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INDONESIA
Ornamen Jurnal Pengkajian dan Penciptaan Seni Kriya
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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PERANCANGAN JAS HUJAN DENGAN SUMBER IDE GARUDA SEBAGAI PESAN NASIONALISME Indra Mahendra
Ornamen Vol 18, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/ornamen.v18i1.3661

Abstract

ABSTRAKPerancangan Jas Hujan Dengan Sumber Ide Garuda Sebagai Pesan Nasionalisme. Latar belakang perancangan Tugas Akhir ini adalah membuat produk jas hujan dengan sumber ide Garuda sebagai pesan nasionalisme, dengan upaya melindungi pengendara sepeda motor dari hujan dengan mempertimbangkan keamanan dan kenyamanan, dengan menerapkan motif Garuda, selain untuk sentuhan estetis, juga sebagai pesan nasionalisme. Metode yang dipakai terdiri dari ; metode perancangan, konsep perancangan dan visualisasi. Motif desain menggunakan motif Garuda yang diterapkan dalam setiap desain jas hujan sebagai moitf utama dan pengisi. Pengolahan motif didukung dengan pola berjenis setelan. Dua desain jas hujan direalisasikan ke dalam kain taslan berukuran 250cm x 150cm menggunakan teknik sablon dan jahit. Hasil perancangan ini diaplikasikan sebagai jas hujan. Setelan atas berukuran 71cm x 60cm size L, sedangkan setelan bawah berukuran all size fit L. Kata kunci : Jas Hujan, Garuda, Nasionalisme. ABSTRACTRaincoat Design Using Garuda Idea as Message of Nationalism. The design background of this final project is to make raincoat products with the source of the idea of  Garuda as a message of nationalism, with an effort to protect motorbike riders from the rain by considering safety and comfort, by applying Garuda motifs, apart from aesthetic touch, as well as a message of nationalism. The method used consists of; design methods, design concepts and visualization. The design motif uses the Garuda motif which is applied in every raincoat design as the main moitf and filler. Motive processing is supported by a pattern of suit types. Two raincoat designs were made into taslan cloth measuring 250cm x 150cm using screen printing and sewing techniques. The design results are applied as a raincoat. The top setting measures 71cm x 60cm in size L, while the bottom suit is all size fit L.Keywords: Raincoat, Garuda, Nationalism.
PERANCANGAN TAS CARRIER DENGAN AKSENTUASI MOTIF TENUN SUMBA UNTUK BACKPACKER Ahmad Azhar Rohmatullah
Ornamen Vol 18, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/ornamen.v18i2.3706

Abstract

 ABSTRAKPerancangan tas carrier dan daypack dengan menggunakan motif tenun Sumba sebagai aksentuasi ini merupakan gagasan yang dapat mengakomodasi segala kebutuhan para pelaku backpacker dalam melakukan perjalanan dan juga dengan menerapkan karya motif sumba Nusa Tenggara Timur (NTT) sebagai aksen sentuhan estetsis pada produk backpack. Metode yang digunakan dalam perncangan ini yaitu metode perancangan, konsep perencanaan, dan visualisasi desain. Hasil perancangan yang dihasilkan yaitu menghasilkan tas carrier dan tas daypack  yang cocok untuk pelaku backpacker dalam melakukan perjalanan dengan pengaplikasian motif tenun Sumba dengan mengkomposisikan warna, rasa, serta visual sehingga menghasilkan tas backpack yang memberikan kenyamanan dan kemudahan bagi para pelaku backpacker di lapangan dan tidak mengesampingkan unsur keindahan, estetis maupun trend fashion dari tas itu sendiri.Kata kunci : tas carrier, daypack, backpacker, tenun Sumba   ABSTRACTThe design of carrier bags and daypacks using the Sumba woven motif as an accentuation is an idea that can accommodate all the needs of backpackers in traveling and also by applying the work of the East Nusa Tenggara (NTT) Sumba motif as an esthetic touch accent on products backpack. The methods used in this design are design methods, planning concepts, and design visualization. The resulting design results are to producebags carrier andbags daypack  that are suitable for backpackers in traveling with the application of Sumba weaving motifs by composing colors, tastes, and visuals so as to produce a backpack that provides comfort and convenience for backpackers in the field and does not rule out. elements of beauty, aesthetics and fashion trends from the bag itself. Key words : carrier bag, daypack, backpacker, Sumba weaving 
PERANCANGAN MOTIF PINSTRIPE DENGAN TEKNIK BATIK TULIS UNTUK ROMPI LADY BIKERS MOTOR KUSTOM Putri Rahmawati
Ornamen Vol 17, No 2 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/ornamen.v17i2.3690

Abstract

ABSTRAKPerancangan ini dilakukan sebagai sebuah reaksi terhadap fenomena-fenomena sosial yang terjadi dalam kehidupan masyarakat. Fenomena tersebut yaitu keberadaan kustom kulture sebagai suatu budaya dari luar negeri yang berkembang di Indonesia. Kustom kulture adalah subkultur gerakan kustomisasi kendaraan/ angkutan pribadi bermotor yaitu mobil dan sepeda motor.Batik dan kustom kulture pun mengalami persinggungan, salah satu bentuk persinggungan tersebut yakni motif batik dijadikan sumber ide untuk kostumisasi kendaraaan misalnya pada motor kustom bernama Kyai Perkoso milik Lulut Wahyudi.Perancangan ini hadir untuk mewarnai interaksi-interaksi serupa. Arahan produk sebagai rompi adalah sebuah stimulus untuk menarik atensi lebih banyak antara kustom kulture terhadap batik terutama sebagai busana. Bahan yang digunakan adalah baby canvas. Desain panel pola diterapkan sebagai teknis penyusunan motif untuk mendukung karakteristik pinstripe. Kata Kunci : pinstripe, kustom kulture, batik, rompi lady bikers  ABSTRACTPutri Rahmawati. C0914034. 2019. Pinstripe Art as an Inspiration in Making Batik Pattern for Lady Bikers Vest.The design is carried out as a reaction to the social phenomenon that occurs in society. The phenomenon of kustomkulture existence as a subcultures that roots from abroad and its interaction with batik. Kustomkulture is a subcultures which is refers to customization of private motorized vehicle. The dynamic of its movement in Indonesia has recognized by the government as a product of creative industry sector.Kustomkulture community has interaction experienced on batik. Batik as a pattern has been seen as one of their ideas for customizing a motorcycle named Kyai Perkoso by LulutWahyudi.The design is presented to colourize similar interactions between batik and kustomkulture. By taking a form of vest, the product is a expected to become a stimulant in attracting more attention of people to kustomkulture towards batik as a fashion. Baby canvas fabric is used. Panel pattern design also used for support pinstripe characteristics. Keywords : pinstripe, kustom kulture, batik, lady bikers vest
KAJIAN MOTIF BATIK PRING SEDAPUR KARYA NUNUNG WIJAYANTI DI GROBOGAN MENGGUNAKAN KONSEP PENCIPTAAN KRIYA Ririyanti Dwi Agustin
Ornamen Vol 18, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/ornamen.v18i1.3662

Abstract

ABSTRAK Batik merupakan salah satu perwujudan dari kebudayaan Indonesia yang dituangkan dalam selembar kain. Batik Grobogan merupakan salah satu ikon yang menggambarkan karakteristik Kabupaten Grobogan, hal ini terlihat dari diangkatnya  tmotif batik dengan tema tanaman hasil pertanian dan juga tempat wisata, seperti motif batik jagung, padi, pring sedapur, kedung ombo, api abadi mrapen. penelitian dengan judul “Kajian Motif Batik Pring Sedapur Karya Nunung Wijayanti Di Grobogan” bertujuan untuk mengetahui proses kreatif yang dilakukan Nunung Wijayanti meliputi proses eksplorasi, perancangan dan perwujudan motif batik pring sedapur.penelitian ini menggunakan penelitian kualitatif deskriptif. teknik analisis data menggunakan model analisis interaksi meliputi pengumpulan data, reduksi data, penyajian data, dan penarikan kesimpulan. berdassarkan hasil penelitian ini dapat disimpulkan bahwa eksplorasi yang dilakukan oleh Nunung Wijayanti berfokus pada cangkring (rumpun bambu). Motif pada batik merupakan bagian-bagian yang ada dari tumbuhan bambu, yaitu daung, dan batang. Serta motif pendamping berupa hasil bumi seperti jagung, terong, kedelai dan lainnya. Proses perancangan batik pring sedapur terbagi menjadi 2 (dua) bagian yaitu (1) proses perancangan motif pring sedapur. Konsep dari batik yang diusung oleh Nunung Wijayanti merupakan ke indaha cangkring (rumpun bambu) yang ada ditempat tinggal beliau dengan kombinasi hasil bumi yang ada disekitarnya. (2)  proses pembatikan, proses pewarnaan pada batik menggunakan zat warna sintetis remasol, proses penguncian warna menggunakan waterglass, proses menghilangkan warna (ngelorod). Motif batik pring sedapur memiliki strktur pola yang terdiri dari motif utama dan motif pendukung dengan komposisi warna sebagai unsur penting dalam proses perwujudan. Kata Kunci: Batik Grobogan, Pring Sedapur Grobogan.            ABSTRACT Batik is one of the manifestations of Indonesian culture which is manifested in a piece of cloth. Batik Grobogan is one of the icons that illustrate the characteristics of Grobogan Regency, this can be seen from the adoption of batik motifs with the theme of crops and also tourist attractions, such as batik motifs of corn, rice, pring sedapur, kedung ombo, the eternal flame of mrapen. The research entitled "The Study of Pring Sedapur Batik Motif by Nunung Wijayanti Di Grobogan" aims to determine the creative process carried out by Nunung Wijayanti including the process of exploration, design, and embodiment of the Pring Sedapur batik motif.This research uses descriptive qualitative research. Data analysis techniques using interaction analysis models include data collection, data reduction, data presentation, and concluding. Based on the results of this study, it can be concluded that the exploration carried out by Nunung Wijayanti focused on cangkring (bamboo clumps). The motifs on batik are parts of the bamboo plants, namely dating, and stems. As well as accompanying motives in the form of agricultural products such as corn, eggplant, soybeans, and others. The design process of Pring Sedapur batik is divided into 2 (two) parts, namely (1) the design process of the Pring Sedapur motif. The concept of batik that is carried by Nunung Wijayanti is the beauty of the cangkring (bamboo clumps) where he lives with a combination of the produce around him. (2) the batik process, the coloring process on batik using synthetic dye remasol, the locking process using water glass, the process of removing color (ngelorod). The Pring Sedapur batik motif has a pattern structure consisting of the main motif and the supporting motif with the color composition as an important element in the embodiment process.Keywords: Grobogan Batik, Pring Sedapur Grobogan Batik Motif.
Pengembangan Motif Batik Papua Barat Dengan Sumber Ide Burung Kasuari Alifia Ayu Pratiwi; Setyawan Setyawan
Ornamen Vol. 19 No. 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/ornamen.v19i2.4345

Abstract

The purposes of this creative process is to add a new variation of Papuan Batik which focusing on Cassowary bird as the point of interest in the pattern so that the immigrant people can get to know more about the unique fauna of Papua, Cassowary. The method used in this design process is the Colin Clipson design method, quoted by Prof. Dr. Nanang Rizali, MSD in his book which covers problem identification, design analysis, ctreative process, and in this designing process, the study of production also conducted to give  conclusion on how to improve West Papuan Batik pattern using the idea of Cassowary bird. Based on the results of survey and data analysis, 8 design was created using repeated technique. Those designs include the exploration of Cassowary as the main pattern, areca nut leaves as the supporting pattern and Asmat wood craving which give distinct contrast between Papuan Batik and Javanese Batik. The design will be realized in the form of cloth measuring 200cm x 100cm.
PERANCANGAN BATIK WONOGIREN DENGAN INSPIRASI MOTIF ISEN TATAHAN WAYANG KULIT GAYA SURAKARTA Arianto Arianto; Sarah Rum Handayani; Theresia Widyastuti
Ornamen Vol 19, No 1 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/ornamen.v19i1.3656

Abstract

The tourism of batik and shadow puppets in Wonogiri Regency is quite potential to attract local and foreign tourists. This design is an effort to preserve beauty in Wonogiri and is expected to increase the diversity of Wonogiren Batik motifs to make it more attractive. The design method is through the stages of problem analysis, problem solving strategies, data collection, data sources, testing, and initial design ideas. The design results of this final project resulted in 6 batik designs with 2 realization designs. The batik motifs are taken from 6 motifs of isen inlaid wayang kulit Surakarta style which are applied in each design as the main motif and filler. Motive processing is supported by biomorphic patterns and abstractions as topographical representations of Wonogiri district. Two batik designs are made into primisima cotton cloth measuring 200cm x 115cm using handwritten batik techniques and coloring using remasol using the dabbing technique. The results of this design are applied as clothing textiles.
Eksplorasi Tenun Tapestri Dengan Tema Kerusakan Alam Akibat Sampah Sebagai Karya Seni Instalasi Hariyatik Hariyatik
Ornamen Vol 19, No 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/ornamen.v19i2.3876

Abstract

The creation of textile art from the use of leftover fabric (patchwork) using tapestry weaving techniques as a campaign medium to invite changes in awareness and behavior in protecting the surrounding environment due to waste, on the other hand, the installation art genre can still be explored, so textile craft works may still have a need for development even though its use is not practical, considering the value of meaning and moral messages contained in the work to invite the audience to think about environmental damage due to waste. This creation uses the method of creating craft art according to Gustami, which is divided into 3 stages in the process of creating craft works, namely, first, the exploration stage includes collecting information data (field observations/observations) and extracting theoretical foundations (sources, references and visual references). Second, namely the design stage which includes pouring out ideas from the results of the first stage in a two-dimensional visual form by considering various aspects concerning the value of craft and visualization of selected alternative sketches into a detailed form of a prototype model. Third, the end of the embodiment stage, namely making it happen at the actual size along with the final completion of the work along with the packaging system and evaluation of the results of the completed embodiment.The creation of this textile craft resulted in 6 designs of tapestry weaving works, namely as follows: (1) Raising the concept of a non-realistic landscape form with the theme of natural damage due to waste as a source of ideas for visually processing tapestry woven structures combined using patchwork. (2) 3 of the 6 alternative design developments will be realized by using a patchwork material of polyester type, as well as using an earth tone reference.
TERUMBU KARANG SEBAGAI MOTIF HIAS PADA DESAIN TAS RANSEL Tri Sari; Sri Marwati
Ornamen Vol 19, No 1 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/ornamen.v19i1.3898

Abstract

Sadranan Beach is one of the beaches in the Special Region of Yogyakarta precisely in Gunung Kidul Regency. Sadranan Beach is famous for its rich coral reefs on its coastline. The beauty of the coral reefs found in Sadranan Beach is not found on other beaches because of the beauty of the coral reefs. However, many fishermen deliberately hunt coral reefs and are used as raw materials for buildings, ornaments, and retrieval of coral animals that use gathul which results in damage to coral reefs. Based on the above events the author is interested in creating a backpack design work with the use of coral reefs as ornamental motifs. The design of the backpack in the Final Task includes four stages of the process of designing and manufacturing a product as well as three stages and six steps of workmanship. The four stages are the feasibility study stage of the design project, the process stage of analysis of aspects of design and design concept, the stage of the process of drafting and making a plan, and the manufacturing process stage. The three stages and six steps of the work, namely the exploration stage, the planning stage and the embodiment stage. The process and results of the design work of this Final Task has three achievements, the first is to be able to design decorative motif designs from coral reefs. The second achievement is being able to design a backpack with ornamental coral reef motifs. The third achievement is to be able to realize the prototype of a backpack with ornamental motifs of coral reefs. The result of this backpack design work is in the form of 4 (four) backpack designs and two (two) prototype backpacks with coral reef decorative motifs. In 4 (four) designs it has the names montipora, acropora, acropoda, and sidesratra.
Kajian Kostum Solo Batik Carnival 2019 dengan Pendekatan Antropologi Seni Nurul Fajar Setiyono; Setyawan Setyawan
Ornamen Vol 19, No 1 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/ornamen.v19i1.3905

Abstract

This research aims to find out how Solo Batik Carnival performance viewed from an anthropological perspective. Therefore, it can be a reflection for the parties involved in the art performance in terms of the design contained in the batik clothing, the materials used, and describe the performance used in batik clothing. This research was conducted in Surakarta City, especially in the preparation, implementation, and post-implementation of Batik Solo Carnival (SBC) in 2019. The data source is primary data. It is from randomly selected informants in concarnival activities and secondary from supporting documents and journals. The methods of data collection is using method of observation, In Depth Interview, and documentation. The data analysis technique used in this study is interactive data analysis with a qualitative approach from theory of art anthropology. adventure Timor Leste, Vietnam Timeless Charm, Kingdom of Wonder Cambodia, Wonderfull Indonesia, Uniquely Singapore, Malaysia Truly Asia, Kay Ganda Philippines, Simply Beautiful Laos, and The Green Heart of Brunei. It is based on various types of costumes displayed from various countries, and then analyzed based on the design, batik materials and performance in appearance. impression of splendor, luxury, glamor, and festivity. (2) Batik material is a heritage has undergone extraordinary sophistication. It is especially for Javanese batik has the richest decorative patterns, the most developed coloring techniques, and the most perfect manufacturing techniques compared to batik from other regions (3) The performance of the 2019 Solo Batik Carnival is not only as a festive carnival event but also as a tool in introducing the culture of each ASEAN country.
Perancangan Busana Pesta Anak Perempuan Usia 8 – 10 Tahun Menggunakan Teknik Canadian Smock Abdullah Rosidin; Sarah Rum Handayani
Ornamen Vol 19, No 2 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/ornamen.v19i2.3900

Abstract

The design background of this work is to create design innovations by applying the canadian smock technique which is applied to girls' party clothes. This design is also intended to make the millennial generation re-recognize smock as a part of the craft art which is now rarely encountered, especially in Indonesia. In addition, this design will produce a product that is different from other party clothing products, by prioritizing aesthetic elements in children's party clothing.

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