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Ornamen Jurnal Pengkajian dan Penciptaan Seni Kriya

ornamen
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Published by Institut Seni Indonesia Surakarta

ISSN : 16937724 EISSN : 2685614X DOI : 10.33153

Core Subject : Humanities, Art,

Arts Humanities

Art craft journal contains scientific articles on the results of research on the art of craft and the creation of craft art within the scope of Indonesian culture. The substance presented is in the form of a mission to preserve the cultural values of the archipelago as well as the development of concepts and aesthetics, along with the development of the complexity and dynamics of people's lives. The critical approach method in an interdisciplinary scientific perspective can open the widest possible opportunity for scholars, researchers, and stakeholders to work together in advancing a dignified national culture in the midst of global competition. ORNAMENTS art craft journals are published twice a year.

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Articles 242 Documents

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FOTOGRAFI EKSPRESI : â€œ BERMAIN DI KEBUN IMAJINER â€œ Purwastya Pratmajaya Adi Lukistyawan
Ornamen Vol 12, No 1 (2015)
Publisher : Institut Seni Indonesia Surakarta

Fotografi pada umumnya sebagai alat untuk dokumentasi sebuah peristiwa atau kejadian. Seiring dengankemajuan teknologi dan perkembangan ide kreatif manusia, maka fotografi dikelola untuk membuat hasilpemotretan yang lebih unik dan berbeda. Fotografi dirancang dengan konsep tertentu, diproses dandihadirkan sebagai luahan ekspresi artistik pemotretnya, maka karya tersebut menjadi sebuah karyafotografi ekspresi.Fotografi ekspresi dengan tema anak-anak adalah sebuah penciptaan karya fotografi sebagai ungkapanekspresi pribadi penulis dalam merespon imajinasi anak-anak bermain yaitu dalam bermain peran.Belandaskan ide kreatif, penulis akan mengekplorasi imajinasi anak-anak bermain,yang selanjutnyadikonsep, diproses dan dihadirkan sebagai luahan ekspresi penulis.Dalam Karya foto ini, anak-anak bermain peran. Bermain peran adalah aktivitas bermain anak-anak dalammewujudkan khayalannya dengan menggunakan berbagai topeng mainan. Hal ini akan dikelola dengandaya imajinasi produksi penulis, untuk mewujudkan karya fotografi yang mempunyai kesan khayal(imajiner). Perwujudan karya ini dilakukan dengan teknik montase, untuk mengkonfigurasi elemen utamayaitu anak bermain peran dengan elemen pendukung yaitu benda-benda yang menjadi sebuah kebunimajiner.Selain mempunyai kesan khayal, karya ini juga menampilkan sebuah foto yang artistik dan gaya visual yangberbeda dari foto yang sudah ada dengan tema anak-anak.Kata Kunci: Fotografi Ekpresi, Bermain Peran, Kebun Imajiner.

Aspek Jiwa Tempat Sebagai Landasan Revitalisasi Kawasan (Studi Kasus: Perencanaan Perbelanjaan Kaki Lima di Kawasan Taman Sari Salatiga) Harmilyanti Sulistyani
Ornamen Vol 3, No 2 (2006)
Publisher : Institut Seni Indonesia Surakarta

Revitalisation is effort that reanimates an area. In case of Taman Sari area in Salatiga, revitalises done through change of function according to street vendor shopping centre with basic planning the spirit of place. Spirit of place (Genius Loci) is soul from place, representing Roman concept in effort to find the history root, cultural, and also character of place. To dig the spirit of place from non physical face (activity) can be done by using superimposes map, earn through history stemming explorations from literature and informant. Data result by verbal explorations must be accompanied with authentic data in map and photo form. The problem is realizing the street vendor shopping centre planning area with basis spirit of place to returning the area that be able to generator of commerce and recreation area. There are 3 problems lifted. First problem is appropriate revitalises area as same as the early function as town garden (open public space) by considering the spirit of place. The target is to increase area performance that representing commerce node in town. Second, revitalises in Taman Sari use street vendor shopping centre concept equipped by the supporter facility and area element that under colour by spirit of place. Third, place for street vendor and public space with basic spirit of place, processing the street furniture, skyline, the situation, colour element, and the green belt.Keyword: Revitalisation, Spirit of Place, Street Vendor Shopping Centre

Visualisasi Teknik Kolase Dalam Fotografi Ekspresi "Gurat Karat" Ketut Gura Arta Laras
Ornamen Vol 7, No 2 (2010)
Publisher : Institut Seni Indonesia Surakarta

The selection of photography work object wes not elways inthe beautiful shape. The uniqueness of an object could become its ownattraction end inspiration in creating the photogrephy work. The expres~sion of the composition and vlsuelizetion in a work art became the char~acteristlc of the artist himself.Gural Kerat was a concept of pt1otogrephy work ert which ex~plored the shepe, texture and color of the rust of mete!, especleily inthe rust of iron. We could explore the simple items in our surroundngwhich were not longer used and a/reedy broken. The iron which wasrusted hed its own uniqueness and attraction to obseNe. The chengeof the characteristic and the shape was vety contrast. Before beingrusted, the surface of the iron would be smooth, but after being rusted,the surface would be rough and the color would chenge. It wes a resultof rusting process of the iron itself. The phenomenon eventually stimu~lated the researcher to teke the rust theme of the iron es an object inthis photography work art creation.In arranging this photography work, the researcher used es-thetictheory of Monroe Beardsley which listed three basic estheticcharacteristics as follow: unity, intensity end complexity.The visual work in 3D display created the imege of space anddimension in this work. Colese technique was used in creating this workby combining 2D photography work and the object in the original itemin the photography work itself, or using the construction which was suit~able with the stuck object which was adjusted with the weight of thatobject. In e displey, this work was not only enjoyed by the sense of sightbut also the sanse of touch since the texture in this work art could betouch.Keywords : Expressie Pl1otogrephy, Rust, and Collage

KERIS KAMARDIKAN Kuntadi Wasi Darmojo
Ornamen Vol 11, No 2 (2014)
Publisher : Institut Seni Indonesia Surakarta

Kamardikan keris, historically is a continuation of previous tangguh keris and part of the ancient relics in theform of material culture. As a material culture, Kamardikan keris has the form (dhapur), technique andfunction with its own characteristics and uniqueness. Kamardikan keris has a variety of dhapur among others:dhapur tangguh (classic-conventional) and dhapur creations (contemporary). Creativity arises due to internalfactors (personal) of self Kamardikan kris artists, and externally influenced by the surrounding environment.Individually, they act as creators and communicators who then receive a response from community supporters.As the indicator support is the emergence of a variety of organizations and educational institutions kerislovers of art which is the agent of the keris activity. Keris has an important position in the cultural traditions ofthe people of Java, but as a sign and symbol (meaning), which in the past was considered as the legitimateroyal power, now turned into a branding of existence and social status of person.Keywords: keris, kamardikan, creativity

Tosan Aji Sebagai Matakuliah Pilihan dan Kemungkinan Perkembangannya dalam Jaringan Profesi Kriya Bagyo Suharyono
Ornamen Vol 3, No 1 (2006)
Publisher : Institut Seni Indonesia Surakarta

Tosan Aji is type of metal handicraft that uses to make Indonesia custom weapon, example creese, sword, the spear stiletto knife, dagger, rencong (Acehnese dagger, mandau, kudi,, kujang, cleaver, chopping knife, and the other custom weapon. Characteristic Tosan Aji is the making process of pamor which found on blade of weapon. The meaning of Tosan Aji is valuable iron and respected or even sacred. The past society very respects with custom weapon specially creese and assume it will bring magic powerKeyword: Tosan Aji, pamor, blade

Estetika : Antara Desain, Teknologi Dan Arsitektur Tri Prasetyo Utomo
Ornamen Vol 5, No 2 (2008)
Publisher : Institut Seni Indonesia Surakarta

Aesthetic experience just is experience of a workâ€™s aesthetic properties and formal relations. But this leads into problems concerning the attribution of aesthetic properties and whether we detect them or they are merely projected. Carroll suggests that the mere fact that we disagree about the attribution of aesthetic properties gives us at least some minimal reason to presume that aesthetic properties are objective. Our response to art is unique and not precisely intellectual, beauty and perfection that we find in works of art do not consist of concepts but sense impressions. Some aesthetic effects available in design, technology and architectural include tonal variation, juxtaposition, repetition, field effects, symmetry/asymmetry, perceived mass, subliminal structure, linear dynamics, tension and repose, pattern, contrast, perspective, 3 dimensionality, movement, rhythm, unity and proportion.key word : aesthetic, design, technology, architecture.

REINTERPRETASI SIMBOL BATIK DEMAK afrizal afrizal
Ornamen Vol 15, No 1 (2018)
Publisher : Institut Seni Indonesia Surakarta

ABSTRAK Artikel ini ingin menginterpretasi kembali simbol batik Demak yang menurut sejarahnya telah hilang selama ratusan tahun. Demak sebagai sebuah kerajaan Islam pertama, disamping pusat kebudayaan Jawa yang Islami, tentulah pada masanya menjadi kiblat budaya dengan berbagai hasil kebudayaan. Salah satu hasil budaya yang ada di Demak yaitu batik. Konteks penelitian ini memandang batik Demak sebagai sebuah bentuk budaya (cultural form), yakni artifak yang berisikan wacana representasi diri yang dikerangkai aspek ideografis penggagasnya dan budaya yang melahirkannya. Wacana ini tercermin melalui bentuk atau sosok obyek tersebut serta makna yang tersirat.Batik Demak yang dianggap merupakan warisan budaya yang ada di Demak sejak ratusan tahun silam. Seiring perkembangan jaman batik Demak pernah menghilang karena tergerus oleh jaman.Yang kemudian pada tahun 2006 batik Demak dimunculkan kembali. Hal tersebut pastilah memotong tali sejarah tentang makna dan fungsi batik Demak pada jaman dahulu. Kecenderungan kini, batik Demak hadir saat masing-masing daerah di wilayah Indonesia, khususnya Jawa Tengah sedang menggalakkan batik dengan motif khas daerah. Sehingga reinterpretasi simbol yang muncul adalah sebagai strategi branding atau pencitraan sebuah daerah. Pemaknaan simbol batik tidak benar-benar merepresentasikan pola kehidupan masyarakat Demak seperti yang terwujud dalam lima motif khas Demak.Kata kunci : Batik Demak, Reinterpretasi, SimbolABSTRACTThis article reinterprets the symbol of Demak batik which has historically been lost for hundreds of years. Demak, as the first Islamic empire, besides the center of Islamic Javanese culture, certainly at its time became a cultural mecca with various cultural results. One of the cultural results in Demak is batik. The context of this study views Demak batik as a cultural form, namely an artifact containing the discourse of self-representation strung together with the ideographic aspects of the initiator and the culture that gave birth to it. This discourse is reflected through the shape or figure of the object and the implicit meaning. Batik Demak which is considered as a cultural heritage in Demak since hundreds of years ago. Along with the development of the era of batik Demak never disappeared because it was eroded by the times. Then in 2006 Demak batik was reappeared. This must have cut the history of the meaning and function of Demak batik in ancient times. Current trends, Demak batik is present when each region in the Indonesian region, especially Central Java, is promoting batik with regional motifs. So that the reinterpretation of symbols that emerge is as a branding strategy or imaging of an area. The meaning of the batik symbol does not really represent the pattern of life of the Demak people as manifested in the five typical Demak motifs.Keywords: Batik Demak, Reinterprets, symbol

BATIK TULIS KONTEMPORER DI DESA KLIWONAN, KECAMATAN MASARAN, KABUPATEN SRAGEN Lilia Puji Cahyaningrum
Ornamen Vol 15, No 1 (2018)
Publisher : Institut Seni Indonesia Surakarta

ABSTRAKJudul penelitian adalah â€œBatik Tulis Kontemporer di Desa Kliwonan, Kecamatan Masaran, Kabupaten Sragen.â€ Penelitian ini bertujuan untuk mendeskripsikan: (1) Konsep perancangan batik tulis kontemporer yang meliputi bahan, fungsi, dan teknik pelaksanaan; dan (2) Bagaimana upaya pengembangan batik tulis kontemporer di desa Kliwonan. Pendekatan yang digunakan berdasarkan pendapat Nanang Rizali mengenai aspek-aspek yang dipertimbangkan dalam merancang tekstil, meliputi: bahan, fungsi, teknik pelaksanaan, dan daya tarik. Strategi Penelitian yang diterapkan cenderung bersifat dekskriptif dengan sampling bersifat purposive sampling. Data yang dikumpulkan bersifat kualitatif dan digunakan berdasarkan informasi dari berbagai narasumber, dokumen, peristiwa dan karya batik. Berbagai teknik pengumpulan data digunakan termasuk wawancara, observasi, dan mengkaji dokumen. Validitas data yang digunakan ialah teknik triangulasi sumber data. Teknik analisis data dalam penelitian ini menggunakan model analisis interaktif. Hasil penelitian adalah sebagai berikut: Batik tulis kontemporer yang diproduksi di daerah Kliwonan didorong oleh masyarakat serta permintaan pasar. Batik sebagai mata pencaharian sambilan yang dianggap menjadi salah satu sandaran hidup bagi sebagian masyarakat Kliwonan dirasa harus diperbaiki dari berbagai aspek demi kelangsungan eksistensi batik tulis di Kliwonan. Konsep perancangan batik tulis kontemporer Kliwonan terdiri dari beberapa aspek, yaitu: bahan, kegunaan, dan teknik pelaksanaan yang selalu dikembangkan agar mendapat kebaruan. Upaya mengembangkan batik tulis kontemporer dilakukan oleh pihak internal maupun eksternal. Pihak perusahaan/internal dalam berupaya mengembangkan produk adalah menentukan kualitas dalam material, tenaga ahli, engineering design, dan daya tarik. Upaya eksternal adanya dukungan dari Pemerintah Kabupaten Sragen.Kata Kunci: Batik Tulis, Kliwonan, Sragen ABSTRACT Research title is â€œWritten (hand drawn) Batik Contemporary in the Village Kliwonan of Sragen Regency.â€ This research aimed to describe: (1) The concept of write batik contemporary design which includes materials, functionality and implementation techniques; and (2) How does the development efforts of written batik contemporary in the village Kliwonan. The approach used by Nanang Rizali opinion regarding aspects to be considered in designing textile covers, material, function, implementation techniques, and appeal. The strategy applied research tends to be descriptive with sampling is purposive sampling. Data collected was qualitative and used information from various informants, document, events and batik work. Various data collection techniques used includes interviews, observation, and reviewing documents. The validity of the data used triangulation technique is that triangulation of data sources. Data analysis techniques in this research were using an interactive model. The results of the study are as follows: Written Batik contemporary produced in the region Kliwonan is driven by the community and the market demand. Batik as livelihood sideline which is considered to be one of the rests of life for some people Kliwonan felt should be improved from various aspects for the sake of the continued existence of batik in Kliwonan. The design concept of written batik contemporary Kliwonan consists of several aspects such as materials, usability, and implementation techniques are always being developed in order to get novelty. Efforts to develop of write batik contemporary conducted by internal and external parties. The company / internal strives to develop products is to determine the quality of the material, experts, engineering design, and appeal. External support the efforts of the Government of Sragen.Keywords: Written Batik, Kliwonan, Sragen

PEMANFAATAN GAMBAR WAYANG BEBER PADA PRODUK KREATIF GUNA MENINGKATKAN KECINTAAN MASYARAKAT TERHADAP PRODUK DAN BUDAYA LOKAL bening tri suwasono; Asto Adi Sugiharjanto
Ornamen Vol 15, No 1 (2018)
Publisher : Institut Seni Indonesia Surakarta

ABSTRAKWayang beber adalah produk budaya asli Nusantara yang berasal dari Jawa, namun keberadaannya saat ini kurang mendapat tempat di hati masyarakat , oleh karena itu perlu adanya upaya untuk mempopulerkan kembali wayang beber, yaitu dengan memanfaatkan gambar wayang beber yang di aplikasikan pada produk-produk kreatif seperti t-shirt, tote bag, dan sepatu. Tujuan jangka panjang penelitian ini adalah menumbuhkan serta meningkatkan kecintaan masyarakat terhadap produk kreatif lokal dan budaya lokal (wayang beber). Sedangkan target khusus yang ingin dicapai yaitu mempopulerkan kembali gambar wayang beber dengan cara mengaplikasikannya pada produk kreatif berupa t-shirt, tote bag, dan sepatu. Metode yang digunakan untuk mencapai target tersebut adalah dengan menggunakan metode penelitian kualitatif diskriptif, gambar-gambar wayang beber sebagai obyek kajiannya, lewat studi pustaka, observasi serta wawancara, gambar-gambar tersebut dipelajari, diamati dan diolah sedemikian rupa lalu di aplikasikan pada produk-produk kreatif tersebut di atas dengan teknik lukis, sablon, dan digital printing. Dengan menambahkan elemen hias berupa wayang beber pada produk kreatif tersebut diharapkan menambah nilai jual produk tersebut, juga akan memberikan pengetahuan kepada masyarakat bahwa kita sebenarnya memiliki budaya asli yang unik dan tidak kalah dengan budaya bangsa lain, dan juga mendorong masyarakat untuk mencintai produk dan budaya lokal sendiri.Kata kunci: Gambar wayang beber, produk kreatif, budaya lokal.Â ABSTRACTAn abstranct is a brief summary of a research article, thesis, review, conference proceeding or any-depth analysis of a particular subject or disipline, and is often used to help the reader quickly ascertain the paper purposes. When used, an abstract always appears at the beginning of a manuscript or typescript, acting as the point-of-entry for any given academic paper or patent application. Absatrcting and indexing services for various academic discipline are aimed at compiling a body of literature for that particular subject. Abstract length varies by discipline and publisher requirements. Abstracts are typically sectioned logically as an overview of what appears in the paper.Keywords: content,Â formatting,Â article.

PEMANFAATAN SISA PRODUKSI RECOVER JOK MOBIL SEBAGAI MATERIAL DALAM PERANCANGAN TAS UNTUK WANITA DEWASA Mei Renawati
Ornamen Vol 15, No 1 (2018)
Publisher : Institut Seni Indonesia Surakarta

ABSTRAKPermasalahan dalam perancangan ini bagaimana merancang produk tas wanita dewasa dengan memanfaatkan sisa produksi recover jok mobil. Permasalahan tersebut terutama teknik yang dapat diolah agar tercipta visual yang menarik, mengingat material yang digunakan berukuran tidak besar. Tujuan penggarapan proyek ini penting, mengingat kurangnya upaya pemanfaatan sisa produksi recover jok berupa kulit imitasi yang masih dapat dijadikan produk yang memiliki nilai guna dan ekonomis. Perancangan ini menghasilkan produk tekstil berupa tas untuk wanita dewasa dengan teknik tekstil anyaman. Anyaman yang digunakan berupa anyaman turunan dengan olah motif sendiri. Proyek perancangan ini diharapkan menghasilkan produk tas wanita yang unik, menarik, serta sesuai untuk wanita dewasa. Metode penciptaan yang digunakan, yaitu: pertama mencari data visual tentang pengembangan produk dari sisa produksi recover jok mobil. Kedua, mencari data dari literatur dan research sebelumnya memperkuat proses di atas, maka dilakukan pengumpulan data, baik data pustaka maupun visual dan studi proses produksi.Kata Kunci : tas wanita, anyamanÂ ABSTRACTThe problem of the design is how to design womenâ€™s bag utilizing the remainder of car seat recover production. The problem concerns on how to create visually attractive design considering the size of the material which is not adequate. The crucial thing in this project is the lack of effort in using the remainder of recovers car seat production in the form of imitation leather which still has economical value. The design produces textile product such as women bag which is made using plaiting technique. The webbing technique used is in the form of derivatives webbing using the designerâ€™s pattern. This project is expected to produce an attractive unique appropriate handbag for women. The method of creation used was finding visual data on the product development of the remainder of the car seat production. The next method was finding data from the literature and the previous research. The process of the research was data collecting (library research and visual data) and study of production.Keywords : woman bag, woven

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