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KRIYA TEKSTIL TIE-DYE (IKAT CELUP): SEBUAH MEDIA EKSPLORASI ESTETIS YANG POPULER Widodo, Suryo Tri
CORAK Vol. 1, No. 2 Nopember 2012-April 2013
Publisher : CORAK

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

Tie-dye becomes the one of the most popular craft textile, which is known almost all over the world including in Indonesia. Making motif on to the fabric using tie-dye techniques is very easy to be learned, beside there are many kind of simple technics on it. These techniques are very unique and could be developed and explored without limited. The unpredictable effects of motifs sometimes may appear and can be resulted from tie-dye techniques. In this article we will study about tie-dye in many aspect i.e. term of tie-dye, tradition and culture background of tie-dye, mainly showing about tie-dye techniques, and a few tie-dye products. This paper expected give the wide describing and inspiring about tie-dye in craft textile works or tiedye as an expression of fine art.Keywords: tie-dye, resist-dye, textile motif, craft textile, aesthetic exploration

SEPENGGAL FENOMENA SEPUTAR WACANAISTILAH SENI KRIYA DAN PERKEMBANGANNYA D E WAS A INI Sekilas Perkembangan Kriya Tekstil di ISI Yogyakarta Suryo Tri Widodo
Ars: Jurnal Seni Rupa dan Desain No. 6/September - Desember 2007
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i1.258

Discourses and developments o f art craft itr Indonesia arc always interesting to be discussed.Discourses on the term of "seni kriya" are, in fact, inseparable from the similar one, i.e. "kriya ". The term"seni kriya" and "kriya", indeed, possess different cultural background. When an artist creates a worko f art craft, he/she does not concern about these discourses. On the contrary, in an academic level, thesediscourses can sometimes become a problem, especially when it comes to giving the meaning of art craft.This article attempts to discuss those problems. At first, there will be a description about the origino f the term “seni kriya", in addition to the explanation on the term "kriya ". Liter, the present conditiono f art craft discourses will be presented. The last presentation would be the development oj art-crafi works.In order to provide the reader with more clear explanation, the development happened in the Department ofCraft, the Faculty o f Visual A rt, ISI Yogyakarta-especially in the textile art craft made by the department’sstudents - are included.Keywords: art discourse, craft (high art), craft textiles

PRODUKSI TENUN ATBM DENGAN APLIKASI DAN VARIASI PAKAN NON BENANG Suryo Tri Widodo
Ars: Jurnal Seni Rupa dan Desain No. 9/ September - Desember 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v3i9.105

ATBM (non mechanical weaving equipment) is very popular in Indonesian weaving. There are various types of woven cloth in Indonesia, such as lurik, warp ikat, double ikat and songket. Indonesian weaving has been developing in many aspects. An innovation on weaving material is significant in the technical aspect of the production process. When ATBM is operated, usually the thread material is used.Nowadays, in addition to the thread material, the non thread ones are also applied. This article will discuss about the non thread material application on the interior products.Keywords: ATBM, craft textile, non thread weft, weaving material, weaving

POTENSI UNSUR-UNSUR KEKRIYAAN (CRAFTMANSHIP) DALAM PAMERAN BIENNALE JOGJA VIII 2005 “DI SINI DAN KINI” Suryo Tri Widodo, S.Sn.
Ars: Jurnal Seni Rupa dan Desain No. 3 November 2006
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i3.228

Craftsmanship elements is always can be found in many kind o f visual arts ivork. These elementsmay include in technicals, materials, concepts, forms, and decorative aspects. Up to now, craftsmanshipelements not only in kriya art, but they also exist in another visua. arts fields. New phenomenon anddevelopment in kriya art is always happen and parallel with 'the neto spirit'of each period, without limited.Craftsmanship elements is also appeared in Biennalle Jogja VIII2005 exhibition. In this article, we will tryto see and describe craftsmanship elements on a few sample visual art works, which is shown in BiennaleJogja VIII2005,4-22 December 2005, on theme "Di Sini dan Kini" (Consciousness o f the Here and Now).Key words: Crafttnanshipelement, Contemporer, Biennale Joya

UNSUR KOMBINASI PADA VISUALISASI RAGAM HIAS BATIK KLASIK SEMÈN GAYA YOGYAKARTA Suryo Tri Widodo; G.R. Lono Lastoro Simatupang; R.M. Soedarsono; SP. Gustami
Corak : Jurnal Seni Kriya Vol 5, No 2 (2016): NOVEMBER 2016
Publisher : Institut Seni Indonesia Yogyakarta

Semèn motifs on classical batik of Yogyakarta style, is a motif which visualize floral form withvarious elements motifs on it. Semèn motifs influenced Hindu-Java and Islamic culture. Influencefrom Islamic culture delivere a few motifs in stylization. From visual aspect, some of elementsmotifs on it visualize combine motifs. It become visual concept characteristic in Islam art includein semèn motifs on classical batik of Yogyakarta style. Visualization of motifs can be hide withcombined elements motifs. Keywords: semèn motifs, Yogyakarta classical batik, combine motifs

INOVASI PERANCANGAN MOTIF TIE-DYE (IKAT CELUP) DI KOTA YOGYAKARTA Sugeng Wardoyo; Suryo Tri Widodo
Corak : Jurnal Seni Kriya Vol 5, No 1 (2016): MEI 2016
Publisher : Institut Seni Indonesia Yogyakarta

The existence of tie-dye in Yogyakarta city as a craft products has promised prospect.Uniqueness of tie-dye compare with another crafts textiles is in processes making which is simpleto result a motifs on to the fabric are faster and easier to learn about. As a tourism city,Yogyakarta has potential to develop tie-dye also as a good place to produce and market tie-dyeproducts. So inovation in designing new tie-dye motifs become positive step, because demandtie-dye products in market rapidly, beside always on dynamic market.Keywords: Craft textiles, Textile motifs, Tie-dye, Jumputan Yogyakarta

KRIYA TEKSTIL TIE-DYE (IKAT CELUP): SEBUAH MEDIA EKSPLORASI ESTETIS YANG POPULER Suryo Tri Widodo
Corak : Jurnal Seni Kriya Vol 1, No 2 (2012): NOVEMBER 2012
Publisher : Institut Seni Indonesia Yogyakarta

Tie-dye becomes the one of the most popular craft textile, which is known almost all over theworld including in Indonesia. Making motif on to the fabric using tie-dye techniques is very easy to belearned, beside there are many kind of simple technics on it. These techniques are very unique andcould be developed and explored without limited. The unpredictable effects of motifs sometimes mayappear and can be resulted from tie-dye techniques.In this article we will study about tie-dye in many aspect i.e. term of tie-dye, tradition andculture background of tie-dye, mainly showing about tie-dye techniques, and a few tie-dye products.This paper expected give the wide describing and inspiring about tie-dye in craft textile works or tiedyeas an expression of fine art.Keywords: tie-dye, resist-dye, textile motif, craft textile, aesthetic exploration

WARNA PADA RAGAM HIAS BATIK KLASIK SEMÈN GAYA YOGYAKARTA Suryo Tri Widodo; G.R. Lono Lastoro Simatupang; R. M. Soedarsono; S. P. Gustami
ATRAT: Jurnal Seni Rupa Vol 3, No 3 (2015): DIALEKTIKA RUPA DALAM KEBUDAYAAN KONTEMPORER
Publisher : Jurusan Seni Rupa ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/atrat.v3i3.374

This article focuses on colour which is applied on a classic batik motif of semen from Yogyakarta that is known as acentral of inland batik. Classic batiks are rich of symbolic meaning both in motif and colour. Based on identification and analysis result, it can be explained that semèn motif of classic Yogyakarta batik has its own distinctive color. Brown (soga), blue (wedel), black, and dominant white are peculiar to Yogyakarta. Meaning contained incolors of semèn motif of classic Yogyakarta batik is one of the significant elements in the whole visualization of batik. Connotation meaningsof virtue and positive wishes are implied in it.Keywords: Classic Batik, Inland Batik, Colour of Javanese Batik, Meaning of Batik Colour___________________________________________________________________Artikel ini mengkaji unsur warna yang diterapkan pada ragam hias batik klasik semèn dari daerah Yogyakarta, yang dikenal sebagai salah satu daerah penghasil batik pedalaman. Batik klasik yang sarat akan makna simbolis tidak hanya terletak pada unsur visualisasi ragam hiasnya saja namun juga pada unsur warna yang diterapkan. Berdasarkan hasil identifikasi dan analisis, maka dapat dijelaskan bahwa ragam hias batik klasik semèn khususnya di daerah bekas kerajaan Mataram, yaitu Yogyakarta memiliki spesifikasi warna tersendiri yang sangat khas. Warna coklat (soga ), biru (wedel), hitam, dan dominasi warna putih menjadi ciri khas dari daerah tersebut. Makna yang dikandung di dalam unsur warna pada ragam hias batik klasik semèn dari daerah Yogyakarta, menjadi salah satu unsur yang penting dalam perwujudan sebuah kain batik secara keseluruhan. Konotasi tentang kebaikan dan harapan yang positif tersirat dalam penerapannya tersebut.Kata Kunci: Batik Klasik, Batik Pedalaman, Warna Batik Jawa, Makna Warna Batik

DAWET BAYAT DAN POHON AREN DALAM BUSANA VINTAGE Muna Lathifah; Toyibah Kusumawati; Suryo Tri Widodo
Style : Journal of Fashion Design Vol 2, No 1 (2022): Style: Journal of Fashion Design
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/style.v2i2.3266

The creation of this Final Project is titled “Dawet Bayat and Palm Trees in Vintage” is a from of ideas and appreciation developed by individuals with the aim of understanding the concept of making batik motifs by taking a dawet Bayat idea. The process and embodiment of batik works with dawet Bayat batik motif with remasol color substances, which are processed by individuals to create batik that has an aesthetic value and feelings from the author conveyed to the connoisseur of work, and as well as being the urge to keep the author. Dawet Bayat and plam trees are the art value in a work of batik motif can be channeled directly to the community, especially the people in the Bayat area. Everything is poured directly by the author into Batik art works and visual art to be a work that is acceptable to the public, and the creation of batik works that have difference from batik spread in Indonesia. The media used in fashion is the cotton cloth. This work realization process uses a method of creation that can help the process of work. Creation methods include data collection, data analysis, work designer, and labor embodiment. In the embodiment this final task, it makes 4 works, the entire collection of works is called “Dawet Wigunani” which is inspired by the Dawet Bayat and palm tree.

Pemanfaatan Limbah Genteng Keramik Sebagai Media Pembuatan Karya Batik Panel Dengan Pola Tambal Hariyanto, Isbandono -; Widodo, Suryo Tri
Corak Vol 13, No 2 (2024): November 2024
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/corak.v13i2.14212

Roof tile waste, which is often found around us, is a medium that can beprocessed and reused. It would be a shame if this waste raw material is justwasted. One effort to utilize roof tile waste is that it can be used as a medium formaking batik works. Typically, batik is used as the main raw material for fabric.However, making batik does not only use cloth but can also use other media suchas ceramics as raw material for making roof tiles. The basic principle in makingbatik is the use of batik wax raw materials in the work. Unglazed ceramic is oneof the media that can be used to make batik because it can be attached to batikwax and can absorb the color of the batik quite well. This article focuses onmaking batik panels with patchwork patterns as one of the classic batikdecorative patterns. The aim is to create patchwork batik panels using roof tilewaste so that it can be accepted by the public as a popular productABSTRAKLimbah genteng yang banyak terdapat di sekitar kita merupakan sebuah media yang dapat diolah dan dimanfaatkan kembali. Bahan baku limbah ini sayang sekali apabila hanya terbuang sia-sia. Salah satu upaya dalam rangka pemanfaatan limbah genteng adalah dapat digunakan sebagai media untuk pembuatan karya batik. Lazimnya, pembuatan batik dipergunakan bahan baku utama kain. Kendati demikian pembuatan batik tidak hanya semata menggunakan bahan kain namun juga dapat memanfaaatkan media lain seperti keramik sebagai bahan baku pembuatan genteng. Prinsip dasar dalam pembuatan batik adalah dipergunakannya bahan baku malam batik pada karya. Keramik non glasir merupakan salah satu media yang dapat dibatik karena mampu untuk dilekati bahan malam batik dan dapat meresap warna batik dengan cukup baik. Artikel ini fokus pada pembuatan karya batik panel dengan pola tambal sebagai salah satu pola hias batik klasik. Tujuannya adalah menciptakan karya panel batik pola tambal dengan memanfaatkan limbah genteng agar dapat diterima masyarakat sebagai sebuah produk yang digemari

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