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All Journal Style : Journal of Fashion Design Relief: Journal of Craft Dedication : Jurnal Pengabdian Masyarakat
Wisnu Prastawa
Institut Seni Indonesia Padangpanjang
Arts Humanities Education Social Sciences Other

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Representasi Aktivitas Petani Teh Pada Kemeja Bella Serlia; Widdiyanti Widdiyanti; Wisnu Prastawa
Style : Journal of Fashion Design Vol 1, No 2 (2022): Style: Journal of Fashion Design
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (737.307 KB) | DOI: 10.26887/style.v2i1.2563

Abstract

Kerinci is one of the tea-producing areas, especially Kayu Aro area..Besides as tea plantations area it is also a tourist attraction that is visited by many tourists because of its natural beauty and the cool air. The concept of the creation of this work departs from the activities of tea farmers and tea plants, the activities of tea farmers are realized in sequence starting from hoeing, fertilizing, picking tea leaves, pruning, to drying tea leaves. Moreover, the craftsmen also added the tea plant motifs such as leaves, twigs, and flowers that have been sterilized. The theoretical foundations used in realizing this work are: form, function, color, stillization, and aesthetics. The method in the process of creating this work starts from the exploration stage, then continues at the design stage then the creation of the work. This work uses a written batik technique using primisima cloth and reactive dyes. The work that was created in the form of shirts was as many as seven, including four in the form of designs and three finished works.
KREASI NANAS SEBAGAI MOTIF PADA KAIN PANJANG Nurika Chairani; Widdiyanti Widdiyanti; Wisnu Prastawa
Relief : Journal of Craft Vol 1, No 1 (2021): Relief : Journal of Craft
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1429.83 KB) | DOI: 10.26887/relief.v1i1.2165

Abstract

Pineapple has an elliptical and ovoid shape. The shape of this pineapple is used as a creative motif on a Long cloth. The method of creating works through three stages, namely exploration, design, and embodiment. The exploration stage is looking for direct reference ideas or literature studies, the design stage is pouring ideas into several sketches and then becoming the chosen design, the realization stage is realizing the selected design into work with the batik tulis technique. The form of the work that is realized is a Long cloth with batik tulis technique as many as 3 works and 4 designs. The first work is entitled "Rasa syukur". The second work is entitled “Keadilan”, the third work is entitled “Proses menuju matang. ABSTRAKNanas memiliki bentuk elips dan bulat telur. Bentuk nanas ini digunakan sebagai motif kreatif pada kain panjang. Metode penciptaan karya melalui tiga tahapan, yaitu eksplorasi, desain, dan perwujudan. Tahap eksplorasi adalah mencari ide referensi langsung atau studi literatur, tahap desain menuangkan ide ke dalam beberapa sketsa dan kemudian menjadi desain yang dipilih, tahap realisasi adalah mewujudkan desain yang dipilih menjadi karya dengan teknik batik tulis. Bentuk karya yang diwujudkan berupa kain panjang dengan teknik batik tulis sebanyak 3 karya dan 4 desain. Karya pertama berjudul "Rasa syukur". Karya kedua berjudul “Keadilan”, karya ketiga berjudul “Proses Menuju Matang.
Pelatihan Seni Batik Ikat (Tie Dye) Dalam Peningkatan Siswa Kreatif Di SMA Negeri 3 Kota Padangpanjang Purwo Prihatin; Sumadi Sumadi; Asmidar Asmidar; Wisnu Prastawa; Hendratno Hendratno; Heruningrum Heruningrum
Dedication : Jurnal Pengabdian Masyarakat Vol 7 No 1 (2023)
Publisher : LPPM Universitas PGRI Argopuro Jember

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31537/dedication.v7i1.1024

Abstract

Pengabdian pada masyarakat ini merupakan kegiatan pelatihan yang dilakukan dalam upaya peningkatan kreattvitas serta apresiasi seni batik ikat kepada siswa di Sekolah Menengah Atas Negeri 3 Padangpanjang Padangpanjang. Tujuan jangka panjang pelatihan ini untuk memberikan pengetahuan apresiasi, motivasi, menumbuhkembangkan minat dan bakat di kalangan siswa untuk menciptakan seni yang kreatif kemudian bisa dikembangkan terutama di sekolah. Metode yang digunakan dalam pelatihan ini untuk mencapai sasaran adalah metode ceramah dan praktek. Metode ceramah memberikan penjelasan kepada siswa secara lisan, presentasi tentang seni batik ikat yang berupa pengenalan bahan, peralatan, teknik, warna, proses dan sebagainya. Metode praktek yaitu keterampilan membuat produk seni batik ikat secara langsung dan bersama-sama. Kesimpulannya bahwa melalui pelatihan ini para siswa dapat menghasilkan karya seni yang berupa seni batik ikat dengan membuat benda fungsional dan sebagainya.
DOL SEBAGAI IDE PENCIPTAAN TAS MAKE UP Rusmiati Rusmiati; Widdiyanti Widdiyanti; Wisnu Prastawa
Relief : Journal of Craft Vol 2, No 2 (2023): Relief: Journal of Craft
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/relief.v2i2.3750

Abstract

Dol is a traditional Bengkulu musical instrument resembling a bedug, which is played by striking using a wooden bat with a cloth-covered end. The Dol instrument is tubular with a slightly oblong bottom and has a single membrane as the sound source at the top. The body is painted in bright hues like red, green, and yellow to make it more appealing. Its distinctive form inspired the development of textile products in the form of makeup bags. Ornamentation of works using the batik techniques. The process used to create this artwork involves three stages: exploration, seeking sources of knowledge on dol musical instruments; design, which entails creating drawings for the work; embodiment, which consists of the writing batik technique and stitching the bag. The five pieces of original artwork and two pieces of designed artwork are combined to form a makeup bag. Each work is titled according to the type of rhythm in playing dol namely Suwena 1, Suwena 2, Suwari 1, Suwari 2, Suwari 3, Tamatam 1, and Tamatam 2.
Co-Authors Asmidar Asmidar Bella Serlia Hendratno Hendratno Heruningrum Heruningrum Nurika Chairani Purwo Prihatin Rusmiati Rusmiati Sumadi Sumadi Widdiyanti Widdiyanti Widdiyanti Widdiyanti