Corak : Jurnal Seni Kriya
CORAK adalah jurnal ilmiah yang diterbitkan oleh Jurusan Kriya, Fakultas Seni Rupa, Institut Seni Indonesia Yogyakarta dengan nomor p-ISSN: 2301-6027 dan nomor e-ISSN: 2685-4708. Jurnal ini berisikan tentang artikel hasil penelitan, gagasan konseptual (hasil pemikiran), penciptaan, resensi buku bidang seni kriya dan hasil pengabdian masyarakat dalam bidang kriya.
Articles
269 Documents
<![CDATA[Nareh Pariaman Embroidery In Fashion As Creative Industry Development ]]>
<![CDATA[Nofi Rahmanita Nofi Rahmanita]]>;
<![CDATA[Dini Yanuarmi]]>;
<![CDATA[Desra Imelda]]>
<![CDATA[ Corak Vol 11, No 1 (2022): MAY 2022 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/corak.v11i1.6463
<![CDATA[The aisle in Minangkabau is where the bride (anak daro) sits while waiting for the groom (marapulai) to sit side by side (basandiang) after the marital consent testimony (ijab kabul). In addition to Minangkabau decorations, there are also Chinese and Gujarati motifs. As a creative economic development, the application of aisle embroidery to fashion is related to the creation of economic, social, and environmental added value. The researchers conducted this applied research by innovating the product design through the designing of embroidered fashion. The research employed the participatory observation method, which is also known as active observation. In making a fashion design for aisle embroidery to meet the problems and research objectives, effective steps were taken in several stages, namely: a survey of aisle embroidery craft centers; exploration; analysis, and synthesis; design; and then realization into a fashion work.]]>
<![CDATA[Sun Block Technique In Indigosol Dyeing For Textile Artwork ]]>
<![CDATA[Djandjang Purwo Sedjati]]>;
<![CDATA[Hidayatun Nurfiani]]>
<![CDATA[ Corak Vol 11, No 1 (2022): MAY 2022 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/corak.v11i1.6392
<![CDATA[Indigosol is one of the chemical color substances widely used in textile coloring through coletan (brushing) or celupan (dipping) to result in bright color. The coloring process requires the sun's ultraviolet rays. Early observations about the process of coloring fabric with indigosol indicate the importance of using the gap in the heating process with the sun as a new technique in decorating the fabric. It is assumed that when the radiation process occurs, if there is something attached to the fabric exposed to the sun, then the indigosol dye can not appear because it is blocked by an object so that the part attached to an object maintains the original color. The process of heating with the sun in indigosol dyeing technique is a diversification technique or transfer of function in fabric decoration. This study employs the library and observation methods to collect data. The practice-led research method is used to create and reflect on new work. The method focuses on the practice of scientifically written creation processes. Experimental methods are carried out mainly on the indigosol dyeing process combined with remazol and batik techniques. Improvisation is made in cultivation to find new ideas to create works. In applying indigosol, the coloring techniques will be done with blocks using such unique and artistic objects as flora, especially leaves and flowers, and such materials as brocade, tule, or terawang woven combined with remazol color. In addition, dyes will also be involved in batik techniques. The works are all functional and made in silk and cotton sheets. Six types of works are made with engineering techniques obtained from the results of experiments.]]>
<![CDATA[Creating Sustainable Fashion Collection Made Of Handloom Textile For Australian Market ]]>
<![CDATA[Janet Rine Teowarang]]>;
<![CDATA[Michael Nathaniel Kurniawan]]>;
<![CDATA[Carla Van Lunn]]>
<![CDATA[ Corak Vol 11, No 1 (2022): MAY 2022 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/corak.v11i1.6842
<![CDATA[It is undeniable that the fashion industry has a huge impact on the environment, society and economy. In the midst of the movement of the fashion industry towards a sustainable concept, the COVID-19 pandemic came and stopped the movement of the global and domestic fashion industry. This caused a huge financial loss, but also provided an opportunity for the fashion industry to reimagine a better future. This article is the result of a practice-based research, where fashion designer of Allegra Jane creates a sustainable fashion collection made of eco-friendly handloom weaving for the Australian market. Through this practice, the designer learns about the cultivation of eri silkworms that produce peace silk, the processes involved in the making of natural weaving and dyeing that can be used to reinforce the concept of sustainable design, and the design process for Australians who are more receptive to clothing with a sustainable concept. This practice is useful for enriching literature in this field and providing examples of how the Indonesian fashion industry can begin to rise from the COVID-19 negative impacts.]]>
<![CDATA[Magnetic Levitation Technology As An Object Floating Technique In Wooden Craft ]]>
<![CDATA[Sumino Sumino]]>;
<![CDATA[Achmad Gilang Romadhon]]>
<![CDATA[ Corak Vol 11, No 1 (2022): MAY 2022 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/corak.v11i1.7510
<![CDATA[Research and application of magnetic levitation have been expanded in electric motors, generators, radar monitoring systems, car-door central locks, and metal object towing devices. In the operation, the objects do not touch each other. The use of a magnet-based system that floats objects is called a levitation system. In earlier times, fine art had been comfortable with its structure. Consequently, it is not prepared to deal with electromagnetic technology systems. Magnetic levitation technology is the process of floating objects with a gravitational force that rejects or counteracts each other in a magnetic field. This research aims to provide innovations in applying magnetic levitation in designing fine artworks in Indonesia, mainly wooden crafts. The work was designed with eco-design methods. The magnetic levitation techniques have been widely applied in woodcraft art today. The process of floating objects in the air has the property of rejecting each other's components, while the use of permanent magnets sets the object's position stable. Wood material as an object medium is formed to resemble a flying bird stabilized by magnetic levitation techniques. This wooden crafts experiment featured objects spinning and hovering when exposed to the wind.]]>
<![CDATA[Marigold Herbarium Visuals As Scarf Motifs Created Using Screen Printing Technique ]]>
<![CDATA[Andina Febrasari]]>
<![CDATA[ Corak Vol 11, No 1 (2022): MAY 2022 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/corak.v11i1.6048
<![CDATA[Making a herbarium is one of the science supports used to introduce the flora diversity. This herbarium is not only used in the field of taxonomy, but several artists have used the herbarium as a work of art. Various types of plant herbarium are used as basic concepts in creating works of art, one of which is the diversity of essential plants. This paper discusses an art creation inspired by a herbarium of one of the essential plants cultivated in Indonesia, i.e. one of the marigold specieses, namely Tagetes Erecta L.. The visualization of the herbarium of the Marigold Tagetes erecta L. plant was done on scarfs using screen-printing technique. The aims of this research were to provide a new visual alternative for scarf motifs and to introduce marigold Tagetes erecta L. as a plant with essential oil.]]>
<![CDATA[Aesthetic Analysis Of English Embroidery On Modification Of Tulang Bawang Traditional ]]>
<![CDATA[Safitri, Juliana]]>
<![CDATA[ Corak Vol 11, No 2 (2022): NOVEMBER 2022 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/corak.v11i2.7305
<![CDATA[The traditional clothing of the Tulang Bawang province of Lampung is thick with eastern traditions with closed clothing models and upholds the value of modesty. The traditional clothes of Tulang Bawang are eaten as a symbol to show the greatness of Lampung culture. The traditional clothing of Tulang Bawang must be preserved so that it remains in demand by the public and can be introduced more widely. One way is to make modifications. The use of decoration on clothing is also very influential and will add value to dress. The application of English embroidery as a decoration on clothing was chosen because English embroidery has unique characteristics that distinguish English embroidery and other embroideries. The use of English embroidery on the dress will display an exclusive impression on the clothing and will undoubtedly support the realization of the modification of the traditional Tulang Bawang clothing that is used for party occasions. This study aims to discuss the aesthetics of applying English embroidery to the improvement of the traditional clothes of Tulang Bawang. The research method was carried out with a qualitative descriptive method. The results of the author's research on fashion work with the theory put forward by Darsono Sony Kartika (2007), the fashion works have met the quality of aesthetic values. The aesthetic value of clothing can be seen from the elements, which include: unity, harmony, symmetry, balance, and contrast.]]>
<![CDATA[Spirit Pribahasa Mambangkik Batang Tarandam In The Ceramic Artwork ]]>
<![CDATA[Asmara, Dwita Anja]]>
<![CDATA[ Corak Vol 11, No 2 (2022): NOVEMBER 2022 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/corak.v11i2.8386
<![CDATA[Mambangkik batang tarandam is a Minangkabau proverb meaning an attempt to revitalize something ancient to be beneficial and sustainable. There is a cultural transformation and value change in traditional art and lifestyle of the Minangkabau People. This creation aims at (1) understanding and internalizing the spirit of mambangkik batang tarandam contained in the forgotten, neglected, marginalized, and faded symbols through creative and innovative ceramic; (2) resurging the people, especially the people of Minangkabau, to revitalize Minangkabau’s traditional arts that have nearly been ignored and neglected. The art works were created in four phases: (1) Exploration; (2) Experiment; (3) Design; and (4) Realization. The ceramics were made of stoneware clay from Singkawang and Sukabumi. Pinching, slabbing, and casting techniques were employed. At the end, the ceramics were combined with bamboo, wood, cloth, and fiberglass as the supplementary materials. In conclusion, the created art works are expressed to do not only express beauty and self expression but become social criticism and awareness to maintain the presently neglected local wisdoms.]]>
<![CDATA[Three-Dimensional Graphic Innovation Based On Computer-Aided Design (CAD) As A Simulation Of Vishnu Jewelry Design ]]>
<![CDATA[Febriyanto, Wisnu]]>
<![CDATA[ Corak Vol 11, No 2 (2022): NOVEMBER 2022 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/corak.v11i2.7143
<![CDATA[One of them is the presence of Computer Aided Design (CAD) based software to be one of the solutions in the world of design. This CAD can help a designer in visualizing and translating his ideas through three-dimensional graphics (360° rotation). CAD-based three-dimensional software has several advantages: starting with precision when drawing the design, as well as providing specifications and elements related to the design ise. This technology is efficient and helpful if used to create jewelry designsThis innovation can save the design flow, besides that the designer can display his ideas as a whole (before prototyping) so that corrections can be made quickly. Modifications can be imposed on the shape, size, material use of the product, and so on. This CAD can also convert "commands" from digital format into mechanical motion commands on a production machine (Computer Aided Manufacture / CAM) so that production can increase both in quality and quantity. A designer becomes the starting point for making products and is also able to provide solutions to the products produced. It would be perfect if a designer was able to operate this graphic application.]]>
<![CDATA[Product Innovation Traditional Pottery Crafts Gorontalo ]]>
<![CDATA[Sudana, I Wayan]]>;
<![CDATA[Hasmah, Hasmah]]>
<![CDATA[ Corak Vol 11, No 2 (2022): NOVEMBER 2022 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/corak.v11i2.7027
<![CDATA[Gorontalo’s traditional pottery crafts had stagnation and were nearly extinct because it is deserted by its users. Presumed it happened because the final products are less innovative. Thus they are unable to fulfill the dynamics of market demand. This study aims to innovate Gorontalo’s traditional pottery products to be able to regain interest in the market. Studies use the method of art creation that is done through several stages: 1) exploration to discover the concept of design creation; 2) Designing to visualize the concept into visual design; 3) realizing of the design into the product prototype; 4) evaluation in order to envision market prospects. Throughout the process of research, six innovative pottery prototypes were made. The innovative value of these prototypes appears to the uniqueness of forms and finishing’s color variation. The distinctiveness of each prototype is reflected on the cultural art image of Gorontalo and forms of endemic animal of Sulawesi, which became the origin of the creation idea. Based on the evaluation, these all prototypes are said to have promising market prospects and worthy of production. Therefore, traditional Gorontalo pottery craftmens are advised to produce such prototypes to fulfill the dynamic demand of the market so that traditional pottery products do not lose consumers.]]>
<![CDATA[Application Of Ornamental Typography On Stainless Steel Media as Decoration Of Angkringan Teapot ]]>
<![CDATA[Hartono, Budi]]>
<![CDATA[ Corak Vol 11, No 2 (2022): NOVEMBER 2022 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/corak.v11i2.9188
<![CDATA[Creativity in designing local Indonesian products needs to be carried out continuously in anticipation of the flood of imported products from various countries worldwide. The application of engraphing to industrial products strengthens the appearance of goods that have an impact on the quality of their value. This study aims to make innovations with stainless steel medium engraved on certain parts of the item so that the product looks more artistic. The effect produced is to adopt a typical angkringan teapot from the Klaten area. This research method is qualitative research combined with the design of the work. This research stage begins with data collection, data analysis, and presentation of analysis results. The analysis results are used as material for designing angkringan teapot products, which starts with extracting ideas, developing designs, and realizing outcomes.]]>
