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BATIK MADURA: Menilik Ciri Khas dan Makna Filosofinya R.A Sekartaji Suminto
Corak : Jurnal Seni Kriya Vol 4, No 1 (2015): MEI 2015
Publisher : Institut Seni Indonesia Yogyakarta

Batik is the cultural heritage of the archipelago that is priceless. Each area in Indonesia has batiktradition, especially in Java and surrounding areas. Batik has been known since centuries ago.Batik type is classified into two major parts, namely inland and coastal batik. Batik Madura isone type of coastal batik has its own beauty, but still not so well known by the public at large.Every region in Madura has a typical batik yield of each, which can be seen from the patterns,motifs and colors. Batik Bangkalan, especially batik gentongan, Tanjung Bumi, it had its owncharacteristics, namely of how to make it. Gentongan batik dyeing technique requires a specialway, which is by doing the barrel stone in a period of 1 month to 1 year. This is the way toproduce batik with excellent quality. Gentongan batik color will not fade, even the longer will bemore beautiful. Batik Madura is still less popular than Batik Pekalongan, Cirebon or Lasem, butthe beauty of Madura batik, especially batik gentongan Tanjung Bumi remained in line with theprogress of time, even becoming increasingly popular over time. Keywords: Batik Madura, characteristic, gentongan, Tanjung Bumi Batik adalah warisan budaya Nusantara yang tak ternilai harganya. Setiap daerah di Indonesiamemilik tradisi membatik, khususnya di Pulau Jawa dan sekitarnya. Batik sudah dikenal sejakberabad-abad yang lalu. Jenis batik digolongkan menjadi dua bagian besar, yaitu batikpedalaman dan batik pesisir. Batik Madura adalah salah satu jenis batik pesisir yang memilikikeindahan tersendiri, namun masih belum begitu dikenal oleh masyarakat secara luas. Setiapwilayah di Madura yang menghasilkan batik memiliki ciri khas masing-masing, yang bisa dilihatdari corak, motif dan warnanya. Batik Bangkalan, khususnya batik gentonganTanjung Bumi,memilik ciri khas tersendiri, yaitu dari cara pembuatannya. Teknik pewarnaan batik gentonganmemerlukan cara khusus, yaitu dengan melakukan perendaman dalam gentong batu dalamjangka waktu 1 bulan hingga 1 tahun. Hal ini untuk menghasilkan batik dengan kualitas prima.Warna batik gentongan tidak akan memudar, bahkan makin lama akan makin indah. BatikMadura memang masih kurang populer dibandingkan dengan batik Pekalongan, Cirebon atauLasem, namun keindahan batik Madura, terutama batik gentongan Tanjung Bumi tetapbertahan seiring dengan kemajuan jaman, bahkan menjadi semakin terkenal dari waktu kewaktu.Kata kunci : Batik Madura, ciri khas, gentongan, Tanjung Bumi

Melirik Ciri Khas Batik Lasem RA Sekartaji Suminto
PRODUCTUM Jurnal Desain Produk (Pengetahuan dan Perancangan Produk) Vol 1, No 1 (2015)
Publisher : Institut Seni Indonesia Yogyakarta

Batik is a priceless cultural heritage of the Indonesian archipelago. Many parts of Indonesia has a batik tradition, especially Java and its surounding areas. Batik has been known since centuries ago. Batik is classsified into two major types, namely inland and coastal batik. Batik Lasem is one of the famous coastal batik textiles which has some special features characterizing batik Lasem. Blood red color that can only produced by the roots of Mengkudu tree from Lasem is one of characteristic of batik Lasem. Similarly, Pusung Tumpal motif is still maintained until now. Maintaining the hallmark is the effort to preserve the quality and beauty of batik, in this case is batik Lasem. Keywords: Batik Lasem, blood red, tumpal pusung, hallmark

Aplikasi batik Bangkalan Madura dan anyaman kulit dalam perancangan sepatu wanita R.A. Sekartaji Suminto
PRODUCTUM Jurnal Desain Produk (Pengetahuan dan Perancangan Produk) Vol 3, No 6 (2019)
Publisher : Institut Seni Indonesia Yogyakarta

This study tries to make a unique alternative to women's shoes using Bangkalan batik material, Madura, which is decorated or accented with woven cow leather. The hope is to encourage innovation that makes additional products for shoe craftsmen in the Yogyakarta region. The initial target to be achieved in this study is collecting data on shoes, specifically women's shoes, Bangkalan batik motifs, Madura, and data on tanned leather, as well as types of webbing. The method used in this research and publication is literature study, observation, exploration, experimentation, and embodiment. The expected benefit of this research is to support the creative industries that are now being promoted by the government, specifically to provide innovative alternatives to shoe products, in this case women's shoes with various alternative ingredients. In addition, the main objective of this research is to socialize Bangkalan batik, Madura for the people of Yogyakarta, and the general public in general.Key words: women's shoes, Bangkalan Madura batik, cow leather

Ecobrick: solusi cerdas dan kreatif untuk mengatasi sampah plastik Sekartaji Suminto
PRODUCTUM Jurnal Desain Produk (Pengetahuan dan Perancangan Produk) Vol 3, No 1 (2017)
Publisher : Institut Seni Indonesia Yogyakarta

Plastics are widely used in various needs of human life, starting from food wrapping material to the needs of automotive materials. Plastic is the most popular material and most widely used as a material for automotive component making, in addition to metal in the form of iron. The most important problem of plastics is the plastic waste that can not decompose naturally. It takes a very long time to clean up plastic waste from the face of the earth, especially since the use of plastic is almost unmanageable. Plastics also make the air temperature hotter day by day, due to its non-porous polymeric properties. At the moment, most products are produced without thinking of where they are going when consumed. Many products are also designed to fail within a certain period known as "planned obsolescence". This design philosophy is the cause behind overflowing landfills, plastic islands in the sea, and becoming a scourge such as packaging and products that clog the local ecosystem. Ecobrick is one of the creative efforts to manage plastic waste into useful objects, reducing pollution and toxins caused by plastic waste. Ecobrick is one of the creative endeavors for handling plastic waste. Its function is not to destroy plastic waste, but to extend the life of these plastics and process them into something useful, which can be used for the benefit of humans in general. Making ecobrick is still not so popular among the wider community. Most people still treat used plastics as household plastic waste, pollute the environment, rivers and pollute everyday life without self-awareness.Keywords: plastic waste, contamination, ecobrick, creative effort

EKSPLORASI GAYA DE STIJL PADA LIVING ROOM FURNITURE Audrey Athena; Sekartaji Suminto; Nor Jayadi; Rahmawan Dwi Prasetya
Jurnal Dimensi Seni Rupa dan Desain Vol. 19 No. 1 (2022)
Publisher : Universitas Trisakti

Masyarakat masa kini memiliki kesulitan dalam mencari hunian yang relatif luas, hal ini disebabkan harga lahan yang semakin melonjak akibat keterbatasan lahan. Maka dari itu, masyarakat urban lebih memilih tinggal di hunian sempit seperti apartemen. Namun, ditemukannya masalah akibat tinggal di hunian dengan area yang sempit. Salah satunya yaitu sempitnya lahan menyebabkan masyarakat kesulitan untuk menggunakan beberapa jenis furnitur untuk mendukung berbagai aktivitas kesehariannya. Demi mengatasi keterbatasan tersebut, muncul ide untuk merancang mebel dengan konsep hemat ruang dan konvertibel. Hemat ruang berarti merancang mebel yang dapat memiliki banyak fungsi sehingga menghemat area gerak pada lantai. Sedangkan konvertibel berarti mebel dapat diubah bentuknya sesuai dengan sistem yang dirancang untuk menyesuaikan kebutuhan user. Sifatnya yang konvertibel ini menyebabkan mebel menjadi lebih efisien, fleksibel, dan praktis dalam penggunaannya sehingga dapat mendukung aktivitas masyarakat hanya dalam satu mebel.

APLIKASI LIMBAH BAN DALAM PADA PRODUK SKATEBOARD CARRIER Agung Cahyo Mukti; Rahmawan D. Prasetya; Sekartaji Suminto
Ide dan Dialog Desain Indonesia (Idealog) Vol 8 No 1 (2023): Jurnal Idealog Vol 8 No 1
Publisher : Universitas Telkom

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25124/idealog.v8i1.4660

Every year, the number of vehicle tires production increases with market demand. The Indonesian Rubber Council (Dekarindo) reports that the production of car tires in Indonesia from2010 to 2011 reached 14.4 to 15.4 tons per day, and the total production of motor vehicle tires reached150. 2 units in 2019. This can be considered as the amount of prohibited waste and environmental problems due to waste. This design project aims to develop a skateboard carrier design that is multifunctional and in accordance with user needs, as a development of a unique material that has its own charm in the world of fashion design, especially bags, and also as an ef ort to utilize or treat tire waste in a safe and secure manner. environmentally friendly using the upcycle method. This product design is intended for people interested in skateboarding, both men and women, with an age range of 17 to 35 years or a height of 160 to 175 cm. This process involves aspects of ef iciency and ergonomics. Keywords: Skateboard Carrier, Skateboarding, Upcycle, Bag, Inner Tube Waste

APLIKASI LIMBAH BAN DALAM PADA PRODUK SKATEBOARD CARRIER Mukti, Agung Cahyo; Prasetya, Rahmawan D.; Suminto, Sekartaji
Ide dan Dialog Desain Indonesia (Idealog) Vol 8 No 1 (2023): Jurnal Idealog Vol 8 No 1
Publisher : Universitas Telkom

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25124/idealog.v8i1.4660

Every year, the number of vehicle tires production increases with market demand. The Indonesian Rubber Council (Dekarindo) reports that the production of car tires in Indonesia from 2010 to 2011 reached 14.4 to 15.4 tons per day, and the total production of motor vehicle tires reached150. 2 units in 2019. This can be considered as the amount of prohibited waste and environmental problems due to waste. This design project aims to develop a skateboard carrier design that is multifunctional and in accordance with user needs, as a development of a unique material that has its own charm in the world of fashion design, especially bags, and also as an ef ort to utilize or treat tire waste in a safe and secure manner. environmentally friendly using the upcycle method. This product design is intended for people interested in skateboarding, both men and women, with an age range of 17 to 35 years or a height of 160 to 175 cm. This process involves aspects of efficiency and ergonomics. Keywords: Skateboard Carrier, Skateboarding, Upcycle, Bag, Inner Tube Waste

Graffiti Artist’s Historiographical Writing Model “Bansky” The Man Behind The Wall” in The Perspective of Johan Joachim Wincklemann Suminto, RA Sekartaji; Carollina, Donna
Indonesian Journal of Visual Culture, Design, and Cinema Vol. 2 No. 1 (2023): Indonesian Journal of Visual Culture, Design, and Cinema
Publisher : Bina Nusantara University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21512/ijvcdc.v2i1.9933

History writing can be understood as a way of writing, exposing, or reporting the results of historical research that has been carried out as a matter of embodiment of research reports or historical writing itself. Furthermore, historical writing became known as historiography. Before writing the historiography of graffiti artists in Indonesia, it is necessary to understand the writing model that has been done by previous historians, one of which is Johan Joachim Wincklemann. Thisarticle will use a book entitled "Bansky: The Man Behind The Wall", to then review his historical writing style with Winckelmann's historiographical writing methodology. Although Jones in his book writes about Bansky's life, when viewed from the perspective of Winckelmann's historical methodology, there are still shortcomings in the process of writing Jones in this book. Thus from this review, it can be found that to create a good historiography for the writing of the history of graffiti artists requires closeness and accuracy in observing the work and graffiti artists observed.

EKSPLORASI GAYA DE STIJL PADA LIVING ROOM FURNITURE Athena, Audrey; Suminto, Sekartaji; Jayadi, Nor; Prasetya, Rahmawan Dwi
Jurnal Dimensi Seni Rupa dan Desain Vol. 19 No. 1 (2022): Jurnal Dimensi Seni Rupa dan Desain
Publisher : Fakultas Seni Rupa dan Desain, Universitas Trisakti

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25105/dim.v19i1.13341

Masyarakat masa kini memiliki kesulitan dalam mencari hunian yang relatif luas, hal ini disebabkan harga lahan yang semakin melonjak akibat keterbatasan lahan. Maka dari itu, masyarakat urban lebih memilih tinggal di hunian sempit seperti apartemen. Namun, ditemukannya masalah akibat tinggal di hunian dengan area yang sempit. Salah satunya yaitu sempitnya lahan menyebabkan masyarakat kesulitan untuk menggunakan beberapa jenis furnitur untuk mendukung berbagai aktivitas kesehariannya. Demi mengatasi keterbatasan tersebut, muncul ide untuk merancang mebel dengan konsep hemat ruang dan konvertibel. Hemat ruang berarti merancang mebel yang dapat memiliki banyak fungsi sehingga menghemat area gerak pada lantai. Sedangkan konvertibel berarti mebel dapat diubah bentuknya sesuai dengan sistem yang dirancang untuk menyesuaikan kebutuhan user. Sifatnya yang konvertibel ini menyebabkan mebel menjadi lebih efisien, fleksibel, dan praktis dalam penggunaannya sehingga dapat mendukung aktivitas masyarakat hanya dalam satu mebel.

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