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All Journal International Research Journal of Management, IT & Social Sciences Acintya Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Atrat: Jurnal Seni Rupa
Nanang Rizali
Universitas Sebelas Maret Surakarta Jl. Ir. Sutami 36 A Telp. +62-271646625 Surakarta, 57126
Arts Humanities Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Social Sciences

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 1 
Line and Color Composition in Lurik Cawas Weaving: Idea from Traditional Lurik Patterns Widiastuti, Theresia; Rizali, Nanang; Anantanyu, Sapja; Waluyo, Sugeng Edi
International Research Journal of Management, IT & Social Sciences (IRJMIS) Vol 4 No 1: January 2017
Publisher : IJCU

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21744/irjmis.v4i1.338

Abstract

Javanese lurik is weaved fabric with striped motives, and it has very simple appearance. In the past, lurik only used two colors, namely: black and white. But, as it develops, some of lurik fabrics use more than two colors, and one of the colors usually still consists of black or white color. After lurik becomes one of the prosper trading commodities, the artisans attempt to make lurik more appealing and varying in term of appearance so that it will be favored by consumers. The objective of this research is to investigate how the artisans can develop lurik patterns to stay appealing. This paper used the qualitative research with the case study strategy and phenomenological approaches. The study aims at understanding the methods employed by artisans in Cawas Klaten in developing lurik patterns. The result of the study show that (1) lurik pattern has been developed by using various alternatives of line composition and color coherence; (2) the idea of development comes from traditional lurik patterns which already existed long time ago; and (3) line and color composition used a minimum of three colors so that it looks like a rainbow, and this kind of lurik pattern becomes the characteristic of modern weaved fabric from Cawas.
Pengembangan Sulam Gim Kebaya Pengantin Gaya Surakarta Prihatina, Yuhri Inang; Guntur, Guntur; Rizali, Nanang
Acintya Vol. 15 No. 1 (2023)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v15i1.5041

Abstract

This research was motivated by the existence of gim embroidery as a Surakarta-style bridal kebaya ornament with all limitations, such as the lack of craftsmen, the high cost of yarn materials, and competition with other ornamental techniques that are more developed. The purpose of this study is to describe the development  of  gim  embroidery  on  Surakarta-style  bridal  kebaya.  The  method  used  is  a  qualitative grounded research model. Data were collected through interviews, observations, literature studies, artifact studies, and documentation. Data analysis is conducted interactively through data reduction, presentation, discussion, and conclusions. The results showed that the development of Surakarta-style bridal kebaya gim embroidery had at least three groups, namely the development of materials and techniques that still maintain motifs and patterns according to pakem, the development of motifs and designs that combine the characteristics of Surakarta style and Yogyakarta style, and the development of kebaya forms followed by the development of motifs and patterns. The development that was found can be used as a reference in the development of game embroidery not only in bridal kebayas but also in other forms of revitalization to preserve gim embroidery.Keywords: gim embroidery, Surakarta-style bridal kebaya, development concept.
PERAN TEKNOLOGI DIGITAL DAN VISUAL (BATIK) FRAKTAL DALAM PERKEMBANGAN BATIK NUSANTARA DAN INDUSTRI KREATIF Cahyo, Andri Nur; Rizali, Nanang; Bahari, Nooryan
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 8 No. 2 (2016)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (246.429 KB) | DOI: 10.33153/bri.v8i2.1817

Abstract

Jurnal ini akan mendiskusikan tentang bagaimana sebenarnya eksistensi batik fraktal. Fokusnya adalah pada peran batik fractal dalam perkembangan batik Nusantara dan lingkup industry kreatif.Batik fraktal yang merupakan sebuah inovasi baru di dalam percaturan batik Nusantara, berhasil memadukan komputasional digital dengan visualitas fractal sebagai tonggak utama kerja desainnya.Hal itu telah menghasilkan suatu perwujudan batik modern berbasis teknologi dan desain yang membawa pengaruh terhadap industri kreatif batik dan berperan penting dalam membawa batik Nusantara untukmenghadapipersaingan global. Kata Kunci: Batik Fraktal, Batik Nusantara, IndustriKreatif.
Pengembangan Sulam Gim Kebaya Pengantin Gaya Surakarta Prihatina, Yuhri Inang; Guntur, Guntur; Rizali, Nanang
Acintya Vol. 15 No. 1 (2023)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v15i1.5041

Abstract

This research was motivated by the existence of gim embroidery as a Surakarta-style bridal kebaya ornament with all limitations, such as the lack of craftsmen, the high cost of yarn materials, and competition with other ornamental techniques that are more developed. The purpose of this study is to describe the development  of  gim  embroidery  on  Surakarta-style  bridal  kebaya.  The  method  used  is  a  qualitative grounded research model. Data were collected through interviews, observations, literature studies, artifact studies, and documentation. Data analysis is conducted interactively through data reduction, presentation, discussion, and conclusions. The results showed that the development of Surakarta-style bridal kebaya gim embroidery had at least three groups, namely the development of materials and techniques that still maintain motifs and patterns according to pakem, the development of motifs and designs that combine the characteristics of Surakarta style and Yogyakarta style, and the development of kebaya forms followed by the development of motifs and patterns. The development that was found can be used as a reference in the development of game embroidery not only in bridal kebayas but also in other forms of revitalization to preserve gim embroidery.Keywords: gim embroidery, Surakarta-style bridal kebaya, development concept.
PERAN TEKNOLOGI DIGITAL DAN VISUAL (BATIK) FRAKTAL DALAM PERKEMBANGAN BATIK NUSANTARA DAN INDUSTRI KREATIF Cahyo, Andri Nur; Rizali, Nanang; Bahari, Nooryan
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 8 No. 2 (2016)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/bri.v8i2.1817

Abstract

Jurnal ini akan mendiskusikan tentang bagaimana sebenarnya eksistensi batik fraktal. Fokusnya adalah pada peran batik fractal dalam perkembangan batik Nusantara dan lingkup industry kreatif.Batik fraktal yang merupakan sebuah inovasi baru di dalam percaturan batik Nusantara, berhasil memadukan komputasional digital dengan visualitas fractal sebagai tonggak utama kerja desainnya.Hal itu telah menghasilkan suatu perwujudan batik modern berbasis teknologi dan desain yang membawa pengaruh terhadap industri kreatif batik dan berperan penting dalam membawa batik Nusantara untukmenghadapipersaingan global. Kata Kunci: Batik Fraktal, Batik Nusantara, IndustriKreatif.
PERANCANGAN WEDDING GOWN ZERO WASTE DENGAN TEKNIK DRAPING Sunarko, Caroline Valent; Rizali, Nanang; Falah, Asep Miftahul
ATRAT: Jurnal Seni Rupa Vol 10 No 1 (2022): MEDIA PENERAPAN KARYA RUPA DALAM TEKNIK DAN TEKNOLOGI
Publisher : Jurusan Seni Rupa ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/atrat.v10i1.1935

Abstract

Perancangan Wedding Gown Zero Waste ini dilatarbelakangi dari fenomena pernikahan di era pandemi, kebutuhan Wedding Gown yang terus meningkat dan pembuatan gaun pengantin yang cenderung menggunakan bahan sintetis atau polyester seperti satin atau taffeta yang membutuhkan waktu untuk bisa terurai. Gaun pengantin tidak harus menggunakan bahan–bahan dengan harga yang tinggi, namun dengan cara mengeksekusi kain dengan teknik draping dapat menghasilkan gaun pengantin yang berbeda, unik dan istimewa. Fokus dan konsentrasi perancangan diarahkan pada pendekatan desain dan fungsi ialah gaun pengantin dengan teknik draping dan mempertimbangkan penggunaan kain agar tidak menyisakan potongan kain yang terbuang. Wedding Gown dengan tema Simple Classy dapat menjadi alternatif pilihan gaun pengantin bagi calon pengantin wanita, dengan desain yang mudah dicontoh juga berkonsep zero waste. Dengan demikian kita dapat berkontribusi positif terhadap lingkungan melalui metode draping zero waste.Kata kunci: Gaun Pengantin, Zero Waste, Teknik Draping------------------------------------------------------------------------------------------The design of this Zero Waste Wedding Gown is motivated by the phenomenon of weddings in the pandemic era, the ever-increasing demand for Wedding Gowns and the manufacture of wedding dresses that tend to use synthetic or polyester materials such as satin, taffeta, which take time to decompose. Wedding dresses do not have to use materials with high prices, but by executing the fabric with the draping technique, you can produce a different, unique and special wedding dress. The focus and concentration of the design is directed at the design and function approach, namely wedding dresses with draping techniques and considering the use of fabric so as not to leave pieces of fabric wasted. Wedding Gown with a Simple Classy theme can be an alternative choice of wedding dress for the bride, with an easy-to-follow design with a zero waste concept. Thus we can contribute positively to the environment through the zero waste draping method.Keywords: Wedding Gown, Zero Waste, Draping
Co-Authors Bahari, Nooryan Cahyo, Andri Nur Ganal Rudiyanto, Ganal Guntur Guntur Sapja Anantanyu, Sapja Sugeng Edi Waluyo, Sugeng Edi Sunarko, Caroline Valent Theresia Widiastuti, Theresia Tifanny, Vebby Waluyo . Yuhri Inang Prihatina