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Ranang Agung Sugihartono
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Jl. Ki Hadjar Dewantara 19, Surakarta, Jawa Tengah, Indonesia 57126
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INDONESIA
ARTISTIC : International Journal of Creation and Innovation
Published by Institut Seni Indonesia Surakarta
ISSN : 27219445     EISSN : 27219321     DOI : https://doi.org/10.33153/artistic
Core Subject : Education, Art,
Arts Languange, Linguistic, Communication & Media
The publishing of "ARTISTIC: International Journal of Creation and Innovation" specializes within the focus and scope including: 1. Creative and conceptual thinking related to the practice of art works and creative problems (Artistic Creation Thought). 2. The results of artistic research in the fields of : a. Batik b. Keris c. Crafts d. Karawitan e. Pedalangan (Puppetry) f. Dance g. Music h. Theater i. Painting j. Sculpture k. Graphics l. Interior Design m. Stage Design n. Visual Communication Design o. Product Design p. Television q. Film r. Photography s. Animation t. Games u. Visual Effects, and v. other arts. 3. New insights about the practice of art, resulting from the creative process. 4. New knowledge generated from the practice of art and artwork produced. 5. Values and meanings of novelty produced in the creation of art works, or studies of innovation in art.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 116 Documents
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DESIGN OF LEATHER FRINGE BAG THROUGH THE IMPLEMENTATION OF BALI GRINGSING WOVEN FABRIC sari, Mutiana Pramita; Yustana, Prima
ARTISTIC : International Journal of Creation and Innovation Vol. 2 No. 1 (2021)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v2i1.3543

Abstract

Indonesia has an extraordinary wealth of cultural arts, one of which is the Gringsing woven fabric in Bali. The beauty of Gringsing weaving attracts the author to apply it to bag products as an aesthetic element. This design aims to design a women's bag with a fringe model through a combination of Grinsing weaving elements. This design uses the method of creation, namely: exploration, design, and realization stages. In addition, the design also pays attention to the approach to practical functions, themes/styles, ergonomics, and aesthetics. This design resulted in five designs of women's bags with fringe bag models with the application of Gringsing woven fabric, namely fringe tote bags, fringe slingbags, fringe backpacks, fringe handbags, and fringe waist bags. Of the five designs, two designs were realized into women's bag products, namely the fringe sling bag and backpack models. Through the design of creative bags that use motifs on Gringsing woven fabrics, can produce unique and distinctive typical creations that reflect Indonesian culture.
EARTH'S CREATION STIMULUS: CREATION OF GRAPHIC ARTS WITH USED PLYWOOD MEDIA Adi, Sigit Purnomo; Sukerta, Pande Made; Marianto, M. Dwi; Hadi, Sri
ARTISTIC : International Journal of Creation and Innovation Vol. 2 No. 1 (2021)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v2i1.3634

Abstract

 Natural phenomena, especially climate change, are increasingly worrying lately. Graphic art can be used to express concern for the environment in response to climate change. The creation of this graphic art work uses the concept of the earth's creation stimulus. The creative methods used include: experimentation, contemplation, and formation. Abstract Expressionism was chosen as the style of personal expression in the creation of this work. The creative technique used is high printing technique with used plywood media. The results of the creation process show that the visualization of the concept of the earth's creative stimulus produces the forms of circles and lines. These forms are the main motif in the creation of graphic art with the stimulation of this earth's creativity 
TRANSFORMATION OF TENGKULUK TANDUK WITH WEAVING TECHNIQUES Sari, Lidia Purnama; Akmal, Ahmad; Dharsono, Dharsono
ARTISTIC : International Journal of Creation and Innovation Vol. 2 No. 1 (2021)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v2i1.3925

Abstract

Tengkuluk is one of the traditional clothing equipment (head cover) of a Bundo Kanduang (biological mother) in the Minangkabau tribe. Currently tengkuluk is rarely used in everyday life, only used in traditional events or other official activities. This reality encourages the creation of this tengkuluk work to be carried out. The method of creating works used consists of three stages, namely experimentation, reflection, and formation. The result of the creation of this work shows that the tengkuluk made with woven techniques and pandan leaf material and decorated with Swarovski looks practical and flexible when used by mothers and teenagers in their daily lives. This new creation in the form of the Koto Gadang tengkuluk expresses the meaning of philosophical values, namely the responsibility of women when they have married.
PANCA WASTA TEACHINGS AS A SOURCE OF INSPIRATION CREATION FOR DHAPUR KRIS Nugroho, Haris Fajar; Dharsono, Dharsono
ARTISTIC : International Journal of Creation and Innovation Vol. 2 No. 1 (2021)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v2i1.3931

Abstract

Panca Wasta is a teaching at the level of family life  which contains advice on values that elevate human position in personality, nobility, welfare and knowledge that must be possessed by a man (Javanese) in particular. The focus of the creation of the work is in the form of a kris blade which is inspired by the five elements of the Panca Wasta teachings which contain; wisma, turangga, kukila, curiga and wanita, using recycled metal. The purpose of the creation of this work is to create a dhapur kris blade using recycled metal with a metaphorical tinatah motif from the five elements of the panca wasta teachings. The creation of works uses an artistic creation approach, namely; experiment, contemplation and embodiment of works. The resulting work is a kris blade complete with warangka, hulu/jejeran/ukiran, mendhak, and pendok of Surakarta style. When the teachings of Panca Wasta are used as the concept of creating a kris, it shows that the work of a kris is quite interesting, has aesthetic beauty and full of philosophical values and meanings.
DIRECTING A DRAMA-COMEDY FILM ENTITLED “HANI” Saleh, Mahammad; Rahmad, Cito Yasuki
ARTISTIC : International Journal of Creation and Innovation Vol. 2 No. 2 (2021)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v2i2.3979

Abstract

Early marriage remains a social problem, especially among less-educated urban people, including in Tamanan District, Bondowoso Regency, East Java Province. The community has a distinctive and unique Pandalungan language that offers an interesting idea source for filmmaking. Thus, this creation seeks to illustrate how “Hani”, a drama-comedy film, was directed with a local-culture approach. The production of  “Hani” referred to the existing Standard Operating Procedures (SOP) in the audiovisual profession and combined the visual comedy and slapstick approaches. The direction of “Hani” indicates that using local culture (Pandalungan language) in each storyline and local actor character can create an entertaining and educating comedy film. Further, the film produced is an audiovisual work that is easily understandable by the local community.
MINIPRINT ARTWORK CREATION WITH SATO KEWAN OBJECT Adi, S.Sn, M.Sn, Sigit Purnomo; Mohamed Saat, Mohammad Khizal; Tri Marutama, I Gusti Ngurah
ARTISTIC : International Journal of Creation and Innovation Vol. 2 No. 2 (2021)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v2i1.3989

Abstract

Animals have provided humans with everything from meat to eggs to pleasure. Thus, animals, including chameleons, must be rescued from extinction. The chameleon's uniqueness makes it an intriguing subject for artistic creation. The purpose of this artwork is to visualize the concept of personal expression through miniprint works using Sato Kewan (variety of animals) object, specifically the chameleon. The creation of this printmaking work is part of artistic research, more specifically research into art practice, which is conducted using plywood as a medium, an abstract expressionism style, and the concept of art as personal expression. The stages of creation include experimentation, contemplation, and formation. A chameleon miniprint reflecting personal expression is created as a result of the creation process. Hence, visualization of chameleon miniprints using advanced printing techniques can result in abstract expressionism-inspired printmaking works. The creation, which incorporates traditional and contemporary art elements, is expected to be competitive nationally and internationally.
RICE STRAW FOR INTERIOR ELEMENTS OF A LOCAL “WEDANGAN” CULINARY BUSINESS IN SURAKARTA Sumarno, Sumarno; Dharsono, Dharsono; Dwi Atmaja, N.R. Ardi Candra
ARTISTIC : International Journal of Creation and Innovation Vol. 2 No. 2 (2021)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v2i2.3999

Abstract

Rice straw is abundant and inexpensive as post-harvest crop residue. Rice straw can be processed into a variety of products for interior space filling through creative efforts. This research seeks to empower farmers by utilizing rice straw as crop residue and to create natural-style products for the interior space-filling of a local culinary business (wedangan), as wedangan is a typical culinary business that is traditional, fast-growing, and trendy in Surakarta City and its surroundings. The design method is based on design thinking procedures, which include empathizing, defining, ideating, prototyping, and testing. Empathy for low-income farmers is expected to add value and profit through rice straw processing. Wedangan's interior space-filling products are designed around the kantong semar flower (Nepenthes sp.). The prototype (as a design embodiment) is developed in collaboration with the farmers. This type of experience is intended to serve as training and assistance. Product testing is conducted through market research and product application in  wedangan interiors in this city. As a result, business managers and visitors alike appreciate interior space-filling products. Economically, this product development for interior space filling represents a viable business opportunity for farmers to pursue as a secondary occupation.
KYAI RAJAMALA BOAT’ CANTHIK IN COUTURE BATIK PATTERN Kristanti, Kristanti; Guntur, Guntur
ARTISTIC : International Journal of Creation and Innovation Vol. 2 No. 2 (2021)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v2i2.4047

Abstract

The Historically, the Javanese palaces relied on boats for transportation, like the Kyai Rajamala boat used by the Surakarta palace. At the time, Paku Buwana IV used the boat to cross the Bengawan Solo river. Kyai Rajamala boat’s canthik is a decorative element on the end bow of the Surakarta palace's boat. Apart from being a decorative element on the boat's end bow, the Kyai Rajamala boat’s canthik is also an heirloom used to ward off bad luck. Because the Kyai Rajamala boat’s canthik has a high value for life, it is critical to communicate the Kyai Rajamala boat’s canthik through easily accepted media. One medium that can convey the beauty of the Kyai Rajamala boat’s canthik is the batik textile art, which can be used to meet basic human needs. Clothing is not only a means of covering the body; it can also be used to convey messages. The Kyai Rajamala boat’s canthik was reinterpreted and dyed with remasol into handmade batik.
“BEAUTY OF MEN” DANCE CHOREOGRAPHY Trisnawan, Arrofan Ryan; Rokhim, Nur
ARTISTIC : International Journal of Creation and Innovation Vol. 2 No. 2 (2021)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v2i2.4093

Abstract

The evolution of high heels from women’s to men’s and finally to jockeys’ footwear in horse racing has attracted the authors. The wearers’ poses and movements can be elevated to a level of dance. Likewise, the drag queen in the Cabaret show faces difficulties in his personal and professional life. The choreographic form of “Beauty of Men” entails the creation of this dance. The dance work of  “Beauty of Men” is presented in ensembles. This dance work is composed and presented by developing dance movements. The dance work consists of four sections, beginning with introducing the self’s inner conflict. The first section designates the issues that confront families and communities. The second section describes the difficulties associated with social friendship. The third section illustrates the self’s difficulties and the quest for self-identity. Lastly, the fourth section expresses how the problems encountered were resolved. The process of creating the dance work of “Beauty of Men” reflects the dancer’s creative ability as a result of his experience.
LASMI’S STYLE OF SINDHENAN GENDHING TAYUB Wijayanti, Amalya; Sugiyanto, Danis
ARTISTIC : International Journal of Creation and Innovation Vol. 3 No. 1 (2022)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v3i1.4415

Abstract

Grobogan Regency is one of the areas where Tayub art is still present. One of the distinctive and unique pesindhèn who produces gendhing recordings is Lasmi. This research focuses on artist Lasmi's creativity in working on her sindhènan (song), typically distinguished by parikan, wiledan, and céngkok. This study uses a qualitative approach by collecting data through observation and in-depth interviews and analyzing data with interactive analysis. The results of this study indicate that working on parikan, which has a comical character, is a rather distinct characteristic of Lasmi's style of working on sindhènan. Lasmi's vocal style in presenting unique céngkok-céngkok can be seen in the gendhing-gendhing Tayub. Sindhènan Lasmi differs from other sindhènan lèdhèk Tayub because it is more luwes (flexible) and prênès.

Page 8 of 12 | Total Record : 116

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