Jurnal Rupa
JURNAL RUPA is a peer-reviewed academic journal to provide a platform for an interdisciplinary forum in the area of visual arts. This journal welcomes submissions from artists, makers, designers, researchers, historians, and other writers in the field of visual arts. This journal is published two times a year by Telkom University.
Articles
122 Documents
<![CDATA[Analisis Gaya Busana Kerja Muslimah, Studi Kasus: Pekerjaan Sektor Formal di Kota Jakarta ]]>
<![CDATA[Pingki Adrianti]]>
<![CDATA[ JURNAL RUPA Vol 2 No 1 (2017): Open Issue ]]>
Publisher : <![CDATA[Telkom University ]]>
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DOI: 10.25124/rupa.v2i1.755
<![CDATA[The dynamics of modern urban life required society to communicate and deliver the ideas properly. Through Fashion Communication, one could deliver many ideas to others, nice outfit with proper appearance tend to make someone more trustworthy, respected, and accepted by society. Today many female Moslem (Muslimah) workers in Capital City of Jakarta, Indonesia, presenting their Moslem identity at their work place by wearing hijab (scarfs) in fashionable way as the trend of “Hijaber Community†(initiated by Dian Pelangi and friends) become booming in the last five years. The trend comes together with an increase of female employees (Moslem and non-Moslem) in a number of formal sector areas in Indonesia (ILO-Asian Decent Work Decade: Indonesia, 2006-2015). This paper aims to identify Modern Style of Muslimah Work Clothing which popular today in Jakarta, the analysis based on user preferences. Method of this research is quantitative-descriptive by distributing questionnaires to some respondents (users) of Muslimah workers in formal sector employments. Results of this analysis indicate three aspects: Fashion Style, Visual Aesthetic, and Consumer Behaviour. The fashion style of modern Muslimah work clothing is Semi formal type with Feminine-Casual characteristic. The visual aesthetic aspects are (1) Colors: Dark and soft colors; (2) Texture: Geometric pattern and Sulur. Consumer behavior of respodents is normal with economical consideration in group of Early Majority and Early Adopter.]]>
<![CDATA[Pengaruh Aspek Etnisitas pada Corporate Identity Batik Komar : Studi Kasus Interior Showroom ]]>
<![CDATA[Vidya Kharishma]]>
<![CDATA[ JURNAL RUPA Vol 1 No 2 (2016): Open Issue ]]>
Publisher : <![CDATA[Telkom University ]]>
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DOI: 10.25124/rupa.v1i2.738
<![CDATA[Ethnicity is an important aspect that influences the design concept of batik showroom in Indonesia. Element of ethnic in batik showroom is intended to increasing consumer knowledge of company's culture as well as providing strong image of the company (Corporate Identity). As a result, it will increase consumer willingness to buy the products and also merge the consumers and the company since they have the same interest in the culture. Corporate identity in batik showroom has a strong correlation with consumer behavior. The methods to observe its effect on the interior design were the psychology and cultural approaches. Consumer behaviour were observed and it is concluded that the influence of intangible and tangible of Javanese cultures really exist. The results display that ethnicity can affect all elements of interior design in batik showroom to introduce the corporate identity.]]>
<![CDATA[Penerapan Metode Reduksi pada Penciptaan Karya Seni Grafis Cetak Tinggi Cukil Kayu Chiaroscuro ]]>
<![CDATA[Mochammad Sigit Ramadhan]]>
<![CDATA[ JURNAL RUPA Vol 3 No 1 (2018): Open Issue ]]>
Publisher : <![CDATA[Telkom University ]]>
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DOI: 10.25124/rupa.v3i1.1330
<![CDATA[Chiaroscuro dikenal sebagai salah satu prinsip pencahayaan dalam dunia seni rupa yang mulai berkembang pada masa Renaissance di abad ke-15 yang sangat mempertimbangkan gelap-terang jatuhan cahaya pada suatu objek untuk diaplikasikan pada karyanya. Old Master seperti Caravaggio, Leonardo da Vinci, dan Rembrandt van Rijn merupakan beberapa nama yang menerapkan prinsip ini pada lukisannya. Dalam sejarah perkembangannya, prinsip chiaroscuro ini diaplikasikan juga dalam seni cetak grafis oleh Caravaggio dan beberapa seniman lain yang berasal dari Jerman dan Italia. Selain metode multi-block yang umum digunakan untuk menghasilkan karya grafis berwarna, metode reduksi memiliki potensi untuk menghasilkan visual chiaroscuro pada karya seni grafis cetak tinggi cukil kayu salah satunya dikarenakan adanya relevansi antara penggunaan tingkatan kecerahan (nilai) warna pada karya chiaroscuro yang dapat dibuat dengan tingkatan lapisan cetak pada metode reduksi. Metode reduksi memungkinkan seniman untuk menghasilkan sejumlah tingkatan nilai warna yang berbeda dengan mengacu pada lapisan cahaya yang jatuh pada suatu objek sehingga kesan volume dan kedalaman yang dibuat pada karya seni grafis tersebut akan lebih terlihat. Pada penelitian ini penulis melakukan analisa prinsip pencahayaan chiaroscuro untuk kemudian diaplikasikan pada karya seni grafis cukil kayu dengan menggunakan metode reduksi. Sehingga pada akhirnya akan menghasilkan data analisis aspek teknis serta visual dari metode reduksi yang digunakan pada proses pembuatan karya seni grafis yang dapat menjadi bahan materi pengembangan dan eksplorasi karya maupun materi pembelajaran untuk disampaikan pada khalayak.]]>
<![CDATA[Ketidakadilan Gender Dalam Kehidupan Perempuan Tionghoa di Kota Medan ]]>
<![CDATA[Rudiansyah .]]>
<![CDATA[ JURNAL RUPA Vol 2 No 2 (2017): Open Issue ]]>
Publisher : <![CDATA[Telkom University ]]>
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DOI: 10.25124/rupa.v2i2.1218
<![CDATA[Research of gender study Tionghoa in Medan city commenced from basic question whether or not the life of Tionghoa society in Medan city in all aspects (social, culture, economy and politic) are based on impartial gender principle. Qualitative, quantitative, observation, indepth interview, questionare methods and library research are applied to study the above case. The result shows that the live Tionghoa society in Medan city is still influenced by traditional values, culture and life orientation that lead to gender inequality. These values appear from patrilineal kinship system: women social status with man sub-ordinate, women activities are more in domestic structure and their productive activities are limited to home anvironment (stall, shop, service, home industry).]]>
<![CDATA[Ulos Ragi Hotang dalam Perubahan (Potret Evolusi Kebudayaan Batak Toba) ]]>
<![CDATA[Marissa Cory Agustina Siagian]]>
<![CDATA[ JURNAL RUPA Vol 1 No 2 (2016): Open Issue ]]>
Publisher : <![CDATA[Telkom University ]]>
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DOI: 10.25124/rupa.v1i2.743
<![CDATA[Ulos is Batak oldest cultural implementation in fabric, and mostly located in North Sumatra. In the life of Batak culture, Ulos fabric roled an important part in almost every daily activities of the community. Nowdays there is no longer Ulos fabric that woven with traditional looms, but replaced by modern looms were chosen as an alternative means of production by the weavers. Changes in the means of production used consequently has shaped Ulos generated design. Despite the shift, Ulos Ragi Hotang until today still used in traditional ceremonies as Ulos Hela, given by parents to their children. This research will parse the cultural effects that occur after the shift along with changes Ulos Ragi Hotang. This study used qualitative methods based on interpretative analysis results of visual culture through observation and interviews with a number of sources.]]>
<![CDATA[Batik Motif Parang Dari Court Art Menuju Global Trend ]]>
<![CDATA[Rizki Kurniawan]]>
<![CDATA[ JURNAL RUPA Vol 1 No 1 (2016): Open Issue ]]>
Publisher : <![CDATA[Telkom University ]]>
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DOI: 10.25124/rupa.v1i1.734
<![CDATA[Like other cultures, batik has undergone many developments and changes. Batik Parang in particular has experienced it many times in different periods with a very long time span. From this period, we can see that batik parang have also experienced some ups and downs conditions, which not only caused by outside influences, but also can be caused by various influences from within his own culture. In a due process of change will produce a wide range of output that inevitably will influence directly a form of culture. These conditions also experienced by batik, especially batik parang in the process of developing and adapting to changes. As in batik parang, which evolved from court art, must be degraded into folk art. Batik in order to survive as a cultural form, should be able to adapt changes and sacrificed by decreasing its symbolic meanings to continued its existence in the future.]]>
<![CDATA[Aspek Komunikasi Visual pada Ruang Hunian Vertikal di Jakarta ]]>
<![CDATA[Atria Nuraini Fadilla]]>
<![CDATA[ JURNAL RUPA Vol 3 No 1 (2018): Open Issue ]]>
Publisher : <![CDATA[Telkom University ]]>
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DOI: 10.25124/rupa.v3i1.1200
<![CDATA[The title of this research is "Social Media Strategy on Clean Air Campaign (Visual Communication Approach Strategy on Vertical Housing in Jakarta)". The methodology used in this research was by using campaign theory with focus on strategic communication approach. Data collection method is using purposive sampling technique subject for in-depth interview. Based on the in depth interview survey conducted on seven informants using purposive sampling technique, it can be concluded that there are different opinion about clean air campaign using window farming method among apartment residents and flat residents in the area of initial knowledge, source of knowledge, social media and its socialization intensity, and image / text dominance in campaign content. Keywords: Social Media, Window Farming, Campaign, Apartments, Flats]]>
<![CDATA[Eksplorasi Serat Nanas dengan Aplikasi Sulam Sashiko ]]>
<![CDATA[Nabila Fasza]]>
<![CDATA[ JURNAL RUPA Vol 1 No 2 (2016): Open Issue ]]>
Publisher : <![CDATA[Telkom University ]]>
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DOI: 10.25124/rupa.v1i2.739
<![CDATA[Indonesia is a tropical country that has wide variety of flora and fauna. Various kind of plants are used for many needs. Fiber is an important crop that can be used by human after food crops. Beside the fruit is harvested for consumption, pineapple plant left a lot of leaf waste because after two to three harvest time, the old plant will be replace with new plants. This research aims to exploit pineapple fiber as an alternative raw material for textile by applying Sashiko embroidery on the exploration results of pineapple fiber. Design development is done with pineapple fibers exploration by using mango leaves as natural dye and Sashiko embroidery as their surface design. Sashiko embroidery created ornaments that can be used as an aesthetic element in the field of fabric. Sashiko embroidery application on the exploration of pineapple fiber is expected to raise the aesthetic value of order and pineapple fiber with a new structure that is intended for fesyen products.]]>
<![CDATA[Perancangan Batik di Sekolah Menengah Kejuruan ]]>
<![CDATA[Sari Yuningsih]]>
<![CDATA[ JURNAL RUPA Vol 3 No 1 (2018): Open Issue ]]>
Publisher : <![CDATA[Telkom University ]]>
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DOI: 10.25124/rupa.v3i1.1324
<![CDATA[Batik has been known as a cultural heritage as an oral and non-artistic culture typical of Indonesia. The recognition of batik as one of the cultural heritage faces a challenge that is how the effort of preservation and regeneration of batik in the future. Batik preservation is not just applying batik in daily activities, but it needs conservation in the context of science and skills. In order to preserve Vocational High School (SMK) is the right tool in regenerating batik as insight, knowledge and skill. For that need special attention to continue to foster vocational school in order to continue to exist in the competition. This study contains descriptive description of vocational school of textile craft that holds batik subjects as a form of batik preservation in the world of formal education. Writing method in this study using literature study, observation, interview and documentation at one school in Bandung. With this exposure is expected to provide an overview of the implementation of batik subjects and can be used as a reference in the study of batik development in vocational school.]]>
<![CDATA[Membedah Karya Erica Hestuwahyuni Melalui Studi Bahasa Rupa ]]>
<![CDATA[Kurniawati Gautama]]>
<![CDATA[ JURNAL RUPA Vol 2 No 2 (2017): Open Issue ]]>
Publisher : <![CDATA[Telkom University ]]>
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DOI: 10.25124/rupa.v2i2.1006
<![CDATA[Bahasa Rupa (picture-writing) is an invention of Prof.Dr. Primadi Tabrani to analize the specific character of Eastern tradition which is different from Western. It is a visual communication study in modern and traditional picture-writing system. The modern (western) bahasa rupa uses ‘close up’ format which recognized universally, whereas the traditional (eastern) system such as the relief of Borobudur Temple, Wayang Beber (scroll-painted picture presentations), Balinesse Painting, have specific drawing technique. This essay, will analize an Indonesian and international recognized female painter, Erica Hestuwahyuni, whose artworks show childlike character. As introduction this essay will elaborate the differences between painting and drawing, also Bahasa Rupa theory and character of children drawings.]]>
