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âBATIK MBANTULANâ DI SENTRA BATIK GIRILOYO DAN WIJIREJO BANTUL dan Arif Suharson, I Made Sukanadi
CORAK Volume 1, No.1, Mei 2012
Publisher : CORAK

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The study of batik in the batik centers of Giriloyo and Wijirejo Bantul is intended to develop the existing motifs of batik mbantulan and create new motifs while maintain the identity of batik mbantulan with its local-rich characteristics in Kabupaten Bantul. The development of batik mbantulan has undergone the rising and falling trend. To survive and develop artisans of batik mbantulan have to adapt themselves to the ongoing market preference through the improved characteristics of batik mbantulan. It is necessary to explore the possible existing motifs of batik mbantulan that have brought up the batik center of Giriloyo and Wijirejo have. The motifs of batik mbantulan have to be reserved in the batik products through identification, diversification, and creation of new batik mbantulan motifs, Therefore, the new designs is expected to be more competitive in batik market and create the spirit of creativity and innovativeness among the artisans of batik mbantulan in the Batik Center of Giriloyo and Wijirejo Bantul. The main obstacles that the artisans in the batik center of Giriloyo and Wijirejo have to face up is the meeting of consumersâ orders with their new motifs. The artisans are not capable enough to create new designs through the development of mbantulan motifs and prefer to work on the present and general motifs of batik Yogyakarta. The study is expected to deal with the artisansâ problem in creating new designs / motifs and improve their capacity to make new creative and innovative designs to meet consumersâ desired standard. In turn, this will lead to a better economic prospect for the artisans of batik mbantulan in the batik center of Giriloyo and Wijirejo. Key words: batik mbantulan, artisans, motifs

Seni Hias Wuwung Gerabah Kasongan: Makna Simbolik, Orientasi Perubahan, dan Pergeseran Budaya Suharson, Arif
Journal of Urban Societys Arts Vol 13, No 2 (2013): Oktober 2013
Publisher : Institut Seni Indonesia Yogyakarta

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Seni hias wuwung gerabah sangat menarik dikaji karena seni hias wuwung gerabahberisi muatan filosofis yang penuh makna. Dalam visualisasinya seni hias wuwunggerabah di berbagai daerah di Jawa sangat bervariatif. Dalam eksistensinya, senihias wuwung gerabah Desa Kasongan mengalami dinamika perkembangan danperubahan dalam beberapa aspek, seperti makna, struktur, fungsi, dan gaya, yangakhirnya berimplikasi terhadap kondisi sosial, ekonomi, dan budaya masyarakat.Seni hias wuwung gerabah Kasongan merupakan hasil sen tradisional yang patutdilestarikan oleh masyarakat Jawa sebagai kekayaan local genius. Diharapkan hasilpenelitian ini mampu menggugah masyarakat untuk menghargai dan memerhatikannilai-nilai luhur yang terkandung dalam sebuah karya wuwung gerabah sehinggamenumbuhkan satu perubahan sikap yang terimplementasi dengan munculnya rasamemiliki akan kebudayaan tradisi yang luhur sebagai kekayaan budaya nasionaldan sebagai pemicu ekonomi kreatif yang berguna bagi peningkatan kesejahteraanmasyarakat.Â The Decorative of Wuwung Gerabah Kasongan: a Symbolic Meaning,Orientation Changes, and a Cultural Shift. The decorative of wuwung gerabahKasongan is a part of Javanese traditional houses. It is interesting to analyze this artbecause it contains various philosophical meanings. Therefore, wuwung gerabah takesvarious visual shapes in different regions in Java. It has a very dynamic developmentand transformation in some aspects such as a meaning, structure, function, and stylethat in turn has the implications toward social, economic, and cultural condition of thesociety. The decorative of wuwung gerabah Kasongan is a traditional art that has to bereserved by the Javanese people because it is also as the riches of local genius. It is expectedthat the result of this study can make the people aware and appreciate very noble valuesmanifested in the wuwung gerabah. In turn, people will have a better sense of belongingto the traditional culture as one of the national cultural assets and as a creative economicstimulant to improve peopleâs welfare.

KERAMIK TRADISIONAL VERSUS KERAMIK MODERN DI SENTRA GERABAH KASONGAN Arif Suharson, S.Sn.
Ars: Jurnal Seni Rupa dan Desain No. 4 / Januari - April 2007
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i4.248

Ceramic artists and observers play an important role in the development c f traditional potteryproducts in Kasongan. Pottery products, which were only kitchenwares, have been transformed into bothfunctional and decorative products. Decorative nuance, as the product's characteristic o f this village, ismade by patching technique. Such a technique has made the village o f Kasongan become a famous touristdestination.Foreign demand fo r minimum or eliminated decorative patching has resulted in the disappearance o fthe patching technique. Thus, modern pottery products are combined with such other materials as agel,rattan, stern o f banana bunch, and others.The requirements o f becoming more competitive and obtaining a good market has changed theattitudes of Kasongan people to adjust to ongoing development. This has resulted in the fading o f thetraditional patching technique for the products. This paper is expected to provide further analysis o f theprospects o f Kasongan village development as vxll as an attempt to preserve the patching technique whichused to be a characteristic o f Kasongan pottery.Keywords: Ceramics, Patching technique.

GERABAH SITI KENCONO AJI DI DESA PANJANGREJO PUNDONG BANTUL Indro Baskoro; Arif Suharson
Corak : Jurnal Seni Kriya Vol 5, No 2 (2016): NOVEMBER 2016
Publisher : Institut Seni Indonesia Yogyakarta

Kelompok pengrajin gerabah Siti Kencono Aji adalah salah satu kelompok pengrajingerabah yang ada Desa Panjangrejo. Kelompok pengrajin ini didirikan sebagai wahana kegiatanbersama untuk meningkatkan kesejahteraan kelompok pada khususnya dan kesejahteraanmasyarakat pengrajin gerabah di Desa Panjangrejo pada umumnya. Hasil produk gerabahbiasanya berwujud souvenir yang pada umumnya dipasarkan dalam bentuk merahan danhanya berdasarkan pesanan. Sebagian besar masyarakat pengrajin gerabah di Panjangrejobelum mengoptimalkan diri untuk membuat desain-desain baru ataupun mengaplikasikanteknologi finishing pada produk gerabahnya. Belum lagi system pengelolaan usaha danmanajemen yang masih seadanya, sehingga hasil produksi gerabah yang dikerjakan olehpengrajin Panjangrejo belum dapat berkembang dengan baik.Kegiatan meningkatkan mutu produksi terutama dalam menciptakan desain-desainbaru dan finishing produk, teknik pewarnaan dengan warna cat dan aplikasi bahan lain yangada di sekitar pengrajin menjadi solusi tepat agar gerabah Panjangrejo memiliki ciri khas.Sistem manajemen usaha dan pemasaran juga menjadi target program pendampingan agarkelompok masyarakat pengrajin gerabah di Desa Panjangrejo mampu mengelola danmengembangkan usaha gerabahnya. Sehingga dengan program ini, masyarakat pengrajingerabah Desa Panjangrejo akan menjadi maju dalam usaha gerabah dan meningkat tarafekonominya yang didukung dengan pengeloaan usaha/ manajemen yang baik.Program ipteks bagi masyarakat (IbM) diharapakan mampu membantu permasalahanmitra dalam hal inovasi dan finishing produk gerabah di Desa Panjangrejo. Pengembangandesain diarahkan agar gerabah produksi masyarakat Panjangrejo tidak monoton berbentuksilindris, tetapi memiliki diversifikasi bentuk, dan lebih mengarah pada perbaikan mutuproduk agar mampu menembus pasar global, sehingga meningkatkan ekonomi masyarakatpengrajin gerabah Panjangrejo. Pelatihan manajemen dan pemasaran e-commerce melaluimedia on line juga menjadi sasaran program pemberdayaan masyarakat, agar pemasaranproduk gerabahnya dapat menjangkau pasar yang lebih luas secara nasional maupuninternasional. Kata Kunci: Gerabah, Panjangrejo Pundong, Desain, Finishing

SENI HIAS WUWUNG MAYONG JEPARA JAWA TENGAH KAJIAN BENTUK, MAKNA, DAN FUNGSI Arif Suharson
Corak : Jurnal Seni Kriya Vol 4, No 2 (2015): NOVEMBER 2015
Publisher : Institut Seni Indonesia Yogyakarta

Javanese culture derives from the intellectual, emotional, and physical process inJavanese environment. This process goes on to keep up with the constant changes in theenvironment. This process has resulted in such artistic products as decorative roof top ofwuwung in Mayong Jepara Central Java. The wuwung has been aesthetically put on top ofJavanese traditional houses precisely above the blandar penuwun. This roof top serves thefunction as the cover to keep water and dust from entering the house. This such kind ofwuwung is characteristically decorated with glass mozaik and is therefore uniquely differentfrom that in other regions.This analysis is attempting to identify and prove qualitative explanation. Accordinglythis study employs qualitative method to avoid mathematic calculation. It is so because whatmatters is the value of particularly specific and unique objects which contain meaningfulaction. The study deals with visual art, particularly ceramic craft of clay. It is expected thatthere will be sustainable benefits to reserve local genius in the national culture. The art workof decorative wuwung from Mayong Lor Jepara Central Java is characteristically clear and canbe classified by time, technique of making, decorative technique, material, and meaning.Results of thestudy suggested that wuwungan wayang in Mayong Central Java which isfamiliar in Javanese society clearly represents such good characters or heroic figures. For theJavanese people who already held particular beliefs such animism and dynamism long beforethe introduction of such religons as Hindu, Budha, and Islam, put a historical background in thedevelopment of meaningful symbols. Home decoration implies more than physical activities;rather it implies praying and expectation represented by the decorative wuwung produced inMayong Jepara with its aesthetic beautiful mozaik of glass.Keywords: decorative art, wuwung, glass mozaik, Mayong Jepara Kebudayaan Jawa lahir dari olah pikir, rasa, dan karsa pada lingkungan hidupmasyarakat etnis Jawa dalam kurun waktu yang terus berproses dalam menghadapi perubahanzaman yang ada. Dari kebudayaan Jawa itu, lahirlah berbagai produk sebagai hasil untukpemenuhan kebutuhan dari olah pikir, rasa, dan karsa tersebut. Salah satunya adalah seni hiaswuwung hasil kreasi masyarakat Mayong Jepara Jawa Tengah yang menghiasi atap rumahadat tradisional Jawa. Wuwung hias dipasang pada atap rumah paling atas di atas blandarpenuwun yang berfungsi sebagai penutup genteng paling atas dan berfungsi menahan debuatau air agar tidak masuk ke dalam rumah dengan ornamentasi pecahan beling yang memilikiciri khas yang tidak dimiliki oleh daerah lain. Kajian ini berusaha mencari dan memberikan penjelasan secara kualitatif, sehinggametode yang digunakan adalah kualitatif. Metode ini menghindari perhitungan matematis,karena yang dicari adalah value ‘nilai’ yang muncul dari objek kajian yang bersifat khusus,bahkan sangat spesifik, unik dan selalu mengandung meaning full action. Penelitian ini sebagaisalah satu telaah lingkup bidang ilmu seni rupa, khususnya seni kriya keramik yangmemanfaatkan material tanah atau lempung. Hal ini akan memiliki dampak yangberkelanjutan, sehingga kekayaan tradisi lokal akan tetap berjalan sebagai ciri local geniusyang memperkaya khasanah budaya bangsa. Produk seni wuwung hias dari Mayong Lor JeparaJawa Tengah yang dijadikan obyek penelitian, memiliki ciri khas dan sifat yang dapatdiidentifikasi secara jelas, dan dapat diklasifikasi menurut waktu, teknik pembuatan, teknikseni hias, dan bahan material yang digunakan serta makna yang terkandung dari penciptaanseni hias wuwungan tersebut.Mengambil inti sari dari hasil kajian penelitian yang telah dilakukan bahwa sebutanwuwungan wayang yang akrab dalam kehidupan masyarakat Jawa, maka penafsiran bentukbentukseni hias wuwung Mayong Jepara Jawa Tengah jelas mengarah pada tokoh-tokohkebaikan atau tokoh-tokoh pahlawan dalam membela kebenaran. Keyakinan masyarakat Jawayang sudah memiliki agama sebelum agama-agama besar datang seperti Hindu, Budha, danIslam, tentu keberadaan kepercayaan animisme dan dinamisme menjadi latar belakang sejarahyang kuat dalam menggambarkan simbol yang mempunyai arti. Keberadaan menghias rumahtentu tidak hanya sekedar menghias, tetapi sekaligus merupakan doa dan harapan yang ingindicapai yang terwujud pada seni hias wuwung Mayong Jepara dengan ciri khusus ornamenpecahan beling yang indah.Kata Kunci: Seni hias, wuwung, pecahan beling, Mayong Jepara

ESTETIKA DAN ETIKA WUWUNGAN RUMAH TRADISIONAL JAWA DALAM ERA GLOBAL Arif Suharson
Corak : Jurnal Seni Kriya Vol 8, No 2 (2019): NOVEMBER 2019
Publisher : Institut Seni Indonesia Yogyakarta

Philosophically, the ornamental art of wuwungan on top of Javanese traditional houses is characterized by such high Javanese esthetic and ethical values. It is necessary to re-actualize the existence and essence of the Javanese ornamental art of wuwungan in the era of industrial revolution 4.0. This cultural and traditional literacy will be necessary to strengthen the national characters and values in anticipation of the rapidly global era transformation. The new cultural values in the digital era are expected to ensure improvement of survival and establishment of new understandings inspired by local cultural diversity, appreciation, and knowledge to ensure the successful actualization of Javanese traditional cultural values. This is a qualitative study and accordingly this study will employ the qualitative method using the analytical interaction method through the grounded research. This study urges the re-actualization of understanding about Javanese philosophy in the form of the ornamental art of wuwungan in Javanese traditional houses that represents Javanese esthetic and ethical values. Javanese traditional local culture can serve as the local traditional identity and is a part of Indonesian national culture. Therefore, they have to be re-actualized and represented in the adjusted and adapted forms to meet the current condition of global. The technological advancement can serve as a smart tool to enhance the innovative and creative industry based on local cultures and global discourses. Key Words: Wuwungan, Javanese Traditional House, Industrial Revolution, Global. Seni hias wuwungan pada atap rumah tardisional Jawa memiliki karakteristik di dalamnya terkandung falsafah hidup orang Jawa dimana terdapat muatan ajaran luhur yang mantap dan mendalam menyangkut nilai estetika dan etika. Reaktualisasi terhadap eksistensi dan esensi seni hias wuwungan Jawa dibutuhkan. Hal ini dapat dijadikan sebagai literasi budaya tradisi menghadapi derasnya arus perubahan zaman yang serba cepat untuk memperkuat nilai-nilai karakter bangsa. Pengaruh-pengaruh budaya baru di era digital menjadi satu daya hidup untuk memberikan bentuk pemahaman baru atas inspirasi kekayaan budaya lokal, apresiasi, dan pengetahuan baru dalam mengaktualisasikan nilai-nilai ajaran luhur budaya Jawa secara luas. Penelitian ini akan memberikan penjelasan secara kualitatif, sehingga metode yang digunakan adalah metode kualitatif dengan menggunakan metode interaksi analisis melalui grounded research. Urgensi penelitian ini terkait dengan reaktualisasi pemahaman tentang filosofi hidup orang Jawa melalui seni ornamentasi wuwungan rumah tradisional Jawa dibalik wujud visual yang tampak berdasarkan korelasi Estetika dan Etika Jawa. Keunggulan budaya lokal Jawa sebagai identitas tradisi merupakan bagian budaya nasional Indonesia yang bernilai dapat diaktualisasikan kembali dalam representasi baru menyesuaikan dengan gerak perkembangan global. Kemajuan teknologi menjadi sarana cerdas untuk memajukan kreatifitas dalam peranannya memajukan industri kreatif yang inovatif berbasis tradisi budaya lokal dalam wacana global. Kata Kunci: Wuwungan, Rumah Tradisional Jawa, Revolusi Industri, Global

GERABAH KREATIF ELEKTROPLATING MENUJU CRAFT AWARENESS DALAM PASAR GLOBAL Arif Suharson; Febrian Wisnu Adi
Corak : Jurnal Seni Kriya Vol 4, No 1 (2015): MEI 2015
Publisher : Institut Seni Indonesia Yogyakarta

Currently, the traditional art of ceramics or potteries is required to meet high standardof quality of materials, techniques, shapes, and finishing process. The creative finishing ofboth functional and non-functional ceramic or pottery products can be an appropriate solutionfor higher aesthetic values. Finishing through the making of centre of interest can servedecorative art element in order to qualify global market demand. A great number oftraditional artisans have failed to have improved innovation in the designs and finishingtechniques of functional products due to the limited knowledge in shape exploration and falseassumption that they are difficult, costly, and time-consuming.This is an applied study to explore improved creativity and finishing techniques forceramics or potteries in order to result in competitive advantage in the global market throughcraft awareness. Finishing process is the final touch to have up-to-date trend and higher sellingprice of the products. This study is attempting to identify the most suitable composition offinishing process by ideal, cheap, and effective electroplating technique to result in globallycompetitive products. Such this finishing process is also expected to contribute to thedevelopment of design trend in both national and international ceramic market.Currently creative functional ceramics/potteries have attracted both domestic andinternational consumers. Extrapolating technique in ceramic finishing process is very attractiveand is expected to improve the quality of ceramic art which in turn, will lead to competitiveadvantage in global market and better economic return for the artisans. Key words: extrapolating finishing, ceramic / pottery, creative product, global market Seni keramik dan gerabah tradisional pada era sekarang dituntut mampu memenuhistandar kualitas baik dari segi, bahan, teknik, bentuk, dan finishingnya. Finishing baru padaproduk keramik/gerabah kreatif baik fungsional maupun non fungsional mampu menjadisolusi yang tepat untuk membantu memperindah bentuk produk. Finishing dengan membuatcentre of interest mampu menjadi unsur seni hias, sehingga dapat memenuhi keinginan pasarglobal. Kalangan pengrajin tradisional banyak yang belum melakukan inovasi desain produkfungsional dan meningkatkan teknik finishing dan hanya pasrah dengan finishing yang ada,dikarenakan minimnya pengetahuan dalam melakukan ekplorasi bentuk dan inovasi yangdianggap sulit, memerlukan biaya besar, dan membutuhkan waktu yang lama.Penelitian ini merupakan penelitian terapan yang mengarah pada pencapaian disainproduk kreatif dan mutu finishing pada produk seni keramik/gerabah dalam rangka memenangkan pasar global atau craft awareness di dunia internasional. Finishing merupakanteknik akhir dalam menyelesaikan produk agar menjadi lebih baik, menyelaraskan dengantrend desain terkini, dan mampu mengangkat harga jual suatu produk. Penelitian ini akanmenemukan komposisi finishing dengan metode elektroplating yang ideal, mudah, dan efektifsebagai upaya memberikan pengembangan finishing produk-produk kreatif yang mampubersaing pada pasar global. Finishing ini juga menjadi salah satu bagian menciptakan trenddesain dalam pasar keramik secara nasional maupun internasional.Produk keramik/gerabah fungsional kreatif saat ini banyak diminati oleh konsumen,baik dari dalam negeri maupun luar negeri. Teknik finishing dengan metode elektroplatingakan menjadi salah satu daya tarik tersendiri dan mampu meningkatkan mutu produksi senigerabah yang akan memberikan dampak kemajuan pada seni tradisional di era pasar global.Sehingga mampu memberikan keunggulan yang berdampak pada penghasilan ekonomikesejahteraan kepada para pelaku keramik/gerabah tradisional. Kata kunci: finishing elektroplating, keramik/gerabah, produk kreatif, pasar global

“BATIK MBANTULAN” DI SENTRA BATIK GIRILOYO DAN WIJIREJO BANTUL I Made Sukanadi; Arif Suharson
Corak : Jurnal Seni Kriya Vol 1, No 1 (2012): MEI 2012
Publisher : Institut Seni Indonesia Yogyakarta

The study of batik in the batik centers of Giriloyo and Wijirejo Bantul is intended to develop the existing motifs of batik mbantulan and create new motifs while maintain the identity of batik mbantulan with its local-rich characteristics in Kabupaten Bantul. The development of batik mbantulan has undergone the rising and falling trend. To survive and develop artisans of batik mbantulan have to adapt themselves to the ongoing market preference through the improved characteristics of batik mbantulan. It is necessary to explore the possible existing motifs of batik mbantulan that have brought up the batik center of Giriloyo and Wijirejo have. The motifs of batik mbantulan have to be reserved in the batik products through identification, diversification, and creation of new batik mbantulan motifs, Therefore, the new designs is expected to be more competitive in batik market and create the spirit of creativity and innovativeness among the artisans of batik mbantulan in the Batik Center of Giriloyo and Wijirejo Bantul. The main obstacles that the artisans in the batik center of Giriloyo and Wijirejo have to face up is the meeting of consumers’ orders with their new motifs. The artisans are not capable enough to create new designs through the development of mbantulan motifs and prefer to work on the present and general motifs of batik Yogyakarta. The study is expected to deal with the artisans’ problem in creating new designs / motifs and improve their capacity to make new creative and innovative designs to meet consumers’ desired standard. In turn, this will lead to a better economic prospect for the artisans of batik mbantulan in the batik center of Giriloyo and Wijirejo. Key words: batik mbantulan, artisans, motifs

EKSPLORASI LIMBAH KACA PADA PROSES FINISHING GELASIR BODI KERAMIK Arif Suharson
Corak : Jurnal Seni Kriya Vol 6, No 1 (2017): MEI 2017
Publisher : Institut Seni Indonesia Yogyakarta

Currently, industrial waste is an important issue since it is associated to global warming. Glass is used in such kinds of products as perfume and beverage bottles and lamps. Glass is preferred due to its advantage of transparency. However, glass also has disadvantage of fracture. More importantly, glass is non-biodegradable substance and therefore it contaminates the earth. Thus, besides plastic waste, glass waste is a serious issue and deserves comprehensive treatment to prevent natural sustainability. It takes one billion years to have the glass degradable naturally,The researcher is interested in researching glass waste. It is expected that the study will contribute to solve the problem of natural balance. Glass waste is an alternative for ceramic glazing. This study employs experimental method with scientifically accountable structured and recorded exploration of data through experiments of glass waste for effective and efficient glazing material. It is expected that this research will contribute to the development of science among traditional ceramic artisans and other ceramic producers to result in creative and innovative glass-based media of expression.It is also expected that this study will motivate the society to have better concern on glass waste as well as excite creativity and innovation resulting in new attractive design of glass-waste glazed ceramics with higher competitiveness in the global market. Key words: glass waste, glazing, ceramic

KONTEMPORER FINISHING PADA MEDIA GERABAH NON SILIDRIS DENGAN TEKNIK PAINTING IN THE WATER Arif Suharson; Dwita Anja Asmara
Corak : Jurnal Seni Kriya Vol 2, No 2 (2013): NOVEMBER 2013
Publisher : Institut Seni Indonesia Yogyakarta

Creative terracotta products are required to meet the best possible standard ofmaterial, technique, and finishing method. Innovation in the shapes and finishing application ofnon-cylindrical terracotta products can be an appropriate solution to crease centre of interest,and to meet the need for contemporary and modern terracotta products in the market. Most ofthe artisans of terracotta products have not diversified their products. Neither have they madeinnovation about the design for non-cylindrical terracotta products for interior or exteriorornaments. The finishing of products has not improved due to the minimal knowledge in thecomposition of color and technique.This study is an applied research to identify the innovation in shapes of non-cylindricalterracotta products and the quality of terracotta art products. Finishing is the last step in theprocess of production. It has to be in harmony with the contemporary design and trend in orderto increase the price of products. This study specifically found the finishing composition withthe method of painting in the water the process of which is performed in the water to result inunique and artistic color combination.Products of the creative industry of terracotta have attracted both domestic andinternational consumers’ attention. Innovation in non-cylindrical shapes and application ofcontemporary finishing technique of painting in the water will be attractive and beneficial inimproving the quality of terracotta productions in global market era. Therefore, they can resultin superior advantages that lead to the increase of economic welfare especially for thoseinvolved in creative works of terracotta.Key words: finishing, terracotta, product, creative, technique Produk-produk kreatif seni gerabah terracotta dituntut mampu memenuhi standarkualitas baik dari segi, bahan, teknik, dan finishingnya. Inovasi bentuk gerabah non silindris danaplikasi finishing mampu menjadi solusi yang tepat untuk membuat centre of interest, danmengarah pada pemenuhan kebutuhan gerabah kontemporer atau modern, sehingga dapatmemenuhi keinginan pasar. Kalangan pengrajin banyak yang belum melakukan diversifikasidan inovasi desain bentuk gerabah non silindris yang difungsikan sebagai elemen seni hias interior/eksterior. Finishing produk gerabah juga mengalami kendala dan seolah hanya pasrahdengan finishing yang ada, dikarenakan minimnya pengetahuan dalam mengkomposisikanwarna dan teknik finishing baru yang dianggap sulit.Penelitian ini merupakan penelitian terapan yang mengarah pada inovasi bentukproduk gerabah non silindris dan pencapaian mutu finishing pada produk seni gerabahterracotta. Finishing merupakan teknik akhir dalam menyelesaikan produk agar menjadi lebihbaik, menyelaraskan dengan trend desain terkini, dan mampu mengangkat harga jual suatuproduk. Penelitian ini akan menemukan komposisi finishing dengan metode painting in thewater. Dimana proses pelaksanaan finishing gerabah dilakukan dalam air dengan hasil finishingkontemporer dengan perpaduan warna yang unik dan artistik.Produk-produk dari dunia industri kreatif terutama seni gerabah terracotta mulaibanyak diminati oleh konsumen, baik dari dalam negeri maupun luar negeri. Inovasi bentukgerabah non silindris dan aplikasi finishing kontemporer dengan teknik painting in the waterakan menjadi salah satu daya tarik dan mampu meningkatkan mutu produksi seni gerabahterracotta yang akan memberikan dampak kemajuan pada seni tradisional di era pasar global.Sehingga mampu memberikan keunggulan yang berdampak pada penghasilan ekonomikesejahteraan, terutama bagi insan dunia kreatif pada bidang seni gerabah terracota. Kata kunci: finishing, gerabah terracotta, produk, kreatif, teknik

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