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Corak : Jurnal Seni Kriya

corak
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Published by Institut Seni Indonesia Yogyakarta

ISSN : 23016027 EISSN : 26854708 DOI : -

Core Subject : Humanities, Art,

Arts Humanities

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.

Arjuna Subject : -

Articles 269 Documents

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GERABAH KREATIF ELEKTROPLATING MENUJU CRAFT AWARENESS DALAM PASAR GLOBAL Arif Suharson; Febrian Wisnu Adi
Corak : Jurnal Seni Kriya Vol 4, No 1 (2015): MEI 2015
Publisher : Institut Seni Indonesia Yogyakarta

Currently, the traditional art of ceramics or potteries is required to meet high standardof quality of materials, techniques, shapes, and finishing process. The creative finishing ofboth functional and non-functional ceramic or pottery products can be an appropriate solutionfor higher aesthetic values. Finishing through the making of centre of interest can servedecorative art element in order to qualify global market demand. A great number oftraditional artisans have failed to have improved innovation in the designs and finishingtechniques of functional products due to the limited knowledge in shape exploration and falseassumption that they are difficult, costly, and time-consuming.This is an applied study to explore improved creativity and finishing techniques forceramics or potteries in order to result in competitive advantage in the global market throughcraft awareness. Finishing process is the final touch to have up-to-date trend and higher sellingprice of the products. This study is attempting to identify the most suitable composition offinishing process by ideal, cheap, and effective electroplating technique to result in globallycompetitive products. Such this finishing process is also expected to contribute to thedevelopment of design trend in both national and international ceramic market.Currently creative functional ceramics/potteries have attracted both domestic andinternational consumers. Extrapolating technique in ceramic finishing process is very attractiveand is expected to improve the quality of ceramic art which in turn, will lead to competitiveadvantage in global market and better economic return for the artisans. Key words: extrapolating finishing, ceramic / pottery, creative product, global market Seni keramik dan gerabah tradisional pada era sekarang dituntut mampu memenuhistandar kualitas baik dari segi, bahan, teknik, bentuk, dan finishingnya. Finishing baru padaproduk keramik/gerabah kreatif baik fungsional maupun non fungsional mampu menjadisolusi yang tepat untuk membantu memperindah bentuk produk. Finishing dengan membuatcentre of interest mampu menjadi unsur seni hias, sehingga dapat memenuhi keinginan pasarglobal. Kalangan pengrajin tradisional banyak yang belum melakukan inovasi desain produkfungsional dan meningkatkan teknik finishing dan hanya pasrah dengan finishing yang ada,dikarenakan minimnya pengetahuan dalam melakukan ekplorasi bentuk dan inovasi yangdianggap sulit, memerlukan biaya besar, dan membutuhkan waktu yang lama.Penelitian ini merupakan penelitian terapan yang mengarah pada pencapaian disainproduk kreatif dan mutu finishing pada produk seni keramik/gerabah dalam rangka memenangkan pasar global atau craft awareness di dunia internasional. Finishing merupakanteknik akhir dalam menyelesaikan produk agar menjadi lebih baik, menyelaraskan dengantrend desain terkini, dan mampu mengangkat harga jual suatu produk. Penelitian ini akanmenemukan komposisi finishing dengan metode elektroplating yang ideal, mudah, dan efektifsebagai upaya memberikan pengembangan finishing produk-produk kreatif yang mampubersaing pada pasar global. Finishing ini juga menjadi salah satu bagian menciptakan trenddesain dalam pasar keramik secara nasional maupun internasional.Produk keramik/gerabah fungsional kreatif saat ini banyak diminati oleh konsumen,baik dari dalam negeri maupun luar negeri. Teknik finishing dengan metode elektroplatingakan menjadi salah satu daya tarik tersendiri dan mampu meningkatkan mutu produksi senigerabah yang akan memberikan dampak kemajuan pada seni tradisional di era pasar global.Sehingga mampu memberikan keunggulan yang berdampak pada penghasilan ekonomikesejahteraan kepada para pelaku keramik/gerabah tradisional. Kata kunci: finishing elektroplating, keramik/gerabah, produk kreatif, pasar global

PERTALIAN TRADISI KERIS TANGGUH NGÉNTHA-ÉNTA YOGYAKARTA: Titik Awal dan Kebangkitan Historis Supriaswoto Supriaswoto; Timbul Haryono
Corak : Jurnal Seni Kriya Vol 1, No 2 (2012): NOVEMBER 2012
Publisher : Institut Seni Indonesia Yogyakarta

Kerris is stabbing weapon for the archipelago wich have a term of religious, values, magical,aesthetic, and mysterious, but also have a politic value, economy, sociology, and art that not timeless.It prove that kerris existence still exists and continuous to exists. The one that get tracked is TangguhNgentha-entha Kerris of Yagyakarta. Who masters that become the supportersand how TangguhNgentha-entha Kerris rise back and found their identifycan be listened to in the following text. Keyword : Kerris, Tangguh Ngentha-entha, empu, Entha Wayang.

WAYANG KLITHIK ROBOT Gandar Setiawan
Corak : Jurnal Seni Kriya Vol 3, No 2 (2014): NOVEMBER 2014
Publisher : Institut Seni Indonesia Yogyakarta

Wayang is a autentic culture from Indonesia. Wayang has many figure and character.It is main idea of this make the artwork. Inspiration of the artwork also from observation robotforms. Robot has the furious and futuristic form. Like the progression of technologi, form ofrobot also more experiencing form progression. Until now, form of robot still identic dan cannot losed from imajinative forms.This prossesing to make the artwork use created methode from Gustami, it is a threestages six steps creating craft artwork. First stage is eksploration consist of observation andfinding refference steps. Second stage is desaigning consist of making the sketch and makingthe gambar teknik or modeling steps. Third stage is forming consist of create artwork andfinished with value and evaluation steps.Result of visual form is a three dimension artwork with futuristic robot form. Visualform the artwork is a transformastion of futuristic wayang klithik with robot form. The puppetfigures are Wrekudara and Gatotkaca Combination form is a method for impression andaesthete value of the artwork. Keywords: puppet, wayang klithik, robot, Wrekudara, Gatotkaca Wayang merupakan budaya asli dari Indonesia. Wayang memiliki berbagai macamtokoh dan karakter. Wayang menjadi ide utama penciptaan dalam penciptaan karya ini.Inspirasi karya juga muncul dari pengamatan bentuk-bentuk robot. Robot memiliki bentukyang variatif dan futuristik. Sesuai dengan perkembangan teknologi, bentuk robot jugamengalami perkembangan yang lebih bermacam-macam. Sampai saat ini, bentuk robot masihidentik dan tidak bisa lepas dari bentuk-bentuk imajinatif.Proses pembuatan karya seni ini menggunakan metode penciptaan dari Gustami, yaitumetode tiga tahap enam langkah dalam menciptakan karya seni kriya. Tahap pertama yaitueksplorasi yang meliputi langkah pengamatan dan pencarian sumber pustaka. Tahap keduamerupakan tahap perancangan yang terdiri dari langkah pembuatan beberapa sketsa danpembuatan gambar teknik ataupun model. Tahap yang ketiga yaitu tahap perwujudan yangterdiri langkah pengerjaan karya, dan diakhiri dengan penilaian juga evaluasi karya yang telahjadi.Bentuk visual yang dihasilkan yaitu karya seni tiga dimensi dengan bentuk futuristikmenyerupai robot. Bentuk visual karya merupakan penggabungan antara bentuk wayangklithik dengan bentuk robot. Tokoh wayang yang dibuat yaitu Wrekudara dan Gatotkaca.Perpaduan bentuk dilakukan sebagai cara untuk memberikan kesan dan nilai estetik padakarya.Kata kunci: wayang, wayang klithik, robot, Wrekudara, Gatotkaca

KARAKTERISTIK TANAH LIAT DAN PENGARUHNYA TERHADAP KEBERHASILAN WARNA GLASIR Prima Yustana
Corak : Jurnal Seni Kriya Vol 1, No 1 (2012): MEI 2012
Publisher : Institut Seni Indonesia Yogyakarta

This eksperiment attempts to solve common problems faced in ceramic finish, finishingceramic objects have differences to resolve other matters. Glaze is a type of glass coating thatis applied to coat the ceramic objects, this is an interesting layer to be studied, because thesuccess glaze applications in ceramics is influenced by many factors. Applications glaze onceramic objects have a very high level of difficulty, the difficulty seen in glaze formulas,application techniques, firing temperature, shrinkage of dry matter and the successfulachievement of color after glaze the combustion process. This research is to determine whetherthe clay character has an influence on the success rate of the color will appear. The problemsolving method uses the experimental method, this method is considered more appropriate todetermine the level of success of an experiment relating to material containing chemicalelements.Clay used is a type of stoneware clay has five classes of characters, clay are as follows:1. Pacitan soil, wet soil has a reddish color, 2. Singkawang soil, wet soil has a whitish colour, 3.Sukabumi is a brightly colored ground, wet floor is a beige, with 4. Sukabumi, the dark ground,wet soil has a dark brown color, 5. Bojonegoro soil, wet soil has a light brown color. color Glazefive characters shall be applied on the surface of clay are: 1. young Greens, 2. Pink, 3. Greenishblue, 4. Brown 5. Dark blue.Character clay is relatively large contribution to the emergence of color glaze inaccordance with the wishes or the plan, especially when using a formula based on the glossyglaze. Glaze formula will tend to be stable when there is a combination of stain with a glazeoxide, stable formula can also be found on the matt glaze, because it glaze was close or nottransparent. coloring oxides are very sensitive to the character of soil temperature change iscobalt and fe ,experiment that required in advance if the formula contains two types of oxideglaze. Burning with the reduction or oxidation also will give effect to the glaze colors willappear.Keyword: experiment, color glaze, characters clay.

PENCIPTAAN BATIK POSTMODERN (Pengadaptasian Elemen Artistik Lukisan Modern Indonesia dalam Teknik dan Motif Batik Tradisional Yogyakarta) Aruman Aruman; Deni Junaedi; Isbandono Hariyanto
Corak : Jurnal Seni Kriya Vol 3, No 1 (2014): MEI 2014
Publisher : Institut Seni Indonesia Yogyakarta

Over time, traditional batik art continue to be explored and developed by a community ofsupporters. Various techniques and styles continue to emerge and inspire each other. Recognized theexistence of the world community. Likewise with modern Indonesian painting, to date the work andthe artist is able to leave a deep imprint for generations thereafter until today.Starting from the traditional batik and painting modern Indonesia, known to this day -through the creation of research - development possibilities of adapting the technique of batik andmodern painting techniques, so as to give birth to a new style that can contribute to the survival ofYogyakarta batik. From the analysis of the traditional batik of Yogyakarta and painting modernIndonesia, found a wide variety of painting techniques and artistic elements that can be combinedand used in batik techniques, in this case a blend of traditional and artistic batik art modern paintingbatik can be categorized as postmodernism, lifting the spirit of the old with a new style.Keywords: motif, batik, postmodernism, painting, Yogyakarta Seiring berjalannya waktu, seni batik tradisional terus digali dan dikembangkan olehmasyarakat pendukungnya. Berbagai teknik dan gaya terus bermunculan dan saling menginspirasi.Eksistensinya diakui masyarakat dunia. Begitu juga dengan seni lukis modern Indonesia, hingga saatini karya dan senimannya mampu meninggalkan jejak yang mendalam bagi generasi setelahnyahingga saat ini.Berawal dari batik tradisional dan lukisan modern Indonesia yang dikenal hingga saat ini -melalui penelitian penciptaan - dikembangkan kemungkinan-kemungkinan pengadaptasian teknikbatik dan teknik lukis modern, sehingga mampu melahirkan gaya baru yang dapat disumbangkanbagi kelangsungan batik di Yogyakarta. Dari hasil analisa batik tradisional Yogyakarta dan seni lukismodern Indonesia, didapati berbagai macam teknik lukis dan elemen artistik yang dapat dipadukandan digunakan dalam teknik membatik, dalam hal ini perpaduan seni batik tradisional dan artistikseni lukis modern dapat dikategorikan sebagai batik postmodernisme, mengangkat spirit lamadengan gaya yang baru.Kata kunci: motif, batik, postmodernisme, lukis, Yogyakarta

KONTEMPORER FINISHING PADA MEDIA GERABAH NON SILIDRIS DENGAN TEKNIK PAINTING IN THE WATER Arif Suharson; Dwita Anja Asmara
Corak : Jurnal Seni Kriya Vol 2, No 2 (2013): NOVEMBER 2013
Publisher : Institut Seni Indonesia Yogyakarta

Creative terracotta products are required to meet the best possible standard ofmaterial, technique, and finishing method. Innovation in the shapes and finishing application ofnon-cylindrical terracotta products can be an appropriate solution to crease centre of interest,and to meet the need for contemporary and modern terracotta products in the market. Most ofthe artisans of terracotta products have not diversified their products. Neither have they madeinnovation about the design for non-cylindrical terracotta products for interior or exteriorornaments. The finishing of products has not improved due to the minimal knowledge in thecomposition of color and technique.This study is an applied research to identify the innovation in shapes of non-cylindricalterracotta products and the quality of terracotta art products. Finishing is the last step in theprocess of production. It has to be in harmony with the contemporary design and trend in orderto increase the price of products. This study specifically found the finishing composition withthe method of painting in the water the process of which is performed in the water to result inunique and artistic color combination.Products of the creative industry of terracotta have attracted both domestic andinternational consumers’ attention. Innovation in non-cylindrical shapes and application ofcontemporary finishing technique of painting in the water will be attractive and beneficial inimproving the quality of terracotta productions in global market era. Therefore, they can resultin superior advantages that lead to the increase of economic welfare especially for thoseinvolved in creative works of terracotta.Key words: finishing, terracotta, product, creative, technique Produk-produk kreatif seni gerabah terracotta dituntut mampu memenuhi standarkualitas baik dari segi, bahan, teknik, dan finishingnya. Inovasi bentuk gerabah non silindris danaplikasi finishing mampu menjadi solusi yang tepat untuk membuat centre of interest, danmengarah pada pemenuhan kebutuhan gerabah kontemporer atau modern, sehingga dapatmemenuhi keinginan pasar. Kalangan pengrajin banyak yang belum melakukan diversifikasidan inovasi desain bentuk gerabah non silindris yang difungsikan sebagai elemen seni hias interior/eksterior. Finishing produk gerabah juga mengalami kendala dan seolah hanya pasrahdengan finishing yang ada, dikarenakan minimnya pengetahuan dalam mengkomposisikanwarna dan teknik finishing baru yang dianggap sulit.Penelitian ini merupakan penelitian terapan yang mengarah pada inovasi bentukproduk gerabah non silindris dan pencapaian mutu finishing pada produk seni gerabahterracotta. Finishing merupakan teknik akhir dalam menyelesaikan produk agar menjadi lebihbaik, menyelaraskan dengan trend desain terkini, dan mampu mengangkat harga jual suatuproduk. Penelitian ini akan menemukan komposisi finishing dengan metode painting in thewater. Dimana proses pelaksanaan finishing gerabah dilakukan dalam air dengan hasil finishingkontemporer dengan perpaduan warna yang unik dan artistik.Produk-produk dari dunia industri kreatif terutama seni gerabah terracotta mulaibanyak diminati oleh konsumen, baik dari dalam negeri maupun luar negeri. Inovasi bentukgerabah non silindris dan aplikasi finishing kontemporer dengan teknik painting in the waterakan menjadi salah satu daya tarik dan mampu meningkatkan mutu produksi seni gerabahterracotta yang akan memberikan dampak kemajuan pada seni tradisional di era pasar global.Sehingga mampu memberikan keunggulan yang berdampak pada penghasilan ekonomikesejahteraan, terutama bagi insan dunia kreatif pada bidang seni gerabah terracota. Kata kunci: finishing, gerabah terracotta, produk, kreatif, teknik

TEKNIK SCROLL UNTUK PEMBUATAN PRODUK INTERIOR Andono Andono; Aruman Aruman
Corak : Jurnal Seni Kriya Vol 2, No 1 (2013): MEI 2013
Publisher : Institut Seni Indonesia Yogyakarta

In the world of crafts, especially wood craft, some techniques have been known to createa work of art such as carving, lathing, scrolling, etc. Scroll technique is the work of wood craftproduction using scrolling tools such as scrollsaw, which is a saw with small ribbon powered byelectricity. The tool has the specifications of cutting perpendicular, oblique, straight, and curvedpositions. This device is usually used as a tool to make holes in the process of wood carving(krawangan), or to cut the carving edge. In addition, scroll saw is usually used to make puzzle(education props / toys), and letters.With its specifications, scrollsaw can be explored further by making it as a major tool in themanufacture of wood craft art, such as interior elements. Our preliminary research proved thatthe tool can be used as the main tool for the manufacture of wood craftsmanship products(decorative masks) that is unique and distinctive. So in this study we try scroll technique for themanufacture of some products for interior elements, such as mirrors, wall clocks, table / walllamps, and the flowerpots. The manufacturing process consists of some stages such asexplorating, designing, embodying, and evaluating. By exploring the scroll technique, planks ofwood that are cut will produce a curved piece and form a small square field. If the blades arearranged with the arrangement that is designed with a particular composition, they will bear acertain distinctive and unique motive form in their field surface. The product of the interiorelements will have distinctiveness, uniqueness, and attractiveness of their own.Scroll technique can be developed for the manufacture of art craft products because thescrollsaw is easy enough to use. Therefore, this scroll technique can be used as a new jobopportunity for people who want to be engaged in it to reduce the number of unemployedpeople. Being creative with the scroll technique can be engaged professionally or just as ahobby for works of art. Keywords: scroll techniques, craft product, interior elements

BATIK MADURA: Menilik Ciri Khas dan Makna Filosofinya R.A Sekartaji Suminto
Corak : Jurnal Seni Kriya Vol 4, No 1 (2015): MEI 2015
Publisher : Institut Seni Indonesia Yogyakarta

Batik is the cultural heritage of the archipelago that is priceless. Each area in Indonesia has batiktradition, especially in Java and surrounding areas. Batik has been known since centuries ago.Batik type is classified into two major parts, namely inland and coastal batik. Batik Madura isone type of coastal batik has its own beauty, but still not so well known by the public at large.Every region in Madura has a typical batik yield of each, which can be seen from the patterns,motifs and colors. Batik Bangkalan, especially batik gentongan, Tanjung Bumi, it had its owncharacteristics, namely of how to make it. Gentongan batik dyeing technique requires a specialway, which is by doing the barrel stone in a period of 1 month to 1 year. This is the way toproduce batik with excellent quality. Gentongan batik color will not fade, even the longer will bemore beautiful. Batik Madura is still less popular than Batik Pekalongan, Cirebon or Lasem, butthe beauty of Madura batik, especially batik gentongan Tanjung Bumi remained in line with theprogress of time, even becoming increasingly popular over time. Keywords: Batik Madura, characteristic, gentongan, Tanjung Bumi Batik adalah warisan budaya Nusantara yang tak ternilai harganya. Setiap daerah di Indonesiamemilik tradisi membatik, khususnya di Pulau Jawa dan sekitarnya. Batik sudah dikenal sejakberabad-abad yang lalu. Jenis batik digolongkan menjadi dua bagian besar, yaitu batikpedalaman dan batik pesisir. Batik Madura adalah salah satu jenis batik pesisir yang memilikikeindahan tersendiri, namun masih belum begitu dikenal oleh masyarakat secara luas. Setiapwilayah di Madura yang menghasilkan batik memiliki ciri khas masing-masing, yang bisa dilihatdari corak, motif dan warnanya. Batik Bangkalan, khususnya batik gentonganTanjung Bumi,memilik ciri khas tersendiri, yaitu dari cara pembuatannya. Teknik pewarnaan batik gentonganmemerlukan cara khusus, yaitu dengan melakukan perendaman dalam gentong batu dalamjangka waktu 1 bulan hingga 1 tahun. Hal ini untuk menghasilkan batik dengan kualitas prima.Warna batik gentongan tidak akan memudar, bahkan makin lama akan makin indah. BatikMadura memang masih kurang populer dibandingkan dengan batik Pekalongan, Cirebon atauLasem, namun keindahan batik Madura, terutama batik gentongan Tanjung Bumi tetapbertahan seiring dengan kemajuan jaman, bahkan menjadi semakin terkenal dari waktu kewaktu.Kata kunci : Batik Madura, ciri khas, gentongan, Tanjung Bumi

APLIKASI KERAMIK PADA FUNGSI AROMATHERAPY Noor Sudiyati
Corak : Jurnal Seni Kriya Vol 3, No 1 (2014): MEI 2014
Publisher : Institut Seni Indonesia Yogyakarta

Aromatherapy obtained through combustion of essential oil as the need of health isnow mushrooming in big cities. Essential oil that made of plants has the ability to createrelaxation without causing any side effect. Those herbal such as roses, ginger, jasmine, lemongrass and so on are growing around us and treated with distilled technology.Essential oils can be processed into liquid, stick, and solid, and its use requires aceramic container made of clay. Ceramics is capable to answer the needs of aromatherapyfurnace with such a wide variety of themes, images, expressions and artistic decorations.Frangipani themed ceramic furnace is made for aromatherapy containers used for essentialliquids that are heated with candles burning. This furnace made with incorporated slabtechniques so it has unique character.Key words: Ceramic, Aromatherapy, Herbal theme, aromatherapy, for firing,frangipaniceramic. Kebutuhan akan kesehatan melalui system pembakaran mintak atsiri disebutaromatherapy yang berasal dari herbal marak di kota-kota besar, Minyak atsiri yang terbuatdari tumbuh-tumbuhan ternyata mampu membuat rileksasi, dipakai tanpa meninggalkan efeksamping. Herbal itu banyak tumbuh di sekeliling kita, namun diolah dengan teknologi suling,misalnya saja: bunga kenanga, melati (jasmine), sere, Jahe, mawar dan lain sebagainya.Minyak atsiri (aromatherapy) bisa diolah sehingga dapat berupa cairan, stick, danpadat, dalam penggunaanya memerlukan wadah berupa keramik yang terbuat dari Tanah liat.Keramik mampu menjawab kebutuhan wadah pembakaran atau tungku aromatherapi denganberbagai macam: tema, imaji, ekpresi dan dekorasi yang artistic.Tungku Keramik bertema Kamboja dibuat untuk wadah aromatherapy yang dipakaiuntuk atsiri cairan yang dipanaskan dengan pembakaran lilin. Tungku ini dibuat dengan teknikslab yang digabungkan, menjadi tungku yang berkarakter khas. Kata Kunci: keramik, aromatherapy, herbal, pemanasan, tema kamboja.

METODE PEMBANGKITAN IDE KREATIF DALAM PENCIPTAAN SENI Edi Eskak
Corak : Jurnal Seni Kriya Vol 2, No 2 (2013): NOVEMBER 2013
Publisher : Institut Seni Indonesia Yogyakarta

Ide merupakan konsep pemikiran yang akan diwujudkan menjadi karya, tanpa ideseniman tidak akan bisa menciptakan karya seni. Ide menjadi penting karena merupakan titiktolak menciptakan suatu karya seni, namun dalam mengeksplorasi ide, banyak senimanterkendala dalam menemukan ide yang akan dituangkan menjadi karya. Maka perlu dikajiberbagai metode pembangkitan ide kreatif dari berbagai sumber yang dapat diaplikasikanguna membangkitkan ide-ide baru dalam penciptaan seni. Metode yang dikaji adalah:membaca, observasi, curah gagasan, berpikir lateral, serta bersosialisasi dan berdiskusi,Membaca meningkatkan pengetahuan dan memperluas wawasan. Observasi merupakanupaya mendapatkan pengetahuan baru yang mendalam dengan pengamatan, sehinggaseniman mendapatkan ide-ide baru. Bila mengalami ketiadaan ide, seniman dapat melakukancurah gagasan yang dilakukan secara bebas sehingga dapat terhindar dari kebuntuan ide.Berpikir lateral merupakan cara penyegaran pikiran dengan mencoba keluar dari kotakkemapanan, rutinitas, atau dari penjara idiologi, agar menemukan ide inovatif dalampenciptaan seni. Bersosialisasi dan berdiskusi memperbanyak teman untuk bertukar pikiranserta mendapatkan pengalaman yang inspiratif. Kata kunci: ide, kreativitas, dan penciptaan seni, The idea is the concept of thinking translated into the work. An artist will not be able to createart work with no idea. The idea is a starting point to create an art work so that become as animportant issue. However in exploring the idea, many artists are constrained in finding it sothat will be poured into the work. Then it is necessary to study various methods of generatingcreative ideas from a variety of sources that can be applied in order to generate new ideas inthe creation of art. The methods studied were: reading, observation, brainstorming, lateralthinking, as well as socializing and discussion. Reading increases knowledge and broaden yourhorizons. Observation is an effort to gain a profound new knowledge, so the artists get newideas. When experiencing lack of ideas, artists brainstorming ideas can be freely made in orderto avoid deadlock ideas. Lateral thinking is a way of refreshing the mind trying to get out of thebox stability, routine, or the ideology, in order to find innovative ideas in the creation of art.Socializing and discusing multiply with friends to exchange ideas and getting inspirativeexperiences. Keywords: ideas, creativity, and artistic creation.

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Contact Name
Nurhadi Siswanto

Contact Email
corak.jurnalsenikriya@gmail.com

Phone
-

Journal Mail Official
corak.jurnalsenikriya@gmail.com

Editorial Address
-

Location
Kab. bantul,

Daerah istimewa yogyakarta

INDONESIA