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All Journal Jurnal Ilmiah Desain & Konstruksi Gorga : Jurnal Seni Rupa MUDRA Jurnal Seni Budaya PRABANGKARA Panggung Gelar : Jurnal Seni Budaya International Journal of Applied Sciences and Smart Technologies Community Development Journal: Jurnal Pengabdian Masyarakat Jurnal SASAK : Desain Visual dan Komunikasi Abdi Widya: Jurnal Pengabdian Masyarakat Journal of Aesthetics, Creativity and Art Management Bhumidevi : Journal Of Fashion Design Journal of Social Science Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Journal of Aesthetics, Design, and Art Management Global Art Creativity Conference
Ratna Cora Sudharsana, Tjok Istri
Institut Seni Indonesia Denpasar
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Transformasi Bunga Tunjung Dalam Busana Wanita Romantik Dramatik Darmara Pradnya Paramita, Ni Putu; Ratna Cora Sudharsana, Tjok Istri; Wimba Ruspawati, Ida Ayu
Prabangkara : Jurnal Seni Rupa dan Desain Vol 22 No 2 (2018): Desember
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (415.345 KB)

Abstract

Bunga tunjung memiliki makna yang dalam bagi masyarakat Bali terutama dalam proses ritual agama Hindu. Penciptaan ini ditujukan untuk mewujudkan transformasi penciptaan busana wanita romantik dramatik, mengetahui dan memahami proses mewujudkan busana wanita romantik dramatik, mewujudkan bentuk karya busana wanita romantik dengan bunga tunjung sebagai ide dalam penciptaan. Metode penciptaan yang digunakan yaitu delapan tahapan desain fashion terdiri dari tahapan yaitu design brief, research and sourching, design development, prototypes, samples and construction, the final collection, promotion, marketing, branding, sales, production and the business. Busana wanita romantik dramatik dalam koleksi menerapkan konsep warna Dewata Nawa Sanga yang dilambangkan atau dilukiskan dengan bunga tunjung. Bentuk pada karya busana wanita romantik dramatik menghasilkan dua jenis busana wanita yaitu busana ready to wear deluxe dan haute couture terdiri dari empat busana ready to wear deluxe dan lima busana haute couture. Pemilihan material dan bahan dalam proses proses penciptaan, dikembangkan dengan pengolahan proses kreatif monumental tekstil dan teknik makrame. Pada busana wanita elemen seni yang dominan yaitu garis, bentuk, ukuran, tekstur,  warna dan motif.Sedangkan prinsip desain terdiri dari kesatuan, irama, harmoni, pusat perhatian (point of interest), keseimbangan.
Representasi Gangsing Pada Busana Wanita Retro Playful Yuni Diantari, Ni Kadek; Gede Arimbawa, I Made; Ratna Cora Sudharsana, Tjok Istri
Prabangkara : Jurnal Seni Rupa dan Desain Vol 22 No 2 (2018): Desember
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (280.093 KB)

Abstract

Munculnya berbagai permainan modern menjadi salah satu faktor penyebab permainan tradisional jarang dimainkan oleh masyarakat. Oleh sebab itu diperlukan upaya untuk melestarikan permainan tradisional sebagai bagian kearifan lokal yang telah  menjadi budaya suatu masyarakat dari generasi ke generasi. Salah satu permainan tradisional yang perlu dilestarikan adalah permainan gangsing dari desa Munduk, Buleleng. Pelestarian permainan gangsing dilakukan melalui penciptaan busana wanita retro playful dengan sumber ide gangsing desa Munduk. Sumber ide dari gangsing  direpresentasi untuk mewujudkan busana wanita retro playful. Pada penciptaan ini juga diuraikan tentang keterkaitan antara bentuk dan makna dalam busana wanita retro playful dengan sumber ide gangsing desa Munduk. Bentuk yang muncul pada karya busana wanita berjenis adi busana (haute couture)  ini tampak dalam siluet, permainan potongan busana, dan aplikasi dari monumental tekstil dengan teknik plisket dan stitching. Sedangkan makna pada karya adi busana dengan sumber ide gangsing ini secara garis besar adalah keseimbangan perpaduan antara sumber ide dengan unsur tradisional (permainan gangsing) dan unsur kekinian (gaya busana retro playful). Busana wanita retro playful ini menerapkan konsep 2 (dua) jenis tim dalam permainan gangsing yang terdiri dari tim pemain gangsing gebug dan tim pemain gangsing pemelek. Keseluruhan busana melewati proses kreatif monumental tekstil dan tahapan proses desain fashion bertajuk “FRANGIPANI”, The Secret Steps of Art Fashion (Frangipani, Tahapan-Tahapan Rahasia dari Seni Fashion) oleh Ratna Cora. Tahapan proses desain fashion FRANGIPANI ini meliputi 10 tahapan yang memberikan tahapan sistematis dalam mengembangkan sumber ide gangsing ke dalam wujud busana wanita retro playful.
Struktur Keseimbangan dan Keselarasan dalam Kain Tenun Gotya di Desa Adat Tenganan Pegringsingan I Wayan Dedy Prayatna; Hendra Santosa; Tjok Istri Ratna Cora
Gelar : Jurnal Seni Budaya Vol 18, No 2 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v18i2.3119

Abstract

Kain tenun Gotya merupakan salah satu kain tradisional di Desa Adat Tenganan  Pegringsingan. Keunikan kain tenun Gotya sebagai karya kain tenun yait   dengan motif garis 2.1.2.1 berwarna hitam dengan arah horizontal dan vertikal dengan di dasari warna putih, sehingga kain Gotya memiliki kualitas, nilai estetis. Diperlukan penyusunan prinsip desain untuk menghindari kemonotonan dan kekacau-balauan ke dalam sebuah karya seni. Prinsip keseimbangan dan keselarasan juga sangat diperhatikan dalam proses pembuatan kain tenun gothia mulai dari penyusunan warna dan motif sehingga menibulkan tekstur, hal tersebut bertujuan agar kain tenun gothia dapat enak dilihat, bersifat tenang, tidak berat sebelah. Tujuan dari penulisan ini adalah untuk menganalisa pengelolaan prinsip keseimbangan dan keselarasan dalam kain tenun Gotya. Permasalahan yang dibahas adalah Bagiamana struktur keseimbangan dan keselarasan dalam kain tenun Gotya? Metode yang digunakan adalah metode penelitian kualitatif. pengumpulan data meliputi Interviu, observasi dan kepustakaan. Hasil menunjukan bahwa Keseimbangan yang diterapkan adalah keseimbangan formal, terlihat dari penerapan garis, warna, ukuran pada kain dengan kesamaan ukuran yang seimbang antar bagian yang lainnya. Keselarasan dicapai dengan mengadakan pengulangan warna dan garis pada motif kain tenun.
Weft Computation of Endek Weaving Nyoman Dewi Pebryani; Putu Manik Prihatini; Tjok Istri Ratna C.S
International Journal of Applied Sciences and Smart Technologies Volume 04, Issue 01, June 2022
Publisher : Universitas Sanata Dharma

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24071/ijasst.v4i1.4666

Abstract

Endek is a textile produces in Bali with a single ikat technique, specifically weft ikat. Weft ikat means that the pattern is created or drawn on the weft threads before ikat or tying process. The weft threads are transferred into a frame; a frame consists of tens to hundreds of bundles or called traditionally as bulih. Drawing a pattern on a frame requires special expertise as the pattern maker has to translate a two-dimensional pattern into a shape that is distorted on the wide side. Indirectly, this special requirement confines the pattern maker as they have to visualize a distortion shape to be able to draw in the frame. To provide easiness in design exploration, providing various templates and multiplier to automatically distort the template are substantial. Therefore, understanding the manual process on site is important before simulating the formula of weft computation including are templates and multiplier. With this computation, the pattern makers or anyone who has an enthusiast in designing Endek patterns may involve in the design process.
Light Pattern, Labirin Ruang Masif I Wayan Sujana; Tjok Istri Ratna Cora Sudharsana
Mudra Jurnal Seni Budaya Vol 34 No 3 (2019): September
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v34i3.799

Abstract

Penelitian ini bertujuan untuk menemukan dan mempertunjukkan “intermingle art project Light Pattern, Labirin Ruang Masif” berbasis seni rupa pertunjukan untuk menjawab kurangnya seni rupa pertunjukan kontemporer yang berbasis riset. Permasalahan yang dirumuskan dalam penciptaan ini adalah Situasi dan keadaan psikologis seperti apa dari bentuk intermingle antara drawing on novel dengan seniman-seniman ? Gagasan atau konsep praksis seperti apa terekspresikan dari intermingle drawing on novel? Bagaimana bentuk presentasi intermingle art project ini ke ruang publik tertentu? Teori yang digunakan dalam penelitian ini adalah significant form, aesthetic relational serta teori presentasi, teori-teori tersebut sangat menunjang dalam penelitian. Pengumpulan data melalui observasi partisipatori, wawancara, dan studi kepustakaan. Model analisis interaktif digunakan dalam menyajikan data dan penyajian hasil analisis data disajukan secara informal dan formal. Hasil penelitian menunjukkan setiap seniman melahirkan sudut pandang yang berbeda sesuai dengan bidang seni yang ditekuni. Berbagai bentuk seni muncul: visual, verbal, sound, dan kenestetik seni kontemporer. Dipresentasikan dengan layer-layer ulang-alik senirupa-senipertunjukan.
Perkembangan Fungsi dan Makna Kain Tenun Gotya dalam Industri Fashion I Wayan Dedy Prayatna; Hendra Santosa; Tjok Istri Ratna Cora
Mudra Jurnal Seni Budaya Vol 36 No 1 (2021): Februari
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v36i1.1101

Abstract

Kain Tenun Gotya merupakan salah satu kain tenun tradisional di Desa Adat Tenganan Pegringsingan yang dipercaya oleh masyarakat memiliki makna filosofi dan sangat berperan penting dalam kegiatan upacara adat di Desa Tenganan Pegringsingan. Seiring dengan perkembangan zaman permintaan terhadap kain Tenun Gotya semakin meningkat khususnya dalam industry fashion sehingga menimbulkan suatu perkembangan dari fungsi ataupun makna yang di akibatkan oleh perkembangan tersebut. Tujuan dari penelitian ini yaitu menganalisis fungsi dan makna kain Tenun Gotya dalam industri fashion. Metode yang di gunakan adalah deskriptif kualitatif. Berdasarkan analisa data menunjukan bahwa dalam perkembangan fungsi kain Tenun Gotya yaitu berupa fungsi personal, fungsi sosial dan fungsi fisik. Fungsi personal dalam perkembangannya kain Tenun Gotya dapat dipakai sebagai ranah dalam menuangkan ide-ide dalam berkarya oleh para penenun dan desainer. Fungsi fisik kain Tenun Gotya sudah digunakan oleh masyarakat luas dan telah dikombinasikan sebagai udeng, saput dan penutup dada. Fungsi social sudah digunakan oleh kalangan masyarakat luas dan telah dikombinasiakan dari segi tampilan dan pemakian. Kain Tenun Gotya memiliki makna denotasi berupa selembar kain yang ditenun dengan tehnik plain weave dengan motif geometris dan garis vertikal dan horizontal. Makna konotasi yaitu sebagai suatu makna pelestarian terhadap kain Tenun Gotya dan pertenunan, sebagai makan pendidikan dan makna perekonomian dalam lingkungan masyarakat.
Transformasi Digital pada Budaya Tradisi Menenun Endek Nyoman Dewi Pebryani; Tjok Istri Ratna C.S; Anak Agung Rai Remawa; I Made Radiawan
Mudra Jurnal Seni Budaya Vol 37 No 1 (2022): Februari
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v37i1.1886

Abstract

Endekis traditional textile produce in Bali using a single ikat weaving technique. In single ikat, the resist is formed by binding individual yarns or bundles of yarns with a tight wrapping applied in the desired pattern on one side of threads, either the warpor the weft. Specifically, for Endek, the weft is the threads to form the pattern. Producing patterns in Endekinvolves creativity and intricate calculation; therefore, not many people are able to master this expertise. Transforming the design process of Endekto a digital application provides easiness, as the user only needs to focus on creating the pattern design, while the digital application will calculate the number of threads and visualize the result. To understand the process of creating Endek, the researcher conducted research in the weaving place by interviewing and observing the weavers and pattern makers. The algorithm received from the fieldwork then is translated into programming language to create a digital application. This application is created with a simple user interface so that the user who is not familiar with technology still can practice the apps easily. This application contributes to the efficiency in production process where previously in the production process needs one to two days, while with this application, it can be shortened to one to two hours.
Aplikasi Desain Motif Tenun Songket Bali Nyoman Dewi Pebryani; Tjok Istri Ratna, C.S.; Putu Manik Prihatini
Mudra Jurnal Seni Budaya Vol 37 No 3 (2022)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v37i3.2025

Abstract

Songket weaving is an Indonesian cultural heritage that has been passed down from generation to generation. Every region in Indonesia has its own Songket weaving, depending on the region’s characteristics. Bali island is one well-known region in Indonesia for Songket weaving. In the past, Songket weaving in Bali was only made for caste members and the royal family. At that time, only people in the royal family were able to make Songket weaving. The songket weaving process in Bali was mainly performed using a weaving tool called cagcag. The songket weaving pattern (motif) was made using a sungkit technique—interlace between threads to create a motif. The making of the songket motif begins with arranging the thread according to the desired motif before the weaving process. Information about the motif was spread in Guun. In general, songket weaving in Bali island has tens to hundreds of Guun. The skills to break the desired motif into the Guun is quite a complicated process. Therefore, not many weavers master the process of making songket motifs. Most of the motif makers continue or imitate existing motifs. Currently, a motif maker who can make a motif from scratch is rare. In order to help break motifs into Guun, an in-depth understanding of the calculation of making songket motifs is required. Then, this understanding is transformed into an application that can help motif makers to visualize motifs into Guum. The design application will provide multiple benefits for the motif makers and serve as an effort of culture preservation by introducing a design application to make songket motifs for younger generations. Therefore, they are expected to contribute to making songket weaving motifs.
Swakaryaloka: Naturalist based street chic creation Anak Agung Sagung Istri Trisnadewi; Tjok Istri Ratna C.S; Anak Agung Gede Rai Remawa
Journal of Aesthetics, Creativity and Art Management Vol. 1 No. 2 (2022): Journal of Aesthetics, Creativity and Art Management
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (480.788 KB) | DOI: 10.31091/jacam.v1i2.1833

Abstract

The creation of this naturalist-based street chic ready-to-wear fashion was made with the aim of minimizing liquid waste from chemicals and displaying environmentally friendly clothing. The method used is an experimental method with natural dye techniques, namely dyeing or coloring derived from plants and eco print techniques, which are unique in the form of leaf traces with contemporary art. The creative process used is the ten steps of creating a frangipani fashion design, including idea exploration, research, aesthetic element analysis, design development, sample making, promotion, branding affirmations, to the fashion business. The final collection is entitled Swakaryaloka which is a creative work of art in visualizing clothing using natural dyes that utilize the surrounding nature as an object to produce an environmentally friendly fashion product. The creation of this street chic fashion design is adapted to the trend of spirituality, a change in mindset that is more grounded in preserving nature and respect for the work process. There is a total of 9 looks which are divided into three groups, namely memorable, contemporary, and hopeful. The groups displayed environmentally friendly clothing that had a storyline from the condition of the color of the polluted water to the color of the water being clean or normal. Each look is analyzed using design elements and principles using aesthetic theory. Keywords: natural dye, eco print, spirituality, street chic.
Symbolic Meaning of Batik In Madura Bridal Kebaya Clothes Soelistyowati Soelistyowati; I Wayan Mudra; I Ketut Muka; Tjok Istri Ratna
Journal of Social Science Vol. 4 No. 1 (2023): Journal of Social Science
Publisher : Syntax Corporation Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (250.074 KB) | DOI: 10.46799/jss.v4i1.495

Abstract

This study was conducted to determine the meaning of the batik symbol on the Madurese bridal kebaya. At weddings, Madurese people wear batik and kebaya, especially for women getting married. Madurese batik motifs are classified as having the characteristics of plant (vegetal) motifs, animals and geometric shapes. The influence on the Madurese batik motifs is the mixing of Javanese-Hindu, Chinese and Dutch cultures. Chinese mythology dominates the fenghuang bird and dragon motifs believed to have philosophy in each symbol. Bright and bold colors are characteristic of Madurese batik, such as red, black, yellow and green. This research approach using literature study is done by looking for references that are relevant to the cases or problems found using the semiotic theory of Charles Sanders Peirce. By analyzing the data of this study, it was carried out by means of 5W1H, what, where, when, why, who, and how. The results of this study, a. The icon as a sign of the message using the kebaya dress interprets the kebaya as an Indonesian woman who is elegant, feminine and has manners, as a procession that is carried out is a cultural carnival procession as a mandatory dress that must be worn. b) symbols, the colors red, black, yellow and green on the decoration, as well as the appearance of the dragon and fenghuang bird motifs are characteristic of batik motifs, on the jarik or sarong worn at traditional wedding ceremonies in Madura. c) Index: Madurese philosophy considers that the colors red and black are courage and assertiveness, yellow symbolizes abundance and green means religious. The dragon motif brings fortune, guards and is authoritative. The fenghuang bird in batik means honesty and thoroughness, tolerance, knowledge, loyalty and integrity. When the dragon is juxtaposed with the fenghuang bird, it symbolizes bringing luck, honesty, happiness and repellent to evil, which is believed to be obtained from generations of cultural heritage to be preserved and maintained.
Co-Authors A.A. Ngr. Anom Mayun K. Tenaya Agustin Dia Sapariadi, I Dewa Ayu Reika Anak Agung Sagung Istri Trisnadewi Aribaten, Ni Nengah Zinnia Arimbawa, I Gede Arvia, Ni Desak Made Amanda Cahyani, Ni Kadek Tira Adi Darmara Pradnya Paramita, Ni Putu Dewantari Dewi Dasi, Ni Luh Melati Dewi, Melda Fransiska Dewi, Ni Kadek Junita Dianawati, Ni Kadek Dwi Putri Diantari, Ni Kadek Yuni Erawan, Ni Putu Netania Amanda Fida, Dalil Al Quds Fitriani Grahantiyasari, Kadek Mirah I Gede Anjas Kharismanata I Ketut Muka I Made Radiawan I Wayan Mudra, I Wayan I Wayan Rai I Wayan Sujana I Wayan Swandi Ida Ayu Wimba Ruspawati, Ida Ayu Karso, Kejora Pratiwi Karso, Olih Solihat Karuni, Ni Kadek Kharismanata, I Gede Anjas Komang Yudistia Larasistris, Triasmoro Mahadewi, Ida Ayu Ari Maheswari, Ni Made Dian Maselia Andriani, Ni Putu Nanda Moneko, I Kadek Dode MS Prof. Dr. I Wayan Rai . Muda Rahayu, Made Tiartini Mudarahayu, Made Tiartini Ni Kadek Yuni Diantari Ni Luh Ayu Pradnyani Utami Ni Putu Desy Sonnya Suandhari Nitya Sari, Ni Wayan Maya Nyoman Dewi Pebryani Patrow, Corlyne Janselia Marcelly Pratiwi, Luh Leony Rida Prayatna, I Wayan Dedy Priatmaka, I Gusti Bagus Puspa Anjani, Ayu Diah Puspa Yeni, Ni Putu Ryani Putu Manik Prihatini Putu Manik Prihatini Rahayu, Made Tiartini Muda Remawa, Anak Agung Gede Rai Santini, Ni Kadek Dwika Santosa, Hendra Saraswati, Ni Made Sari, Dewa Ayu Putu Leliana Siti Wasi’aturrizqi Soelistyowati Soelistyowati Suandhari, Ni Putu Desy Sonnya Sukarya, I Wayan Sukawati, Tjokoda Gde Abinanda Sukawati, Tjokorda Gde Abinanda Sukmadewi, Ida Ayu Kade Sri Sukmawati, Ni Komang Ayu Trisnadewi, Anak Agung Sagung Istri Udiyani, Ni Made Santi Wartini, Ketut Ari Widya, Sabiya Shula Wiguna, Kadek Karina Maharani Windari, Komang Noli Yuliana Maria