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PENCIPTAAN BATIK POSTMODERN (Pengadaptasian Elemen Artistik Lukisan Modern Indonesia dalam Teknik dan Motif Batik Tradisional Yogyakarta) Aruman Aruman; Deni Junaedi; Isbandono Hariyanto
Corak : Jurnal Seni Kriya Vol 3, No 1 (2014): MEI 2014
Publisher : Institut Seni Indonesia Yogyakarta

Over time, traditional batik art continue to be explored and developed by a community ofsupporters. Various techniques and styles continue to emerge and inspire each other. Recognized theexistence of the world community. Likewise with modern Indonesian painting, to date the work andthe artist is able to leave a deep imprint for generations thereafter until today.Starting from the traditional batik and painting modern Indonesia, known to this day -through the creation of research - development possibilities of adapting the technique of batik andmodern painting techniques, so as to give birth to a new style that can contribute to the survival ofYogyakarta batik. From the analysis of the traditional batik of Yogyakarta and painting modernIndonesia, found a wide variety of painting techniques and artistic elements that can be combinedand used in batik techniques, in this case a blend of traditional and artistic batik art modern paintingbatik can be categorized as postmodernism, lifting the spirit of the old with a new style.Keywords: motif, batik, postmodernism, painting, Yogyakarta Seiring berjalannya waktu, seni batik tradisional terus digali dan dikembangkan olehmasyarakat pendukungnya. Berbagai teknik dan gaya terus bermunculan dan saling menginspirasi.Eksistensinya diakui masyarakat dunia. Begitu juga dengan seni lukis modern Indonesia, hingga saatini karya dan senimannya mampu meninggalkan jejak yang mendalam bagi generasi setelahnyahingga saat ini.Berawal dari batik tradisional dan lukisan modern Indonesia yang dikenal hingga saat ini -melalui penelitian penciptaan - dikembangkan kemungkinan-kemungkinan pengadaptasian teknikbatik dan teknik lukis modern, sehingga mampu melahirkan gaya baru yang dapat disumbangkanbagi kelangsungan batik di Yogyakarta. Dari hasil analisa batik tradisional Yogyakarta dan seni lukismodern Indonesia, didapati berbagai macam teknik lukis dan elemen artistik yang dapat dipadukandan digunakan dalam teknik membatik, dalam hal ini perpaduan seni batik tradisional dan artistikseni lukis modern dapat dikategorikan sebagai batik postmodernisme, mengangkat spirit lamadengan gaya yang baru.Kata kunci: motif, batik, postmodernisme, lukis, Yogyakarta

PENGEMBANGAN DESAIN SENI KERAJINAN TATAH SUNGGING KULIT PUCUNG IMOGIRI BANTUL YOGYAKARTA Aruman Aruman; Toyyibah Kusumawati
Corak : Jurnal Seni Kriya Vol 6, No 1 (2017): MEI 2017
Publisher : Institut Seni Indonesia Yogyakarta

One of the central handicraft center of leather sungging in Yogyakarta is in the area of Pucung Karangasem Wukirsari Imogiri Bantul. Dusun pucung karangasem, is a village known for its leather craft. One of the famous handicraft products in the world is wayang kulit. But not only that, besides wayang, other handicraft products coming from leather can be lampshade, bookmark, tissue box, candle holder, fan, keychain, wall decoration, and others.In running the craft business, the craftsmen joined in groups, including the group "Bimo Sukses" and "Srikandi". Each group consists of 15 to 20 craftsmen. Among them there is a focus on working on inlay, sunggingan, materials, and marketing. For the development of the design they usually develop their own order and there is mentoring design through coaching programs from campus ISI yogyakarta, one of the program is Science and Technology for Society.For the sake of continuity and development of this leather craft business, paran crafters cooperate with the traders and lovers of shadow puppets inside and outside the country. Innovation continues to follow the developments and demands of consumers.Keywords: design, craft, leather, Yogyakarta. Salah satu daerah sentra kerajinan tatah sungging kulit di Yogyakarta adalah di daerah Pucung Karangasem Wukirsari Imogiri Bantul. Dusun pucung karangasem, merupakan desa yang dikenal akan kerajinan kulitnya. Salah satu produk kerajinan yang terkenal didana adalah wayang kulit. Namun tidak hanya itu, selain wayang, produk kerajinan lainnya yang berasal dari kulit dapat berupa kap lampu, pembatas buku, tempat tisu, tempat lilin, kipas, gantungan kunci, hiasan dinding, dan lainnya.Dalam menjalankan usaha kerajinannya, para perajin tergabung dalam kelompok-kelompok, diantaranya kelompok “Bimo Sukses” dan “Srikandi”. Masing-masing kelompok terdiri dari 15 sampai 20 anggota perajin. Diantara mereka ada yang fokus mengerjakan tatahan, sunggingan, material, dan marketing. Untuk pengembangan desain mereka biasanya mengembangkan sendiri sesuai pesanan dan ada pendampingan desain melalui program-program pembinaan dari kampus ISI yogyakarta, salah satu programnya adalah Iptek bagi Masyarakat. Demi kelangsungan dan perkembangan usaha kerajinan kulit ini, paran perajin melakukan kerjasama dengan para ppedagang dan pecinta wayang kulit didalam dan luar negeri. Inovasi terus dilakukan mengikuti perkembangan dan tuntutan konsumen. Kata kunci: desain, kerajinan, kulit, Yogyakarta.

TEKNIK SCROLL UNTUK PEMBUATAN PRODUK INTERIOR Andono Andono; Aruman Aruman
Corak : Jurnal Seni Kriya Vol 2, No 1 (2013): MEI 2013
Publisher : Institut Seni Indonesia Yogyakarta

In the world of crafts, especially wood craft, some techniques have been known to createa work of art such as carving, lathing, scrolling, etc. Scroll technique is the work of wood craftproduction using scrolling tools such as scrollsaw, which is a saw with small ribbon powered byelectricity. The tool has the specifications of cutting perpendicular, oblique, straight, and curvedpositions. This device is usually used as a tool to make holes in the process of wood carving(krawangan), or to cut the carving edge. In addition, scroll saw is usually used to make puzzle(education props / toys), and letters.With its specifications, scrollsaw can be explored further by making it as a major tool in themanufacture of wood craft art, such as interior elements. Our preliminary research proved thatthe tool can be used as the main tool for the manufacture of wood craftsmanship products(decorative masks) that is unique and distinctive. So in this study we try scroll technique for themanufacture of some products for interior elements, such as mirrors, wall clocks, table / walllamps, and the flowerpots. The manufacturing process consists of some stages such asexplorating, designing, embodying, and evaluating. By exploring the scroll technique, planks ofwood that are cut will produce a curved piece and form a small square field. If the blades arearranged with the arrangement that is designed with a particular composition, they will bear acertain distinctive and unique motive form in their field surface. The product of the interiorelements will have distinctiveness, uniqueness, and attractiveness of their own.Scroll technique can be developed for the manufacture of art craft products because thescrollsaw is easy enough to use. Therefore, this scroll technique can be used as a new jobopportunity for people who want to be engaged in it to reduce the number of unemployedpeople. Being creative with the scroll technique can be engaged professionally or just as ahobby for works of art. Keywords: scroll techniques, craft product, interior elements

BATIK KAYU KRÈBÈT YOGYAKARTA : KAJIAN ESTETIKA DAN FUNGSI Aruman A
LITERASI: Indonesian Journal of Humanities Vol 2 No 2 (2012)
Publisher : Faculty of Humanities, Jember University

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

The development of batik art craft has expanded to diverse materials and techniques. One of them is batik applied to wood media. As applied by the batik art craftmen of Dusun Krebet, Yogyakarta. Wood-based batik art craft has been developed through exploration in traditional batik art that has been hereditarily in existence for generations. In this article, the author seeks to elaborate the structure of batik style formation on wood media and the function of the created product. The discussion is focused on the applied batik style, the patterns of style formation, their functions based on function theories.Keywords: wood batik, aesthetic, function

IMPLEMENTASI KURIKULUM 2013 DALAM MANAJEMEN PEMBELAJARAN MATA PELAJARAN PEMINATAN MIPA aruman aruman; Sudarwan Danim
Manajer Pendididikan Vol 13, No 1 (2019): Manajer Pendidikan
Publisher : UNIVERSITAS BENGKULU

Abstrak: Tujuan penelitian ini secara umum adalah untuk mendeskripsikan implementasi Kurikulum 2013 dalam manajemen pembelajaran mata pelajaran peminatan MIPA di SMA Negeri 1 Muara Pinang. Tujuan khusus dari penelitian ini adalah untuk mendeskripsikan implementasi Kurikulum 2013 pada mata pelajaran peminatan MIPA dalam : (1) perencanaan pembelajaran; (2) pelaksanaan pembelajaran; (3) penilaian pembelajaran; (4) hambatan yang dialami; dan (5) upaya yang dilakukan untuk mengatasi hambatan yang dialami. Metode penelitian ini menggunakan jenis penelitian deskriptif kualitatif. Subyek penelitiannya adalah guru kelompok mata pelajaran peminatan MIPA yang mengajar kelas X SMA Negeri 1 Muara Pinang, yakni guru mata pelajaran matematika, biologi, fisika, dan kimia. Teknik pengumpulan data yang digunakan dalam penelitian ini adalah wawancara, observasi, dan dokumentasi. Hasil penelitian menunjukkan bahwa implementasi Kurikulum 2013 dalam manajemen pembelajaran mata pelajaran peminatan MIPA menggunakan pendekatan saintifik dan penilaian autentik sesuai dengan karakteristik Kurikulum 2013, akan tetapi belum bisa diterapkan sepenuhnya. Guru masih perlu diberikan peningkatan pemahaman Kurikulum 2013 dalam pembelajaran dan pemenuhan media atau sumber belajar oleh pihak sekolah Kata Kunci: Implementasi Kurikulum 2013, Manajemen pembelajaran, Mata pelajaran peminatan MIPA

Motif Kain Tampan Lampung sebagai Dasar Penciptaan Busana Kasual Batik Anita Dewi; Supriaswoto Supriaswoto; Aruman A
Style : Journal of Fashion Design Vol 1, No 2 (2022): Style: Journal of Fashion Design
Publisher : Institut Seni Indonesia Padangpanjang

“Tappan” atau Tampan merupakan salah satu jenis kain tenun tradisional masyarakat suku Saibatin yang merupakan peninggalan nenek moyang dan sudah hampir punah, difungsikan sebagai penutup wadah dan pembungkus makanan maupun mas kawin pada upacara perkawinan adat Lampung. Penulis berinisiatif melestarikan kain Tampan agar semakin dikenal oleh masyarakat luas dan tidak membiarkannya punah dengan cara mengangkat konsep Kain Tampan Lampung menjadi motif yang diterapkan sebagai sumber ide penciptaan karya seni berupa busana kasual menggunakan teknik batik tulis. Metode pendekatan yang digunakan adalah estetika dan ergonomi, sedangkan metode penciptaan yang digunakan yakni tiga tahap enam langkah yang dikemukakan oleh SP Gustami, di antaranya eksplorasi, perancangan, dan perwujudan. Hasil karya yang tercipta berupa empat busana kasual dengan motif kain Tampan Lampung.

Perancangan Motif Batik Rumah Gadang Dalam Busana Kasual Nifha Sartika; I Made Sukanadi; Aruman A
Style : Journal of Fashion Design Vol 1, No 1 (2021): Style : Journal of Fashion Design
Publisher : Institut Seni Indonesia Padangpanjang

Rumah Gadang, known by the Minangkabau people as the Bagonjong house or the Baanjuang house, is a West Sumatran traditional house which is one of Indonesia's distinctive architectural heritages which is still being preserved. One way to preserve it is to animate it as a source of inspiration in the creation of a work of= art. The purpose of this study is to visualize the shape of Rumah Gadang into a batik motif in casual clothing. This applied research uses the method of creation ranging from observation of data in the field to the realization of the work. This creation research resulted in seven design works and three works that were realized in the form of clothing. The characteristics of the work are made different, with a typical concept of Casual clothing.

Penciptaan Motif Batik dari Legenda Pulau Kemaro pada Busana Pengantin Wanita Handayani, Mery; Sukanadi, I Made; Aruman, Aruman
Style : Journal of Fashion Design Vol 3, No 1 (2023): Style: Journal of Fashion Design
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/style.v3i1.4755

The creation of this Final Project is entitled Creation of Batik Motifs from the Legend of Kemaro Island on the Bride's Dress. The legend of Kemaro Island is an archipelago legend originating from Palembang. This legend tells of the love story of a Chinese merchant and Princess Sriwijaya who are the origins of Kemaro Island. The legend of Kemaro Island is visualized in the bride's attire. This work of clothing can be enjoyed as a whole, both in use and beauty. The making of this work aims to introduce the Legend of Kemaro Island to the public through the art of batik which is designed with wedding attire. In the creation of this final project, the author made 6 (six) designs for the bride's dress, but only 2 designs were made into ready-to-wear works, each of which has its own characteristics, the uniqueness of which makes the wedding dress created have high quality and aesthetic value. interesting

Perancangan Motif Batik Custom “Jelajah Literasi Surabaya-Bromo” Sebagai Identitas Visual Komunitas Temu Nasional Guru Penulis 2025 aruman, aruman
CILPA Vol 11 No 1 (2026): January
Publisher : Universitas Sarjanawiyata Tamansiswa

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30738/cilpa.v11i1.22105

Abstrak Penelitian ini bertujuan menganalisis dan merancang motif batik custom bertema “Jelajah Literasi Surabaya–Bromo” sebagai identitas visual komunitas Guru Penulis dalam Temu Nasional Guru Penulis (TNGP) 2025. Penelitian menggunakan pendekatan kualitatif dengan metode studi kasus. Data diperoleh melalui observasi proses desain, wawancara mendalam dengan perancang dan perwakilan komunitas, serta dokumentasi visual. Analisis dilakukan melalui reduksi data, penyajian, dan penarikan simpulan secara tematik. Hasil penelitian menunjukkan bahwa motif batik mengintegrasikan simbol geografis (Surabaya dan Bromo) dengan elemen literasi dan kepenulisan melalui proses stilisasi dan komposisi visual yang sistematis. Motif tidak hanya berfungsi sebagai ornamen tekstil, tetapi sebagai media komunikasi visual yang memperkuat identitas kolektif komunitas. Secara teoretis, penelitian ini memperluas kajian batik kontemporer dalam perspektif desain berbasis komunitas literasi. Abstract This study aims to design a custom batik motif with the theme of Surabaya–Bromo Literacy Exploration as a visual identity for the Teacher Writers community at the 2025 National Teacher Writers Meeting (TNGP). The research focuses on the motif design process, the visual elements used, and their relationship to literacy values and community identity. A qualitative approach with a case study method was applied through observation, in-depth interviews, and visual documentation. Data analysis was carried out through reduction, presentation, and drawing conclusions. The results show that the batik motif integrates the representation of Surabaya as an urban space, Bromo as a natural landscape, and symbols of literacy and writing. The creative process takes place in stages from idea exploration to implementation on batik media. The motif serves as a consistent collective visual identity throughout TNGP 2025. The conclusion confirms the success of the design conceptually, aesthetically, and socially, as well as its contribution to the development of contemporary thematic batik based on literacy and community.

PERANCANGAN MOTIF BATIK LITERASI KHAS MINANGKABAU SEBAGAI IDENTITAS VISUAL KOMUNITAS GURU PENULIS PADA EVENT TNGP DI BUKITTINGGI Aruman Aruman
Style : Journal of Fashion Design Vol 5, No 2 (2026): Style : Journal Of Fashion Desain
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/style.v5i2.31337

Perancangan ini dilatarbelakangi oleh urgensi identitas visual yang komprehensif untuk merepresentasikan spirit literasi sekaligus kearifan lokal bagi komunitas Temu Nasional Guru Penulis (TNGP) dalam perhelatannya di Bukittinggi, Sumatera Barat. Tujuan utama penciptaan ini adalah merumuskan desain batik literasi kontemporer yang menyinergikan simbolisme budaya Minangkabau dengan elemen aktivitas kepenulisan sebagai instrumen diplomasi budaya dan pengikat solidaritas komunitas. Menggunakan metode penciptaan seni deskriptif kualitatifâ€”meliputi tahap eksplorasi gagasan, improvisasi bentuk, hingga perwujudan karyaâ€”perancangan ini mendemonstrasikan bahwa transformasi motif tradisional. Ornamen Itiak Pulang Patang dan Rangkiang yang dikontekstualisasikan dengan elemen modern (pena, buku, dan angka "365") sukses membuahkan identitas visual yang distingtif. Aplikasi palet warna Marawa (hitam, merah, kuning) tidak sebatas menawarkan nilai estetika post-modern, melainkan mempertegas filosofi keteguhan budi dan keberanian kaum pendidik. Produk akhir berupa wastra fungsional ini beroperasi sebagai medium pemersatu yang merefleksikan otonomi dan kontribusi intelektual guru dalam bingkai pelestarian budaya nusantara.

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