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All Journal JURNAL PENGABDIAN KEPADA MASYARAKAT Jurnal SOLMA Adi Widya : Jurnal Pengabdian Masyarakat Ornamen Jurnal Pengkajian dan Penciptaan Seni Kriya Narada : Jurnal Desain dan Seni Jurnal Pengabdian Seni Suluh: Jurnal Seni Desain Budaya Javanologi: International Journal of Javanese Studies Hastagina: Jurnal Kriya dan Indsutri Kreatif Runtas: Jurnal Fesyen dan Wastra Nusantara Canthing
Apika Nurani Sulistyati
Universitas Sebelas Maret
Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences Other

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Eksplorasi Teknik Tritik dengan Pewarna Teh pada Perancangan Tekstil Pakaian astuti, dewi; Nurani Sulistyati, Apika
Hastagina : Jurnal Kriya Seni Vol 4 No 2 (2024): Hastagina: Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LPPM ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v4i2.2732

Abstract

The tritik technique with geometric motifs has great potential to be developed, looking at the jumputan fabric motifs produced in the city of Surakarta, the majority of which are clove motifs, tumpal motifs and zig-zag motifs and do not use rules or provisions for stitch spacing. One of the efforts is to explore the tritik technique which produces geometric motifs using a combination of stitch techniques, baste folding techniques, and overcast stitch techniques by applying stitch spacing rules so that the geometric motifs produced are more optimal and consistent. The tritik techniques produced in the city of Surakarta are less diverse, so exploration of tritik techniques is needed to create more diverse motifs. The design of this work uses tea coloring from a certain brand which provides many variants. Different tea variants have a great opportunity to be developed as color variations because they create different colors with a stable consistency to enrich the natural coloring repertoire of tea. The design of this work is used as a clothing textile product for women of all ages. The design of this work uses the method of creating works of art by S.P Gustami which includes the exploration stage, design stage and realization stage. The result of this design is a clothing textile product using the tritik technique and tea dye. The tritik technique can be developed into geometric shapes such as lines, circles, hexagons, meanders and squares by using certain techniques and applying stitch spacing provisions
PERANCANGAN MOTIF KAIN DENGAN KOMBINASI TEKNIK ECOPRINT DAN KIRIGAMI Cantika, Keyla Meitasya Kusuma; Sulistyati, Apika Nurani
SULUH: Jurnal Seni Desain Budaya Vol 6, No 2 (2023)
Publisher : Universitas Islam Nahdlatul Ulama Jepara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34001/jsuluh.v6i2.6762

Abstract

Motif-motif kain ecoprint yang banyak dipasarkan hingga saat ini masih menggunakan motif-motif umum seperti daun atau bunga yang digunakan sebagai bahan pembuatan ecoprint, tidak banyak pengrajin ecoprint yang membuat motif lain dari hasil merekayasa daun yang digunakan. Hal ini kurang menjadi daya tarik lebih sehingga perlu adanya perancangan motif baru yang kreatif dapat memperkaya motif-motif ecoprint tidak hanya terpaku pada bentuk-bentuk daun atau bunga yang digunakan. Berangkat dari permasalahan tersebut, penulis melakukan perancangan motif kain ecoprint dengan menggunakan teknik kirigami. Teknik kirigami merupakan teknik memotong kertas atau seni memotong kertas, lazimnya teknik ini menggunakan media kertas, namun pada perancangan ini teknik kirigami akan dipadukan dengan daun sebagai media potongnya untuk menghasilkan motif-motif baru pada ecoprint, daun yang akan digunakan sebagai media potong adalah daun jati. Perancangan ini menggunakan metode gustami, yaitu diawali dengan tahapan eksplorasi, eksperimen dan perwujudan. Karya yang dihasilkan berupa 6 lembar kain dengan 2 zat warna berbeda. Pola yang akan diusung berupa floral sesuai dengan tema yang diusung yaitu musim semi.
Model Pengembangan Motif dan Produk Fesyen Batik berbasis Partisipasi di Batik Wardana Sragen Sulistyati, Apika Nurani; Darwoto, Darwoto; Farikha, Alfi Yusrina; Widyastuti, Theresia
Jurnal SOLMA Vol. 15 No. 1 (2026)
Publisher : Universitas Muhammadiyah Prof. DR. Hamka (UHAMKA Press)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22236/solma.v15i1.21412

Abstract

Background: One of the shortcomings of small businesses in the field of batik-patterned textile production is the lack of ideas and skills in designing patterns, as well as the difficulty in improving the products. This program aims to expand the insights and skills of small and medium-sized enterprises (SMEs) so that they can further improve and enrich the styles of batik-patterned textile products with new creative designs and produce current fashion products for the women's market. Method: (1) initial observation and interviews; (2) program socialization, pre-test, and material presentation on motif styling, fashion product development for adult women, and its marketing strategy; (3) technical training on pattern design development; and (4) post-test, monitoring, and evaluation in the form of a discussion forum between the community service team and the owners and employees of Batik Wardana. Results: (1) An increase in employees' design skills in accommodating motif ideas and adapting them to market tastes; (2) mastery of digital batik motif creation techniques; (3) the ability to develop fashion products other than men's shirts, such as blouses or women's tops; (4) the ability to analyze market demand for current women's fashion products. The improvement was measured descriptively using pre- and post-tests. The results of the activity showed an increase in participants' descriptive understanding scores from an average of 42.0 to 83.0 after the training. Conclusion: Development of a design-based community service model that combines the principles of MSME empowerment, design creativity theory, and experiential learning.
UTILIZATION OF SODIUM ALGINATE AS A FIBER BINDING MEDIUM IN TEXTILE WASTE RECYCLING PROCESS Zefanya Maria Soraya; Apika Nurani Sulistyati
Runtas: Jurnal Fesyen dan Wastra Nusantara Vol. 3 No. 2 (2025): Exploration of Batik Motifs and Technique
Publisher : Indonesian Institute of the Arts Surakarta

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Abstract

The textile industry plays a vital role in human life but also ranks among the highest contributors to global environmental pollution. Textile waste is often non-biodegradable, leading to severe environmental issues such as water contamination and increased greenhouse gas emissions. One promising solution lies in eco-friendly recycling methods using biomaterials. This study explores the use of sodium alginate, a brown algae-derived biopolymer, as a fiber-binding medium in the recycling of textile waste through a crosslinking method with calcium chloride (CaCl₂). Sodium alginate, which dissolves easily in water, reacts with calcium ions to form a strong and elastic gel. In this process, textile waste in the form of fabric and yarn is broken down into staple fibers and then recombined using sodium alginate and calcium chloride. The crosslinking mechanism strengthens fiber bonds and produces a new alginate-based yarn material suitable for sustainable textile development. Results indicate that this combination forms a water-resistant, flexible, and environmentally friendly binder. Therefore, this method offers an innovative alternative for managing textile waste while promoting circular economy principles in the fashion industry.
PERANCANGAN DESAIN STRUKTUR PADA TENUN BERTEMA MOTIF UKIRAN TORAJA YANG DI TERAPKAN PADA BUSANA PESTA Flavio Kwigo Yusan Pramista; Apika Nurani Sulistyati
Canthing Vol. 5 No. 1 (2019)
Publisher : Akademi Seni dan Desain Indonesia Surakarta

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Abstract

Sumber ide pembuatan karya ini adalah ukiran khas Tanah Toraja yaitu Pa’teddong. Pa’teddong berasal dari kata Tedong yang dalam bahasa Toraja berarti Kerbau.Ukiran ini mnyerupai seekor kerbau. Di Toraja , kerbau adalah binatang peliharaan yang utama.  Bagi masyarakat Toraja, kerbau mempunyai fungsi ganda yaitu sebagai mas kawin, bahan pengolah sawah, alat transaksi jual beli masyarakat Toraja. Dan sebagaai korbaan persembahan kepada Dewa atau Leluhur.Kata kunci : Pa’teddong
PELATIHAN MEMBATIK BAGI GENERASI MUDA DIASPORA JAWA DI MALAYSIA: STRATEGI PEMEKARAN BUDAYA DAN PENGUATAN IDENTITAS KULTURAL: Pelatihan Membatik bagi Generasi Muda Diaspora Jawa di Malaysia Sahid Teguh Widodo; Septi Yulisetiani; Apika Nurani Sulistyati
JURNAL PENGABDIAN KEPADA MASYARAKAT Vol. 31 No. 4 (2025): OKTOBER-DESEMBER
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/jpkm.v31i4.68252

Abstract

Batik merupakan warisan budaya takbenda Indonesia yang memiliki nilai estetika, historis, dan filosofis yang mendalam. Namun, arus globalisasi telah menghadirkan tantangan besar terhadap pelestariannya, terutama di kalangan diaspora Jawa yang hidup jauh dari akar budayanya. Studi ini melaporkan sebuah program partisipatif berbasis komunitas yang bertujuan memberdayakan generasi muda diaspora Jawa di Keraton Mbah Anang, Muar–Johor Bahru, Malaysia, melalui lokakarya pembuatan batik. Program ini melibatkan peserta berusia 10–20 tahun yang mengikuti serangkaian kegiatan, termasuk orientasi budaya dan pelatihan langsung teknik batik tulis tradisional. Hasil menunjukkan peningkatan signifikan dalam keterampilan teknis serta tumbuhnya kesadaran budaya di kalangan peserta. Selain itu, program ini memperkuat ikatan sosial dalam komunitas diaspora. Temuan ini menunjukkan bahwa pelatihan batik tidak hanya menjadi media pelestarian warisan budaya, tetapi juga pendekatan adaptif dan pemberdayaan bagi komunitas diaspora dalam menghadapi tantangan generasi dan konteks sosial. Keberhasilan inisiatif ini menegaskan pentingnya program pendidikan budaya yang berkelanjutan dan responsif untuk menjamin keberlangsungan tradisi Jawa di luar negeri.
Visual Traces of Majapahit: The Transformation of Artifacts into Contemporary Batik Setyawan Setyawan; Apika Nurani Sulistyati; Darwoto Darwoto; Alfi Yusrina Farikha
Javanologi: International Journal of Javanese Studies Vol 9, No 1 (2025): Javanologi Volume 9 No. 1: December
Publisher : Pusat Unggulan Ipteks Javanologi Universitas Sebelas Maret

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.20961/javanologi.v9i1.111034

Abstract

This research aims to trace and reinterpret the visual heritage of Majapahit through a visual anthropology approach as the basis for creating contemporary batik motifs. Majapahit artifacts, such as reliefs, pottery, and architectural ornaments, should not merely be viewed as archaeological objects, but as symbolic representations that record the value systems, cosmology, and aesthetics of bygone societies. Through a process of visual exploration and design reinterpretation, this research reveals how the forms, textures, and narratives embodied in these artifacts can be transformed into new visual elements in modern batik. This approach combines qualitative methods with visual analysis and ethnographic reflection on the motif design process. The results of this research shows that the transformation of Majapahit artifacts into contemporary batik not only enriches aesthetic innovation but also serves as a medium for dialogue between the past and the present. Thus, the resulting batik pieces serve as a living cultural space that revives the visual memory of Majapahit while strengthening the creative identity of the current generation.
Efforts on Developing Sustainable Production of Surakarta’s Tiga Negeri Batik from Handmade Technique to Cold Wax Technique. Apika Nurani Sulistyati; Theresia Widyastuti
Javanologi: International Journal of Javanese Studies Vol 5, No 2 (2022): Javanologi Volume 5 No. 2: June
Publisher : Pusat Unggulan Ipteks Javanologi Universitas Sebelas Maret

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.20961/javanologi.v5i2.67955

Abstract

A piece of batik cloth contains philosophical values, symbolic meanings, traces of events, ethnic identity, social stratification, spirituality, and records of the journey of civilization. Tiga Negeri batik is evidence of cultural assimilation and acculturation in Java. Tiga Negeri is the nickname for the three places from which batik is made from the process of designing, drawing (mbatik), and onto coloring. This batik, which is closely related to Chinese culture, originated in Lasem, then during its spread to Surakarta, the motifs and color schemes became richer due to the assimilation between coastal batik and inland batik, and thus it eventually became Tiga Negeri batik from Surakarta. However, recently this unique Surakarta’s Tiga Negeri batik is losing its prestige and requires revitalization efforts to sustain its sustainability.
Perancangan Scarf dengan Pewarna Lidah Buaya dan Perintang Warna Gutta Tamarind Anggita Wahyuningrum; Apika Nurani Sulistyati
Ornamen Vol. 22 No. 2 (2025): Desember
Publisher : Institut Seni Indonesia Surakarta

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Abstract

Perajin batik di Indonesia belum banyak mengeksplorasi pewarna alami jenis baru akibat kurangnya keilmuan mengenai tata cara pembuatan pewarna alami dan faktor ketersediaan jenis tanaman. Lidah buaya merupakan tanaman yang memiliki kandungan tanin alami. Lidah Buaya potensial untuk menjadi pewarna alami. Untuk menghasilkan pewarna alami, diperlukan proses ekstraksi dengan metode maserasi panas menggunakan pelarut ganatex. Hasil ekstraksi lidah buaya efektif sebagai pewarna alami dengan uji laboratorium ketahanan luntur terhadap pencucian 40℃. Hasil pengujian terhadap teknik pewarnaan colet dan celup menunjukkan nilai 4-5 dalam standar grey scale diklasifikasikan sebagai "Baik". Metode perancangan yang digunakan yaitu metode tiga tahap enam langkah oleh Gustami. Proses penggalian ide dimulai dengan studi literatur jenis tanaman yang mengandung zat tanin dan tanaman yang memiliki koagulan alami. Pada tahap perancangan, lidah buaya dan bubuk biji asam jawa digunakan sebagai pewarna dan perintang warna alami pada scarf. Bahan pelarut yang digunakan adalah ganatex sebagai zat pengikat dan pembangkit warna. Bubuk biji asam jawa diolah menjadi gutta tamarind dengan campuran lemak nabati yang diaplikasikan untuk membentuk motif. Bunga Wijaya Kusuma dipilih sebagai sumber ide pengembangan motif scarf sebagai upaya untuk pengenalan bunga khas Keraton Surakarta. Hasil akhir produk berupa scarf dengan variasi warna coklat muda hingga coklat tua. Scarf dapat digunakan oleh wanita usia remaja hingga dewasa.
Co-Authors Alfi Yusrina Farikha Anggita Wahyuningrum Anindita Atika Sari Cantika, Keyla Meitasya Kusuma Dartono, Felix Ari Darwoto Darwoto Darwoto Darwoto Darwoto Dewi Astuti Evi Gravitiani Farikha, Alfi Yusrina Flavio Kwigo Yusan Pramista Hendrasuryawan, Brilyan Joko Lulut Amboro Linda Fatmawati Lutfiatun Anisa Ninantry Nurkhalissa Pramista, Flavio Kwigo Yusan Prananto, Adi Purnomo, Rochmat Aldy Rudianto, M Sahid Teguh Widodo Sartika, Rebecca Cindy Septi Yulisetiani Setyawan Setyawan Setyawan Setyawan Setyawan Setyawan, Setyawan Theresia Widiastuti Theresia Widiastuti Theresia Widiastuti Theresia Widiastuti, Theresia Theresia Widyastuti Widyastuti, Theresia Zefanya Maria Soraya