HASTAGINA: Jurnal Kriya dan Industri Kreatif
Full Journal Title : Hastagina: Jurnal Kriya dan Industri Kreatif ISSN (online) : 2829-7393 Journal Manager : I Nyoman Laba Editor in Chief : Ida Ayu Gede Artayani Publisher : Pusat Penerbitan LPPM Institut Seni Indonesia Bali Indexing : Google Scholar | Garuda | Dimension License : CC-BY 4.0 Archiving : CLOCKSS, LOCKSS Publication Frequency : Biannual Publication Medium : Electronic DOI : https://doi.org/10.59997/hastagina Editorial Team : Link Template : Link Submit Article : Link Hastagina: Jurnal Kriya dan Industri Kreatif is an interdisciplinary, peer-reviewed Gold Open Access journal established in 2021, dedicated to publishing high-impact research and creation-based studies at the nexus of Craft (Kriya), Design, and the Creative Economy. The journal critically explores the aesthetic, technical, economic, and cultural dimensions of craft media, including Metal, Textile, Ceramic, Wood, and Leather, covering diverse functional contexts from Ritual to Decorative objects. We prioritize rigorous scholarly contributions that employ methodological approaches ranging from the preservation of Traditional heritage to the application of Contemporary and Ecological/Sustainable design principles. By advancing global knowledge on innovation, entrepreneurship, and cultural resilience within the Creative Industries, Hastagina serves as a vital platform for researchers and practitioners worldwide.
Javanese Cosmological Exploration Hand-drawn Batik Innovation Based on East Java Iconography
This creative work endeavors to present an exploration of Javanese cosmology through the design of hand-drawn batik (batik tulis). Spiritual and ecological values serve as the core elements reflected in the artistic form. The motifs, which mirror Javanese cosmology, are derived from cultural icons found in East Java—a region renowned for its wealth of cultural artifacts, including temples (candi), sacred water springs (petirtaan), and a well-preserved cultural ecology. The creation process follows six systematic stages: reference study, form study, sketching, composition study, production, and dissemination. The interpretation of the work focuses on individual motif elements, color palettes, and structural patterns. The results of the creation and analysis delineate that the Meru, Candi Jawi, and the Tree of Life (Pohon Hayat) serve as the primary motifs representing Javanese cosmological values. These are complemented by supporting motifs such as the lotus flower, the Belahan water spring, and coffee, with connecting motifs appropriated from temple panel ornaments. While these forms have historically existed in traditional batik, this work specifically functions as a medium to sustain a continuous cultural narrative. It offers an interpretation rooted in Javanese philosophy—a depth that is increasingly rare in the batik creations of contemporary artisans.
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Aesthetic Exploration and Creation Techniques of Concrete Statue of Dewi Saraswati
Sculpture is a form of three-dimensional visual expression that not only emphasizes aesthetic value but also embodies profound symbolic and spiritual meanings. In Balinese cultural tradition, the statue of Dewi Saraswati holds significant importance as a religious symbol representing knowledge, wisdom, and purity. These values have been passed down from generation to generation, making the statue not merely a work of art but also an integral part of religious practice and spiritual life. Therefore, the exploration of the creation of the Dewi Saraswati statue is considered relevant, particularly in the context of expanding artistic practices to other regions, such as South Lampung Regency. This exploration focuses on both the aesthetic aspects and technical processes involved in creating the statue using concrete as the primary material. Concrete is chosen for its durability, malleability, and strong visual expression. South Lampung is regarded as having great potential, both in terms of raw material availability and the local Hindu community’s demand for religious statues as decorative and symbolic elements in worship spaces and residential environments. The creation process adopts the "Three Stages Six Steps" method proposed by Gustami (2004), encompassing phases from initial observation to final evaluation. The result is a concrete Dewi Saraswati statue that not only highlights aesthetic quality but also carries strong symbolic meaning. These findings affirm that concrete has significant potential to be developed as an alternative medium for sculpture, particularly in the context of South Lampung’s cultural and artistic growth.
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The Creative Process of Traditional Togog Making at Mertaning Togog Art Gallery, Bali
The creation of this work aims to explore figurative forms in the art of paras stone sculpture and develop sculptural techniques that are efficient and have high aesthetic value while still being based on Balinese traditions. Through this work, the author seeks to present figures that have a strong visual character and are full of symbolic meaning, so that they can represent the spiritual values and local wisdom of the Balinese people. The creation method used refers to the Sp. Gustami method, which consists of three main stages, namely exploration, design, and realization. The exploration stage is carried out by exploring ideas and references from traditional Balinese cultural sources and iconography. The design stage includes sketching, determining anatomical proportions, and making an initial model. Meanwhile, the embodiment stage is realized through the process of manual level stone carving, including the formation of bare, refining, and finishing. The result of the creation produced five sculptures with the figures of Rsi, Delem, the Suratma, the Head of the Buddha, and the Cow, each with its own characteristics and symbolic meaning. Each work highlights a blend of technique, expression, and philosophy, thus bringing strong aesthetic value and spiritual depth. In conclusion, this creation shows that traditional Balinese sculpture art is still very relevant to be developed as a medium of artistic expression and cultural preservation. Through the exploration of form and the application of proper sculptural techniques, the work of the paras stone sculpture is not only an aesthetic representation, but also a container for the inheritance of the noble values and spirituality of the Balinese people.
Utilization of Waste Flowers from Balinese Canang Offerings as a Source of Natural Dyes
Bali, as a major tourist destination in Indonesia, boasts a rich cultural heritage and rich religious traditions, one of which is the use of canang (a kind of sacred offering) as a means of worship for Balinese Hindus. Canang, a sacred offering made from flowers, leaves, and other natural materials, is used daily in various religious ceremonies. However, the high use of canang generates large amounts of organic waste, which has not been optimally managed. The accumulation of canang waste not only pollutes the environment but also contributes to Bali's waste management crisis. However, flower waste from canang has significant potential as a raw material for natural dyes. The natural pigments in flowers can be utilized to produce environmentally friendly and skin-safe natural colors, particularly in ecoprinting. Through the MBKM Program at PT Bali Karya Kreatif, a local business focused on sustainable textile products utilizing natural materials to produce natural dyes, the internship method used is collaborative. This method was chosen because it encourages students to actively engage in interactions, discussions, and collaboration with PT Bali Karya Kreatif to help each other solve problems and achieve shared learning goals. This activity aims to explore the process of processing canang flower waste into natural dyes and its application in ecoprinting techniques on RB 1 rayon fabric. The expected result is a textile product that not only has aesthetic value but also elevates environmental sustainability and local cultural preservation. With this approach, canang waste can be transformed from trash into a creative resource with high economic value.
Hotel Bed Sheet Waste as Merchandise Products through Upcycling Techniques
The rapid growth of Bali’s tourism sector has increased hotel occupancy and the frequency of bedsheet replacement, shortening the lifespan of linens and generating large amounts of textile waste. This waste is usually sold without processing, although used hotel linens have high potential as an environmentally friendly and economically valuable upcycling material. This study identifies the potential of hotel linen waste as a recyclable material and describes the process of turning it into value-added merchandise products. The research used a descriptive–collaborative method with a qualitative approach through direct field observation and a review of relevant literature. PT TRI Cinta Bumi, a creative industry engaged in sustainability, was involved to demonstrate how hotel linen waste can be transformed into merchandise. Processing stages included sorting fabrics by quality and color, designing to meet market trends, re-dyeing to enhance visual appeal, and sewing into prototypes. The products were then assessed for aesthetics and functionality and tested with limited market responses to determine acceptance. Findings show that upcycling techniques applied to retired hotel bedsheets produce functional, aesthetically appealing products well received by the market, such as bandanas, small bags, and scrunchies. These results indicate that using textile waste as an alternative raw material offers significant potential to support sustainable practices, design innovation, creative economic empowerment, and market expansion. Furthermore, the process provides new insights for the creative industry on the use of textile waste not only for merchandise but also for decorative items, experimental textile media, and collectible artworks.
Exploration of Terracotta Clay with Iron Oxide in the Creation of Tana Ampo Ceramic Products
Ceramics is a unique art medium due to its reliance on high-temperature firing at every stage of its formation. Generally, ceramics are objects made from clay and fired to achieve specific forms and characteristics. The development of ceramic art has progressed significantly in recent years, particularly in terms of technique, materials, and supporting tools. In Bali, especially in tourist areas, the ceramic industry has flourished. However, this growth contrasts with the situation in Singaraja, which is more recognized for its traditional glass painting, wood carving, and earthenware crafts. This disparity motivated the author to explore ceramic art through the at Tana Ampo Pottery Studio in Sukawati, Gianyar. The author focused on three main aspects during the internship: (a) the development of the ceramic business at Tana Ampo Pottery Studio, (b) the ceramic forming and creation process, and (c) collaborative approaches in artistic production. The internship involved a collaborative method that included direct observation, literature review, and experimentation with local soil materials combined with iron oxide. The aim was to create a new clay character distinct from commercial clay. The outcome resulted in five ceramic artworks: three wall installations and two three-dimensional pieces, with stone-like visual characteristics in both color and texture. These works integrated Northern Balinese ornament motifs and wayang (shadow puppet) character expressions to reflect and strengthen local identity through artistic expression.
Indonesia Production of a Terrace Table and Chair Set for Residential Homes at Nave Wood Furniture
This paper discusses the process of designing and manufacturing a set of tables and chairs for a residential terrace, considering functional, aesthetic, and user comfort aspects. This activity was carried out as part of the Independent Learning Campus (MBKM) program of the Indonesian Arts Institute, Bali, which was implemented at the Nave Wood furniture business partner in 2025. Data collection was carried out using observation, interviews, documentation, and qualitative descriptive data analysis. The design planning, material and tool selection, and production process were carried out directly by the author at the partner's location. The main material used is solid wood, which is resistant to outdoor weather. The result of this MBKM implementation is a table and chair product that not only meets the need for seating on the terrace but also beautifies the appearance of the residence. This activity also provided the author with direct experience as a student in enriching insight into the field of furniture, mastery of woodworking techniques, tool use, and finishing processes. Through this activity, students were also able to develop creative and innovative thinking according to market needs. The final result of this MBKM activity is a table and two chairs made of Dutch teak wood with strong construction and a simple design, according to the user's needs and the character of the terrace space. Additional products created to complement the table include a mineral water container, a cake stand, and a flower vase made from leftover wood.
Innovation in Plywood Furniture with High Pressure Laminate Finishing as a Support for Property Development in Saba Village
This study discusses innovation in the design and production process of furniture made from plywood with a High Pressure Laminate (HPL) finish, developed as a solution to support the growth of the property sector in Saba Village, Gianyar Regency, Bali. Along with the increasing development of residential properties, villas, and tourism-supporting facilities in the area, the demand for furniture with high quality, appealing aesthetics, durability, and cost efficiency continues to rise. This research employs a descriptive qualitative method through field studies, observations, interviews with property industry stakeholders and local artisans, as well as product prototyping experiments. Plywood was selected as the primary material due to its advantages, including lightweight properties, stable structural strength, ease of fabrication, and environmentally friendly characteristics compared to solid wood. Meanwhile, the application of HPL finishing adds value by providing resistance to scratches, heat, and humidity, as well as allowing the exploration of various modern and elegant patterns and colors. The design process was carried out by considering ergonomic principles, space efficiency, and harmony with the tropical architectural character of Saba Village.The results indicate that the use of plywood with HPL finishing produces furniture that is not only functional and aesthetically appealing but also competitive in terms of production costs. This innovation has the potential to strengthen the competitiveness of the local creative industry, encourage collaboration between artisans and property developers, and contribute to economic growth based on design and tourism in Saba Village
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Exploring Forms and Techniques in Ceramic Making Using the Casting Method
This creation aims to explore various figurative forms in ceramic art while developing an efficient forming technique with high aesthetic value through the application of the slip casting method. The main issues addressed include how to create ceramic works with strong visual character using slip casting techniques and how to design a consistent and effective production process. The creation process applies Sp. Gustami’s method, which consists of three stages: exploration, design, and realization. The exploration stage is used to generate ideas and form concepts, which are then manifested in design plans, model (master) making, and mold production using plaster. The realization process is carried out through the slip casting technique, followed by general ceramic production stages such as drying, firing, and finishing. The exploration of forms focuses on animal-themed works, resulting in ceramic pieces shaped like iguanas, horses, and turtles. The application of the slip casting technique in this creation has proven capable of reproducing forms consistently according to the original model, without reducing creative freedom or aesthetic value. Furthermore, the slip casting method demonstrates greater efficiency compared to manual forming techniques. It allows the creation of ceramics with complex structures and finely detailed surfaces, including curves, protrusions, textures, and small ornaments that enhance the visual character of the works. The results of this creation are expected to serve as a reference for artisans and creative industry practitioners in developing ceramic products based on casting techniques, both for artistic purposes and large-scale production.
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Creation of a Ceramic Kitchen Set in Collaboration with UD. Tri Surya Keramik
Balinese ceramic crafts are a cultural heritage rich in artistic and religious values, but face sustainability challenges due to the declining interest of the younger generation. This research aims to study the process of making ceramics with the electric wheel technique at UD. Tri Surya Keramik, Badung Regency, Bali, and develop ceramic products with local cultural nuances to meet tourism needs, especially kitchen sets and decorations. The methods used include active participation, observation, interviews, and literature study to understand the stages of production, starting from clay processing, forming, decorating, glazing, to firing. The learning process at UD. Tri Surya Keramik includes systematic stages such as clay processing through drying, pounding, sifting, and kneading to ensure a plastic texture, forming with electric wheel techniques to produce symmetrical shapes such as cylinders, vases, bowls, and plates, decorating with incised techniques, glazing with dip or spray techniques, and firing biscuits (800-900°C) and glaze (1,200-1,250°C). The aesthetics of decoration on ceramic products reflect Balinese culture through incised and cukil techniques that produce carved patterns with natural nuances, such as leaf motifs and curved lines, which add artistic value and local identity. The results showed that the learning process at UD. Tri Surya Keramik produces functional and decorative products, such as tableware and vases, with high quality that combine traditional Balinese aesthetics and modern market needs. The products exhibit symmetry, surface smoothness, and glaze color harmony, with great potential to improve competitiveness through design innovation. This research also provides insight into the importance of collaboration between industry and education to preserve and develop ceramic crafts, while encouraging the younger generation's interest in local ceramic art.
Creation of Gianyar-Style Balinese Agung Wedding Attire Using Metal Chasing Techniques
Metal carving art is a cultural heritage of traditional Indonesian visual arts that possesses high aesthetic value and uniqueness. In Bali, this art is manifested in the form of Payasan Agung for wedding ceremonies, which consists of ornaments such as badong, pending, gelang kana, gelang naga satru, and subeng cerorot. Singapadu Village, Gianyar Regency, is known as one of the centers of metal craft with rich tradition and distinctive craftsmanship techniques. The sustainability of this art faces challenges such as decreasing regeneration of young artisans, high costs of raw metal materials, and increased use of synthetic raw materials that are more practical and affordable. This research aims to examine the process of making Gianyar-style Payasan Agung, including procedural techniques, raw material selection, and the embedded cultural values. The creation process involves three main stages: exploration, design, and realization. The exploration stage involves searching for concepts and determining traditional motifs such as patra punggel, mas-masan, cracap, and batun poh. The design stage includes creating sketches according to proportion and function, while the realization stage employs traditional craft techniques such as ngecek (rancapan), meludan (wudulan), and nyawi (terawangan), followed by sanding, setting gemstones, and gold plating as the final step. The outcomes include five main types of ornaments: tajuk, petitis, badong, bros, and pending, each representing Balinese aesthetic, symbolic, and philosophical values.
The Role of Craft Art in Supporting Culture-Based Tourism in Penglipuran Village, Bali
Penglipuran Village in Bangli Regency, Bali is one example of a culture-based tourism village that successfully prioritizes the preservation of traditions, the natural environment, and the empowerment of local communities. The village maintains the traditional Balinese spatial and architectural layout that has been passed down from generation to generation, reflecting the values of life philosophy, harmony, and sustainability. In addition, Penglipuran Village also develops the potential of craft art, especially bamboo plaiting and various other traditional crafts, as a leading tourist attraction. These craft products are not only an economic commodity, but also serve as a medium for preserving authentic local cultural values. Crafts in this village become a means of cultural expression that strengthens community identity and enriches the tourist experience through direct interaction with the creative process and traditional values. Tourism management in Penglipuran Village is conducted collaboratively between the indigenous community, local government, and local businesses. This management model encourages active community participation in maintaining a balance between cultural preservation and economic development. This research uses a descriptive qualitative approach with observation, interview, and documentation methods to explore the role of craft in supporting the development of tourism villages. The results showed that the existence of craft art not only strengthens the image of Penglipuran Village as a unique and authentic cultural destination, but is also able to improve community welfare through job creation, income generation, and sustainable preservation of cultural heritage. Thus, Penglipuran Village becomes a real representation of the harmonious integration between culture, economy, and environment within the framework of community-based tourism development
Zerowrap: A Zero-Waste Fashion Design Innovation Based on the Philosophy of Mummy Wrap
This study explores Zerowrap, an innovative sustainable fashion design concept that merges the ancient Egyptian mummy wrap philosophy with the principles of zero waste fashion design. The main objective of this project is to create a garment that maximizes material efficiency, upholds ecological responsibility, and embodies strong aesthetic value. Employing a qualitative-descriptive approach with an experimental design method, the research focuses on the creative process from the conceptual to the production stage. These stages include visual exploration, moodboard development, material selection, design formulation, and the application of zero waste pattern cutting techniques. Linen was chosen as the primary material for its durability, natural fiber composition, biodegradability, and alignment with sustainable design principles. The results demonstrate that zero waste pattern cutting effectively eliminates textile waste by utilizing every inch of fabric. Moreover, leftover pieces were repurposed into decorative details such as ribbons and floral accents, enhancing the garment’s aesthetic appeal while reinforcing its ecological message. Visually, the Zerowrap design features asymmetric wrappings in red and pink hues, symbolizing strength and tenderness an expression of balance between function, form, and symbolic meaning. The reinterpretation of the mummy wrap serves as a metaphor for human care and responsibility toward environmental sustainability, where each piece of fabric holds both purpose and meaning. Ultimately, Zerowrap represents more than just an artistic and functional garment; it stands as a reflective medium that promotes ecological awareness and social responsibility within the contemporary fashion industry. This project affirms that zero waste design is not only a technical approach but also an innovative strategy to foster a more ethical, creative, and sustainable fashion system.
Implementation of Zero Wrap Using Linen Fabric with Zero Waste Techniques
The increasing volume of single-use packaging waste has become one of the major environmental challenges receiving global attention. Plastic and paper packaging materials that are used for a short period significantly contribute to waste accumulation and environmental pollution. This study aims to explore the implementation of zero wrap using linen fabric through a zero waste approach as an alternative sustainable packaging solution. The research employed an applied experimental method by implementing two wrapping techniques, namely the mummy wrapping technique and the Japanese traditional furoshiki method. Linen fabric was selected as the primary material due to its durability, strength, reusability, and biodegradable properties. The research process included concept and material exploration, application of wrapping techniques to objects of various shapes and sizes, visual observation, documentation, and evaluation based on material efficiency, wrapping strength, ease of use, aesthetic value, and environmental sustainability. The results indicate that linen fabric effectively supports the implementation of the zero wrap concept without generating material waste during the wrapping process. The mummy technique produced a stable wrapping structure capable of adapting to various object forms, while the furoshiki technique demonstrated greater flexibility and provided a more decorative and artistic visual appearance. In addition to its protective function, linen-based packaging offers aesthetic value and the potential for repeated use in different contexts. The study concludes that the implementation of zero wrap using linen fabric represents a sustainable packaging solution that successfully integrates functional, aesthetic, and environmental aspects while supporting the principles of the circular economy and zero waste design in contemporary packaging practices.
Eco-Friendly Fashion Revolution: Converting Denim Waste into Bags Through Art Embroidery Technique
This research focuses on innovation in sustainable fashion through the transformation of denim waste into bag products using art embroidery techniques. The study is motivated by the increasing amount of textile waste, particularly denim, which is difficult to decompose and poses a threat to the environment. Transforming this waste into high-value and aesthetically appealing products represents a strategic effort to support the sustainable fashion movement. The main objective of this research is to develop eco-friendly bag designs that are not only functional but also have artistic and economic value through the exploration of creative embroidery techniques. The research method involves several stages: collecting used denim materials, designing the product, experimenting with various embroidery patterns and threads, and analyzing the aesthetic and functional aspects of the final product. The creative process applies the principle of upcycling, emphasizing the transformation of discarded materials into new, higher-value products. The results show that denim waste can be processed into durable, visually attractive bags with strong market potential. The application of art embroidery significantly enhances the artistic value and unique character of the products. This study contributes to increasing awareness of sustainability within the fashion industry while opening opportunities for recycling-based creative economies. Furthermore, the results can inspire young designers to innovate in creating environmentally friendly products that are aesthetic, functional, and rich in cultural value.
Design of Batik Pillowcases Using Ecoprint Techniques
The ecoprint technique is a form of textile craft development that utilizes natural materials as the primary elements in its creative process. This technique not only produces high aesthetic value but also supports environmental sustainability through the use of natural dyes. This design project aims to create sofa cushion covers for the lobby of Ayom Java Village Hotel Solo by combining batik and ecoprint techniques to strengthen the visual character and identity of the hotel lobby space. The background of this project is based on the condition of the hotel lobby, which was considered to lack a strong cultural character and atmosphere in accordance with the hotel's concept. The method employed in this project refers to Sp. Gustami’s theory of craft art creation, known as the “Three Stages and Six Steps of Art Creation,” which consists of the exploration, design, and realization stages. During the exploration stage, data were collected regarding the hotel’s characteristics, batik techniques, ecoprint techniques, and the selection of suitable leaves and natural dyes. The design stage focused on developing motifs and design compositions, while the realization stage involved the production of sofa cushion covers using a combination of batik and ecoprint techniques. The results indicate that the combination of batik and ecoprint techniques utilizing natural dyes can produce textile products that are aesthetically appealing, culturally valuable, and environmentally friendly. The integration of batik motifs with the natural imprints of leaves creates a unique visual character that enhances the identity of the lobby space at Ayom Java Village Hotel Solo. Furthermore, the resulting product has the potential to serve as an alternative interior decoration solution that supports sustainability in the hospitality industry through the use of natural materials and environmentally responsible production processes.
The Creation of Ceramic Works Using Electric Wheel Technique at UD. Tri Surya
This study aims to create ceramic works using the Electric Wheel technique at UD. Tri Surya, a ceramic company focused on producing high-quality ceramics. This research is driven by the importance of innovation in the ceramic world, particularly in the manufacturing techniques that can produce more complex ceramic forms while being more efficient. The Electric Wheel technique is one method of ceramic production that uses an electrically powered spinning wheel, providing stable speed and ease in shaping clay. The research methodology employed is an experimental approach, where the author creates ceramic works through several stages: preparation of raw clay materials, mixing, shaping with the Electric Wheel, drying, firing, and glazing. This technique is applied to create various forms, ranging from utilitarian ceramics to ceramic art pieces. This study also explores the creative process faced by artisans in using the Electric Wheel and its impact on the quality and aesthetics of the resulting ceramic products. The results of this research show that the Electric Wheel technique offers many advantages, such as precision in shaping and time efficiency. The ceramic works produced are more structured and symmetrical compared to those made with manual pottery wheels. However, the study also identifies several challenges encountered in using this technique, such as speed control and adjustment to specific types of clay. Overall, this study provides a significant contribution to the development of ceramic manufacturing techniques in the industry, particularly in terms of technological innovation and creativity. The application of the Electric Wheel technique at UD. Tri Surya has opened opportunities for improved production quality and product competitiveness, as well as enhancing artisans' understanding of technology use in ceramic art.
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Making Metal Carvings to Decorate Ceramic Products at Narka'S Silver Celuk, Sukawati, Gianyar
Decor ceramic generally use rattan , woven ate and metal materials , in particular hiyasan made from metal Still are plain and some have apply carving metal on the lamp ornamental made from ceramics . As stated in Asmara research . et al ., (2020). Decor ceramics are still minimal, namely is something interesting phenomenon For explored in make it happen decor ceramic using carving techniques metal . Art carve metal is art carve Indonesian traditional which involves the process of sculpting and carving metal For create various shapes and motifs. Art This own characteristic unique and diverse specialties , as well used For beautify various objects and accessories . Art carve metal is also a part important from wealth and inheritance art appearance Indonesian traditional (omahbse.co, 2023). Related with That How ornamental shapes and motifs applied to metal For mebut decor ceramics , processes and forms product after applied with carving metal. . The method used in the creation of this work is exploration (searching for sources of ideas, concepts and foundations of creation), design (design of the work) and embodiment (creation of the work). The creation process includes the stages of making sketches, stages of metal carving, installation of gems and installation of inlays on ceramic media, to produce beautiful and functional works. Related with explanation above the ISI Denpasar Institute is one of the arts education institutions in Bali , with give opportunity for student in step up and join in role in existing crafts in Bali for example in art carve metal
The Existence of The Singapadu Style Rangda Mask
In the implementation of the Merdeka Belajar Kampus Merdeka program for the even semester, students took a research program on the Singapadu style Rangda mask. This opportunity was used to explore and understand the Rangda mask in Singapadu, both in terms of history, the manufacturing process, and the form and philosophical meaning of the Singapadu style Rangda mask. In its development, there are still many artists in Singapadu and outside Singapadu who do not know the real history of the Singapadu style Rangda mask. The ignorance and understanding of today's young generation about the history of the Singapadu style Rangda mask is an interesting thing to be studied further. In addition to studying the history of the existence of the Rangda mask Singapadu, also researches the process, form and meaning of philosophy. The method used is a qualitative research method and emphasizes qualitative descriptive analysis. The data collection method used For do study This is method observation, interview in a way in-depth, documentation and study literature. In addition, research This use four method research data analysis qualitative that is method data collection, data reduction, data presentation, and data extraction conclusion. This study uses a historical approach that aims to find out information related to the historical traces of the Singapadu style Rangda mask. The implementation of research on the Existence of the Singapadu Style Rangda Mask resulted in findings related to history, the manufacturing process, and knowing the form and philosophical meaning of the Singapadu style Rangda mask.
Aesthetic Assessment of Betawi Motifs as the Identity of the Faculty of Engineering Ambassadors at Universitas Negeri Jakarta
This study aimed to obtain an aesthetic evaluation of Betawi motifs designed as the visual identity of the Faculty of Engineering Ambassador at Jakarta State University. The motifs were developed as visual representations that reflect both Betawi cultural values and the institution's character. The research employed a descriptive quantitative method with a pre-experimental design using a one-shot case study approach. Data were collected through a questionnaire instrument administered to four expert panelists to assess the aesthetic quality of the motifs. The research variable consisted of the aesthetic evaluation of Betawi motifs based on three main indicators: form/appearance, content/substance, and presentation/display. The assessment was conducted using a rating scale to determine the aesthetic feasibility of each developed motif. The results showed that the content/substance aspect, which referred to the Indonesia Trend Forecasting 2023/2024 concept, achieved an excellent category with a score of 88%. The presentation/display aspect, including the sub-indicators of harmony, proportion, and rhythm, obtained a score of 87%, while the form/appearance aspect, consisting of the sub-indicators of shape, size, and color, achieved a score of 86.6%. Overall, the five evaluated Betawi motifs demonstrated good aesthetic quality and were considered suitable for use as the visual identity of the Faculty of Engineering Ambassador at Jakarta State University. Based on the panelists’ evaluation, the second motif obtained the highest score of 90.9%. This result was supported by the clarity of the motif design, which integrated ecoprint, shibori, and stamping techniques, a harmonious visual composition, an appropriate color combination aligned with the proposed theme, balanced proportions, and an appealing visual rhythm. Therefore, the second motif is recommended as the most suitable alternative for representing the visual identity of the Faculty of Engineering Ambassador at Jakarta State University.
Utilization of Tulle and Brocade Fabric Waste in Kebaya Design with a Circular Design Approach
The potential growth of textile waste in Indonesia is highly concerning, with an anticipated increase of 70% from the current 2.3 tons per day over the next six years. This growth poses a significant threat as only 0.3 million tons of textile waste are successfully recycled out of the total generated. The kebaya industry contributes to this potential increase in textile waste, generating 0.5 to 1.5 kg of unprocessed tulle and brocade fabric waste each week. Tulle and brocade are synthetic fibers that do not biodegrade naturally and take a very long time to break down completely. This situation highlights the urgent need for the implementation of a circular economy system with a design approach within the kebaya industry. The objective of this project is to design kebayas using waste tulle and brocade fabric through a circular design approach without losing the unique characteristics of traditional Indonesian kebayas. The design method used is the circular design approach with the Close the Loop (CTL) framework, which consists of six stages: (1) Resources, (2) Design, (3) Production, (4) Retail, (5) Consumption, and (6) End of Life. The result is a kebaya inspired by the shapes and silhouettes of traditional kebayas, made from waste tulle and brocade fabric. By applying a circular design approach, the unprocessed tulle and brocade waste from the kebaya industry can be transformed into kebayas, indicating the potential for the industry to become more responsible by turning textile.
Painted Motif of Kamasan Puppet on Ceramic Media
Abstrak The art of Kamasan wayang painting is the main source of inspiration in the application of ceramic painting in the Kamasan decorative style. The Kamasan Wayang motif is applied to porcelain ceramic media using the on-glaze technique with special ceramic colors which go through a 700°C firing process to permanently bond the color to the porcelain surface in various shapes of concave, convex and flat ceramic media. The main aim of creating the art of Kamasan wayang painting on ceramics is to preserve Bali's rich cultural heritage and show the uniqueness of the phenomenal cultural arts. This practice is rare in the modern ceramics industry, making these works rare on the market. Therefore, it is important to introduce and promote this ceramic painting technique to the wider community. Kamasan wayang paintings on ceramics are not only decorative in a classic style, but are also able to present diverse aesthetics in various media. Decorative ceramics with Kamasan wayang motifs are not only objects of art, but also have potential as functional objects. The process of creating this work of art is carried out carefully at the Roki Ceramik Painting Company, ensuring that each work reflects the quality and authenticity of the work. Through a collaboration between tradition and innovation, the art of Wayang Kamasan painting on ceramics has significant potential to develop and integrate into the global art and design industry. By combining traditional craftsmanship with contemporary innovation, this art can gain a relevant position in the international market
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Resin Printing Techniques in Making Creativity and Casting Facilities at Rugos Art & Casting,
The human body is enlivened by the soul, allowing the body to move and function in this universe. When the soul leaves the human body, that is when a person dies. The relatives and family feel the loss, and thus, a form of respect is carried out through a ceremony, according to the customs, beliefs, or religion of the deceased. In general, the Balinese people, who are predominantly Hindu, conduct a burial ceremony. Ngaben is a cremation ceremony aimed at expediting the return of the elements present in the human body (earth, fire, water, air, and space) to their original state. The Ngaben ceremony requires certain facilities such as offerings for the ceremony and a structure called "bade," which serves as a container for the corpse, carried to the cemetery and then burned. The construction of the bade is carried out cooperatively by the Hindu Balinese community, so the Ngaben ceremony can be conducted promptly. However, with modern times, constructing the bade through communal efforts has become challenging due to people's busy schedules and individual workloads. Thus, there is a need for new technology to expedite the construction of the bade, such as using ornaments as decorative elements on the bade. The presence of human and animal figurines on the bade and the time-consuming process required for their creation can take several days to complete. The resin casting technology, developed by Rugos Art & Casting, produces various forms of artistic works. Observing this, students are interested in undertaking fieldwork practice in resin casting, aiming to produce resin casts to speed up the creation of animal head forms. This would expedite the ornamentation process for the bade, making the Ngaben ceremony timelier and more efficient, thus ensuring it is conducted according to plan.
Traditional Bali Statue Creation Techniques at Studio Kt. Jaya Stone Br. Sengguan, Singapadu, Sukawati, Gianyar, Bali
The Internship/Work Practice Activity of the Independent Learning Independent Campus Program this time was carried out by the author at the KT. Jaya Stone Sculpture Studio located in Banjar Sengguan, Singapadu , Sukawati, Gianyar. The Studio Owner, in addition to as sculptor is also one of the skilled dance artists . The basic material used in making statue use processed waste rock that is easily found around the studio. The works the besides functioning profane there are also natures sacred in accordance with existing orders. Manufacturing process work at the beginning with demonstrate various dance moves for get quality character in accordance with desired figure. This internship program, the author wants to learn about the form and character of the work Paksi Dari, Monkey, Godogan (Frog), Sidakarya and dog using a rock. In the Independent Learning activity This Independent Campus writerFor tracing use method Exploration For get various character and nature Materials, Design For as well as know various existing dimensions in art statue Forget characteristics that exist in each figure like decoration, vehicle and manifestation Formore know every figure as well as movement, proportions and clothing used. Each method used Formake it easier do related searches with statue character Paksi Dedari who has graceful movements and character, Monkey who has facial expressions as if mocking his friends, Godogan (Frog), the mask character Sidakarya, Begawan, and motion naturalist dog.
Application of 3D Printing Machines in the Production of Silver Jewelry at PT. Kapit Mas Padangsambian, West Denpasar
Jewelry is an object used to decorate body parts. The production process of making jewelry in the modern era currently utilizes sophisticated technology such as computer-aided design (CAD) and 3D printing machines. Today, many jewelry companies use (CAD) technology and 3D printing machines to facilitate the process of realizing jewelry, one of which is at PT. Kapit Mas. PT. Kapit Mas uses a 3D printer direct casting machine, namely a 3D printer machine that can be directly waxed with the Uniway brand. Another advantage of the Uniway machine is that this machine can print 3D with a high level of detail. The jewelry creation process at PT. Kapit Mas is carried out using the methods of observation, interviews, literature studies and active participation. The selection of this method is in line with the way the jewelry creation process is carried out at PT. Kapit Mas. The application of very modern technology, namely computer-aided design (CAD) and the Uniway 3D printing machine, makes it easier to make pendant, earrings, rings, charms and earcuff jewelry. In addition, other supporting tools and technologies also make it easier to make jewelry. PT. Kapit Mas uses CAD and 3D printing to simplify the process of jewelry realization, the application of 3D printing direct casting machines greatly facilitates the creation of jewelry samples where jewelry samples can be created in various sizes very quickly and with great precision
Pheasant Chicken as a Source of Creative Ideas for Handwritten Batik on Bemberg Fabric
Pheasant Chicken is a poultry that comes from China, long tail and beautiful color are the main attraction, the price of Pheasant Chicken is quite high, but there are also many collectors from Indonesia who already have the chicken. The existence of Pheasant Chicken is an inspiration to develop and fulfill batik motifs for Pheasant Chicken fans. Many who like pheasant-themed batik make batik in demand, and many consumers want it. The increasing consumer interest in the Pheasant chicken motif has made the craftsmen passionate about producing the batik motif. The main stages involved are the processes of exploration, design, and realization. The exploration stage involves activities to explore sources of ideas through the steps of investigation and problem identification. The design stage is based on key points from the analysis, followed by the visualization of ideas expressed in various alternative forms to select the best option to be used as a reference for realization, and finally, the realization stage where the work is brought to life. The written batik technique is collaborated with the granitan technique for the main motif. This batik is produced using bemberg material to add selling value and quality to the product. The result of this creation includes six types of designs, with two of them being visualized into ready-to-wear fabric. The market segmentation is targeted at adult men and women
Design of Rajamala-Patterned Surface Textiles through Digital Printing Techniques in the Creation of Casual Shirts
Starting from a love and hobby of photography by traveling to enjoy the beauty of the city of Solo, which has a diverse history and art, became one of the driving forces to realize the development of motif designs inspired by Rajamala. This design explores the potential of digital printed surface textiles combined with Rajamala to educate the public regarding local culture through casual shirt products. The resulting digital printing design is a combination of Rajamala and photos of iconic places in the city of Solo which are processed with a contemporary and modern style to attract the attention of the wider community to preserve local culture in a unique and interesting way. The design method used follows Bram Palgunadi's approach, which involves four main stages, namely the research process, analysis, concept preparation, design planning and product creation. Each stage is carried out in three steps, namely exploration, extraction and termination. The results of this design are six designs inspired by Rajamala motifs using digital surface textile printing techniques. This digital printing motif was applied as casual shirts for men and women, both teenagers and adults with two designs realized as shirt products, and one design realized as a cloth product. The design of Rajamala's visual processing using digital sublimation printing offers a different sensation from the existing Rajamala digital printing motifs. The resulting visuality becomes the value of novelty, uniqueness and product differentiation. The results of this design can also be a unique new choice for people who want original local souvenirs that convey art and culture in a casual shirt.
Utilization Of Calico Fabric As A Dummy As A Material For Women's Bag Products With The Application Of Macrame Technique
A dummy is an item that resembles the original in shape, appearance, and type, or it can be said that a dummy is a replica made from calico fabric. Dummy fabric is fabric that has been shaped into clothing with dimensions that match the design and is usually collected and stored as a reference or sample. The making of this work was done by maximizing the potential of calico fabric as a reused dummy. Dummy is reprocessed into a rope that will be used to make a complementary fashion product in the form of a women's bag (handbag) by applying the macrame knotting technique. Handbags are an option in women's daily lives as a fashion complement because of their varied shapes as well as functions that are easily mixed and matched in various situations. The application of the macrame technique to the handbag also provides its own uniqueness and aesthetic value, so that the shape and appearance of the bag is more attractive and different from existing bags. The application of the method used is the creation of S.P Gustami which in the process of making through three stages including exploration, design and realization. The realization of the work is in the form of three designs of women's bags by utilizing calico cloth as a dummy with the application of macramé technique.
Process of Painting Kamasan Puppetry at Kamasan Wasundari Classic Painting School Kamasan, Klungkung, Bali
The art of Kamasan puppet painting is a great tradition that deserves attention from the condition of its existence which is experiencing a decline in the next generation of its continuity. This phenomenon is the impact of the skyrocketing modern technology that colonizes the world in seconds. The emergence of digital technology that offers convenience and instant affects the mindset of the young generation of Kamasan Village, eliminating the traditional art of wayang kamasan that is able to sweep its era. This phenomenon is very interesting to explore more closely through the Merdeka Belajar Kampus Merdeka (MBKM) program implemented directly in the field, with the aim of absorbing the process of painting wayang kamasan. Data collection and data analysis use qualitative methods, where researchers are involved in the daily activities of the artists at the Wasundari Wayang Kamasan classical painting studio. In the implementation of the process of painting wayang kamasan, the three stage method and steps of the art creation process are applied to discuss the issues raised, namely the process of painting wayang kamasan through a hierarchical perspective born from the concept of Tri Loka, understanding the figures and characters of wayang, the substance of the literary text that is the source of creation, and understanding the concept of how to read the visual narrative of wayang kamasan painting. The organization of puppet figures or characters that function as “text” in visual language, which can represent the substance of the “context” of the literary text illustrated in the form of puppet paintings. This stage of the painting process is considered complicated and time-consuming, not worth the work with the final result.
Study of Natural Material Processing as Dye in the Creation of Ecoprint Products at UMKM Griya Anyar Dewata
The development of production in textile industry continues to follow current trends, which is fast fashion. Fast fashion is a textile industry that provides the latest fashion that is classified as mass market orientation, namely textile production in large quantities and scales. The fast fashion production process has a negative impact on releasing liquid waste. The waste comes from synthetic colouring which can pollute rivers and domestic waters. People also tend to be consumptive towards inconsistent fashion trends with low fabric quality. This phenomenon is important to further examine for the sake of environmental sustainability. Therefore, this study can be an alternative solution in reducing the impact of synthetic dyes. This study focuses on the processing techniques of natural materials as natural dyes. The technique used in the processing natural materials is ecoprint technique. The result of the application is to create ecoprint products such as bags, scarves, and feysen clothing. The purpose of this study is to provide knowledge and an overview of the processing of natural materials into high-value fashion products that support the concept of sustainable fashion, have great potential of their uniqueness and expected to provide new innovations that produce quality and highly competitive products. The deepening learn of ecoprint technique uses the active participation method. In line with the internship activities, the active participation method means that in the process of product creation, the author collaborates with partners and expert colleagues who will encourage and take benefit in product creation