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All Journal Gorga : Jurnal Seni Rupa Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Narada : Jurnal Desain dan Seni
Tiwi Bina Affanti
Universitas Sebelas Maret
Arts Humanities Education

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PEMANFAATAN TEKNIK TAPESTRI PADA ROMPI DENGAN BAHAN RENDA Sania Ratnawuri Ardianti; Tiwi Bina Affanti
Gorga : Jurnal Seni Rupa Vol 10, No 2 (2021): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v10i2.28231

Abstract

The background of this project begins with the fact that there are many people in Indonesia who are not familiar with tapestry, so Indonesian need to know the existence of tapestry art. Tapestry is usually applied to rugs or carpets, doormats, and wall decorations, in this case tapestry can be applied to fashion products such as outer which is currently trending. The are some problems that we found in making outer using tapestry techniques. The first one is the application of tapestry techniques for making a vest, The second is the materials used, and the last one is the model of the vest. The creation of the art are carried out using the method of crafting art according to SP Gustami through 3 stages, namely the exploration stage (soul odyssey, field observation, and reference excavation), the design stage (verbal ideas are poured into alternative sketches), and the embodiment stage (based on sketches alternatives and prototypes are made into actual works). The results of the design of the vest that is made by using flat and the soumak tapestry technique that use knitted lace which  is left over from the garment production as the main material is light and not too thick. The pattern (motifs) which is used are geometric shapes and the colors are taken from the vest model of boho embellished which carries the concept of style boho with contrasting bright colors. How to use the tapestry technique into a vest using lace material is making a pattern in the front and the back of the vest that will be visualized, and then making a tapestry vest based to the design that has been made from the beginning to finishing.Keywords: tapestry, outer, vest, lace.Abstrak Latar belakang proyek perancangan ini berawal dari masih banyaknya orang yang belum mengenal tapestri, sehingga eksitensi dari tapestri ini masih perlu disimak karena masyarakat Indonesia belum begitu mengenal seni ini. Tapestri yang biasanya diaplikasikan untuk permadani atau karpet, keset, dan hiasan dinding, dalam hal ini tapestri bisa saja diaplikasikan pada produk fesyen seperti outer yang saat ini sedang trend. Permasalahan yang dihadapi dalam pemanfaatan teknik tapestri kedalam outer yakni penerapan teknik tapestri pada rompi, bahan yang digunakan, dan model rompi yang digunakan. Tahapan penciptaan karya dilakukan dengan metode penciptaan seni kriya menurut SP Gustami melalui 3 tahap yakni tahap eksplorasi ( pengembaraan jiwa, pengamatan lapangan, dan penggalian referensi), tahap perancangan (ide gagasan yang bersifat verbali dituangkan menjadi sketsa alternatif), dan tahap perwujudan (berdasarkan sketsa alternatif dan prototype dibuat karya yang sesungguhnya). Hasil perancangan berupa rompi yang dibuat dengan teknik tapestri yakni teknik tapestri rata dan teknik tapestri soumak, dengan menggunakan bahan utamanya renda rajut sisa produksi garment yang hasilnya ringan dan tidak terlalu tebal. Motif yang digunakan bentuk-bentuk geometris, dan warna diambil dari model rompi boho embellished yang mengusung konsep gaya boho dengan warna-warna cerah yang berlawanan. Cara memanfaatkan teknik tapestri kedalam rompi dengan menggunakan bahan renda yakni membuat pola rompi bagian depan dan belakang yang akan divisualkan, kemudian membuat rompi tapestri sesuai desain yang sudah dibuat dari awal hingga penyelesaian akhir.    Kata Kunci:tapestri, outer, rompi, renda. Authors:Sania Ratnawuri Ardianti : Universitas Sebelas MaretTiwi Bina Affanti : Universitas Sebelas Maret References:Ardianti, Sania Ratnawuri. (2021). “Tapestri”. Hasil Dokumetasi Pribadi: 15 Juli 2021, Surakarta.Dwigantara, Agditya. (2011). Kajian Karya Tapestri Biranul Anas Zaman. Skripsi Gelar Sarjana. Universitas Sebelas Maret.Fitinline. (2014). Jenis Vest Bagian III. https://fitinline.com/article/read/jenis-vest-bagian-iii/ (diakses tanggal 12 Oktober 2020).Gustami, SP. (2007). Butir-Butir Mutiara Estetika Timur Ide Dasar Penciptaan Seni Kriya Indonesia. Yogyakarta: Prasista.Imas, Cynthia Zhafira A. (2019). Aplikasi Tapestri Dan Batik Kontemporer Pada Busana Artwear. Yogyakarta: Jurnal Tugas Akhir Institute Seni Indonesia Yogyakarta.Naufa, Miftahun. (2018). Ekspresi Bentuk Geometris Melalui Penggarapan Tekstil Tapestri. Jurnal Puitika, 14(1), 79-89.Goet, Poespo. (2009). A to Z Istilah Fashion. Jakarta: PT Gramedia Pustaka Utama.Sari, Quartini. (2018). Tampil Fashionable dengan Outer. https://lifestyle.kompas.com/tampil-fashionable-dengan-outer  (diakses tanggal 12 Oktober 2020).
KAJIAN DESAIN PADA TEKSTIL TIRUAN BATIK DI SIDOMULYO NGAWI SEBAGAI TEKSTIL UNTUK SERAGAM Silvia Khoiru Azizah; Tiwi Bina Affanti
Gorga : Jurnal Seni Rupa Vol 10, No 1 (2021): Gorga : Jurnal Seni Rupa
Publisher : Fakultas Bahasa dan Seni Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gr.v10i1.25024

Abstract

Batik craft in Ngawi Regency first appeared in Tempurejo, Banyubiru Village, which is called Griya Batik Sidomulyo. ‘Batik Imitation’ products have been produced as uniforms for government or private agencies in Ngawi Regency. The problems discussed are animed at determining the background of Griya Batik Sidomulyo’s production of batik imitations as textiles for uniforms and the aspects considered in designing  batik imitation uniforms. The method in this research uses descriptive qualitative methods with a design approach. The research location was conducted at Griya Batik Sidomulyo Ngawi. The design approach is used to study the imitation of cold wax printed batik cloth. The result of this study are the background of Griya Batik Sidomulyo producing batik imitation, beginning with producing hand-written batik. Production of cold wax printed batik imitations from 2010 until now. Efforts to produce imitation batik fabrics to be able to meet market at a relatively cheaper price. Fabric production does not only meet design requirements but must be by market demands dan buyers. The aspects considered in designing have similarities and differences in the functional, aesthetics, materials, and production processes. Other conciderations require consumer tastes, trends mode, marketing to establish communication.Keywords: design, batik imitation, sidomulyo, uniform.AbstrakKerajinan batik di Kabupaten Ngawi muncul pertama kali di Tempurejo, Desa Banyubiru yang bernama Griya Batik Sidomulyo. Secara visual desain tampak rapi dan komposisi coraknya bagus, serta hasil produksinya lebih awet dan tidak mudah luntur. Produk ‘tiruan batik’ telah diproduksi sebagai seragam instansi pemerintah maupun swasta di Kabupaten Ngawi. Permasalahan yang dibahas bertujuan untuk mengetahui latar belakang Griya Batik Sidomulyo memproduksi  tiruan batik sebagai tekstil untuk seragam dan aspek-aspek yang dipertimbangkan dalam merancang seragam tiruan batik. Metode dalam penelitian ini menggunakan metode kualitatif deskriptif dengan pendekatan desain. Pendekatan desain digunakan untuk mengkaji kain tiruan batik print malam dingin di Griya Batik Sidomulyo. Hasil penelitian ini adalah latar belakang Griya Batik Sidomulyo memproduksi tiruan batik diawali dengan memproduksi batik tulis. Produksi tiruan batik print malam dingin sejak tahun 2010 hingga sekarang. Upaya memproduksi kain tiruan batik agar mampu memenuhi pasar dengan harga yang relatif lebih murah. Produksi kain tidak hanya memenuhi persyaratan desain, namun harus sesuai dengan permintaan pasar maupun pembeli. Aspek-aspek yang dipertimbangkan dalam merancang memiliki persamaan dan perbedaan pada fungsional, estetika, bahan, dan proses produksi. Pertimbangan lainnya diperlukan adanya selera konsumen, trend mode, pemasaran untuk terjalinnya komunikasi. Kata Kunci: desain, tiruan batik, sidomulyo, seragam. Authors:Silvia Khoiru Azizah : Universitas Sebelas MaretTiwi Bina Affanti : Universitas Sebelas MaretReferences:_________. (2019). Warta BBKB (edisi 6). Yogyakarta. Balai Besar Kerajinan dan Batik.Affanti, Tiwi Bina. (2007). Ornamentik. Surakarta: FSSR UNS.Azizah, S. K. (2020). “Tiruan Batik”. Hasil Dokumentasi Pribadi: 2020, Ngawi.BSN. (2014). Batik-Pengertian dan Istilah. Jakarta: Badan Standarisasi Nasional.BSN. (2015). Tiruan Batik dan Paduan Batik dengan Batik-Pengertian dan Istilah. Jakarta: Badan Standarisasi Nasional.Ibrahim, I.I. (2007). Budaya Populer sebagai Komunikasi: Dinamika Popscape Mediascape di Indoneia Kontemporer. Yogyakarta: Jalasutra.Lisbijanto, Herry. (2013). Batik. Yogyakarta: Graha Ilmu.Rizali, Nanang. (2017). Tinjauan Desain Tekstil. Surakarta: UNS Press.Suharso dan Ana, Retnoningsih. (2005). Kamus Besar Bahasa Indonesia. Semarang: Widya Karya.Sachari, Agus. (2005). Metodologi Penelitian Budaya Rupa. Jakarta: Erlangga.Sulaeman, S., & Suhartini, T. (1988). Penelitian Pengaruh Beberapa Pelarut Organik Dalam Pembuatan Lilin Batik Cair Terhadap Proses Pembatikan. Dinamika Kerajinan dan Batik, (8), 25-29. 10.22322/dkb.v0i8.973. Sunaryo, Aryo. (2009). Ornamen Nusantara (Kajian Khusus Tentang Ornamen Indonesia). Semarang: Dahara Prize.Susanto, Sewan. S.K. (1980). Seni Kerajinan Batik Indonesia. Jakarta: Balai Penelitian Batik dan Kerajinan.Sutopo, H.B. (2002). Metodologi Penelitian Kualitatif. Surakarta: UNS Press.Utoyo, J. T., Priyatno, A., & Azis, A. C. K. (2020). Penerapan Prinsip-Prinsip Seni Rupa Pada Kaligrafi Di Masjid Baiturrahman Unimed. Journal of Education, Humaniora and Social Sciences (JEHSS), 3(2), 419-426. https://doi.org/10.34007/jehss.v3i2.330.Van Hoed, V., Zyaykina, N., De Greyt, W., Maes, J., Verhé, R., & Demeestere, K. (2008). Identification and occurrence of steryl glucosides in palm and soy biodiesel. Journal of the American Oil Chemists' Society, 85(8), 701. https://doi.org/10.1007/s11746-008-1263-5.Wulandari, Ari. (2011). Batik Nusantara: Makna Filosofis, Cara Pembuatan dan Industri Batik. Yogyakarta: Andi.
PENCIPTAAN KARYA SENI DENGAN TEMA BODY SHAMING MENGGUNAKAN TEKNIK TEKSTIL IMBUHAN Shafina Nurul Hidhayah; Tiwi Bina Affanti
Narada : Jurnal Desain dan Seni Vol 8, No 3 (2021)
Publisher : Universitas Mercu Buana

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22441/narada.2021.v8.i3.009

Abstract

Physical bullying often occurs both on social media and on a daily basis. This action in the long term can have a negative impact on the victim, such as the emergence of excessive anxiety, shame, lack of confidence, to the emergence of eating disorders and other mental disorders. The phenomenon of physical bullying is manifested through a work of expression using textile affixing techniques. The stages of the design of the work carried out by the method of creation of works by SP Gustami through the exploration stage, the design stage and the embodiment stage. This artwork using additional textile techniques such as: quilting, slash quilt, decorative stitch, sewing, and application. The materials used include cotton, tile, flannel, embroidery thread, sewing thread, and others. Novelty textile chosen because it has a variety of techniques that are suitable for conveying messages in the work. This artwork express the sadness and gloomy feeling of the victims through Novelty textile.
PERUBAHAN NILAI DAN FILOSOFIS BUSANA KEBAYA DI JAWA TENGAH ratna endah santoso; Theresia widyastuti; LV Ratna Devi Sakuntalawati; Adji Isworo Josef; Tiwi Bina Affanti
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol 11, No 1 (2019)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (583.81 KB) | DOI: 10.33153/brikolase.v11i1.2479

Abstract

The Javanese who live in the Central Java region are known for their cultural strength. This can be seen from how they uphold the heritage traditions of their ancestors. Besides that, Central Javanese people are easily known through their typical costume. Kebaya and its equipment from head to toe, it is said that initially only used by the royal community had a quite interesting value and philosophy. For decades kebaya as part of history, experienced various changes in line with the era that continues to run. The most important thing is that kebaya is no longer an everyday outfit like in the past.This research paper uses qualitative research using a cultural approach. This study aims to find out (1) changes in values and philosophies such as what happened to kebaya clothing specifically used in the Central Java region; (2) whether today's kebaya can still be called traditional clothing, especially with various changes caused by current conditions.
APLIKASI TEKNIK HAPA ZOME PADA PAKAIAN SEBAGAI BAGIAN KAMPANYE GO GREEN sarwono - -; Tiwi Bina Affanti; ratna endah santoso; adji Isworo Josef
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol 12, No 2 (2020)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v12i2.3294

Abstract

The purpose this training activities is to provide skills for neglected and drop-out children at PPSA Taruna Yodha Sukoharjo in making clothing decorations with hapa zome techniques and marketplace marketing. Currently, there is an eco fashion trend in society. Clothes with hapa zome decorative techniques are considered unique but not many have made them. Hapa zome material can easily be obtained from plants in the environment which is usually as weeds. The activities carried out by the method of lectures, tutorials, practice and product evaluation. The activity ran smoothly, the atmosphere was fun and the participant’s interest in participating in the training was very high. The participants seemed able to develop various models of natural decoration on clothes and mix them with embroidery techniques. This training has the impact of increasing the participant's ability to make clothing decorations with the hapa zome technique and to understand several marketplace marketing techniques. The product was produced as part of the go green campaign and it predicted have a good market.  Key words: go green. hapa zome, Taruna Yodha,
PENGGUNAAN JUMPUTAN , TRITIK DALAM UPACARA ADAT DI SURAKARTA sarwono - sarwono; Adji Isworo Josef; Tiwi Bina Affanti; Ratna Endah Santoso; Novita Wahyuningsih
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol 13, No 2 (2021): Brikolase Desember
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v13i2.3940

Abstract

ABSTRACTThe Javanese society has a harmony concept which has become an interesting tradition part in live. The Javanese people, especially  the Surakarta society, have a belief in the world philosophy (universe), consisting of the great universe ( macrocosmos) and small universe ( microcosmos). The microcosmos cannot be separated from the great macrocosmos which must be kept its harmony with  their lives, so the ritual elements of the small universe. Therefore, the art isi always connected with their lives, so the ritual elements consist in the traditional art. The art has three functions known in Javanese society, that is for a ritual purpose and a show purpose with entertaining characteristics for the inner satisfaction in the society. Moreover, the traditional artwhich is formed in the usage art, like the custom clothes, tools / instruments, ornaments and others functioning as ritual purposes, have definitely had the important value symbols in the society, or as the tools to support the ritual implementation in the society.The art of Tritik and Jumputan craft also contains the teachings of ethics and aesthetics in the form of visual appearances and symbolism of life which can basically lead humans to perfection and true identity.Keywords: Jumputan,Tritik, The custom ceremony, traditional  ABSTRAKMasyarakat Jawa memiliki konsep keselarasan yang merupakan bagian tradisi yang penting dalam kehidupan. Orang Jawa, khususnya masyarakat Surakarta memiliki keyakinan dalam pandangan dunia (jagat), yang terdiri dari jagat gede (makrokosmos) dan jagat cilik (mikrokosmos). Mikrokosmos menjadi yang tidak terpisahkan dengan makrokosmos yang harus dijaga keselarasannya dengan unsur-unsur jagat cilik. Oleh sebab itu, seni selalu dikaitkan dengan kehidupannya, sehingga unsur ritual terdapat dalam seni tradisional. Kesenian memiliki tiga fungsi yang dikenal dalam masyarakat Jawa, yaitu untuk tujuan ritual, untuk tujuan tontonan yang bersifat entertaintment kepuasan batin dalam masyarakat. Apalagi kesenian tradisional yang berbentuk seni pakai, seperti pakaian adat, peralatan, hiasan, dan sebagainya dalam fungsinya sebagai kepentingan ritual, sudah barang tentu memiliki simbol-simbol yang bernilai dalam masyarakat, ataupun sebagai sarana untuk mendukung pelaksanaan ritual dalam masyarakat. Seni kerajinan tritik dan jumputan ini juga termuat ajaran etika dan keindahan yang berbentuk  penampilan visual dan simbolisme hidup yang pada dasarnya dapat menuntun manusia menuju kesempurnaan dan jati diri yang sejati.Kata kunci : Jumputan, Tritik, Pakaian Adat, Tradisional
PEWARNAAN MENGGUNAKAN ZAT WARNA DIREK DENGAN PENGENTAL DALAM PEMBUATAN ’KAIN TRITIK ratna endah santoso; Adji Isworo Josef; Tiwi Bina Affanti; Sarwono - -; Lira Anundita Utami
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol 14, No 1 (2022): Brikolase Juli 2022
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v14i1.3938

Abstract

This research was conducted to create a method for dyeing trick using Direct dyestuff. The developed coloring is staining using thickener but not used through printing. The study is concentrated on the results of the dyeing process on tricks with Direct dyestuff with thickener. The method used is descriptive qualitative in the discussion of the coloring results. From the results of this study, it was found that dyeing with Direct dyestuff using a thickener in the manufacture of tritik fabric produced tritik motifs. The sharpness of the resulting motif varies at each level of thickener concentration. The thickener concentrations used in this study were 5 g/l, 20 g/l, 35 g/l, 50 g/l, 65 g/l, and 80 g/l, for every 1 liter of dye solution. With a low thickener concentration, the tritik motif looks less sharp, the color aging is higher, and the staining results look more even. The unevenness that arises due to the use of high concentrations of thickener is seen to form a marble-like pattern. The sharpness of the resulting motif in this staining does not always correspond to the high concentration of the thickener. Variations in the non-sharpness of the colored motifs can also appear on one piece of tritik fabric that is produced.
Peningkatan Teknik Pounding Terinspirasi Happa-Zome dalam Kegiatan Pembuatan Tekstil Ramah Lingkungan di PPSA “Taruna Yodha” Sukoharjo Tiwi Bina Affanti; Ratna Endah Santoso; Sarwono - Sarwono; Adji Isworo Josef; Lira Anindita Utami
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol 15, No 1 (2023)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v15i1.3941

Abstract

This community service is carried out with the participation of PPSA “Taruna Yodha” children-in-care, in Sukoharjo, Central Java. By creation of textile products, the activity that incorporates an eco-friendly production process inspired by the Japanese Happa-zome technique (manual leaf-printing decoration technique) is chosen and improved for motivating environmental awareness while strengthening the entrepreneurial capacity of the beneficiaries. The service program is conducted by (in)direct presentation and mentoring, a participatory and iterative process from the beginning to the end. Within the program, design survey activity in the form of exploring the potential of nature is to be involved for introducing the surrounding natural environment while collecting leaf material. The results are; (1) Providing environmental awareness for beneficiaries through textile-making, (2) Happa-zome technique for interior textile product development, (3) Entrepreneurial program covering story-making and on-line marketing strategy
Co-Authors Adji Isworo Josef Lira Anindita Utami Lira Anundita Utami LV Ratna Devi Sakuntalawati Novita Wahyuningsih Ratna Endah Santoso Sania Ratnawuri Ardianti sarwono - - sarwono - sarwono Shafina Nurul Hidhayah Silvia Khoiru Azizah Theresia widyastuti