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I Putu Udiyana Wasista
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INDONESIA
Hastagina: Jurnal Kriya dan Indsutri Kreatif
Published by Institut Seni Indonesia Denpasar
ISSN : -     EISSN : 28297393     DOI : -
Core Subject : Humanities, Art,
Arts Humanities
 Jurnal ini menerbitkan karya tulis hasil penelitian baik berupa kajian dan penciptaan yang merujuk pada aspek keilmuan kriya yang meliputi jenis medianya seperti: 1) Kriya Logam; 2) Kriya Tekstil; 3) Kriya Keramik; 4) Kriya Kayu; dan 5) Kriya Kulit. Sedangkan berdasarkan fungsinya, yaitu: 1) Kriya Ritual; dan 2) Kriya Dekoratif. Begitupula pada pendekatan yang digunakan, meliputi: 1) Tradisional; 2) Kontemporer; dan 3) Ekologis (penggunaan material berkelanjutan).
Arjuna Subject : Seni dan Humaniora - Seni dan Humaniora (Lain-Lain)
Articles 116 Documents
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P Penciptaan Produk Perlengkapan Ruang Tunggu Kantor Transformasi Bentuk Jembatan Kolonial Kampung Tinggi Buleleng I Made Widhya Divabhawana; I Nyoman Suardina; Ni Kadek Karuni
Hastagina : Jurnal Kriya Seni Vol 1 No 02 (2021): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v1i02.544

Abstract

Generally, when someone is waiting there are many opportunities to see and form opinions about the office being visited, so it is necessary to have attractive office waiting room furniture. The purpose of making this work is limited to office waiting room products consisting of: one table, one chair, and wall decoration. The method of creating works is the transformation method, by applying the stages of SP theory. Gustami are the three pillars of art creation including: (1) Exploration, which is the stage of exploring the source of ideas, collecting data, references, processing and analyzing data. (2) The design, built on the acquisition of important points from the formulated analysis, is continued with the visualization of ideas in the form of alternative sketches. The selected sketch is poured into the working drawing, completed with dimensions, (3) Embodiment, making the design so that it has a form. The embodiment process uses several stages, namely: selecting raw materials, breaking wood, shaving wood, making malls, assembling, sanding and finishing. The creation of the work consists of a set of chairs, tables, and wall decorations for the office waiting room. The style of furniture created has a characteristic rustic style, which is a design concept that has a texture that is not smooth or rough and is not finished.
P PENERAPAN MOTIF FLORA KAYONAN BALI PADA MEJA DAN KURSI BELAJAR Kadek Angga Putra; I Nyoman Dana; I Gusti Ngurah Agung Jaya CK
Hastagina : Jurnal Kriya Seni Vol 1 No 02 (2021): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v1i02.652

Abstract

The work entitled "The Kayonan Bali Motif On The Tables And Chairs" was a form of the creator's response to the pandemic situation that resulted in learning done from home. In this creation, the focus of the work will be embodied in tables and learning. The application of the Balinese motive of the kayonan flora on the tables and chairs was intended in addition to giving a new visual so that the work would have Balinese cultural art value, for in a Balinese kayonan is the art of fine arts, the art of the display value of Balinese culture. The design stage begins with the collection of data as reference in the design of tables and chairs of learning.The technique used in the creation of these tables and learning chairs was that the cast used the polyester resin 3126. In the process, the  material is cast using a safe aga paint because it has been through the elimination process. Then the parts already cast are assembled based on the work image and last on finishing using mowilex 504. Table called darana's calm sense and chair called an prejudicial to focus is expected to be useful for learning on time pandemic. These tables and learning chairs are also expected to provide a sense of pride for users, especially for the younger generation, to love and preserve the Balinese cultural arts even more.
The Development Of Batik Babon Angrem at Traditional Birth Ceremonies in Central Java Nimas Elizabeth; Theresia Widyastuti
Hastagina : Jurnal Kriya Seni Vol 1 No 02 (2021): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v1i02.780

Abstract

The life cycle ceremonies that symbolize the human journey are all found in traditional Javanese batik, because in batik there is a symbol or meaning of life. At the age of 7 months of pregnancy, Javanese people usually hold a ceremony called mitoni, this ceremony is equipped with various ubo rampe, one of which is Babon Angrem batik. Changes in times including changes in cultural actors have caused many shifts in customs. This traditional ceremony began to be abandoned or reduced in terms of its completeness related to economic factors. As individuals in this millennial era, there is a change in the benefits of having traditional ceremonies seen from a modern perspective. From this problem, the idea emerged to develop one of the mitoni ceremonial equipment in the form of a long cloth with a millennial pattern that still adheres to the existing standard. Batik is one of the assets that can be processed as a creative industry strength. By reprocessing and redefining the existing traditional motifs seen through today's modern glasses, without destroying the meaning in them while maintaining their originality. This design will certainly answer the problems of the world of batik and tradition, with the aim of continuing batik to the present generation according to their style. The textile product produced is in the form of batik cloth with a development pattern from the Babon Angrem batik motif as an innovation from its visuals. The Babon Angrem batik motif, which is designed in a contemporary way, displays bright and warm colors that convey the impression of mother's love in accordance with the philosophical meaning of the Motif of Babon Angrem. the motif components contained in Babon Angrem batik such as Babons or hen facing each other, hen laying eggs, ukel motifs that adorn all repetitions of Babon motifs, and ceceg which complete the background of this batik.
Perancangan Batik Cap Dengan Corak Wedangan Tradisional Indonesia Anggi Artiwi; Theresia Widyastuti
Hastagina : Jurnal Kriya Seni Vol 1 No 02 (2021): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v1i02.782

Abstract

Batik is one of the unique traditional fabrics from Indonesia, its uniqueness can be seen from a variety of motifs that have their own meaning. In terms of motifs, batik usually has motifs that are thick with the philosophy of life. The popularity of batik began to grow at the end of the 18th century or early 19th century. Starting from the writing technique to develop into the canting stamp technique. The emergence of stamped batik marked the era of industrialization. Since the era of industrialization and globalization which introduced automation techniques. In this design, the author wants to develop batik motifs with Indonesian Traditional Wedangan motifs. Indonesian traditional Wedangan is one of the cultural heritages, Wedangan is a typical Indonesian drink and drink that is popular with the public, but its position has begun to be shifted and unable to compete with more modern drinks, therefore this batik design was made to reintroduce the tradition of drinking traditional Wedangan. Batik stamps with traditional Indonesian wedangan patterns have never existed before, so this design is a differentiator from various types of motifs on the market. Stamped batik is used in the process of making this batik work because the production process requires a relatively faster time and can produce more. Therefore, in accordance with the design approach from the elaboration of Clipson's Theory regarding the creation of this work textile design, it is well considered from the identification of problems, analysis of production planning, creative processes, production processes and marketing distribution.
PENGEMBANGAN MOTIF BATIK TULIS DENGAN SUMBER IDE CORAK KAIN TENUN BIMA Anindhita Destiana Nur Ifani; Theresia Widyastuti
Hastagina : Jurnal Kriya Seni Vol 1 No 02 (2021): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v1i02.784

Abstract

Batik is a creative industry product that has been around for a long time and has been developed by many artisans in various regions in Indonesia. The author will use one of the traditional weaving motifs in Indonesia, namely Mbojo weaving as a source of motif ideas from written batik. The mbojo woven fabric is a form of Indonesian culture originating from the Bima Regency, West Nusa Tenggara Province (NTB) and several other areas around Mount Tambora. In its design using 5 stages of Clipson's theory. Then the author conducted an experiment, studying the meanings and symbols that exist in the Mbojo Bima woven fabric pattern, paying attention to its characteristics and also reprocessing it into the form of written batik. This design resulted in eight designs with one work being realized. The visual changes or combines two forms of traditional fabrics, namely weaving and batik, which in their depiction have a significant difference, namely batik which has relatively flexible visual lines, while weaving which has a visual appearance that looks stiff. By testing several images to form a stiff woven pattern into a batik motif whose depiction looks flexible, then also paying attention to the aspect of laying motifs and repeating motifs so that this design looks good. After that, it is realized with the written batik technique according to the size of the image that has been made.
Karya Seni Instalasi Kain Perca dengan Teknik Tapestri Hariyatik Hariyatik
Hastagina : Jurnal Kriya Seni Vol 1 No 02 (2021): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v1i02.826

Abstract

The creation of tapestry weaving works by utilizing leftover fabric (patchwork) becomes a campaign medium to invite awareness and behavior to change in protecting the surrounding environment due to waste. On the other hand, the genre of installation art can still be explored, so textile craft works may still need development even though they are not practical use, but it considers 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 crafting art according to Gustami, which is divided into 3 stages in the process of creating the first craft work, the exploration stage includes data collection and excavation of theoretical foundations. Second, the design stage includes the pouring of ideas 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 embodiment stage, namely making it happen at the actual size along with the final completion of the work and the packaging system as well as providing an evaluation of the results of the completed embodiment. This creation resulted in 6 designs of tapestry weaving works, namely: (1) Raising the concept of non-realistic landscape forms with the theme of natural damage due to waste as a source of ideas for visually processing tapestry weaving structures combined using patchwork. (2) 3 of the 6 alternative design developments were realized by using patchwork material of polyester type, as well as using earth tone references.
Perancangan Motif Batik dengan Sumber Ide Pohon Keben melalui Teknik Batik Cap Gayuh Murdianto
Hastagina : Jurnal Kriya Seni Vol 2 No 01 (2022): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v2i01.831

Abstract

Gayuh Murdianto. C0914018. 2021. This design is inspired by coastal batik in Cilacap which is more often called Maos batik. It has a blend of inland and coastal colors because this area is a meeting place between the culture of the Inland Palace and the Coastal area. Therefore it has an attractive dark and bright color. Generally, the patterns are of plants and animals found living in the area. One of the existing plants is the keben (Barringtonia asiatica) tree which is said to not only grow on the coast but also grows in the Yogyakarta Palace. It is interesting to be appointed as a motif designing project into Cilacap coastal batik through stamped batik techniques. The designing method uses Collin Clipson's theory whose creative process aims to meet human needs by considering several important aspects including aspects of function, aesthetics, materials and processes. The technique uses the stamp technique with the aim that the product being made can meet market demand in large quantities. Judging from the cost of production, this batik is expected to be affordable by the community. Steps from problem identification to marketing distribution are clearly considered. The result of this project is stamped batik with the main motifs taken from the keben tree, ranging from flowers, fruit, leaves and stems in a stylized style to produce a harmonious pattern with Cilacap coastal batik through the stamp batik technique.
I Inovasi Tas Wanita dengan Media Keramik I Made Sujana; I Ketut Muka Pendet; I Nyoman Laba
Hastagina : Jurnal Kriya Seni Vol 1 No 02 (2021): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v1i02.858

Abstract

Women in carrying out activities are usually equipped with the use of bag products. The use of bags by women as complementary goods is combined with clothing to harmonize style and improve self-image in society. This phenomenon has inspired creators to create innovative women's bags with ceramic media inspired by the Rejang Asak Da nce crown as a source of creation ideas. The purpose of this creation: 1. How is the process of creating women's bags with ceramic media ?; 2. What are the results of the innovation of women's bags with ceramic media ? The stages of creation are the first to do exploration with observation, interviews, and documentation, the second stage is the design of the bag creation work in the form of rough sketches or manual sketches, and the third is the embodiment of the design. The results of the creation in the form of a Shoulder Bag, Sling Bag and Hand Bag.
Teknik Penggambaran Doodle Pada Batik Lukis untuk Scarf Maria Fransiska Ratri Wulandari Suhartomo; Theresia Widyastuti
Hastagina : Jurnal Kriya Seni Vol 2 No 01 (2022): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v2i01.944

Abstract

One of the efforts of batik preservation is developing several aspects in it, such as developing the pattern. The main motif of designing batik Lukis is in the form of marine life depicted with the drawing doodle technic. With theories batik, doodle, also drawing tehnics. This design of scarf product is for women, adults or teenager as an innovation of existing batik motifs and is expected to be an alternative product that can keep up the times. The design scarf product is made using the design process approach and it goes through four steps such as, starting form identifying the problem which have existed before in developing batik. Then, analizying the product planning according to the target market. After that, carrying out the creative process and proceed to the production process. Benefits from this producs use for inner and outer.
Pengembangan Pengembangan Motif Dan Bentuk Mahkota Sendratari Tokoh Rama Di Sanggar Citra Kara, Banjar Puaya, Desa Batuan Sukawati Purnama, I Dewa Gede Wahyu; Wiyasa, I Nyoman Ngidep; Jaya CK., I Gusti Ngurah Agung
Hastagina : Jurnal Kriya Seni Vol 3 No 02 (2023): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LPPM ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v3i02.992

Abstract

Penulis memilih sanggar Citra Kara sebagai tempat MBKM untuk belajar dan menambah ilmu baik itu dalam hal pengetahuan, keterampilan maupun mempelajari teknologi baru yang belum penulis ketahui sebelumnya dan mengenalkan penulis dengan kondisi dilapangan bagaimana proses dalam bekerja khususnya membuat ukiran kulit Bali. Dalam kegiatan magang ini penulis belajar tentang cara membuat pola global untuk membuat mahkota  sendratari tokoh Rama, belajar menggambar pola ornament tatah kulit dengan benar, belajar tentang proses finishing pada ukiran kulit. Teknik pengumpulan data dilakukan dengan observasi, wawancara, dokumentasi dan studi pustaka. Pada projek magang MBKM ini penulis mencoba memadukan keterampilan yang penulis peroleh pada tempat magang, penulis padukan dengan ilmu pengetahuan tentang ornament yang telah penulis peroleh pada perguruan tinggi. Dalam hal ini penulis mencoba mengembangkan motif ukiran pada mahkota sendratari tokoh rama yang sebelumnya menggunakan patra punggel, penulis tambahkan dengan patra samblung dan ulanda untuk memunculkan pengembangan baru serta menerapkan teknik membuat ukiran kulit pada motif patra samblung dan ulanda yang penulis masukan pada mahota sendratari tokoh Rama, selain menambahkan motif ornament penulis juga menambahkan warna gradasi pada mahkota untuk memunculkan kebaharuan, karena pada mahkota sendratari yang penulis jumpai di Sanggar Citra Kara menggunakan warna emas dan tidak ada penambahan warna gradasi.  

Page 2 of 12 | Total Record : 116

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