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All Journal Budapest International Research and Critics Institute-Journal (BIRCI-Journal): Humanities and Social Sciences Mavis : Jurnal Desain Komunikasi Visual Jurnal Intelek Dan Cendikiawan Nusantara Jurnal Intelek Insan Cendikia Realisasi: Ilmu Pendidikan, Seni Rupa dan Desain Imajinasi: Jurnal Ilmu Pengetahuan, Seni, dan Teknologi

Misgiya Misgiya

Unknown Affiliation

Author-ID : 3332130

Religion Arts Humanities Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Social Sciences Other

Published : 12 Documents Claim Missing Document

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Analisis Souvenir Di Langgam Batik & Souvenir Tembung Berbahan Kain Perca Ulos Nadya Rosa Siallagan; Misgiya Misgiya; Adek Cerah Kurni Azis
MAVIS : Jurnal Desain Komunikasi Visual Vol 2 No 2 (2020): Mavis : Jurnal Desain Komunikasi Visual
Publisher : LPPM STIKI Malang

This study aims to apply the principles of craftsmanship and variation on souvenirs made from patchwork ulos, which are carried out in the Batik & Souvenir Business on Jalan Pengapdian Gg. Musa Pulungan Dusun I Bandar setia, Tembung, North Sumatra. This research is a qualitative descriptive study. Samples for this study were 12 types of souvenirs made from ulos patchwork produced by craftsmen. The data collection methods used were observation and documentation. The results of this study showed the results of the application the principles of handicraft on 12 samples of souvenirs made from ulos patchwork produced by craftsmen.

Studi Deskriptif Motif Kerawang Gayo Aceh Tengah pada Baju Pengantin Adat Gayo Fitri Rezeqi; Misgiya Misgiya
MAVIS : Jurnal Desain Komunikasi Visual Vol 3 No 1 (2021): Mavis : Jurnal Desain Komunikasi Visual
Publisher : LPPM STIKI Malang

Kerawang Gayo is the designation of the Gayo carving motifs of Central Aceh Province. The Gayo Kerawang motif can be found on wooden houses, pottery, wicker, metal, and cloth. In this context discusses the Gayo Kerawang which is applied to traditional Gayo clothes, especially wedding clothes. On the Gayo wedding dress which is still pure from the ancestors and has not been exposed to modernization, it uses a black base color (cloth) with red, green, white, and yellow thread embroidery. Whereas in the modern version of the traditional Gayo traditional wedding dress, there have been many changes both from the color of the fabric used, as well as to the shape and size of the openwork motifs used. This study aims to determine the shape, color and placement of the Gayo Kerawang motif on the traditional Gayo wedding dress. This study uses a qualitative descriptive method approach, namely by describing each object to be studied. The findings of this study indicate that eight Kerawang Gayo motifs were found on the traditional Kerawang Gayo bridal dress in Central Aceh. Namely: pucuk ni tuwis, emun berangkat, jang/peger, sarak opat, tekukur, keleton senye, emun beriring, and emun singah modification. There is also a change in the color of the traditional Gayo bridal kerawang cloth, and the placement of the Kerawang motif on the traditional Gayo wedding dress, has no special rules.

Analisis Ornamen Kerawang Gayo Pada Rumah Adat Pitu Ruang Kabupaten Aceh Tengah Mahara Mahara; Misgiya Misgiya
MAVIS : Jurnal Desain Komunikasi Visual Vol 2 No 2 (2020): Mavis : Jurnal Desain Komunikasi Visual
Publisher : LPPM STIKI Malang

This research aims to describe Gayo Filigree Ornaments from indicators of shape, clor, meaning and placement carried out in the traditional house of Pitu Ruang. This research is a qualitative descriptive study. The subjects of this study were 10 motifs gayo filigree ornaments namely emun motif set off (Cloud parade), Puter Rope (Rotate Rope), Pucuk Ni Tuis (Bamboo Shoots), Emun Beriring, Tekukur, Bintang Ulen (Stars and Moon), Ulen-Ulen (Moon Flower), Bunge Ni Terpuk (Kuncung Flower), Bunge Kemang (Flower flower) and Emun Berkune. The accuracy of shapes, colors, meanings, and placements became objects in this study. The data collection methods used are observation, documentation, and interviews. The data analysis used is a qualitative descriptive analysis technique. The results of this study show that the accuracy of the shape, color, meaning and placement of Gayo Filigree Ornaments in the traditional house of Pitu Ruang is in accordance with the original form. All motifs contained in the traditional house of Pitu Ruang have meaning related to the life of gayo people in their daily lives, and the placement in the traditional house of Pitu Ruang has also been appropriately placed.

Hand-drawn Batik Creation: Combining Batak Karo and Simalungun Ornament Wahyu Tri Atmojo; Misgiya Misgiya; Sri Wiratma
Budapest International Research and Critics Institute (BIRCI-Journal): Humanities and Social Sciences Vol 4, No 4 (2021): Budapest International Research and Critics Institute November
Publisher : Budapest International Research and Critics University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33258/birci.v4i4.2817

One of the seven ethnic groups in Northern Island of Sumatra is Batak Karo and Simalungun. They have unique and exquisite ornamental cultural resources. However, these ornaments have not been created in many hand-drawn batik. This study aims to create a hand-drawn batik art work with dabbing techniques using Remasol Batik dyes and dyeing cap techniques using napthol batik dyes. Picture on Batak Karo and Simalungun ornament artifacts were obtained from reference books and direct observation. The forms of Batak Karo and Simalungun ornaments are created through a special method with structured stages starting from design preparation, incubation, execution, confirmation and validation of works. The visual process of creating works of art has resulted in ten works of batik art. Four works in the form of non-functional hand-drawn batik art and six batik artworks that have practical functions. The ten works of batik art show the combination of Karo and Simalungun ornaments. However, not all batik art works are the result of a combination. However, there are written batik art works that only depict Batak Karo ornaments and there are also hand-drawn batik artworks that only depict Simalungun Batak ornaments. The result of the hand-drawn batik creation enefits in developing student entrepreneurship and can add to the repertoire of batik in Indonesia.

Visualisasi Pengalaman Pribadi sebagai Sumber Penciptaan Lukisan Batik Tulis Sri Rani Elisabeth Simanjuntak; Sri Wiratma; Misgiya Misgiya
Realisasi : Ilmu Pendidikan, Seni Rupa dan Desain Vol. 2 No. 3 (2025): Realisasi : Ilmu Pendidikan, Seni Rupa dan Desain
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/realisasi.v2i3.690

This study discusses how personal experiences can serve as the main source of ideas in creating batik painting. Using a phenomenological approach, self-narratives are used to explore experiences which are then visualized into batik works. The creative process follows several stages: preparation, imagining forms and motifs, exploring color and technique, and the final execution on primisima mori cloth sized 77x 109 cm using hand drawn batik techniques. The resulting work not only captures life stories but also becomes a way to express oneself and preserve culture.

Tanaman Kecombrang sebagai Ide Dasar Penciptaan Motif Batik Tulis Dhita Hartina P. Daulay; Misgiya Misgiya
Realisasi : Ilmu Pendidikan, Seni Rupa dan Desain Vol. 2 No. 3 (2025): Realisasi : Ilmu Pendidikan, Seni Rupa dan Desain
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/realisasi.v2i3.736

Indonesian National Arts are different from other countries. One of them is textile craft art, which includes batik craft art, which was recognized by UNESCO as an original Indonesian cultural heritage on October 2, 2009. Batik is the art of drawing on clot . Hand-drawn batik is batik that is produced using a canting tulis which is used as a tool in placing wax liquid on the cloth. To create this work, the author uses the creation method from Sp. Gustami which consists of 3 stages, namely: Exploration, Design, and Realization. The results of the creation of this hand-drawn batik work produced 12 batik works in the form of two-dimensional works of various sizes. The types produced from this work are: Hijab, Long Cloth and Wall Decorations. Batik works have aesthetic value (beauty) namely the combination of Torch Ginger Plants. Torch Ginger Plants are used as the main motif in this batik work and other motifs are isen-isen. The process of creating written batik works that begins with the initial steps of making motifs on paper, transferring patterns from paper to cloth, the canting process, coloring batik, locking colors, and ngelorod batik. The process of creating written batik works that begins with the initial steps of making motifs on paper, transferring patterns from paper to cloth, the canting process, coloring batik, locking colors, and ngelorod batik.

Penerapan Motif Flora dan Fauna sebagai Inspirasi Penciptaan Karya Batik Tulis Eka Fitria Ningsih; Misgiya Misgiya
Imajinasi : Jurnal Ilmu Pengetahuan, Seni, dan Teknologi Vol. 2 No. 2 (2025): Juni: Imajinasi : Jurnal Ilmu Pengetahuan, Seni, dan Teknologi
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/imajinasi.v2i2.619

Batik has been recognized by UNESCO as a Masterpiece of the Oral and Intangible Heritage og Humanity on October 2, 2009. Hand-drawn batik is batik produced using a canting tulis as a tool to apply wax to the surface of the cloth. In creating this work, the author used the Hendriyana creation method. The stages of the process of creating a work of art from this method include: 1. Preparation stage 2. Imagination stage 3. Imagination development stage and 4. Work stage. This creation research aims to produce innovations in flora and fauna works in hand-drawn batik motifs. The flora and fauna motifs that the author uses in creating this hand-drawn batik work are rose, dahlia, and butterfly motifs. The results of the creation of hand-drawn batik works with flora and fauna motifs produced 12 batik works in the form of two-dimensional works measuring 100 x 200 cm which can be used as clothing materials. Using the colet technique in the coloring process to produce more dynamic and expressive color variations. The process of creating hand-drawn batik begins with the process of making a motif on paper, transferring the pattern from the paper to the cloth, the canting process, giving color to the cloth, and drooping the cloth.

Penciptaan Kain Pantai Berbasis Ragam Hias Suku Nias dengan Teknik Batik Tulis Fianti Rahmi Aceh; Misgiya Misgiya
Imajinasi : Jurnal Ilmu Pengetahuan, Seni, dan Teknologi Vol. 2 No. 2 (2025): Juni: Imajinasi : Jurnal Ilmu Pengetahuan, Seni, dan Teknologi
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/imajinasi.v2i2.627

The beach cloth works created apply Nias ornaments as a renewal idea to make them attractive and different from previous beach cloths. The aim is to find out the preservation activities of Nias ornaments in the cycle of batik-based beach cloths. Nias ornaments have certain symbolic meanings that are believed and trusted by the local community. Ornaments that are part of fine art by paying attention to the principles in applying Nias ornaments to the beach cloths created. The creation process is carried out by: 1. Data collection, 2. Determining ornaments as samples, 3. Designing digital-based motifs, 4. Transferring designs to primis mori cloth, 4. The canting process using liquid wax, 5. Coloring beach cloth, 6. Locking the color of the cloth using waterglass, 7. Removing wax by boiling and processing the cloth, 8. Drying the cloth until dry. The creation produced 12 different beach cloth works with innovations to preserve Nias ornaments, while at the same time socializing beach cloth as a typical souvenir of the Nias tribe through art exhibitions.

MOTIF BUNGA MATAHARI SEBAGAI IDE DASAR PENCIPTAAN BATIK TULIS Ameliana Vega Br Tobing; Misgiya Misgiya
Jurnal Intelek Dan Cendikiawan Nusantara Vol. 2 No. 3 (2025): JUNI-JULI 2025
Publisher : PT. Intelek Cendikiawan Nusantara

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Penelitian ini bertujuan untuk mengkaji dan merealisasikan motif bunga matahari sebagai ide dasar dalam penciptaan batik tulis. Pemilihan motif bunga matahari didasari oleh bentuk visualnya yang menarik dan makna simboliknya yang kaya, seperti harapan, semangat, dan kehangatan. Teknik yang digunakan adalah teknik batik tulis dengan alat canting. Proses penciptaan dilakukan di Galeri Seni Rupa, Universitas Negeri Medan, Kenangan Baru, Kecamatan Percut Sei Tuan, Kabupaten Deli Serdang. Penelitian ini menggunakan metode penciptaan menurut Husen Hendriyani yang terdiri dari empat tahapan, yaitu tahap persiapan, tahap mengimajinasi, tahap pengembangan, dan tahap perwujudan. Tahapan tersebut meliputi persiapan alat dan bahan, perancangan desain digital, pemindahan desain ke kain, pencantingan, pewarnaan, pemberian waterglass untuk mengunci warna, proses pelorodan, pencucian, hingga pengeringan kain. Hasil dari proses penciptaan ini menghasilkan total 12 karya batik tulis yang memiliki ukuran serta karakter visual yang berbeda-beda. Setiap karya memiliki bentuk dan makna yang berbeda, seperti “Sun Flower”, “Rumbai Bunga”, “Midnight Sun”, “Eternal Sunshine”, “Blooming Harmony”, “Melodi Mentari”, “Sunflower Teddy bear”, “Radiant Bloom”, “Bingkai Bunga”, “Sunflower of The Green”, “Blooming Sunflower”, “Flower Charm”. Seluruh karya dirancang dengan fungsi utama sebagai karya batik dekoratif yang diperuntukkan sebagai pajangan dinding.

PENCIPTAAN BATIK MELAYU PADA MEDIA KAYU SEBAGAI PRODUK SENI CENDERAMATA Mhd Rizki Al Aziz; Misgiya Misgiya
Jurnal Intelek Dan Cendikiawan Nusantara Vol. 2 No. 3 (2025): JUNI-JULI 2025
Publisher : PT. Intelek Cendikiawan Nusantara

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Penciptaan ini dirancang untuk mengetahui proses penciptaan dan hasil karya batik Melayu pada media kayu sebagai produk seni cenderamata. Tujuan ini dilatar belakangi oleh kebutuhan untuk mengembangkan media dan motif batik sebagai bagian dari pelestarian budaya, sekaligus menghadirkan inovasi dalam dunia seni kriya. Batik yang selama ini dikenal luas melalui media kain, kini diterapkan pada media alternatif seperti kayu guna memperluas bentuk ekspresi seni dan meningkatkan daya tarik produk kerajinan. Motif Melayu dipilih karena mengandung nilai filosofis, simbolik, serta kekayaan visual yang kuat, sebagaimana ditemukan pada elemen arsitektur dan benda tradisional masyarakat Melayu. Proses penciptaan dilakukan melalui teknik batik tulis dan lukis pada media kayu, dengan tahapan eksplorasi motif, persiapan bahan, pengolahan media, hingga tahap finishing. Produk yang dihasilkan berupa 12 karya cenderamata dengan masing masing ukuran yang beragam, hasil karya tersebut seperti kotak tisu, piring hias, nampan hias, dan hiasan dinding yang memadukan nilai estetika, fungsi, dan budaya lokal. Hasil karya menunjukkan bahwa penerapan motif Melayu pada media kayu mampu menghasilkan bentuk produk seni terapan yang unik, bernilai ekonomi, serta memperkuat identitas budaya. Penelitian ini diharapkan dapat memberi kontribusi dalam pelestarian warisan budaya, memperluas inovasi desain pada industri kreatif, dan memperkaya kajian seni rupa terapan di lingkungan akademik.

Co-Authors Adek Cerah Kurni Azis Ameliana Vega Br Tobing Dhita Hartina P. Daulay Eka Fitria Ningsih Fianti Rahmi Aceh Fitri Rezeqi Irma Wanti Br Sinulingga Mahara Mahara Mhd Rizki Al Aziz Nadya Rosa Siallagan Revalina Ananda Ginting Sri Rani Elisabeth Simanjuntak Sri Wiratma Wahyu Tri Atmojo

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