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I Putu Udiyana Wasista
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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 Pengembangan Batik Bercorak Flora dengan Teknik Kombinasi Cap dan Tulis: Pengembangan Batik Kombinsai Motif Flora dengan Teknik Cap dan Tulis untuk Jarit Marjono, Jemima Nathania
Hastagina : Jurnal Kriya Seni Vol 5 No 01 (2025): 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.v5i01.1617

Abstract

This creative project aims to develop modern batik motif designs through a combination of cap (stamp) and tulis (hand-drawn) techniques. The main focus lies in visually exploring floral motifs by reactivating unused batik cap stamps owned by artisans objects that hold strong formal potential for contemporary reinterpretation. The final product takes the form of a long batik cloth (jarit), targeting a younger demographic actively using batik in both formal and casual settings.The creation method adopts a three-phase approach: exploration, design, and realization (Gustami, 2000). The exploration phase involved field studies of both cap and tulis batik processes, along with identification of floral forms from various stored stamps. The design phase utilized stylization and rearrangement techniques, supported by additional decorative elements known as isen-isen (small filler motifs), including cecek lima, tritis, uceng, kembang cengkeh, and others. The realization phase involved integrating both techniques cap as the primary motif and tulis as visual enrichments—combined with a three-color dyeing process using remazol: white (for the cap), brown (for the tulis), and black (for the background).The final works feature long batik cloths with floral compositions that retain traditional roots while responding to modern-day demands for efficient production and accessible pricing. This project demonstrates that visual innovation in batik can occur without severing ties to its cultural heritage. Furthermore, it shows that recontextualizing dormant batik cap designs through combination techniques expands batik’s expressive possibilities, making it increasingly relevant for younger generations seeking both aesthetic value and cultural depth in contemporary textile design.
PERANCANGAN OUTER SULAM DENGAN BAHAN KAIN TENUN SESERAN KHAS TUBAN Bayu, bayupujiubaidillah
Hastagina : Jurnal Kriya Seni Vol 5 No 01 (2025): 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.v5i01.1633

Abstract

This creative research aims to explore the visual, structural, and symbolic potential of Tenun Seseran, a traditional handwoven fabric from Kerek District, Tuban, as the primary material in contemporary outerwear fashion design. Tenun Seseran is a variant of Tenun Gedog, characterized by its loose weave, coarse texture, and natural tones such as broken white and brown. Historically, this fabric was used by coastal fishermen for straining small fish, but over time, its function and relevance have diminished in modern contexts. Therefore, this research seeks to transform the utility and cultural meaning of Tenun Seseran through a design approach that is exploratory, experimental, and reflective.The creative process began with field observation and visual documentation in the area where Tenun Seseran is produced, followed by design exploration through sketching, textile manipulation experiments, and the development of outerwear forms aligned with contemporary fashion trends. The final outcomes include six outerwear designs—consisting of cardigans, kimono-style garments, and loose-fit jackets that balance traditional aesthetics with modern forms. The works demonstrate that Tenun Seseran, despite its rough and open-weave character, holds significant potential within the discourse of eco-fashion and locally rooted design.Conceptually, this project emphasizes the transposition of tradition into modern design language without erasing the material’s cultural and textural identity. The results not only offer a fresh visual solution but also serve as a cultural articulation tool within the realm of contemporary craft design. This creative work aspires to inspire further development of textile-based crafts rooted in cultural heritage, contributing to a more sustainable and culturally conscious creative industry.
Mangrove Sebagai Sumber Ide Penciptaan Motif Batik dan Pewarna Alam Aryani, Faatin Adilah
Hastagina : Jurnal Kriya Seni Vol 5 No 01 (2025): 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.v5i01.1720

Abstract

This study aims to create hand-drawn batik motifs by exploring the local potential of the mangrove ecosystem in Kutawaru, Cilacap. Mangrove batik is a craft innovation that not only emphasizes visual aesthetics but also reflects the ecological and socio-economic values of the local community. Using a craft-based creative method that includes exploration, design, and realization, the core ideas for motif development are inspired by the characteristic flora and fauna of the mangrove area, such as Rhizopora plants, ibis birds, and mullet fish. In addition to serving as motif inspiration, mangrove plants are also utilized as sources of eco-friendly natural dyes. Dye extracted from the bark of Rhizopora, which contains tannins, is used as an alternative to synthetic dyes that can negatively impact the environment. The resulting batik works demonstrate that exploring local potential through a mangrove ecosystem approach can contribute to the development of innovative batik designs while also supporting environmental sustainability and the economic empowerment of the local community. This batik not only functions as a cultural product but also serves as a medium for education and environmental conservation. The motif design process involves studying the forms of mangrove plants and animals, which are then transformed into decorative batik patterns through a stylization approach. In addition, the use of natural dyes extracted from the bark of Rhizopora mangroves rich in tannins demonstrates the potential of mangrove plants as an environmentally friendly dye source. This offers an alternative to synthetic dyes, which are known to be harmful to the environment.
STUDI PROSES MELUKIS WAYANG KAMASAN DI SANGGAR LUKIS KLASIK KAMASAN WASUNDARI KAMASAN, KLUNGKUNG, BALI Putra Astawa, I Gede; Berata, I Made; Mertanadi, I Made
Hastagina : Jurnal Kriya Seni Vol 5 No 01 (2025): 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.v5i01.4264

Abstract

The art of Kamasan puppet painting is a great tradition that deserves attention from the condition of its existence which is experiencing a decline in the next generation of its continuity. This phenomenon is the impact of the skyrocketing modern technology that colonizes the world in seconds. The emergence of digital technology that offers convenience and instant affects the mindset of the young generation of Kamasan Village, eliminating the traditional art of wayang kamasan that is able to sweep its era. This phenomenon is very interesting to explore more closely through the Merdeka Belajar Kampus Merdeka (MBKM) program implemented directly in the field, with the aim of absorbing the process of painting wayang kamasan. Data collection and data analysis use qualitative methods, where researchers are involved in the daily activities of the artists at the Wasundari Wayang Kamasan classical painting studio. In the implementation of the process of painting wayang kamasan, the threestage method and steps of the art creation process are applied to discuss the issues raised, namely the process of painting wayang kamasan through a hierarchical perspective born from the concept of Tri Loka, understanding the figures and characters of wayang, the substance of the literary text that is the source of creation, and understanding the concept of how to read the visual narrative of wayang kamasan painting. The organization of puppet figures or characters that function as “text” in visual language, which can represent the substance of the “context” of the literary text illustrated in the form of puppet paintings. This stage of the painting process is considered complicated and time-consuming, not worth the work with the final result.
TEKNIK PERWUJUDAN PATUNG TRADISIONAL BALI PADA STUDIO KT. JAYA STONE BR. SENGGUAN, SINGAPADU, SUKAWATI, GIANYAR, BALI I Kadek, Karang Arinatha; Suparta, I Made; Sumantra, I Made
Hastagina : Jurnal Kriya Seni Vol 5 No 01 (2025): 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.v5i01.4272

Abstract

The Internship/Work Practice Activity of the Independent Learning Independent Campus Program this time was carried out by the author at the KT. Jaya Stone Sculpture Studio located in Banjar Sengguan, Singapadu , Sukawati, Gianyar. The Studio Owner, in addition to as sculptor is also one of the skilled dance artists . The basic material used in making statue use processed waste rock that is easily found around the studio. The works the besides functioning profane there are also natures sacred in accordance with existing orders. Manufacturing process work at the beginning with demonstrate various dance moves for get quality character in accordance with desired figure. This internship program, the author wants to learn about the form and character of the work Paksi Dari, Monkey, Godogan (Frog), Sidakarya and dog using a rock. In the Independent Learning activity This Independent Campus writerFor tracing use method Exploration For get various character and nature Materials, Design For as well as know various existing dimensions in art statue Forget characteristics that exist in each figure like decoration, vehicle and manifestation Formore know every figure as well as movement, proportions and clothing used. Each method used Formake it easier do related searches with statue character Paksi Dedari who has graceful movements and character, Monkey who has facial expressions as if mocking his friends, Godogan (Frog), the mask character Sidakarya, Begawan, and motion naturalist dog.
Pembuatan Ukiran Logam Sebagai Dekorasi Produk Keramik di Narka'S Silver Celuk, Sukawati, Gianyar Sukajaya, I Komang; Mudra, I Wayan; Ngidep Wiyasa, I Nyoman
Hastagina : Jurnal Kriya Seni Vol 5 No 01 (2025): 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.v5i01.4304

Abstract

Decor ceramic generally use rattan , woven ate and metal materials , in particular hiyasan made from metal Still are plain and some have apply carving metal on the lamp ornamental made from ceramics . As stated in Asmara research . et al ., (2020). Decor ceramics are still minimal, namely is something interesting phenomenon For explored in make it happen decor ceramic using carving techniques metal . Art carve metal is art carve Indonesian traditional which involves the process of sculpting and carving metal For create various shapes and motifs. Art This own characteristic unique and diverse specialties , as well used For beautify various objects and accessories . Art carve metal is also a part important from wealth and inheritance art appearance Indonesian traditional (omahbse.co, 2023). Related with That How ornamental shapes and motifs applied to metal For mebut decor ceramics , processes and forms product after applied with carving metal. . The method used in the creation of this work is exploration (searching for sources of ideas, concepts and foundations of creation), design (design of the work) and embodiment (creation of the work). The creation process includes the stages of making sketches, stages of metal carving, installation of gems and installation of inlays on ceramic media, to produce beautiful and functional works. Related with explanation above the ISI Denpasar Institute is one of the arts education institutions in Bali , with give opportunity for student in step up and join in role in existing crafts in Bali for example in art carve metal
Teknik Pembelajaran Dan Pembentukan Keramik Menggunakan Elletric Wheel Di UD.Tri Surya Keramik Br.Belulang, Desa Kapal Kecamatan Mengwi Kabupaten Badung Putu, Tari mey jessica; Artayani, Ida Ayu Gede; Muka, I Ketut
Hastagina : Jurnal Kriya Seni Vol 5 No 01 (2025): 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.v5i01.4306

Abstract

This study aims to create ceramic works using the Electric Wheel technique at UD. Tri Surya, a ceramic company focused on producing high-quality ceramics. This research is driven by the importance of innovation in the ceramic world, particularly in the manufacturing techniques that can produce more complex ceramic forms while being more efficient. The Electric Wheel technique is one method of ceramic production that uses an electrically powered spinning wheel, providing stable speed and ease in shaping clay. The research methodology employed is an experimental approach, where the author creates ceramic works through several stages: preparation of raw clay materials, mixing, shaping with the Electric Wheel, drying, firing, and glazing. This technique is applied to create various forms, ranging from utilitarian ceramics to ceramic art pieces. This study also explores the creative process faced by artisans in using the Electric Wheel and its impact on the quality and aesthetics of the resulting ceramic products. The results of this research show that the Electric Wheel technique offers many advantages, such as precision in shaping and time efficiency. The ceramic works produced are more structured and symmetrical compared to those made with manual pottery wheels. However, the study also identifies several challenges encountered in using this technique, such as speed control and adjustment to specific types of clay. Overall, this study provides a significant contribution to the development of ceramic manufacturing techniques in the industry, particularly in terms of technological innovation and creativity. The application of the Electric Wheel technique at UD. Tri Surya has opened opportunities for improved production quality and product competitiveness, as well as enhancing artisans' understanding of technology use in ceramic art.
Eksistensi Topeng Rangda Gaya Singapadu Adesastrawiguna, Iputu; Mudra, I Wayan; Muka, I Ketut
Hastagina : Jurnal Kriya Seni Vol 5 No 01 (2025): 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.v5i01.4307

Abstract

In the implementation of the Merdeka Belajar Kampus Merdeka program for the even semester, students took a research program on the Singapadu style Rangda mask. This opportunity was used to explore and understand the Rangda mask in Singapadu, both in terms of history, the manufacturing process, and the form and philosophical meaning of the Singapadu style Rangda mask. In its development, there are still many artists in Singapadu and outside Singapadu who do not know the real history of the Singapadu style Rangda mask. The ignorance and understanding of today's young generation about the history of the Singapadu style Rangda mask is an interesting thing to be studied further. In addition to studying the history of the existence of the Rangda mask Singapadu, also researches the process, form and meaning of philosophy. The method used is a qualitative research method and emphasizes qualitative descriptive analysis. The data collection method used For do study This is method observation, interview in a way in-depth, documentation and study literature. In addition, research This use four method research data analysis qualitative that is method data collection, data reduction, data presentation, and data extraction conclusion. This study uses a historical approach that aims to find out information related to the historical traces of the Singapadu style Rangda mask. The implementation of research on the Existence of the Singapadu Style Rangda Mask resulted in findings related to history, the manufacturing process, and knowing the form and philosophical meaning of the Singapadu style Rangda mask.
Pemanfaatan Limbah Kain Tule dan Brokat dalam Perancangan Visual Kebaya dengan Pendekatan Desain Sirkular Ardhanareswari, Ardantiya Reine; Santoso, Ratna Endah
Hastagina : Jurnal Kriya Seni Vol 5 No 01 (2025): 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.v5i01.4443

Abstract

The potential growth of textile waste in Indonesia is highly concerning, with an anticipated increase of 70% from the current 2.3 tons per day over the next six years. This growth poses a significant threat as only 0.3 million tons of textile waste are successfully recycled out of the total generated. The kebaya industry contributes to this potential increase in textile waste, generating 0.5 to 1.5 kg of unprocessed tulle and brocade fabric waste each week. Tulle and brocade are synthetic fibers that do not biodegrade naturally and take a very long time to break down completely. This situation highlights the urgent need for the implementation of a circular economy system with a design approach within the kebaya industry. The objective of this project is to design kebayas using waste tulle and brocade fabric through a circular design approach without losing the unique characteristics of traditional Indonesian kebayas. The design method used is the circular design approach with the Close the Loop (CTL) framework, which consists of six stages: (1) Resources, (2) Design, (3) Production, (4) Retail, (5) Consumption, and (6) End of Life. The result is a kebaya inspired by the shapes and silhouettes of traditional kebayas, made from waste tulle and brocade fabric. By applying a circular design approach, the unprocessed tulle and brocade waste from the kebaya industry can be transformed into kebayas, indicating the potential for the industry to become more responsible by turning textile.
Pengenalan Potensi Ekonomi Tanaman Porang Kepada Masyarakat Melalui Produk Batik Hanif, Nurmarilis Auliya; Darwanto
Hastagina : Jurnal Kriya Seni Vol 4 No 01 (2024): 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.v4i01.1707

Abstract

Porang batik from Madiun has capital problems that make it difficult for batik to develop, such as the absence ofregeneration. In the absence of regeneration, making porang batik is still not well known by the public. So from theseproblems, you can create a porang batik design by bringing out the characters on the porang plant so that it can attractthe public to better understand the potential of the porang plant. The problem in this design is how to create porangmotifs to be better known by the public. In addition, it also cultivates the porang plant as an inspiration for motifs thatcan be realized in designs into fabrics with the cold night batik technique. The method used is the Collin ClipsonMethod as a reference and principles of art by considering aesthetic aspects, materials, techniques, functions, andmarket segments. So that it is expected to be able to solve problems in the design of these products, in order to producea product that is functional and also worth selling. This design resulted in 8 designs of batik cloth with stylized andnaturalist styles. With the results of this design, it is able to present a touch or other style in the display of motifs withthe source of the idea of porang plants. Therefore, it is expected to be able to provide awareness to the public about theimportance and economic value of the porang plant.

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