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STUDI EKSPERIMEN LIMA MACAM WARNA GLASIR PADA LIMA KARAKTER TANAH LIAT Yustana, Prima
Acintya Vol. 2 No. 2 (2010)
Publisher : Institut Seni Indoensia Surakarta

This study attempts to solve common problems faced in ceramic finishing. Finishing ceramic objects is different from resolving other matters. Glaze is a type of glass coating that is applied to coat the ceramic object. This is an interesting layer to be studied because the success of glaze applications in ceramics is influenced by many factors. Glaze applications on ceramic objects have a very high level of difficulty. The difficulty is seen in glaze formulas, application techniques, firing temperature, shrinkage of dry matter and the successful achievement of color after glazing the combustion process. This research is to determine whether the clay character influence on the success rate of the color will appear. The research method uses the experimental method. This method is considered more appropriate to determine the level of success of an experiment relating to the material containing chemical elements. The research is done in the studio ceramics P4TK Art and Culture of Yogyakarta.The clay used is a type of stoneware clay which has five classes of characters. They are as follows: 1. Pacitan soil, wet soil that has a reddish color, 2. Singkawang soil, wet soil that has a whitish colour, 3.Sukabumi has a brightly colored ground and wet floor is beige, with 4. Sukabumi, the dark ground, wet soil that has a dark brown color, 5. Bojonegoro soil, wet soil that has a light brown color. The five characters color glazing that shall be applied on the surface of clay are: 1. young Greens, 2. Pink, and 3. Greenish blue, 4. Brown 5. Dark blue.The character of clay has relatively large contribution to the emergence of color glaze in accordance to the purpose or the plan, especially when using a formula based on the glossy glaze. Glaze formula will tend to be stable when there is a combination of stain with a glade oxide. Stable formula can also be found on the matched glaze because its glaze was close or not transparent. Coloring oxides are very sensitive to the character of soil. temperature change is cobalt and fee, experiment that required in advance when the formula contains two types of oxide glaze. Burning with the reduction or oxidation also will give effect to the glaze colors that will appear. Keywords: experiment, five colors glaze, five characters clay

BAYAT CERAMIC (AESTHETIC, FORM, AND FUNCTION) Yustana, Prima
Acintya Vol. 6 No. 1 (2014)
Publisher : Institut Seni Indoensia Surakarta

This study aims to examine the characteristics of ceramic products produced by the craftsmen in thecity of Klaten, especially in Bayat and the surrounding districts. Background of this research is theimportance of the existence of Bayat districts that are located between the city of Solo and Yogyakarta.They are supposed to be a major tourist destination but until now they are still not as crowded asKasongan in the city of Jogjakarta. In addition, another consideration in producing ceramic Bayat isfamous for using a tilted position round or often called perbot skewed.There are some intriguing questions founded in this research including: whether the ceramic productsproduced in Bayat under the influence of ceramic crafts center from the nearby towns; what are thevarious products produced by using oblique rotation tools; what kind of finishing techniques areused by the craftsmen in executing the final results of ceramic products; is there any natural finishingdevelopment in the area of ceramic craft center in Bayat and its surroundings and also other issuesconcerning the marketing of products. This study uses a qualitative research method that is supportedby data from several sampling craftsmen selected from representatives of the southern region of themain road and the north Pagerjurang main road. Interviews are also used in the data searching andsupported by the image data using a digital camera.The research is targeted to publish original ceramic products of Bayat and variations so that the datawill be useful for a promotional tour of the area in order to make it more widely known in thecommunity. Identification of ceramic products in Bayat and the surrounding districts in the study ofaesthetics, form and function are expected to provide a clear explanation whether the ceramic productsof Bayat is compiled in a book as a learning tool. Detailed product identification can be usedalso as a good reference for the craftsmen, community, artists and students to be able to developceramic products in particular way in order to become more attractive and innovative.Keywords: Bayat, Ceramic, Aesthetic form and function

LOKALITAS KERAMIK (KESINAMBUNGAN ESTETIKA DAN BUDAYA) Yustana, Prima
Acintya Vol. 8 No. 1 (2016)
Publisher : Institut Seni Indoensia Surakarta

This study aimed to examine the characteristics of ceramic products produced by artisans in Indonesia that documented in the literature references. The problems that are very interesting to know isÂ whether there is continuity of the history of the development of the existing ceramic Indonesian territory or people also often refer archipelago. Indonesia has a lot of existing areas, each location thereis a life that determines the development of ceramics, various characteristics of ceramic products bothÂ artifacts and decorative and beauty has the sole purpose different. Under these conditions, theÂ sustainability of these developments are worth mentioning as ceramic locality. Analysis of literature isÂ needed to support the argument accuracy in analyzing a problem, various approaches by using areference would be very supportive in this study, this study will be very interesting when it first tried toÂ find out the origin of both the craft center through the historical approach, the accuracy of the dataÂ into better to use as a literature review of relevant literature artifacts through to dissect the artifacts.Multidisciplinary be a force in this literature-based research especially by taking samples directlyÂ image and any information contained in the relevant literature. This research method will use qualitative research methods that are supported by the data the theory according to some experts who haveÂ done research and the information is written in the book. Targeted research is to identify and analyzeÂ scientifically how the actual local forces or the values of existing locality on the archipelago so as toÂ address challenges both nationally and globally about the identity of the ceramic archipelago. ThroughÂ a multidisciplinary approach will provide greater insight from various angles both the beauty, cultureÂ and history so that if this research can produce a reference book, it can be used as a reference forÂ both students and students to strengthen national identity as a means of responding to global challenges as well as guidance on how the importance of locality in each nationâ€™s childrenKeywords: Locality, Ceramics, Aesthetics and Culture.

ESTETIKA KERAMIK KLASIK DAN KONTEMPORER Yustana, Prima
Acintya Vol. 12 No. 2 (2020)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v12i2.3581

ABSTRACT The terms classic and contemporary in this study are interpreted as products that still survive to this day in the form of both classic and contemporary ceramic works or ceramic works today. This researh is a qualitative research using the Aesthetic approach, so that several problems will emerge that must be solved by the method, first, what is meant by Classic and Contemporary ceramics, the second How to Aesthetic Classic and Contemporary Ceramics. The third problem is how the visual form of classical and contemporary ceramics that exist today. The beauty of ceramics can be seen from various perspectives, in this research will also be examined through a variety of written data to increase the validity of the data so that it can provide a good conclusion. Ceramic works are works of art that are very rich in technique, so this research also examines how the relationship between formation techniques and the aesthetics of ceramic works. Keywords: Ceramics, Aesthetics, Classic, Contemporary ABTRAK Istilah klasik dan kontemporer dalam penelitian ini dimaknai sebagai produk yang masih bertahan hingga saat ini baik berupa karya keramik klasik maupun kontemporer atau karya keramik saat ini. Penelitian ini merupakan penelitian kualitatif dengan menggunakan pendekatan Estetika, sehingga akan muncul beberapa permasalahan yang harus diselesaikan dengan metode tersebut, pertama yang dimaksud dengan Keramik Klasik dan Kontemporer, yang kedua Cara Estetika Keramik Klasik dan Kontemporer. Masalah ketiga adalah bagaimana bentuk visual keramik klasik dan kontemporer yang ada saat ini. Keindahan keramik dapat dilihat dari berbagai sudut pandang, dalam penelitian ini juga akan dikaji melalui berbagai macam data tertulis untuk meningkatkan keabsahan datanya sehingga dapat memberikan kesimpulan yang baik. Karya keramik merupakan karya seni yang sangat kaya akan teknik, maka penelitian ini juga mengkaji bagaimana hubungan teknik bentukan dengan estetika karya keramik.Kata Kunci: keramik, estetika, klasik, kontemporer

WUWUNGAN SEBAGAI SUMBER IDE PENCIPTAAN LAMPU DUDUK KERAMIK Yustana, Prima
Acintya Vol. 15 No. 2 (2023)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v15i2.5054

Wuwungan which was originally functioned as part of the roof of a building will be transformed into another form, namely a sitting lamp. The transformation of the wuwungan into a sitting lamp raises several problem formulations related to how the process is made, how the technical completion of the innovation of roof decoration products into functional objects in the form of a sitting lamp, and whether the character of the sitting lamp inspired by the shape of the wuwungan can increase the atmosphere of beauty of a room.The purpose of this research itself is to find out how the difficulty level of making a sitting lamp is by taking ideas from wuwungan, knowing the process of creating functional works of art in detail step by step, knowing how to innovate sitting lamp products by deforming the real shape of the wuwungan, and creating works of art that are pleasing to the eye. innovative sourced from the strength of local genius.The expected benefits can be a guide for craftsmen or artists who will make innovative ceramic works, provide development in the form and type of product, in order to stimulate the creativity of artists and craftsmen in responding to traditional culture so that they can become innovative and interesting works. The research method used is the method of creating works of art by SP Gustami, namely three stages and six steps in the creation of craft works including exploration, design and embodiment. Keywords: Wuwungan, Ceramics, Sitting lamp

STUDI PEMBUATAN MODEL KERAMIK MOZAIK SEBAGAI ELEMEN ESTETIS DINDING BERNUANSA LOKAL Cholis, Henri; Yustana, Prima
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 7 No. 2 (2015)
Publisher : Institut Seni Indoensia Surakarta

Seni mozaik sudah berkembang lama, tetapi di Indonesia, seni mozaik ini belum berkembang dan belum ada pengrajin gerabah atau industri keramik yang membuat produk keramik mozaik. Peluang inilah yang ditangkap oleh penulis untuk membuatÂ sebuah model keramik mozaik sebagai pengembangan varian produk kerajinan gerabah dan industri keramik di Indonesia. Dengan model tersebut diharapkan dapat mempermudah masyarakat untuk membuat mozaik sebagai elemen estetik dinding sekaligus untuk penguatan identitas budaya karena bernuansa lokal. Penelitian ini didesain sebagai penelitian eksperimen yang fokus pada 2 bagian. Pertama ujicoba komposisi bahan pencampur tanah liat, pewarnaan keramik dan pembuatan model keramik mozaik yang presisi serta mudah diaplikasikan oleh siapa saja termasuk orang yang tidak punya jiwa seni. Uji coba yang kedua fokus pada eksplorasi visual sebagai desain visual mozaik bernuansa lokal yang bersumber pada wayang beber, seni lukis kaca Cirebon dan ornamen batik.Luaran tahun pertama dari penelitian ini adalah model desain keramik mozaik yang terinspirasi oleh piksel dalam komputer dan seni kristik dalam bentuk buku panduan gambar, warna, ukuran dan tata letak keramik warna. Model ini diharapkan dapat mempermudah setiap orang untuk membuat karya seni mozaik dari keramik di dinding yangÂ didaftarkan HAKI. Luaran kedua penelitian ini adalah prototip bahan keramik mozaik yang terdiri dari kotak â€“ kotak keramik sesuai dengan rancangan desainnya.Â Kata kunci: mozaik, seni, keramik, lokal.Mosaic has developed for a long time but it has not developed well in Indonesia and there is no artisan of earthenware nor ceramics industry producing mosaic of ceramics. This is a good chance the writers have to make a model of mosaic ceramics as the development of a variant product of earthenware handicrafts and ceramics industry in Indonesia. It is hoped that this model can make the society easier to make mosaic as the aesthetic element of a wall as well as to strengthen the cultural identity because the model has local nuance.This research is designed as an experiment focusing on two parts. First, to try out a composition of materials for mixing clay, colouring ceramics, and making a model for mosaic ceramics easily applied by anyone including those who do not have the spirit of art. The second tryout focuses on a visual exploration as a visual design of mosaic with local nuance originating in wayang Beber, Cirebon painting on glass and batik ornaments.The first year output of this research is a model of mosaic ceramics design inspired by pixel in computer and kristikin the form of a book containing guidance to colour, size, and layout of colour ceramics. This model is hoped to be able to make anybody easier to a mosaic work of art from ceramics at the wall and it will be registered to HAKI (Intellectual Property Right). The second output of this research is a prototype of the mosaic ceramic material consisting of ceramic boxes in accordance with the planned design.Â Key wordsÂ Â Â Â Â Â Â : mosaic, art, ceramic, and local

KARAKTERISTIK MOTIF TENUN OMAH PETROK DI DESA TROSO JEPARA Fajarena, Yustia; Yustana, Prima
Sanggitarupa Vol. 2 No. 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sanggitarupa.v2i2.4768

Ikat weaving is one of the noble heritages in the form of cloth or textiles which until now has been in great demand by the people of Indonesia. Weaving is used as a symbol of dress by certain communities. This study aims to describe the historical background of omah petrok weaving in Torso Jepara Village, explain the creative process of omah petrok weaving for the people of Torso Village, outline the forms and meanings contained in the Omah Petrok woven cloth used by the people of Troso Jepara Village. This research is a qualitative research. The subject of this research is Omah Petrok's woven fabric in Troso Jepara Village. In addition, data obtained from observation techniques, interviews and documentation. Data analysis was also carried out in a qualitative descriptive manner with the steps of data collection, data reduction, data processing, data testing, and drawing conclusions or verification. The research location is on Jl. Datuk Ampel Troso Village 01/02 Pecangaan Jepara. The results of this study are to determine the home industry that produces weaving, namely Omah Petrok Weaving, to determine the production potential of the home industry. The technique for making Omah Petrok Weaving includes: selecting materials and tools, making weaving designs, choosing colors based on themes, coloring processes, weaving and finishing processes. As well as explaining the meaning of the omah petrok woven motif and the uses of the omah petruk woven motif.

DESIGN OF LEATHER FRINGE BAG THROUGH THE IMPLEMENTATION OF BALI GRINGSING WOVEN FABRIC sari, Mutiana Pramita; Yustana, Prima
ARTISTIC : International Journal of Creation and Innovation Vol. 2 No. 1 (2021)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v2i1.3543

Indonesia has an extraordinary wealth of cultural arts, one of which is the Gringsing woven fabric in Bali. The beauty of Gringsing weaving attracts the author to apply it to bag products as an aesthetic element. This design aims to design a women's bag with a fringe model through a combination of Grinsing weaving elements. This design uses the method of creation, namely: exploration, design, and realization stages. In addition, the design also pays attention to the approach to practical functions, themes/styles, ergonomics, and aesthetics. This design resulted in five designs of women's bags with fringe bag models with the application of Gringsing woven fabric, namely fringe tote bags, fringe slingbags, fringe backpacks, fringe handbags, and fringe waist bags. Of the five designs, two designs were realized into women's bag products, namely the fringe sling bag and backpack models. Through the design of creative bags that use motifs on Gringsing woven fabrics, can produce unique and distinctive typical creations that reflect Indonesian culture.

DAYA HIDUP IDENTITAS LOKAL CANDI CANGKUANG DI KAMPUNG PULO GARUT JAWA BARAT -, Prima Yustana; Sunarmi; Soewarlan, Santoso
TEXTURE Art and Culture Journal Vol. 7 No. 1 (2024)
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/texture.v7i1.5738

Cangkuang Temple is a very unique temple, its uniqueness is found in several elements contained in the name, form and location of the temple. In discussing this article, it is necessary to use an approach that is by the material object and the existing formal object, the material object is discussed using an aesthetic approach while the formal object uses a source interview approach and sees the relevance of the notion of vitality by Dwi Marianto, this approach is used to look deeper into what potential is contained in Cangkuang Temple, Garut, West Java, tourism potential is the main potential supported by its location on a small islandthatcanonlybeaccessedusingbamboorafts.Theresearchmethodusesadescriptive qualitative method based on the potential existence of three exciting things: temples, tombs or tombstones, and traditional villages. The three elements have a solid connection because untilnowthetraditionalvillageorcommonlycalledKampungPulostillmaintainstheprinciples instilled byits ancestors who are familiarly called Mbah Dalem Arif Muhammad

STUDI EKSPERIMEN LIMA MACAM WARNA GLASIR PADA LIMA KARAKTER TANAH LIAT Yustana, Prima
Acintya Vol. 2 No. 2 (2010)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v2i2.165

This study attempts to solve common problems faced in ceramic finishing. Finishing ceramic objects is different from resolving other matters. Glaze is a type of glass coating that is applied to coat the ceramic object. This is an interesting layer to be studied because the success of glaze applications in ceramics is influenced by many factors. Glaze applications on ceramic objects have a very high level of difficulty. The difficulty is seen in glaze formulas, application techniques, firing temperature, shrinkage of dry matter and the successful achievement of color after glazing the combustion process. This research is to determine whether the clay character influence on the success rate of the color will appear. The research method uses the experimental method. This method is considered more appropriate to determine the level of success of an experiment relating to the material containing chemical elements. The research is done in the studio ceramics P4TK Art and Culture of Yogyakarta.The clay used is a type of stoneware clay which has five classes of characters. They are as follows: 1. Pacitan soil, wet soil that has a reddish color, 2. Singkawang soil, wet soil that has a whitish colour, 3.Sukabumi has a brightly colored ground and wet floor is beige, with 4. Sukabumi, the dark ground, wet soil that has a dark brown color, 5. Bojonegoro soil, wet soil that has a light brown color. The five characters color glazing that shall be applied on the surface of clay are: 1. young Greens, 2. Pink, and 3. Greenish blue, 4. Brown 5. Dark blue.The character of clay has relatively large contribution to the emergence of color glaze in accordance to the purpose or the plan, especially when using a formula based on the glossy glaze. Glaze formula will tend to be stable when there is a combination of stain with a glade oxide. Stable formula can also be found on the matched glaze because its glaze was close or not transparent. Coloring oxides are very sensitive to the character of soil. temperature change is cobalt and fee, experiment that required in advance when the formula contains two types of oxide glaze. Burning with the reduction or oxidation also will give effect to the glaze colors that will appear. Keywords: experiment, five colors glaze, five characters clay

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