. Applying the right eyeliner can also minimize the use of lashes to emphasize the shape of the eye. This study aims to (1) determine the results of the comparison of the applied techniques of cat eye eyeliner with winged eyeliner in Muslim bridal make-up for round eyes (2) to find out which applied eyeliner techniques have the overall results make round eyes look neat, proportional and firm. This type of research is experimental research. The subjects in this study were applied techniques of cat eyes eyeliner with winged eyeliner on Muslim bridal make-up for round eye. The data collection method used was observations made by 34 respondents. The data analysis technique used is the Independent Sample T-Test. The results showed that the application of cat eyes eyeliner and winged eyeliner to Muslim bridal make-up for round eyes did not have a significant difference. The best result in this study is the applied winged eyeliner technique. The average result of the applied winged eyeliner technique has the highest score on three aspects of assessment, namely the proportion of the eye shape of 3.3, the aspect of eye firmness of 3.6, and the overall result of eye makeup of 3.5.Keywords: make-up, cat eyes eyeliner, winged eyeliner, round eyes
Penggunaan Teknik Mixing Foundation untuk Menghasilkan Warna Natural pada Tone Kulit Wajah Gelap untuk Make Up Foto Beauty Maulina, Dianisa; Lutfiati, Dewi
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.p72-83

Abstract

Foundation mixing technique is a technique of mixing more than one foundation that is used in order to create the desired color. The problem faced by make-up artists for clients with dark facial skin is that the foundation does not match the skin color due to the limited color of the foundation. This can create new innovations in makeup to produce natural colors on dark facial skin. The purpose of this study to find out: 1) the suitability of the results of the mixing foundation technique on dark facial skin tones. 2) The observer's favorite of mixing foundations for dark facial skin tones on beauty photo opportunities. This type of research is experimental. The variables in this study consisted of independent variables: mixing foundations with dark colors and natural colors with a ratio of X1 (3gr: 3gr), X2 (4.5gr: 1.5gr), X3 (5gr: 1gr). The dependent variable is the result of beauty photo make up which includes: foundation color with the most suitable mixing technique for dark facial skin, application of suitable foundation mix on facial skin, beauty photo results. The data collection method used google form and involved 35 observers. The data analysis technique used the one way Anava test followed by the Duncan test using the SPSS version program 21. The research results showed that 1) a mixing foundation that is suitable for dark facial skin tones is in the ratio X2 which has the highest average value 2) the results of mixing foundation For dark face skin tones on the occasion of beauty photos according to the observer the most preferred and in accordance with the assessment criteria is in the photo with a comparison of X2 with the highest average value of 3.66 Keyword: mixing foundation, dark face skin, photo make-up
Co-Authors Afkarina, Risqa AGUSTIN RIDWAN, VITA Amalia Ruhana, Amalia Andriani, Tetania Maulidia ANGGITA SARI, PUTRI Anggraeni, Amelia Aninda, Catleya Azka Arita Puspitorini ARUM PUSPA SARI RYANICA, FITRI Ascaya, Made Milenia Candrawati Azizah, latiffany Bella, Yuniar Anisa Bidari, Citra Laksmi Biyan Yesi Wilujeng Cahyani7, Wahyu Dwi Cinthiya, Miranda Dewi, Lutfiah Kumala Diah Ayu Lestari Dindy Megasari Dindy Sinta Megasari Dindy Sinta Megasari Dini Apriani, Dini Diningrum, Siti Erlinda DWI AGUSTIN, NANA Dwi Kristiastuti Dwi Kristiastuti fardani, narisma Fatin, Anisah Fatin, Hanani Auliya Fauziah, Syaviera Alifia Fernanda, M.A. Hanny Ferry FLORIDA NADEK, YERSI Habsari, Lucky Auliya Handayani, Galuh Hapsari, Ardian Sesarina Hartanti Wulandari, Ririn Noor Hasan, Hazizah Martina Sari Inayati, Indah jayanti, Devita Karomatul H, Dewi Tusiani KARTIKAWATI, MELINDA Kumala, Aisah Dian Kumalasari, Nanda Kusstanti, nia Linda Hadityaningsih Lucia Tri Pangesthi Lucia Tri Pangesthi LUTFI CAHYANINGRUM, DHINANDA MANGINAR HUTAPEA, NATALIA Marniati Marniati, Marniati MARSHA ANDELLA, GRACELLYA Maspiyah Maspiyah Maspiyah Maulina, Dianisa Maure Gitta Miranti Syahrudin Mauren Gita Miranti Mayola, Cindy Arinda Megasari, Dindy Miniarti, Miniarti Muliana, Amma Munawaroh, Maulidatul Mustika, Pitaloka Nanda Mutimmatul Faidah Nafannisa, Salsabilla Rizky ndari, Fitria Nia Kussianti Nia Kusstianti Nia Kusstianti Nia Kusstianti Nieke Andina Wijaya Niensona, Celia Sheiron Novia Restu Windayani Novia Restu Windayani, Novia Restu Nugrahani Astuti NUR DIAHWATI, HILMA Nurromzanie, Dista Osy Nuryakin, Berlian Nuryana, Baiq Mulya Peppy Mayasari, Peppy Permatasari, Lindya Pratiwi, Ursila Indah Prillacaprienta, Ghesi Rindang Pritasari, Octaverina Pritasari, Octaverina Kecvara Puspita, Vivian Putri, Adillah Amirul putri, karina herawati Putri, Katharina Tassya Ariratna Putri, Ni Nengah Cindy Swandewi Qonita, Anggi Mara Qonitatila, Nadhila Mar’atul Qoyyimah, Millah Rachmah, Rika Nur Rachmahdieni, Rainy Ridha Rahayu Dewi Rahayu Dewi Rahayu, Mutiara Rahma, Alya Zahra Nur Maulida Rahmawati, Nurlaili RATNASARI, ULFI Restiana, Verna Robi’atul ‘Auliya, Lintang Ayu Safira, Karina Beauty Safitri, Binti Inna Saphira, Cynthia Shella Sari, Dyla Sari, Wilujeng Indah Shafiyyah, Salma Singarimbun, Kirey Permata Crysti Br Sri Dwiyanti Sri Usodoningtyas Suhartiningsih Suhartiningsih SUKMA INSANI, MAHAYU SULISTYAWATI NINGSIH, INDAH Sulistyowati, Silfia Widya ulya, nanda hilyatul Usodoningtyas, Sri Verina Mayang Sari Violita, Dinda Asteria Wijaya, Nieke Andina Wilujeng, Biyan Wilujeng, Biyan Yesi wilujeng, nieke andina WINDA PUTRI AYU LESTARI, MAY Yuliana, Qoriah Setia