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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 53 Documents
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PERANCANGAN MOTIF BATIK MODERN TEKNIK CAP KERTAS DENGAN SUMBER IDE KERATON KASUNANAN SURAKARTA Tutik Dwi Ambarwati
Hastagina : Jurnal Kriya Seni Vol 2 No 01 (2022): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v2i01.1458

Abstract

Batik is a traditional cloth that has two types, namely traditional batik and modern batik. The Kasunanan Surakarta Palace is a symbol of the preservation of Javanese culture which has an implied meaning, one of the palace complexes that has a higher sacredness value than the surrounding buildings is Sitihinggil Lor. The design method that was used refers to Colin Clipson's thinking and uses the methods of observation, interviews, and visual studies. The design stage was chosen through the source of the idea for the decoration of the Surakarta Kasunanan Palace with the style of paper stamped batik. The results of the visualization of the selected designs will be continued in the process of paper stamping techniques made of art paper and art carton with synthetic coloring which then produces a long cloth or jarik that can be used in various formal and informal events.
Analisis Kerajinan Sulaman Dalam Estetika Monroe Beardsley (Studi Pada Kerajinan Sulam di Desa Cikunir Kecamatan Mangkubumi Kota Tasikmalaya): Kerajinan Sulaman Novia Nurbayani
Hastagina : Jurnal Kriya Seni Vol 2 No 01 (2022): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v2i01.1554

Abstract

Art is a thing created by humans in which there is an element of beauty, while the art referred to here is craft art. Craft art is a handicraft art with the stage of making it using human hands and special skills and having a usability or function value in everyday life. This study aims to analyze the embroidery craft using the aesthetic theory of Monroe Beardsley, with reference to the formulation of the problem, how is the analysis of embroidery in the aesthetics of Monroe Beardsley?. This research method uses qualitative research with descriptive analysis so that it can describe and analyze related to the object under study. The findings of this study are in the aesthetic analysis of Monroe Beardsley, embroidery includes a combination of unity, complexity, and seriousness. The combination of unity, including a combination that includes line elements, building elements, elements of the feeling of the surface of the material or texture, and elements of color. The complexity of the level of complexity lies in naturalist motifs which display many forms of stylized of flowers, leaves, stalks, pistils and so on. These forms at first glance seem quite simple, but in the system the process has a level of complexity because it requires tenacity, skill and also patience. This seriousness or intensity can be seen from the form it takes. Intensity or seriousness in a work of embroidery Philosophically everything has a relationship with nature so that it has a serious value where the motif is the result of exploration of artificial forms to look real and also beautiful.
Teknik Sulam Sebagai Desain Permukaan Pada Jaket Crop Denim Fitra Sari; Handayan Sarah Rum
Hastagina : Jurnal Kriya Seni Vol 3 No 01 (2023): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LP2MPP ISI Denpasar

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Abstract

The design of this is a surface design with rose-colored embroidered techniques and doves. The purpose of this design was to enrich colors, textures, and designs on crop denim jackets. The methods used are: 1) Exploration involves a type of thread and color, as well as three - dimensional - shaped embroidery on which the surface design is based. 2) The concept of designing surface designs with consideration of materials, processes, methods, ergonomy, security, comfort, aesthetic elements, philosophy, meaning, and future opportunities. 3) A laborious, laborious process. The result of this design is 1) Exploration is done both directly and indirectly. 2) The design of the surface of verbal forms into visual shapes by considering the value of the kriya art. 3) The realization of the work was realized as a practical function.
Perancangan Motif Batik Sumber Ide Bangau Bluwok Melalui Teknik Batik Tulis Sandra Glodia; Sarah Rum Handayani
Hastagina : Jurnal Kriya Seni Vol 3 No 01 (2023): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LP2MPP ISI Denpasar

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Abstract

This design was made as a form of developing batik motifs with the source of the idea of bluwok cranes. This isagainst the background of the phenomenon of decreasing the population of bluwok herons, so wants to show the beautyof the bird which is now rarely found in batik motifs. In addition, cranes have philosophical values that can be developedinto the basis for designing the basic structure of batik patterns. The method used in this design is the method of creatingworks SP. Gustami, through three main stages, namely the exploration, design, and embodiment stages. The techniqueused in this design is in the form of a writing batik technique with the bidding of the colet technique using a remasol dye.The result of this design is in the form of written batik products as textile materials for women's clothing aged 20-25. Theresulting motifs lead to contemporary batik motifs that tend to be free and not bound by certain rules. The visuals of thedashing crane are processed into motifs that tend to be weakly started like women (feminine), so that they have a noveltyvalue. The technique used in this design is batik writing with the coloring of the colet technique using remasol dyes.
Batik Besurek Sebagai Sumber Ide Perancangan Motif Untuk Busana Wanita Ready To Wear Sofia Nabila Bafaqih; Darwoto, S.Sn.,M.Hum
Hastagina : Jurnal Kriya Seni Vol 2 No 02 (2022): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v2i02.1721

Abstract

The Besurek Batik motif comes from the city of Bengkulu, and the word “Besurek” means “letter writing” or just “writing”. One of the most distinguished features of Besurek Batik is its similarity to Arabic calligraphy letters, but in this case, it’s meaningless and more of a decorative form. The background of this design is to introduce Besurek Batik motifs to the public by designing women’s ready-to-wear clothing through a different technique, namely digital printing. This design project is also aimed to answer the question/problem of how to design motifs with Besurek Batik as the source of ideas for women’s ready-to-wear clothing by using a digital printing technique. The design method that is used as a reference to address this problem is the Collin Clipson method which states that there are five stages in the process of designing, namely problem identification, design analysis, creative process, production process, and marketing distribution. In this project, the data was collected by observation, interviews, visual studies, and product comparison studies. The technique used in this design is the digital printing technique, which makes the production process faster and cheaper compared to other printing techniques. The result of this design is women’s ready-to-wear clothing. Ready-to-wear clothing is simple and comfortable clothing that is suited for daily activities. Not just that, women’s ready-to-wear clothing can also be seen as a medium to popularize the Besurek Batik motif. Everyone who wears ready-to-wear clothing with Besurek Batik motifs is expected to inspire others in getting to know the motif.
PERANCANGAN MOTIF BATIK TULIS DENGAN INSPIRASI BENTUK VIRUS COVID 19 UNTUK PAKAIAN Hanifah Ika Feriyana; Sarah Rum Handayani
Hastagina : Jurnal Kriya Seni Vol 2 No 02 (2022): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v2i02.1747

Abstract

The shape of the coronavirus can be arranged and mixed and matched into a new batik pattern and can attract people’s attention. In this project what was created was a batik pattern with the main motive of the coronavirus. During the pandemic, many new motive ideas emerged, one of which was the form of the coronavirus. The method of creation in this final project uses the method of art creation SP. Gustami consists of three stages. The stages are exploration, design, and realization. The motive that appears in the batik is a new form of the coronavirus which is arranged in such a way that it can produce the latest motive. The design of written batik motive with the coronavirus motif is designed with the intent and purpose of providing new innovations with a variety of motives from various forms of the coronavirus into a complex whole with Indonesian local wisdom. Creating batik cloth products with the characteristic motive that can reflect a commitment to local art.
PENERAPAN TEKNIK NUNO FELTING PADA WOL DOMBA WONOSOBO UNTUK SYAL Celine Lahji
Hastagina : Jurnal Kriya Seni Vol 2 No 02 (2022): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v2i02.1748

Abstract

The background of the creation of this work is the introduction of the nuno felting technique to farmers and craftsmen in the village of Bomerto, Wonosobo to utilize the wool of the Wonosobo Sheep which is exported abroad. This happens because Indonesia has not been able to process wool into a work that has high value and is useful for society. From these problems, it is possible to create new works that will add value to the renewal to encourage the development of textile technology and as another alternative in processing Wonosobo Sheep's wool with the nuno felting technique. The problem in this design is how to apply the nuno felting technique to Wonosobo Sheep wool and organza silk which can be realized in the form of a scarf with geometric motifs. In solving this design problem strategy using Gustami's theory, namely by way of exploration, design, and embodiment by considering aspects of observation, visual studies, product comparisons and the trial phase. The result of this design is a scarf product with the nuno felting technique in the form of 7 designs and 2 scarf products measuring 140 x 50cm. It is hoped that the Nuno felting technique can create functional products and look to the government to advance the creative economy in society.
Ilustrasi Fenomena Kekerasan Seksual untuk Desain Motif Kemeja AZZAHRA GEA FLORIAN; Felix Ari Dartono
Hastagina : Jurnal Kriya Seni Vol 2 No 02 (2022): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v2i02.1855

Abstract

Based on data collection belonging to the Ministry of Women's Empowerment and Child Protection, the phenomenon of sexual violence increased from 2019 to 2021. The concept of the phenomenon of sexual violence was raised to convey to the public that the impact experienced by victims of sexual violence was not only from the perpetrators but also from the words and stigma of the community looking down on them. victim. The method used in this design is the Palgunadi design process approach, namely, the exploration process, the extraction process, and the termination point. The exploration process, in this case the search for human behavior and sexual violence. Extraction Process, summarizes matters related to human behavior and sexual violence. Termination Point, the design plan is made based on human behavior in the phenomenon of sexual violence by interpreting animal behavior in the form of animals and inanimate objects, and using several paintings, events, and legends as a source of inspiration. The results of this design are 8 designs of which there are 3 designs that are realized into casual shirt products with the concept of the phenomenon of sexual violence visualized with illustration techniques.
CERITA RAKYAT AJISAKA SEBAGAI SUMBER IDE PERANCANGAN MOTIF BATIK TULIS UNTUK PAKAIAN Maria Ghandes Sasmitha Angela; Darwoto
Hastagina : Jurnal Kriya Seni Vol 3 No 01 (2023): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LP2MPP ISI Denpasar

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Abstract

The background of this product design is to create innovations in textile design, especially for written batik with the visualization of a folk tale entitled Ajisaka with the aim of conveying a message to the public to get to know this folklore better. This work will later explore the form of the Ajisaka folklore where the characters in the story are visualized into designs on written batik. The method used in this design consists of three stages, namely exploration, textile design process and textile embodiment. The first stage is to dig up information on various types of folklore in Indonesia, especially in Java. The second stage, describes the conceptual framework in the form of visual processing and color. The third stage, realizing the results of the design into a product that has use value. The results of this design process are (1) motifs from several narrations from folklore. (2) the combination used is the motif of pieces of narrative from the Ajisaka folklore as the main motif and floral motifs as supporting motifs. (3) produce a product in the form of adult women's clothing with an age range of 20-30 years. The design is intended as a means to introduce or revive folklore so that in the process of making written batik using appropriate colors and compositions so as to produce innovative products, using decorative figurative stylizations in making the motifs, in addition to that in its embodiment it uses primisima cloth media because the cloth is It has characteristics that easily absorb air so it will feel comfortable when worn.
PENCIPTAAN SET FASHION TOURING DENGAN SENTUHAN ESTETIKA TRADISIONAL BALI Noval Nur Akbar; I Made Jana; I Made Sumantra
Hastagina : Jurnal Kriya Seni Vol 3 No 01 (2023): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LP2MPP ISI Denpasar

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Abstract

The automotive industry remains an appealing market. The riding fashion trend is one of many new innovations that have emerged. This is the inspiration for creating touring fashion sets with traditional Balinese aesthetics, specifically the Patra Punggal motif. This touring fashion collection aims to introduce the diversity of traditional Balinese motifs to the larger community, particularly the Vespa community, which is spread throughout the archipelago and serves as a form of cultural preservation. The process of realizing this work goes through several stages: (1) the exploration stage, which includes observation and research, (2) the design stage, which involves creating several sketches and technical drawings, and (3) realization, which involves shaping the work and continuing to assess and evaluate the finished product. In the process of realizing this final project, the author used two types of materials: pull-up cowhide and sheepskin. The work created for this final project includes a leather jacket, a pair of gloves, a pair of boots, and a helmet.

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