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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

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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

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.

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