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Program Studi Kriya, Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Denpasar Jl. Nusa Indah, Sumerta, Kec. Denpasar Timur, Kota Denpasar, Bali 80235
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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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Pengembangan Desain Motif Batik Babon Angrem Dikombinasikan Motif Topeng Panji Bekonang Prasetyo, Nathaly Efata; Setyawan, Setyawan
Hastagina : Jurnal Kriya Seni Vol 3 No 02 (2023): 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.v3i02.2765

Abstract

Hilangnya cerita dan ciri khas Batik Bekonang akibat munculnya teknologi dan kemajuan zaman menjadi inspirasi dalam pembuatan perancangan ini. Menampilkan pengembangan desain batik Bekonang dengan motif keraton Babon Angrem dan motif alam kupu-kupu. Dipadukan motif terinspirasi Topeng Panji Bekonang, yang juga mengalami dampak dari kemajuan zaman, menjadi ide perancangan. Tujuan pengembangan desain perancangan ini agar dengan hadirnya teknologi di zaman yang semakin modern tidak menyebabkan hilangnya nilai-nilai budaya dari sebuah karya seni tetapi sebagai bentuk pelestarian budaya tanpa meninggalkan nilai didalamnya. Untuk mencapai tujuan dari perancangan, menggunakan teori desain Bram Palgunadi yang terdiri dari tiga tahap proses metode desain, yaitu proses eksplorasi, proses ekstraksi, dan titik terminasi. (1) Proses Eksplorasi, proses analisis merupakan pendalaman atas sejumlah hal berkaitan dengan permasalahan yang ada. (2) Proses Ekstraksi, proses pengerucutan dan pembuatan kesimpulan. (3) Titik Terminasi, proses perencanaan kegiatan (planning), evaluasi (evaluation), melihat kembali (review), dan presentasi. Tahap proses tersebut dijabarkan dalam empat langkah operasional, yaitu; studi kelayakan desain, analisis aspek desain dan penyusunan konsep, penjabaran dan pembuatan desain, dan terakhir proses test produk. Hasil perancangan ini berupa desain motif Batik Bekonang Babon Angrem dipadukan dengan motif terinspirasi Topeng Panji Bekonang. Produk tersebut dijadikan busana dress untuk wanita berusia 19-27 tahun. Menggunakan teknik batik tulis dengan pewarnaan colet remasol. Bahannya berupa kain katun jepang.
The Warak Ngendog Mitologi Warak Ngendog Sebagai Sumber Ide Motif Batik Kontemporer Gaya Semarangan: Tugas Akhir Mawati, Riska; Darwoto, Darwoto
Hastagina : Jurnal Kriya Seni Vol 3 No 02 (2023): 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.v3i02.2802

Abstract

Karya motif batik Warak Ngendog sebagai sumber ide menggunakan teknik batik tulis gaya semarangan pewarnaan remasol namun tetap bergaya semarangan. Karya diaplikasikan sebagai kaian panjang jarit sapit urang. Penciptaan motif batik Warak Ngendog ini merupakan symbol akulturasi tiga etnis kebudayaan yang mendiami Kota Semarang yaitu Cina, Arab dan Jawa. Metode perancangannya mengacu pada teori perancangan Gustamiyakin, tahapan eksplorasi dengan mendalami ilustrasi Warak Ngendog. Tahap perancangannya untuk mewujudkan produk dengan menggunakan teknik batik tulis dengan menggunakan teknik batik tulis serta tahap terakhir berupa perwujudan karya. Serta mendalami cerita budaya atau history culture untuk lebih menguasai Warak Ngendog. Hasil Akhir pada perancangan ini berupa produk tekstil berupa batik tulis dengan motif yang bersumber ide dari Warak Ngendog. Produk tekstil ini berupa kain panjang yang bisa digunakan jarek sapit urang yang dipadukan dengan atasan koko dan bawahan alusan.
STUDI PEMANFAATAN WARNA ALAM PADA PRODUK TEKSTIL Mukti, Made Wahyu Prisma; Sumantra, I Made; Karuni, Ni Kadek
Hastagina : Jurnal Kriya Seni Vol 3 No 02 (2023): 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.v3i02.2906

Abstract

Industri fast fashion dikenal karena kemampuannya untuk menghasilkan pakaian dengan cepat. Merek-merek fast fashion dapat merespons tren mode terbaru dengan mempercepat proses desain, produksi, dan distribusi. Hal ini memungkinkan mereka untuk menawarkan koleksi baru dengan cepat, seringkali dalam hitungan minggu. Produksi massal dalam industri fast fashion dapat memiliki dampak serius pada lingkungan. Proses pewarnaan tekstil, penggunaan bahan kimia, dan pengelolaan limbah yang kurang baik dapat menyebabkan pencemaran air dan tanah. Selain itu, limbah tekstil dari pakaian yang tidak terpakai menjadi masalah serius. Proses produksi tekstil dan pakaian dalam industri fast fashion menggunakan banyak bahan kimia berbahaya, seperti pewarna sintetis dan zat kimia pengolahan tekstil. Limbah cair dari pabrik-pabrik dapat mencemari air, sedangkan pembuangan limbah padat dapat menyebabkan pencemaran tanah. Produksi kain dan pakaian memerlukan penggunaan air yang sangat besar. Proses pewarnaan dan finishing tekstil, khususnya pada serat sintetis, dapat menggunakan banyak air dan menciptakan limbah beracun yang mempengaruhi kualitas air. Pewarna alam dapat menjadi alternatif yang lebih berkelanjutan dan ramah lingkungan dibandingkan dengan pewarna sintetis dalam konteks maraknya fast fashion. Penggunaan pewarna alam dapat mengurangi ketergantungan pada bahan kimia berbahaya dan mengurangi dampak negatif terhadap lingkungan dibandingkan pewarna sintetis. Pewarna alam sering kali lebih mudah diuraikan dan dapat dipecah oleh mikroorganisme secara alami. Ini meningkatkan potensi daur ulang dan mengurangi akumulasi limbah tekstil yang sulit terurai. Tumbuhan yang digunakan untuk pewarna alam sering ditanam dengan metode pertanian organik, mengurangi penggunaan pestisida dan bahan kimia sintetis. Ini dapat meningkatkan kesejahteraan petani dan mengurangi dampak negatif pada ekosistem pertanian.
EKSPERIMEN/PENCAMPURAN TANAH LIAT STONEWARE DI UD. TRI SURYA KERAMIK MENGGUNAKAN PASIR MALANG DAN PASIR KARANGASEM PADA PRODUK TABLEWARE DAN HOME DÉCOR Wiswambhara, Dewa Gede; Sunarini, Ni Made Rai; Mahadi, Mercu
Hastagina : Jurnal Kriya Seni Vol 4 No 01 (2024): 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.v4i01.2908

Abstract

The creation of this ceramic work aims to create a mixture of innovative materials that can be applied to stoneware soil in creating innovative ceramic products. This creation is also one of the exploration spaces in the development of creativity in conducting experiments on ceramic raw materials. The experiment was carried out by combining a mixture of Malang sand and Karangasem sand with stoneware soil in the process of realizing a ceramic body. The experimental process was carried out at the UD company. Tri Surya Ceramics which is one of the companies that takes part in making ceramics with modern contemporary nuances but still traditional nuances. Based on that, UD. Tri Surya Keramik is considered the most appropriate to bridge the space of exploration and experimentation in realizing the idea of mixing Malang and Karangasem sand with stoneware soil. Besides that, it can provide a new color for the company in the choice of materials that will later be applied in the manufacture of ceramic products. Home décor products consist of urns, straight and threaded flower fittings, while tableware products consist of plates, bowls, and glasses. The two products are glazed only on the inside, while the outside is still left natural to display the texture of the material and color caused by the mixing of stoneware soil with Malang and Karangasem sand.
Proses Pembuatan Topeng Panca Di Sanggar Seni Citra Kara Desa Batuan, Kecamatan Sukawati, Kabupaten Gianyar: Proses Pembuatan Topeng Panca Di Sanggar Seni Citra Kara Desa Batuan, Kecamatan Sukawati, Kabupaten Gianyar Cahayana Putra, I Gede; Suardina, I Nyoman; Jana, I Made
Hastagina : Jurnal Kriya Seni Vol 3 No 02 (2023): 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.v3i02.2912

Abstract

Topeng Panca sebagai hasil dalam budaya Bali, berkaitan dengan upacara keagamaan, yang luarannya menyatu ke seni pertunjukan. Namun, dalam topik ini penulis lebih mempelajari proses pembuatan Topeng (Tapel) yang digunakan dalam pergelaran Topeng Panca. Untuk itu penulis menggunakan metode observasi, yaitu mengamati karakteristik dan bentuk Topeng Panca, dan wawancara kepada tokoh ahli dan budayawan, mengenai asal – usul tari Topeng Panca, dan juga dilakukan metode pengumpulan data melalui kepustakaan. Setelah data terkumpul dilakukan reduksi dan di analisis data, baik penggunaan bahan, teknik/proses pembuatan dan proses pewarnaan Tapel/Topeng Panca. Proses pembuatan Tapel/Topeng Panca, mengambil tempat, yaitu di Sanggar Seni Citra Kara, Br.Puaya, Desa Batuan, Kecamatan Sukawati, Gianyar di rumah/studio Sang Guru Bapak I Made Muji. Proses penciptaan berlangsung selama lima bulan, menghasilkan sejumlah Topeng Panca, yaitu Topeng Keras, Topeng Tua, Topeng Arsa Wijaya, Topeng Penasar Wijil dan Topeng Sidakarya. Fungsi Topeng Panca ini, dapat digunakan untuk kepentingan upacara agama, kebutuhan masyarakat baik sebagai benda pajangan, maupun dijadikan benda cendramata.
Pengayaan Penerapan Ornamen Pada Usaha Arsitektur Bali di PT. Sraya Bali Style Batubulan, Sukawati, Gianyar Manan, Abdul; Arimbawa, I Made Gede; Suardana, I Wayan
Hastagina : Jurnal Kriya Seni Vol 3 No 02 (2023): 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.v3i02.2913

Abstract

Seni kriya merupakan sebuah karya yang menekankan keterampilan tangan dalam proses berkarya dan mengutamakan bentuk-bentuk dan kerajinan yang diciptakan dengan fungsi tertentu, persoalan magang/praktik kerja mbkm ini, bertujuan ingin mengetahui keberadaan eksistensi perusahaan yang ada di PT. sraya bali style. Metode yang digunakan dalam penulisan ini yaitu observasi, wawancara, partisipasi, dokumentasi. Dalam pengumpulan data ini berharap mendapatkan pengetahuan adapun gambaran terkait pengolahan bahan, proses pembuatan, dan perwujudan. Hasil dari kegiatan magang/praktik kerja di PT. Sraya Bali Style dapat menjadi sebuah metode dalam berkarya dengan penerapan alih pengetahuan, alih keterampilan, dan alih teknologi. Kesimpulan dalam Pengayaan dilakukan di perusahaan PT. Sraya Bali Style sebagai tempat dilaksanakannya kegiatan magang/praktik kerja dengan ini penulis mandalami semua pengatahuan yang ada terutama pada tehnik ukir tradisional yang ada di perusahaan tersebut sehingga penulis bisa menciptakan sebuah karya yang diterapkan pada hiasan dinding dengan motif ornamen madura.
Penciptaan Keramik Earthenware Dan Stoneware Pada Bedroom Di Hotel Fourteen Roses Boutique, Legian, Kuta, Badung Suartana, Putu Erik; Artayani, Ida Ayu Gede; Laba, I Nyoman
Hastagina : Jurnal Kriya Seni Vol 4 No 01 (2024): 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.v4i01.3168

Abstract

A hotel is an accommodation facility that provides lodging facilities as well as commercial food and beverage services. Because it is commercial, the hotel is equipped with supporting facilities such as; halls, lobby, restaurants, management offices and others. Hotels are divided into several types whose classification is reviewed from various purposes such as; the purpose of the guest's arrival, the length of the guest's stay, the number of rooms, the location and based on the division of star hotel clusters. The number of hotels spread across Bali is directly proportional to the increasing need for exterior and interior complementary products, it is interesting to explore further in creating ceramic products made of earthenware and stoneware as an answer to the exterior and interior needs of a hotel. Based on this phenomenon, then this was realized in the implementation of the MBKM program of the Independent Project scheme. SP Gustami creation method is used such as exploration, design, and embodiment in the process of realizing the creation of ceramic products. Exploration is carried out in two steps, namely idea exploration and physical exploration as the basis for designing ceramic products. The design is carried out by visualizing the idea in the form of alternative sketches and selected sketches. The final process of this method is that the embodiment is carried out according to the selected sketch. The result is in the form of 4 functional ceramic products in the form of teapot products, shampoo holders, snack and fruit holders, and sleeping lamps, as well as 1 wall decoration work, by applying a brick motif arrangement decoration inspired by the Fourteen Roses Boutique Hotel concept, and applying glaze colors inspired by pink and maroon rose colors. The products that have been produced will later be used in the Intermediate Room of the Fourteen Roses Boutique Hotel aiming to provide comfort and harmony for each user.
PRODUK KERAMIK STONEWARE DENGAN KONSEP FRONTO DI THE FRONTIER HOUSE Satrio Hutomo, Adam; Mudra, I Wayan; Muka, Muka
Hastagina : Jurnal Kriya Seni Vol 4 No 01 (2024): 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.v4i01.3419

Abstract

Fronto is a concept to create a functional ceramic work for the needs of the coffee shop at The Frontier House which is a partner in completing an independent project in the Merdeka Learning Independent Campus (MBKM) program. Fronto is a mascot from The Frontier House in which Fronto is a dinosaur (T-Rex). Fronto is embodied by an upright posture and holding a cup in his right hand, has a simplified shape, wears a raglan shirt with the F logo on his chest and complete with his pants and shoes. The costume from Fronto is inspired by the costume of American students in the 70s, with the hope that The Frontier House's coffee shop business can remain standing, become big, and everlasting. Based on this, the author got the idea to create a functional ceramic product that can be directly applied to The Frontier House coffee shop business, as a realization of an agreement with MBKM partners. Using creation methods such as observation methods for introduction, exploration methods for exploring ideas, design design methods to illustrate clearly, and work creation methods for the execution stage, with embodiment techniques applying rotation techniques, pinching techniques, and cast printing techniques. The result is the creation of two types of incense holders, glasses, ashtrays, and succulent pots by applying the elements contained in Fronto into the form of ceramic works, by applying vintage colors, namely olive green and orange in accordance with the color concept applied by The Frontier House, thus producing harmony between ceramic products made with The Frontier House concept which can provide comfort and interest for visitors.
HARMONY AS A CONCEPT OF CREATION BONE BASED ACCESSORIES AT PT. KIRANA'S IMAGINATION HOUSE, JIMBARAN, BADUNG, BALI Widhi Adnyana, I Wayan; I Made, Suparta; I Nyoman, suardina
Hastagina : Jurnal Kriya Seni Vol 4 No 01 (2024): 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.v4i01.3482

Abstract

The creation of accessories made of bone with the concept of harmony is one of the answers to the phenomenon that occurs in the fashion world, where the fashion world sometimes overrides accessories in its manifestation. In fact, accessories and the fashion world have a relationship and dependence on each other, so accessories have an important role in the fashion world to add to the perfection of the appearance of fashion works. This phenomenon is interesting to reveal by creating a set of fashion accessories products with the concept of harmony taking the shape of roses as an exploration space that is in harmony with the shape of roses that have harmony, unity of shape, color and fragrance forming an amazing harmony frame. Through the creation of this fashion accessories product, it is hoped that it will provide a further understanding for fashion designers as well as the general public that accessory products can raise the dignity and value of fashion itself. The creation process uses the method proposed by Sp Gustami (2007:329) through three stages and six steps, namely exploration, design, and embodiment. Exploration includes exploration activities to explore creative sources. The design is built based on the acquisition of items from the results of the analysis formulated in the visualization of the idea of sketch form as a design reference. The embodiment of making a model according to the selected sketch becomes a prototype model until the perfection of the desired product shape is found. The result Based on exploration, experimentation of techniques, materials, innovations and using carving techniques with a tuner drill produced five sets of accessories with the titles Urn of Life, Compassion, Life Cycle, Charisma, and Three Brothers, which have applicative power in the world of fashion design.
Penciptaan Kostum Tari Wayang Wong Ngereka Seraga Japatuan Adnyana, I Ketut Agus Putra; Mertanadi, I Made; Berata, I Made
Hastagina : Jurnal Kriya Seni Vol 4 No 01 (2024): 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.v4i01.3501

Abstract

The existence of the Wayang Wong Mask in community interlocution events in the current era has experienced a downturn, which in fact is low in appreciation and a decline in the interest of the millennial generation in its continuation. This phenomenon is because wayang wong dances are mostly performed on certain days, and most wayang wong dances are sacred arts. This very interesting issue was raised as a basis for the creation of new creative wayang wong mask costumes, in the form of creating a wayang wong dance costume set which was packaged innovatively entitled "Wayang Wong Ngereka Seraga Japatuan Dance Costume", which is an interpretation of the visualization of Geguritan Japatuan in the form of a costume set. wayang wong dance. The creation of the Wong Ngereka Seraga Japatuan Wayang Dance Costume works uses a creation method which consists of three stages of creation, namely: exploration, design and realization. Exploration includes activities to explore sources of ideas by identifying and formulating problems regarding creative sources in interpreting Ngereka Seraga Japatuan. Design, ideas are built based on obtaining important points from the results of the analysis which are formulated in the visualization of ideas in alternative sketch forms as design references. Realization, making a model according to a sketch or technical drawing that has been prepared into a prototype model until it reaches the complete form of the work and can represent the substance of Gaguritan Japatuan.

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