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
128 Documents
<![CDATA[Elemen Budaya Melayu pada Rumah Tjong A Fie di Medan ]]>
<![CDATA[Rudiansyah .]]>
<![CDATA[ JURNAL RUPA Vol 4 No 2 (2019): Open Issue ]]>
Publisher : <![CDATA[Telkom University ]]>
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DOI: 10.25124/rupa.v4i2.1433
<![CDATA[‘The elements of Malay cultural at Tjong A Fie’s house in Medan’ is selected as the title of the article with the purpose of assessing and understanding the acculturation that was discovered on the buildings with Chinese style in Medan City. This research was focused on the objects of Tjong A Fie’s house. This research used John W. Berry’s acculturation theory; while the method that is used is the qualitative descriptive method. An acculturation is a prosess that happens when one group of people with some kind of culture confronts the elements of some other culture. From this comes into being the change of the origin cultures, yet these two cultures have not lost the elements of their own cultures. The acculturation can be seen on part of Tjong A Fie’s house like the gold color that was used dominatedly, the pictures on the cloth and the Malay special window shapes.]]>
<![CDATA[Pengembangan Desain Batik Limbah Grajen di Bulakan Sukoharjo, Jawa Tengah ]]>
<![CDATA[Fify Fitriani]]>;
<![CDATA[Setyawan .]]>
<![CDATA[ JURNAL RUPA Vol 4 No 1 (2019): Open Issue ]]>
Publisher : <![CDATA[Telkom University ]]>
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DOI: 10.25124/rupa.v4i1.2158
<![CDATA[Grajen (sawdust) Batik is batik made using a natural dye that comes from the waste of wood cutting that is in the form of timber powder (which is called Grajen in the Javanese Language). Grajen Batik is developed in Bulakan Sukoharjo Java Tengah. Batik craftsmen in Bulakan region have dozens of years to pursue the process of batik and they have a specialization in the batik motif of parang, kawung, kopi pecah and tirtotejo. Batik motifs that evolve in Bulakan do not portray the typical characteristics of the Bulakan region, because batik craftsmen in Bulakan for tens of years have only been making the development of motifs. Therefore it is necessary to develop batik which has typical characteristics of the neighbourhood where the craftsmen live in order to distinguish with batik existing in other regions. This research used the method of qualitative research with an approach to the design and ethnography, which aims for the design to be laid out as a product of the culture in which the existence of batik does not appear on its own, but there is the context of socio-culture as well as underlying history.]]>
<![CDATA[Eksplorasi Reka Struktur Pada Pemanfaatan Limbah Kain Twill Gabardine ]]>
<![CDATA[Liandra Khansa Utami Putri]]>;
<![CDATA[Dian Widiawati]]>
<![CDATA[ JURNAL RUPA Vol 5 No 2 (2020): Open Issue ]]>
Publisher : <![CDATA[Telkom University ]]>
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DOI: 10.25124/rupa.v5i2.2944
<![CDATA[Starting from the phenomenon of increasing patchwork waste generated from garment factories or the so-called convection industry in DKI Jakarta, according to the Ministry of Industry (2020) in Indonesia there are 1,535 factories which are still actively producing and also have a variety of patchwork waste . During the production period, it will produce a large amount of solid waste due to high sales. According to the survey data one of the research sites is the convection industry / garment factory PT. Farah Textile, located in East Jakarta, where there is a waste waste in the factory which amounts to approximately ± 750 kilo grams per month, waste wastes produce various kinds of pieces. Not all types of waste can be sold. While factory workers are less than optimal in utilizing the remaining patchwork waste, so there is a lot of patchwork waste left over and cannot be treated. The data collection methodology in this study uses a qualitative approach and an experimental method. There will be several stages of research to be carried out, in order to complete the data for research. Qualitative approaches and experimental methods will be applied to this waste research study. From the design process to be achieved in order to be able to reprocess the waste patchwork variant, so that it becomes a material sheet that is made optimally, into a fashion product concept and also produces good economic value. In making a fashion product that is used as a business opportunity, to increase the economic value of a product made (up-cycled). Aim to maintain the environment and create a zero waste product. The results of this exploration study aim to be able to treat the waste waste that is quite a lot in the factory environment, with different sizes and has been classified according to needs. With the aim of creating a new sheet of fabric and can be applied to a fashion product.]]>
<![CDATA[Perancangan Visual Brand Communication Bank Sampah Induk Surabaya ]]>
<![CDATA[Lisa Indriati]]>;
<![CDATA[Atria Nuraini Fadilla]]>
<![CDATA[ JURNAL RUPA Vol 5 No 1 (2020): Open Issue ]]>
Publisher : <![CDATA[Telkom University ]]>
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DOI: 10.25124/rupa.v5i1.2936
<![CDATA[Pengelolaan sampah masih menjadi masalah besar di Indonesia. Kepedulian terhadap masalah pengelolaan sampah ini, Yayasan Bank Sampah Induk Surabaya (BSIS) hadir sebagai salah satu solusi untuk masalah pembuangan sampah sembarangan yang terjadi di Surabaya. Namun seringkali BSIS mengalami kesulitan dalam melakukan sosialisasi kepada masyarakat. Sehingga diperlukan sebuah rancangan media komunikasi yang sesuai dengan kebutuhan BSIS untuk mengomunikasikan brand mereka pada masyarakat Surabaya. Metode pengumpulan data menggunakan teknik sampel purposif untuk wawancara mendalam. Berdasarkan survei wawancara mendalam yang dilakukan pada 12 informan, data dianalisis untuk menjadi landasan strategi brand communication untuk BSIS. Pada penelitian ini dirancang program kampanye yang bernama REACT (Recreate Action) yang bertujuan untuk mengajak nasabah di area perumahan untuk lebih peduli terhadap pengelolaan sampah serta mengubah stigma masyarakat bahwa BSIS bukanlah organisasi yang berorientasi pada profit. Berdasarkan hasil penelitian, membuktikan bahwa audiens lebih tertarik dengan BSIS dengan event berkelanjutan yang dekat dengan minat audiensnya serta visual yang menarik.]]>
<![CDATA[Fashion Sebagai Perlawanan dan Media Komunikasi ]]>
<![CDATA[Maradita Sutantio]]>
<![CDATA[ JURNAL RUPA Vol 5 No 2 (2020): Open Issue ]]>
Publisher : <![CDATA[Telkom University ]]>
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DOI: 10.25124/rupa.v5i2.2384
<![CDATA[This article examines the function of clothing and fashion products, which not only serve as a means of body protection - they can also be a means of communication and resistance. Fashion symbolically constructs collective myth which describe a marker of situations in various eras. This includes the emergence of the phenomenon of slow fashion and sustainable fashion which emerge as a form of resistance to the fast fashion wave in the fashion world. This system emerged from developed countries from America, England, Europe and Australia with standards arranged in a circular system. Sustainable fashion is considered a solution to the imbalance of the fashion product industry system. In the collective cultural awareness, fashion uses language and special markers outside of its main function as body armor, fashion also constructs signs within the wearer as an entity capable of communicating as a whole. Thus, it is identified as an independent and single product which is associated with its own meaning. Using Roland Barthes’s theory, this article shows fashion consists of language making and consumer expressions in the guise of consumerism, materialism, commercialism, and the marketing wave of fashion, so that we hardly realise that we have put primordial human things aside.]]>
<![CDATA[Singularity ]]>
<![CDATA[Valencia Sariputra]]>
<![CDATA[ JURNAL RUPA Vol 5 No 1 (2020): Open Issue ]]>
Publisher : <![CDATA[Telkom University ]]>
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DOI: 10.25124/rupa.v5i1.2276
<![CDATA[We often find ornament on Indonesian traditional textile and fashion such as batik, songket, tenun, and some of them are natural dyed. However, most of the Indonesian teenagers in year 2019 do not wear traditional textile and fashion as their daily outfit, they just want to wear it on special events. Based on the information that already collected, in Jakarta Fashion Week 2019 there are only few designers used natural dye on their collection. Therefore, this research is to produce fashion with ornaments on silk fabric using natural dye based on singularity trend and as teenager’s style. The method used in this research is an exploratory research method carried out qualitatively and quantitative. The results of the research are in the form of ornamental kecakdance painted with secangextract on silk fabric, which was then sewn into clothing and designed based on teenagers’s style.]]>
<![CDATA[Sengkalan Memet Pada Cagar Budaya Cirebon ]]>
<![CDATA[Agus Dody Purnomo]]>;
<![CDATA[Ardianto Nugroho]]>;
<![CDATA[Anggoro Cipto Ismoyo]]>
<![CDATA[ JURNAL RUPA Vol 5 No 2 (2020): Open Issue ]]>
Publisher : <![CDATA[Telkom University ]]>
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DOI: 10.25124/rupa.v5i2.2819
<![CDATA[In Javanese culture, a symbol has become a common media to describe historical events. One of the symbols used to describe it is Sengkalan Memet. Sengkalan Memet consists of three elements, visual, Sengkalan sentences, and the number of years of important events happening. Sengkalan Memet consists of pictures configuration, statue, or even a building. Keraton Kasepuhan Cirebon dan Taman Sunyaragi is one of the cultural heritage places that have Sengkalan Memet. The study is to explore Sengkalan Memet and the meaning in the Keraton Kasepuhan Cirebon and Taman Sunyaragi. The methodology implemented in this study is using a descriptive qualitative method. This study is expected to be an added value for artists, architects, designers and creative industries to take advantage of local wisdom. Furthermore this study can be used as an approach for design in this global era.]]>
<![CDATA[Perancangan Motif Tekstil dengan Mengolah Karya Lukis Anak Down Syndrome ]]>
<![CDATA[Ajeng Annisa Faradhila]]>;
<![CDATA[Setyawan .]]>
<![CDATA[ JURNAL RUPA Vol 5 No 1 (2020): Open Issue ]]>
Publisher : <![CDATA[Telkom University ]]>
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DOI: 10.25124/rupa.v5i1.2381
<![CDATA[The motif-designing collaborates the painting of Dwi Andini Ma'ruf (23 year-old), a student who experienced mosaic down syndrome 15% with textile design based on characters in the form of sloppy lines and imperfect shapes. The designing-process uses a design approach that goes through three main processes, namely; exploration, termination and extraction processes. By using this approach, the researcher explores information related to down syndrome, plans the designing-activity related to the concept as a whole, and analyzes the design that has been made to draw conclusions and solve existing problems. The result of the designing process is textile motifs that reprocess the painting of a down syndrome person’s painting as an initial idea by maintaining a composition in accordance with the character of the subject and is interpreted through a simple design using the screen printing technique for ready-to-wear clothing. The line emphasis and color selection are displayed in full to accentuate the uniqueness of the subject's perspective.]]>
