Penerapan Ornamen Tradisional Sumatera Utara Pada Toples Makanan Sebagai Sarana Revitalisasi

Mesra, Mesra; Kartono, Gamal; Ibrahim, Anam

doi:10.24114/gr.v11i1.33639

Cited by 3 publications

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“…The use of these colours is inseparable from the meaning and philosophical values contained in these ornaments. Each prominent colour has its own strength of meaning, such as sirara dominated by red, silintong dominated by black, and sihapas dominated by white (Mesra et al, 2022). Park et al (2023) suggested that the image on the book cover has an appeal in influencing the sense of pleasure and increasing the perceived value of the book.…”

Section: ) Design Phasementioning

confidence: 99%

Digitalisation of Teaching Materials for Toba Batak Ethnic Decorative Variety with Procreate Media Based on p-Books and e-Books

Azis,

Lubis,

Kartono

et al. 2023

j. kependidikan. has. penelit. kaji. kepustakaan. bid. pendidik

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This research aims to develop teaching materials in the form of digitalisation of Toba Batak Ethnic Decorative Variety with p-book and e-bookbased procreate media that are valid, practical, and effective in the Fine Arts Department. This research method uses research and development with the 4-D development model (Four-D Models), namely define, design, develop, and disseminate. This research instrument uses a questionnaire with a Likert scale, while the data analysis technique consists of analysing the validity, practicality and effectiveness of teaching materials. The results of this study indicate that: a) p-book and e-book-based teaching materials with the title of the book/module/teaching material "Gorga Batak Toba", with the acquisition of a category that is quite valid with an average score of 78%, b) teaching materials are quite practical to be used by students in the North Sumatra Ethnic Decorative Variety Course (RHESU) with a score of 77%, and c) teaching materials fall into an effective category where students from four categories such as reading teaching materials, asking questions, answering questions, and completing assignments given by lecturers, can be observed in the learning process and student learning outcomes are 83.26%. So, from the scores and test results of the research results above, it can be said that the teaching materials are quite valid, quite practical, and effective to be applied in learning the North Sumatra Ethnic Decorative Variety Course (RHESU) at the

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Section: ) Design Phasementioning

confidence: 99%

Digitalisation of Teaching Materials for Toba Batak Ethnic Decorative Variety with Procreate Media Based on p-Books and e-Books

Azis,

Lubis,

Kartono

et al. 2023

j. kependidikan. has. penelit. kaji. kepustakaan. bid. pendidik

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“…Selain itu, pembuatan ornamen ditujukan untuk kebutuhan masyarakat baik kepraktisan sifatnya maupun keyakinan agama atau kepercayaan, serta motif ornamen yang memiliki makna simbolik untuk merepresentasikan nilai-nilai budaya dikomunitas pendukung. Ornamen dipandang sebagai visualisasi simbol yang sakral yang memiliki bentuk, warna, dan makna simbolik (Mesra et al, 2022). Penggambaran ornamen sebenarnya dapat dilakukan dengan stilisasi, penyederhanaan bentuk objek atau objek sebagai sumber dengan segala bentuk pertimbangan estetis (Wicaksono, 2017).…”

Section: Pendahuluanunclassified

Ornamen Kapal Lampung Typeface

Justin

Moussadecq

Widakdo

2022

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Sumatra's cultural heritage is very diverse and unique, one of the oldest cultures is the Lampung culture. The traditional Lampung tribe is not only famous for its decorative ornaments, but the kain tapis which is very distinctive in terms of art. The Kain Tapis Ornament Kapal Fabric which is increasingly forgotten and has been eroded by the times. The design of this typeface aims to preserve and introduce to the public about kapal Ornaments from Lampung Tapis woven fabric through ethnic typefaces. This study uses a qualitative method with a creative thinking process pattern approach. Procedures for implementing and solving visual communication problems through initial understanding, preparation, incubation, explanation and verification. The stages in the typeface design research are carried out with the initial sketch design, then the digitization process. The results obtained from the research can be concluded that the design of the kapal ornament typeface is the typeface resulting from the Lampung kapal ornament stylization, booklets, posters, signage, flayers, digital media, t-shirts, totebags and mugs are the media used in designing typefaces.Keywords: ornament, kapal, tapis, Lampung, typeface.AbstrakWarisan budaya Sumatera sangat beragam dan unik, salah satu budaya tertuanya ialah budaya Lampung. Suku tradisional Lampung tidak hanya terkenal dengan ornamen hiasnya saja, akan tetapi kain Tapis yang sangat khas dari segi seninya. Kain Tapis Ornamen Kapal yang kian terlupakan dan telah terkikis oleh perkembangan zaman. Perancangan jenis huruf ini bertujuan untuk melestarikan dan memperkenalkan kepada masyarakat tentang Ornamen Kapal dari kain tenun Tapis Lampung melalui typeface etnik. Penelitian ini menggunakan metode kualitatif dengan pendekatan pola proses berpikir kreatif (Creative Thingking Process). Tata cara penerapan dan penyelesaian masalah komunikasi visual melalui pemahaman awal, persiapan, inkubasi, penjelasan dan verifikasi. Tahapan dalam penelitian perancangan typeface di lakukan dengan perancangan sketsa awal, kemudian proses digitalisasi. Hasil yang didapat dari penelitian dapat diambil kesimpulan perancangan typeface ornamen kapal berupa typeface hasil stilasi ornamen kapal Lampung, booklet, poster, signage, flayer, social media, kaos, totebag dan mug merupakan media yang digunakan dalam mendesain typeface.Kata Kunci : ornamen, kapal, tapis, Lampung, typeface. Authors:Rohiman : Institut Informatika dan Bisnis DarmajayaAde Moussadecq : Institut Informatika dan Bisnis DarmajayaDika Tondo Widakdo : Institut Informatika dan Bisnis Darmajaya References:Afriwan, H., & Kamal, M. N. (2021). Fungsi dan Makna Huruf Vernakular sebagai Karya Desain Jalanan. Gorga: Jurnal Seni Rupa, 10(2), 445-453.Andriyanti, S., Sinaga, R., & Lubis, R. (2022). Aplikasi Ornamen Sumatera Utara Kreasi Kekinian pada Desain Busana Ready-To-Wear dengan Teknik Sablon Printing. Gorga: Jurnal Seni Rupa, 11(1), 25-35.Sihombing, D. (2001). Tipografi Dalam Desain Grafis. Jakarta: Gramedi.rawan, D. (2016). Kajian Bentuk Estetis Kain Tenun Kapal Dalam Masyarakat Saibatin Lampung Timur Menurut De Witt H. Parker. Imaji, 14(2), 98–106. https://doi.org/10.21831/imaji.v14i2.12173.Irawan, W. D. (2019). Sistem Kekerabatan Masyarakat Lampung Pepadun Berdasarkan Garis Bertalian Darah. Edukasi Lingua Sastra, 17(2), 151–158.Kembaren, Y. A., Kartono, G., & Mesra, M. (2020). Analisis Karya Poster Berdasarkan Unity, Layout, Tipografi, Dan Warna. Gorga: Jurnal Seni Rupa, 9(1), 121-126.Kherustika, K., & Tim. (2017). Katalog Kain Kapal Koleksi Museum Negeri Provinsi Lampung. Lampung: Dinas Pendidikan dan Kebudayaan UPTD Museum.Lawson, B. (2007). Bagaimana Cara Berpikir Desainer. Jakarta: Jalasutra.Lisa, D., Rusmiati, C. P. F., Arsitektur, P. S., Arsitektur, J., Teknik, F., Lampung, U., Prof, J., Brojonegoro, S., & Lampung, B. (2021). Seminar Nasional Ilmu Teknik dan Aplikasi Industri Budaya visual perkembangan arsitektur di Kabupaten Lampung Barat. Prosiding Sinta 3, 3(2020), 5. sinta.eng.unila.ac.id.Mesra, M., Kartono, G., & Ibrahim, A. (2022). Penerapan Ornamen Tradisional Sumatera Utara Pada Toples Makanan Sebagai Sarana Revitalisasi. Gorga: Jurnal Seni Rupa, 11(1), 81-88.Nugroho, D. P. (2019). Ornamental Varieties of Gedong Songo Semarang Temple As a Typeface Design Inspiration. Arty: Jurnal Seni Rupa, 8(2), 65–76. https://journal.unnes.ac.id/sju/index.php/arty/article/view/40287.Nugroho, M. P., Cahyana, A., & Falah, A. M. (2021). Penelitian Antropologi Kajian Etnografi Visual Pada Kain Tapis Lampung. ATRAT: Jurnal Seni Rupa, 9(2), 18–26. https://jurnal.isbi.ac.id/index.php/atrat/article/view/1719.Rachman, A. (2016). Pola Iringan Engkel Instrumen Cak Dan Cuk Dalam Lagu Langgam Jawa Pada Orkes Keroncong Sekar Domas Di Semarang. Jurnal Konferensi Internasional VI Bahasa, Sastra Dan Budaya Daerah Indonesia, 7(9). https://www.mendeley.com/reference-manager/reader/4ae936b9-4e9f-34bc-bf2d-250f73fc7b1e/752ed8f4-a224-d67f-6f51-2b74caefba4d.Rustan, S. (2011). Huruf Font Tipografi. Jakarta: Gramedia Pustaka Utama.Rustan, S. (2013). Mendesain Logo. Jakarta: PT Gramedia Pustaka Utama.Roy, B. (1971). An Approach To Print A basic guide to the printing processes. London: Blandford Press.Sabatari, W. (2011). Motif Hias Geometris Sajian Khusus Seni Ornamen Indonesia. Seminar Nasional 2011 “Wonderfull Indonesia” Jurusan PTBB FT UNY , 3 Desember 2011, 619–631. http://staffnew.uny.ac.id/upload/132296048/penelitian/Kajian+Potensi+“Wedang+Uwuh”++Sebagai+Minuman+Funsional.pdf.Simbolon, E. Y., & Zulkifli, Z. (2022). Penerapan Ornamen Pada Desain Tote Bag Berdasarkan Prinsip Desain. Gorga: Jurnal Seni Rupa, 10(1), 119-128.Skolos, N., & Wedell, T. (2006). Kain Tapis Lampung Terancam Punah. Beverly: Rockport.Suwati, K. (1992). Kain Kapal Khasanah dari Lampung (Majalah Kebudayaan No. IV Tahun II). Jakarta: Departemen Pendidikan dan Kebudayaan.Wicaksono, A., & Hartono, B. (2017). Strategi Perancangan dengan Penerapan Ragam Hias Sulur Gelung Pada Produk Kriya untuk Pasar Global. CORAK Jurnal Seni Kriya, 6(2), 143–150.

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“…The revitalization of North Sumatra ornaments is adjusted to the interests of the younger generation, including the development of digitized ornament designs, the application of ornaments to various materials, such as clothing screen printing, paintings, tote bags, and murals. Ornaments are applied in the form of stickers, by processing them on computers and sticker printing machines [6]. Decorative lampshades are used as a means of socializing North Sumatra ornaments to the public.…”

Section: Introductionmentioning

confidence: 99%

Decorative Lamps with North Sumatra Ornaments

Mesra,

Ibrahim,

Sumarsono

2024

Proceedings of the 5th International Conference on Innovation in Education, Science, and Culture, ICIESC 2023, 24 October 2023,

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The purpose of this research is to create decorative lamps with ornaments from North Sumatra. The next goal is to re-socialize the ornaments of North Sumatra to the community. The research target is to increase the beauty of decorative lamps in order to increase their selling price. The research method uses Gustami's theory (2001), namely exploration, design, and embodiment. The approach used in this study is descriptive qualitative with stages 1. Collecting data on North Sumatra ornaments 2. Identifying the shape to be applied, 3. Digitally redesigning the shape of the ornament, 4. Designing the shape of the decorative lamp, and 5. Applying the ornament to the decorative lampshade. The results of the research are decorative hanging lamps, decorative wall lamps, and decorative table lamps which can enhance the beauty of room decorations. Research products can also add to the variety of tourist souvenirs in North Sumatra.

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Penerapan Ornamen Tradisional Sumatera Utara Pada Toples Makanan Sebagai Sarana Revitalisasi

Cited by 3 publications

References 0 publications

Digitalisation of Teaching Materials for Toba Batak Ethnic Decorative Variety with Procreate Media Based on p-Books and e-Books

Digitalisation of Teaching Materials for Toba Batak Ethnic Decorative Variety with Procreate Media Based on p-Books and e-Books

Ornamen Kapal Lampung Typeface

Decorative Lamps with North Sumatra Ornaments

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