The Concept of Three and Visual Branding of Laweyan Surakatra Batik

The ‘Concept of Three’ dominated the visual branding practices of Laweyan Surakarta batik prior to the 1970s. The concept can be interpreted from various aspects: scientifically, religiously, socially, culturally, and mathematically. This study aimed to reveal the meaning of the visual branding process of Laweyan Surakarta batik prior to the 1970s, especially regarding the Concept of Three. The data collection methods included document analysis, observations and in-depth interviews. This study employed a symbolic power approach based on Bourdieu’s theory. The findings indicated that the Concept of Three used by Laweyan Surakarta batik-makers was influenced by the thinking of etiquette-makers. Their thoughts were based on their belief in the computations of meaning. Laweyan Surakarta batik-makers upheld the concept of Javanese aesthetics as the main consideration in creating etiquette in addition to taking into account the marketing concept. The cultural values of the community, which have been embedded in the individuals since childhood, have caused the Concept of Three to become rooted in the mentality of the batik community. Keywords: Concept of Three, batik etiquette, Laweya

Concentric Circle Patterns in The Visual Etiket Of Surakarta Laweyan Batik Before 1970

The Surakarta Laweyan batik etiket was born as an effort to gain legitimacy in the community. The actions of these Laweyan batik agents began to appear around the 1930s on the background of social, political, economic and cultural dynamics. Laweyan batik etiket emerged with the tendency of concentric circle visual patterns. This pattern is seen in the visual structure of most of the batik etiket of Surakarta Laweyan. The concentric circle pattern is a characteristic pattern that is unique to Laweyan batik etiket, this is related to the views and thoughts of Javanese society in general. Batik etiket is interpreted as a form of actualization of batik producers in their respective regions. Batik etiket as a cultural product is not only a personal expression but also a representation of social order. In a broader scope, cultural products become cultural markers in a particular society. The research focused on the tendency of the visual pattern of Laweyan batik etiket. The research object is limited to batik etiket before the 1970s. The objective of this research is to reveal the meaning of the concentric circle pattern in the visual arrangement of Laweyan batik etiket in the pre-1970s. This research is a qualitative research using a cultural approach, referring to the theory (philosophy) of Javanese culture. Data collection techniques used are documentation, in-depth interviews and sampling techniques. The analysis technique used is a qualitative data analysis interaction model using a Javanese cultural approach. The result of this research is a pattern of concentric circles reminiscent of the spatial pattern of the Mataram era. This pattern is similar in shape to the Mandala concept in the Hindu cosmological system.Keywords: concentric circles, batik etiket, Surakarta LaweyanDOI: 10.7176/ADS/93-04Publication date:May 31st 202

Dhemes Concept on Visual Branding of Laweyan Batik Surakarta

Batik etiquette, commonly known as batik stamp, is part of a promotion that serves as a differentiator from similar products. The existence of Surakarta batik etiquette was born as an effort to gain legitimacy in the community, emerging in the 1930s it was motivated by the dynamics of social and political change. The emergence of batik etiquette with a tendency to prioritise visual patterns in Surakarta is apparent in the visual structure of most Surakarta batik etiquettes. In this study it is suspected that the characteristic character of batik etiquette is related to the views and nature of thought of the people at that time. In this case the concept of dhemes is also thought to be reflected in visual patterns and arrangements in the batik etiquette of Kampung Kauman and Laweyan Surakarta. The existence of batik etiquette which was motivated by socio-political changes had an impact on changing people’s perceptions about products which in turn impacted perceptions about visual order. Etiquette status is not merely a marker of a product, but also plays a role in changing the perception of the product. Etiquette is interpreted as a form of actualization of batik producers in their respective regions. Batik etiquette as an art product is not only a personal expression, but also as a representation of the social order. At a further level art products become media to mark changes in social perception. Keywords: dhemes, batik etiquette, laweya

Prosiding ICAAE 2014 - BUDAYA PANJI SEBAGAI MEDIA INTERNALISASI NILAI KEARIFAN LOKAL DALAM ARUS BUDAYA GLOBAL

Budaya Panji merupakan kebudayaan khas nusantara. Penokohan Panji dikembangkan sebagai tokoh imaginatif tentang karakter dan watak yang khas Indonesia. Tokoh Panji pada tataran ideal dan tingkah laku tersebut pada gilirannya diwujudkan dalam bentuk budaya fisik yang riil. Penokohan Panji sebagai sosok panutan dapat ditelusuri pada bentuk babad Panji yang berkembang di nusantara. Penelusuran pada beberapa bentuk pementasan karakter Panji, baik dalam bentuk pewayangan ataupun pementasan teater tradisonal, berperan sebagai media edukasi bagi masyarakat sekitarnya. Struktur pada babad Panji dapat menjadi media kognisi dan edukasi tentang ajaran emosional, estetika dan moral. Oleh sebab itu budaya Panji patut untuk dipertahankan mengingat masyarakat Indonesia rentan terhadap pengaruh kuat budaya global. Globalisme merupakan salah satu implikasi dari lahirnya budaya massa dan budaya popular di dunia. Pengaruh kuat budaya global dipicu oleh teknologi informasi yang berkembang pesat di tengah masyarakat Indonesia. Fenomena tersebut yang mampu membentuk jaringan budaya global dan penyebaran ideologi budaya global

Perancangan Visual Identity Pada Butik E Collection Balikpapan Sebagai Media Informasi

E Collection Boutique is one of the fashion brands in the city of Balikpapan. E Collection is a boutique business that has been running for more than 7 years in the fashion industry. A brand that has been around since 2015 in the E Walk mall, Balikpapan city. The E Collection boutique does not have a visual identity because the logo used is inconsistent. Therefore, it is necessary to design a visual identity for the E Collection Balikpapan boutique so that it can be well received by the public and gives a professional impression, in accordance with the image that the boutique wants to display, namely elegant and graceful. This design uses the Alina Wheeler method with five stages of conducting research, clarifying strategy, design identity, creating touchpoints, managing assets. Data collection techniques were carried out using a qualitative descriptive design method, namely searching and collecting data through reference sources in 4 ways, namely: In-depth Interviews, Indirect Observations, Questionnaires, Libraries. In this design using data analysis with the S.W.O.T method. This design produces the Boutique E Collection Logo and its application to related media such as taglines, super graphics and its application to other media. Keywords: Visual Identity, Boutique, Balikpapan

Dhemes Concept on Visual Branding of Laweyan Batik Surakarta

Batik etiquette, commonly known as batik stamp, is part of a promotion that serves as a differentiator from similar products. The existence of Surakarta batik etiquette was born as an effort to gain legitimacy in the community, emerging in the 1930s it was motivated by the dynamics of social and political change. The emergence of batik etiquette with a tendency to prioritise visual patterns in Surakarta is apparent in the visual structure of most Surakarta batik etiquettes. In this study it is suspected that the characteristic character of batik etiquette is related to the views and nature of thought of the people at that time. In this case the concept of dhemes is also thought to be reflected in visual patterns and arrangements in the batik etiquette of Kampung Kauman and Laweyan Surakarta. The existence of batik etiquette which was motivated by socio-political changes had an impact on changing people's perceptions about products which in turn impacted perceptions about visual order. Etiquette status is not merely a marker of a product, but also plays a role in changing the perception of the product. Etiquette is interpreted as a form of actualization of batik producers in their respective regions. Batik etiquette as an art product is not only a personal expression, but also as a representation of the social order. At a further level art products become media to mark changes in social perception. Keywords: dhemes, batik etiquette, laweya

PROCEEDING SEMINAR NASIONAL: SENI RUPA NUSANTARA BASIS KEUNGGULAN NASIONAL TAHUN 2016

Om Swastiastu, Seminar Nasional pada tanggal 28 Oktober 2016, diselenggarakan oleh Fakultas Seni Rupa dan Desain (FSRD), Institut Seni Indonesia (ISI) Denpasar dan diikuti oleh 17 pemakalah inti dan artikel pendamping yang dihimpun dalam buku Procceding Seminar Nasional 2016: “Seni Rupa Nusantara Basis Keunggulan Indonesia”. Makalah Seminar Nasional ini call for pa- per, sangat berarti bagi FSRD-ISI Denpasar dalam bentuk procceding yang ber ISBN 978-602- 9855-8-3. Seminar nasional ini juga menghadirkan keynote speaker Wali Kota Denpasar, I.B Rai Dharmawijaya Mantra, Pembicara sesi (I) Prof. Dr. Agus Burhan (Rektor ISI Yogyakarta), Pembicara sesi (II) Dr. Dody Wyancoko (Dosen ITB Bandung), dan Pembicara sesi (III) Dr. I Wayan Kun Adnyana ISI Denpasar. Seminar nasional akan diarahkan untuk mengembangkan “cara berpikir” dari berbagai aspek dalam studi seni rupa dan desain, termasuk media rekam untuk penciptaan suatu karya. Panitia penyelenggara mewakili institusi FSRD-ISI Denpasar yang menjadi tuan rumah seminar nasional, mengucapkan banyak terima kasih atas partisi- pasi para akademisi dan para pemerhati seni rupa Indonesia seperti: Seni Lukis, Seni Patung, Produk Kriya, Desain Interior, Desain Komunikasi Visual, Fotografi, Desain Mode, Film dan Televisi kemudian mempresentasikan dalam seminar nasional ini. Adapun bentuk sub tema: 1). Eksplorasi Seni Rupa Nusantara; 2). Keragaman Seni Rupa Nusantara, 3). Peluang studi dan penelitian; 4). Konsep dan filosofi Seni Rupa Nusantara. Dengan kerendahan hati panitia men- gucapkan selamat berseminar, terutama kepada peserta utusan dari; Universitas Negeri Malang (UNM), Institut Teknologi Bandung (ITB), Universitas Padjadjaran (UNPAD) Bandung, Uni- versitas Negeri Yogyakarta (UNY), Universita Mahasaraswati (UNMAS) Denpasar, Universitas Bunda Mulia Jakarta, dan Institut Seni Indonesia (ISI) Denpasar. Dengan penuh harapan, bahwa kegiatan seminar nasional ini dapat terselenggara den- gan sukses membawa pengalaman baru serta persahabatan abadi. Atas nama panitia, tidak lupa kami mengucapkan mohon maaf apabila ada pelayanan yang kurang memuaskan dan mungkin dilain waktu bisa lebih baik lagi penyelenggaraannya. Salam seni dan budaya. Om Santih Santih Santih O