Hasil untuk "Handicrafts. Arts and crafts"

Usha Mahobia

The history of the folk art of the Malwa region is ancient  and rich. This area has been famous since ancient times as culture Centrals like Avanti, Ujjaini and Dhaar a beautiful blend of Aryan, trible and folk traditions can be seen here, the effect of which is visible on folk dance, music folk Drama and  handicraft . From  time to time, under the patronage of rulers like the Mauryas, Guptas, and Parmars,  the folk art of Malwa developed. Through festivals like Holi, religious rituals,  Chaturmas and social celebrations , these arts became an integral part of public life. Arts such as Maach Natya , Gair dance, and Malvi folk songs emerged as expressions of the folk  mind . Malwa, a rich cultural region of Madhya Pradesh, where the folk arts reflect the life, festivals, and social consciousness of the people. Prominent folk arts of Malwa include folk dance, folk music, painting, crafts, and folk theatre. The people of Malwa are very lively and fond of festivals. Gair dance, Matki dance, and Bhunvari dance are famous dance styles here, especially presented during festivals and fairs. Folk music like Malvi songs, Faag, Aalha, and Garba express public sentiments in simple language. Folk painting and handicrafts are also the identity of Malwa. Clay and mud toys, bamboo and wood items, and colorful embroidery on clothes are the traditional arts here. Folk theatre (Swang) is especially famous, which is based on social, historical, and humorous themes.

Hallie G. Meredith

This note presents an exciting new identification concerning late Roman carved workshop makers’ marks on glass diatreta—a discovery that was hidden in plain sight. This is a preliminary result of a forthcoming comprehensive study of the abstracted, openwork symbols that sometimes accompany an inscription. On glass objects, if mentioned at all in past scholarship, they have been misleadingly referred to only as “stop-marks” designed to ornamentally frame an adjacent inscription. By instead approaching these symbols as imagistic script, a visualized form of the presentation of writing, their communicative purposes can be better recognized along with their producers. Through this approach, two remarkably similar glass openwork vessels—each with an identical symbol—and a possible third vessel with a nearly identical symbol and a related design have been identified. Together they represent compelling evidence of makers’ marks and workshop production.

Ol'ga Vladimirovna Semeritskaya

The object of the study is the intangible heritage of Russian folk arts and crafts as a phenomenon of traditional culture. Special attention is paid to the object content of the intangible heritage of crafts, as well as the forms of their preservation and actualization. The research originates from the definition of the concept of the intangible heritage of folk arts and crafts. The concept of the bearer of the intangible heritage of crafts is formulated. The definition of the morphology of the intangible heritage of crafts is based on the analysis of the intangible part of the artistic, industrial, ethnocultural and religious heritage of crafts. An important part of the study is the analysis of modern practices for the preservation and actualization of the intangible heritage of crafts in order to develop optimal forms and methods. The importance of such a form of preservation and broadcasting of the intangible heritage of folk arts and crafts as museification is emphasized. The definition of the concept of intangible heritage of crafts and the structural analysis of this fragment of cultural heritage was carried out on the basis of recognition of heritage by systemic education. The scientific novelty of this study lies in the definition of folk arts and crafts as a phenomenon of traditional culture, the key component of which is tradition, objectified, first of all, in an immaterial form. For the first time, the definition of the concept of the intangible heritage of folk art crafts is given based on the analysis of historiography and legislative practice, and a morphological analysis of this type of heritage of crafts is given based on the generalization and analysis of the experience of its preservation and actualization. The intangible heritage of artistic crafts - the artistic and pictorial language of handicrafts, techniques and technologies for their manufacture and decoration, social ways of transmitting knowledge and skill, customs, way of life and lifestyle in the craft - are of high value from an informational and axiological point of view and need to be preserved and broadcast.

Harminder Singh, Tejwant Brar, Sachin Dat

The handicraft industry's expansion has been hindered by several factors, including the lack of awareness and training among craftspeople and their inability to command higher prices for their products based on the unique selling proposition of being "Hand Crafted." These craftsmen's ability to charge premium rates was further hindered by competition from comparable products offered in other areas or nations that unfairly profited from the reputation of these distinctive products but discounted the inherent authenticity of the craft. The artisans felt that there was no future for them because they could not support their families with their crafts, which demotivated them. Nonetheless, artisans can set fair pricing for their authentic goods since they can prevent piracy by exercising their IPRs to the fullest extent possible. The craftspeople must also recognise that standards for quality and how they are measured might vary across time and space. Goods that were legal in the past are now prohibited. For instance, ivory, which was once widely utilised, is now completely banned. Similar to how certain nations forbid the use of plastic, many other limitations and encumbrances are enforced globally. It has been difficult for the craftspeople to stay up to date. In several global rejections of handicraft products, the lack of the stamp of authenticity makes these goods likely to be rejected. Artisans need to reconcile to the fact that there is an urgent need to recognise the accurate picture where cheap imitations are challenging their genuine articles. They need to take cognisance of the fact that they should be agreeable to putting their items through extensive testing and inspection processes to determine their quality so that they can obtain the accurate valuation and cost for their hard work and their exquisite artistry in turning out such breathtakingly beautiful works of craftsmanship for posterity.

Wesam Keshk, Ola Hashem., A. Ibrahim

C. Dewi, Cyrenia Novella Krisnamurti

. Indonesia is a country that is rich in natural and cultural resources. One of the cultures they have is fine arts. Fine art is one of the diverse cultures. This study examines one of the fine arts from Yogyakarta, namely woven bamboo. The famous woven bamboo handicraft industry comes from Dusun Brajan, Sendangagung, Kecamatan Minggir, Kabupaten Sleman, Yogyakarta. This study aims to determine the history of bamboo weaving activities, mathematical fundamental activities and implementation of bamboo weaving in Dusun Brajan in learning mathematics for junior high school students. The research method used is descriptive qualitative research with an ethnographic approach that aims to describe and assess the pattern of the bamboo craftsman group in Dusun Brajan. Data collection methods used were observation, documentation and interviews with the administrator of the Desa Wisata Brajan and the Dusun Brajan bamboo weaving craftsmen. The results of this study indicate the beginning of the development of woven bamboo crafts until now it has become a well-known craft centre. Through this woven bamboo, students can learn six basic math activities: counting, finding, measuring, designing, playing, and explaining. Implementation in learning mathematics in junior high schools is a contextual problem that can be used as discussion material for students.

Кэтрин З. Лунг

The article examines the interest in Scythian imagery and motifs in contemporary arts and crafts, both in Tuva and outside Russia, on a surge after the excavation of Arzhan II burial site. As proved by numerous references, the most popular of the Arzhan II finds was the stylized image of the Scythian stag on a golden hair pin. It has since appeared on the photo taken by Russian photographer Andrei Bronnikov, whose main subject is jewelry. Tattoo artists in English-speaking regions have seen an uptick in customers requesting Scythian stag tattoo designs, due in large part to the discovery of the popularly dubbed “Ukok Princess” and increase in interest in prehistoric fantasy media. Russian-speaking fashion designers redefine textile and ornament in the twenty-first century, influenced by the golden accents of the looped stag in their work, at times inventing an embellished narrative of the past. Folk crafters have created costume and jewelry designs for a different world they wish to inhabit, even creating alter-egos and stories that accompany Scythian-inspired pieces. Finally, within Tuva, wood carving continues thanks to trailblazers that promote folk handicrafts through education and archival work. Artists around the world are fascinated by this unique relic of the past and employ the symbol in romantic imaginings of their past and present.

L. Sokolyuk

The article attempts to outline the activities of Kharkiv art and craft workshop of decorative painting, headed by a Czech creator Ladislav Trakal in 1899. The introduction of some new archival documents into scientific circulation showed that there was a close connection between the pedagogical system of Rayevska‑Ivanova’s school, founded in 1869, and Trakal’s decorative‑handicraft workshop. The 4‑year industrial art school in Prague, which Trakal graduated from in 1896, did not have the status of a higher art institution at that period of time. When Trakal arrived in Kharkiv and headed the decorative‑handicraft workshop, which was housed in an edifice that Colonel Borodaevsky devised to Kharkiv Society for the Dissemination of Literacy, Trakal got on a well‑worked ground, which was prepared by Rayevska‑Ivanova. In 1869 this outstanding person, the first woman‑artist with a European level education and a diploma from St. Petersburg Academy of Arts in Russian Empire, founded an industrial art school in Kharkiv. Later, in 1896 she was forced to leave teaching at her school due to a complete loss of vision. However, the need for specialists of this profile did not disappear. Kharkiv was experiencing a real construction boom, and decorators, one of whom Trakal was, were in great demand. Although Trakal’s workshop did not become as multidisciplinary as Raevska‑Ivanova’s school, it used a lot of the pedagogical system developed by the founder of industrial art education in Kharkiv, to its advantage. Trakal’s workshop gave its students an initial industrial art education, prepared them for the activity in decorative painting. Unlike Rayevska-Ivanova who taught free of charge in her private school for more than 27 years, trying to lay solid foundation of industrial art education in Kharkiv, Trakal turned out to be a rather enterprising person. He successfully completed highly paid orders for the decoration of buildings in Kharkiv and also opened his own private studio. Having a good command of Russian, Trakal easily entered Kharkiv’s artistic life. He actively participated in exhibitions, where he showed his paintings, made in the Art Nouveau Style with an enhanced symbolist sound. However, the question remains about how bright and original this artist was in comparison with artists from other Ukrainian cities (M. Zhuk, Yu. Mykhailiv, M. Sapozhnikov). Similarly, the contribution of other art institutions to the development of some of Trakal’s students who eventually became famous masters, also requires further studying.

Dana Kurnia Syabana, Retno Widiastuti

<p>Karakteristik fisik dari serat pelepah nipah sangat penting diidentifikasi agar dapat diketahui proses pengolahan, sifat bahan jadi serta manfaatnya. Penelitian ini bertujuan untuk mengetahui karakteristik fisik dari serat pelepah nipah. Pemisahan serat dari pelepah nipah dilakukan dengan perlakuan perendaman air, NaOH, dan fermentasi EM4. Serat nipah yang diperoleh kemudian diuji diameter serat, kekuatan tarik serat, berat jenis dan kadar air. Hasil pengujian diameter serat nipah berkisar antara 0,27 mm – 0,47 mm, berat jenis serat terendah &lt; 0,87 g/ml dan tertinggi 1,19 g/ml, kadar air antara 7,4 % sampai tertinggi 10,1%. Kekuatan tarik berkisar antara 10,5 g/tex sampai tertinggi 18,6 g/tex. Serat memiliki sifat fisik yang getas dan mudah patah terhadap tekukan dengan warna serat mulai dari putih gading sampai kuning kecoklatan. Dari ketiga perlakuan tersebut, hasil terbaik didapat dengan perlakuan rendaman air karena memberikan kekuatan tarik paling tinggi dibandingkan hasil pemisahan serat dengan perlakuan yang lain.</p><p> </p><p> </p>

Redaksi DKB

Dwi Wiji Lestari, Yudi Satria

<p>Telah dilakukan penelitian pemanfaatan kulit kayu angsana (<em>Pterocarpus indicus</em>) sebagai sumber zat warna alam untuk pewarnaan kain batik sutera. Ekstraksi ZWA dilakukan dengan pelarut air dengan variasi suhu ekstraksi 75 °C dan 100 °C. Pewarnaan zat warna alam kemudian diaplikasikan pada kain batik sutera pada kondisi pencelupan asam (pH 4) dan basa (pH 10). Mordan awal yang digunakan adalah tawas dan jirak. Diakhir pewarnaan alam dilakukan fiksasi dengan menggunakan tawas dan tunjung. Berdasar hasil penelitian, kulit kayu angsana terbukti dapat digunakan sebagai sumber zat warna alam untuk batik sutera. Ketuaan warna paling tinggi diperoleh pada pewarnaan batik sutera dengan menggunakan mordan jirek pada suhu ekstraksi 100 °C dalam kondisi pencelupan basa dengan fiksator tunjung. Arah warna yang dihasilkan adalah coklat tua pada suasana<strong> </strong>pencelupan asam dengan fiksasi tunjung, coklat kemerahan pada suasana  pencelupan asam fiksasi tawas, coklat kemerahan pada suasana  pencelupan basa fiksasi tawas dan coklat tanah pada suasana  pencelupan basa dengan fiksasi tunjung. Hasil uji ketahanan luntur warna terhadap pencucian dari sampel pewarnaan menunjukkan kualitas baik yaitu pada skala 4-5 (Baik).</p><p> </p><p><em>Study on utilizationof angsana </em><em>(Pterocarpus indicus) as </em><em>natural dye </em><em>for silk batik </em><em>has been conducted. The study was aimed to determine the quality of the natural dyeing of the bark of angsana by use jirak (Symplocos fasciculata Zoll.) and alum as the natural mordant. Extraction of natural dye was carried out using water by varying the extraction temperature of 75 and 100 °C. The coloration was applied to silk batik at both acid (pH 4) and basic (pH 6) impregnations. The mordant employed  were alum and jirak. The last stage was fixation using alum and ferrosulfate. Based on the results, angsana was proved to be used as a source of natural dyes for silk batik. The highest color intensity </em><em>was obtained by</em><em> </em><em>using</em><em> angsana bark extract and jirak as mordant at </em><em>100 °C under </em><em>basic </em><em>condition the presence of ferrosulfate as the fixative.</em><em> </em><em>The obtained color shades for acid impregnation with ferrosulfate fixative, acid impegnation with alum fixative</em><em>, </em><em>basic impregnation with alum fixative </em><em>and </em><em>basic impregnation with ferrosulfate fixative, were dark brown,</em><em> reddish brown,</em><em> </em><em>reddish brown and </em><em>soil brown, respectively.</em><em> The test of fastness to washing towards coloration sample gave good quality on scale of 4-5 (good).</em><em></em></p><p> </p>

Agus Haerudin, Farida Farida Farida

<p>Potensi limbah sumber daya alam di Indonesia hususnya limbah kayu-kayuan sangat melimpah yang selama ini belum dimanfaatkan dan belum miliki nilai jual yang sangat tinggi, salah satunya serutan kayu matoa. Pada penelitian ini mencoba melakukan ekperimen limbah serutan kayu matoa dimanfaatkan sebagai sumber bahan baku zat warna alam yang akan diaplikasikan pada kain batik serat selulosa.</p><p>Tujuan dari  penelitian ini ingin melihat arah warna yang dihasilkan dari ekstraksi limbah serutan kayu matoa dengan melakukan beberapa perlakuan variasi suhu ekstrkasi 75°C dan 100°C dengan pelarut air, dalam suasana larutan celup pH asam 4 dan pH basa 10, serta perlakuan mordan akhir tawas 70 g/l dan tunjung 30 g/l, dari hasil ekperiment dilakukan uji beda warna (L, a, b) dan uji ketahanan luntur warna pada pencucian.</p><p>            Hasil uji beda warna (L,a,b) pencelupan kayu matoa pada kain katun menghasilkan beda warna dengan kain standar uji dimana secara visualisasi dengan perlakuan suasana celup pH asam dengan mordan akhir tawas menghasilkan arah warna coklat sedang, dan dengan perlakuan mordan akhir tunjung menghasilkan arah warna coklat tua. Pada perlakuan suasana larutan celup pH basa dengan perlakuan mordan akhir tawas menghasilkan arah warna coklat muda serta dengan perlakuan mordan akhir tunjung mendapatkan arah warna coklat sedang. Dari hasil uji ketahanan luntur warna pada pencucian secara umum nilai yang diperoleh 4-5 dalam kategori baik.</p><p> </p><p> </p>

Aan Eddy Antana

<p>Kurang lebih 20% produk kerajinan bambu adalah produk untuk pemenuhan pennintaan ekspor. Sasaran konsumen luar negeri adalah para peminat kerajinan bambu dari Jepang, Italy, Jerman dan Hongaria.</p><p>Permasalahan yang dihadapi industri kerajinan anyaman bambu salah satunya adalah terbatasnya peralatan, termasuk alat irat. Fenomena ini sangat terasa terutama di level industri kecil dan menengah, yang mengakibatkan kapasitas produksi relatif rendah.</p><p>Dari uraian di atas timbul pemikiran untuk membuat mesin irat bambu yang terjangkau oleh industri kecil dan menengah. Mesin irat bambu dinilai cukup efektif untuk membantu proses produksi industri kerajinan anyaman bambu.</p><p>Kegiatan ini dilakukan di Laboratorium Alih Teknologi dan Inkubasi, Balai Besar Kerajinan dan Batik, Yogyakarta. Metode yang dilakukan yaitu survei lapangan dan literatur, perancangan desain, pemilihan dan pengadaan bahan, pembuatan, ujicoba, finishing, evaluasi dan pembahasan.</p><p>Kegiatan ini menghasilkan mesin irat bambu dengan spesifikasi :</p><p>Penggerak      : motor listrik 1 phase, 220 V, 1/3 HP, 1430rpm</p><p>Dimensi           : - panjang       : 73 cm</p><p>-  lebar            : 29 cm</p><p>-  tinggi           : 78 cm</p><p>Berat               : 90 kg</p><p>Kapasitas        :</p><table border="1" cellspacing="0" cellpadding="0"><tbody><tr><td valign="top" width="312"><p align="center">Panjang iratan (cm)</p></td><td valign="top" width="312"><p align="center">Kapasitas (iratan/jam)</p></td></tr><tr><td valign="top" width="312"><p align="center">30</p></td><td valign="top" width="312"><p align="center">2693</p></td></tr><tr><td valign="top" width="312"><p align="center">40</p></td><td valign="top" width="312"><p align="center">2464</p></td></tr><tr><td valign="top" width="312"><p align="center">50</p></td><td valign="top" width="312"><p align="center">2207</p></td></tr><tr><td valign="top" width="312"><p align="center">60</p></td><td valign="top" width="312"><p align="center">1902</p></td></tr></tbody></table><p>Tebal iratan minimal : 0,3 mm</p><p> </p><p><strong>Kata kunci</strong>: mesin irat, bambu, anyaman</p>

Dwi Suheryanto, Marjono Marjono

<p class="MsoNormal" style="margin-bottom: .0001pt; text-align: justify; text-indent: 36.0pt; line-height: 115%; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: 11.0pt; line-height: 115%;" lang="EN-US">Briket Batubara adalah hasil olah lanjut dari batubara yang penggunaannya dalam  proses peleburan menggunakan tungku pelebur bentuk silindris dengan penyuapan angin dari blower. Peleburan perak dan kuningan dengan menggunakan bahan bakar briket batubara dilakukan dalam tungku yang berbentuk silindris, </span></p><span style="font-size: 11.0pt; line-height: 107%; font-family: 'Arial','sans-serif'; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-ansi-language: EN-US; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;" lang="EN-US">Dari hasil peleburan logam perak maupun kuningan, temperatur yang dapat dicapai melebihi titik leleh (melting point) dari kedua logam tersebut yaitu 128°C. Briket batu bara yang digunakan untuk peleburan 1 kg kuningan sebanyak 995,32 gram atau setara dengan Rp348,362, sedang untuk peleburan perak 775,20 gram atau setara dengan Rp264,32,-.</span><p class="MsoNormal" style="margin-bottom: .0001pt; text-align: justify; text-indent: 36.0pt; line-height: 115%; mso-layout-grid-align: none; text-autospace: none;"><span style="font-size: 11.0pt; line-height: 115%;" lang="EN-US">Briket Batubara adalah hasil olah lanjut dari batubara yang penggunaannya dalam  proses peleburan menggunakan tungku pelebur bentuk silindris dengan penyuapan angin dari blower. Peleburan perak dan kuningan dengan menggunakan bahan bakar briket batubara dilakukan dalam tungku yang berbentuk silindris, </span></p><span style="font-size: 11.0pt; line-height: 107%; font-family: 'Arial','sans-serif'; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-ansi-language: EN-US; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;" lang="EN-US">Dari hasil peleburan logam perak maupun kuningan, temperatur yang dapat dicapai melebihi titik leleh (melting point) dari kedua logam tersebut yaitu 128°C. Briket batu bara yang digunakan untuk peleburan 1 kg kuningan sebanyak 995,32 gram atau setara dengan Rp348,362, sedang untuk peleburan perak 775,20 gram atau setara dengan Rp264,32,-.</span>

Paulus Bawole, Eko A. Prawoto, Puspitasari Darsono et al.

<p><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><strong>ABSTRAK</strong><br /><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">Penguasaan ketrampilan membatik harus lebih menyebar ke berbagai pelosok di Indonesia. Kecacatan <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">tubuh (<span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>impairment</em><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">), baik brakidaktili maupun paraplegia bukanlah halangan untuk menguasai <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">ketrampilan membatik. Terdapat tiga faktor penyebab tingginya biaya produksi batik tulis, yaitu <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">waktu, energi dan ketrampilan tinggi. Penelitian ergonomi dengan studi kasus para pembatik difabel <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">ini bertujuan memperoleh pemahaman tentang kemampuan pengguna dan keluhan muskuloskeletal <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">para pembatik difabel yang diakibatkan oleh alat tersebut. Hasil yang diperoleh akan menjadi <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">spesifikasi performa produk untuk perancangan alat membatik elektrik yang bersifat inklusif, dapat <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">digunakan oleh berbagai pengguna, mulai dari kalangan pembatik pemula hingga yang <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">berpengalaman, bertangan normal maupun tidak sempurna. Pengukuran dengan metode RULA, <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">pengamatan dan wawancara dalam ujicoba penggunaan aneka jenis gagang canting desain baru <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">diperoleh kesimpulan bahwa genggaman presisi eksternal menghasilkan kebutuhan ukuran gagang <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">yang sama baik bagi pembatik dengan tangan normal maupun brakidaktili. Sedangkan pada analisa <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">metode NBM dan HTA didapatkan kesimpulan bahwa jika unit pemanas <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>malam </em><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">bisa disatukan <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">dengan canting maka didapatkan pengurangan satu langkah dalam kegiatan membatik sekaligus <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">mengurangi keletihan dalam membatik. Penelitian ini menghasilkan konsep perancangan unit <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">pemanas <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>malam </em><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">elektrik arus DC yang menyatu dengan penoreh <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>malam</em><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">. Alat membatik yang bersifat <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">inklusif ini akan membuat pekerjaan membatik bisa dilakukan oleh berbagai kalangan masyarakat <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">terutama di desa dengan pasokan listrik yang terbatas. </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></p><p><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><strong>Kata kunci</strong><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">: pembatik difabel, inklusif, pemanas arus DC<br style="font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-align: -webkit-auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px;" /></span></span></span></span></span></span></span></span></span></span></span></p><p><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><br /></span></span></span></span></span></span></span></span></span></p><p><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><strong><em>ABSTRACT</em></strong><br /><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>The skill of batik craftmanship should spread wider to the nook and corner of Indonesia archipelago.</em> <span style="font-family: Times New Roman,Italic; font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>Impairment such as brachydactile as well as paraphlegia shouldn’t be a hindrance to master the batik</em> <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>technique. There are three factors found as a source of high production cost in  hand-made batik; time,</em> <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>energy, and high skill. The goal of this ergonomic research using case studies of difable batik artisans</em> <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>is to get an understanding of user capabilities and musculoskeletal problems of users while operating</em> <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>standard batik equipment. The result then will be used as a specification of product performance for</em> <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>designing inclusive electric batik equipment, that can be operated by most users, from beginners to</em> <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>advance artisans, with normal fingers as well as challenged. Measurement using RULA method,</em> <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>observation and interviews on the trials of several new handles showed that there is an agreement on</em> <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>handle size when both extreme impaired users performed external precision grip. NBM and HTA</em> <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>analyzes concluded that if wax heating unit could be integrated with canting, it will eliminate one</em> <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>production step as well as reduce fatique. This research had produced a design of electric batik</em> <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>equipment with DC current. This inclusive equipment will enable batik production to be made in</em> <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>villages with limited supply from national electrical company.</em> </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></p><p><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-family: Times New Roman,Italic; font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><strong><em>Keywords</em></strong><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>: diffable batik artisan, inclusive, DC heating unit</em></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></p>

Masiswo Masiswo, Eustasia Sri Murwati, Farida Farida

<p>Telah dilakukan percobaan pengaruh jarak jahitan terhadap penciptaan motif tritik pada kain foalisima. Pembuatan motif tritik zig-zag dilakukan jahit tangan menggunakan benang polyester dengan variasi jarak jahitan 3, 5, dan 7mm. Jahitan benang ditarik hingga erat dan mampat, kemudian dicolet dengan zat warna remasol dan dicelup dengan zat wama Indighosol. Kain yang telah berwarna difiksasi dengan larutan HCL dan natrium nitrit kemudian diangin-anginkan (oksidasi). Setelah kering, jahitan dilepas dengan hati-hati dan terbentuklah motif tritik.</p><p>Hasil eksperimen memperlihatkan bahwa motif tritik dipengaruhi jarak jahitan, dan dari tiga variasi jarak jahitan membentuk motif berbeda. Jarak jahitan 3 mm menghasilkan motif tritik kecil-kecil, jarak jahitan 5 mm menghasilkan motif tritik yang lebih besar sehingga desain tritik tampak indah dan bersinar, sedangkan jarak jahitan 7 mm menghasilkan motif tritik seolah-olah pecah, sehingga tampak bercelah-celah, disebabkan zat wama masuk kedalam struktur jahitan akibat adanya celah jahitan yang panjang. Hasil pengujian ketahanan luntur warna terhadap pencucian menunjuk.kan nilai 4 dan gosokan nilai 3-4.</p><p> </p><p><strong>Kata kunci</strong>: jarak jahitan benang, foalisima, motif tritik.</p>

Istihanah Nurul Eskani, Ivone De Carlo, Sulaeman Sulaeman

<p>Kebanyakan industri batik membuang air limbah ke lingkungan tanpa diolah terlebih dahulu dengan alasan keterbatasan tempat, dana dan penguasaan teknologi. Beberapa cara pengolahan air limbah telah dilakukan untuk mengatasi penurunan mutunlingkungan akibat pembuangan air limbah.</p><p>Telah dilakukan penelitian proses pengolahan air limbah batik secara kimia, biologi aerob dan biologi anaerob. Proses kimia dilaksanakan dengan menambahkan koagulan tawas dan kapur ke dalam air limbah batik. Proses biologi aerob dijalankan dalam reaktor terbuka selama 5 hari, sedang proses biologi anaerob  dijalankan dalam reaktor tertutup selama 12 hari. Hasil proses kemudian diukur parameter warna, COD dan alkalinitasnya.</p><p>Hasil penelitian pengolahan air limbah batik secara kimia dapat menurunkan parameter warna yang berasal dari zat warna Naphtol sebesar 83,15 %, COD sebesar 28,82% dan pH hasil proses 7. Proses biologi anaerob menurunkan parameter warna sebesar 94,95%, COD sebesar 59,89% dan pH hasil proses 5. Proses biologi aerob dapat menurunkan parameter warna yang berasal dari zat warna Naphtol sebesar 97,82%, COD sebesar 72, 88% dan pH hasil proses 6,5. Sehingga dapat disimpulkan bahwa pengolahan limbah cair batik secara biologi aerob lebih efektif daripada pengolahan secara biologi anaerob maupaun secara kimia.</p><p> </p><strong>Kata kunci</strong> : pengolahan air limbah batik, proses kimia, proses biologi

Edi Eskak

<p><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><strong>ABSTRAK</strong><br /><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">Krisis bahan baku kayu jati yang sedang terjadi telah menurunkan produktivitas perajin dan <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">perusahaan kerajinan kayu di Jepara. Banyak IKM yang menutup usahanya karena tidak mampu <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">membeli bahan baku yang harganya semakin mahal karena ketersediaannya terbatas. Tulisan ini <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">bertujuan menganalisis dan mencari pemecahan keterbatasan kayu jati sebagai bahan baku kerajinan <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">kayu dengan berbagai pemikiran, agar IKM tetap mampu bertahan melanjutkan usaha. Metode <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">pendekatan yang dipakai yaitu studi kepustakaan yang dipadukan dengan pengalaman bekerja di <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">industri kerajinan kayu Jepara, serta observasi lapangan untuk mengetahui kondisi terkini. Hasil <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">pembahasannya berupa beberapa alternatif solusi untuk memecahkan permasalahan krisis bahan baku <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">pada industri kerajinan kayu Jepara, yaitu: 1) penggunaan jati kampung, 2) eksplorasi kayu jati ke <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">berbagai daerah, 3) substitusi bahan baku non jati, 4) efisiensi penggunaan bahan baku kayu, 5) <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">pengembangan desain hemat kayu berciri khas Jepara, 6) aplikasi dengan bahan lain, 7) pemanfaatan <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">kembali limbah kayu, 8) <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>recycle </em><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">kayu bekas, 9) kayu jati sebagai bahan baku karya <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>fine art </em><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">dan <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>high</em> <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>end product, </em><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">10) pemanfaatan bahan alternatif: bambu sebagai subtitusi kayu, 11) reboisasi hutan dan <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">lahan kosong, 12) tata kelola hutan lestari. </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></p><p><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><br /><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><strong>Kata Kunci: </strong><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">krisis, kayu jati, kerajinan kayu, Jepara<br /></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></p><p><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><strong><em><br /></em></strong></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></p><p><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><strong><em>ABSTRACT</em></strong><br /><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>Teak wood raw material crisis that is happening has reduced the productivity of craftsmen and wood</em> <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>crafts companies in Jepara. Many SMEs are shut down due to not be able to buy the more expensive</em> <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>price of raw materials because of their limited availability. This paper aims to analyze and find</em> <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>solutions to teak wood raw material shortages for wood craft with a variety of thought, so that SMEs</em> <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>still be able to survive to continue their businesses. Approximation method used is literature study</em> <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>combined with the experience of working in Jepara wood craft industry, as well as field observations</em> <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>to determine the current condition. The results of the discussion is in the form of several alternative</em> <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>solutions to solve the problems of raw material crisis in Jepara wood craft industry , namely : 1) the</em> <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>use of local teak wood, 2) teak wood exploration to various regions , 3) the substitution of non teak</em> <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>wood raw materials, 4) efficient use of raw materials , 5) the development of a efficient wood design</em> <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>in Jepara distinctively , 6) application with other materials, 7) wood waste recovery, 8) scrap wood</em> <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>recycle, 9) teak wood as raw material for works of fine art and high end product, 10) use of</em> <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>alternative materials : bamboo as a substitute for wood, 11 ) and the reforestation of vacant land, 12 )</em> <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>sustainable forest governance.</em></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></p><p><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><strong><em>Keywords</em></strong><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>: crisis , teak , wood crafts , Jepara</em></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><br style="font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-align: -webkit-auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px;" /></span></span></span></span></span></span></span></span></span></p>

Sulaeman Sulaeman

<p>Batik dapat diwarnai dengan dua cara pencelupan yaitu cara rendaman dan cara padding.  Larutan bekas pencelupan batik biasanya langsung dibuang ke lingkungan sehingga sangat mencemari. Telah dilakukan penelitian pemanfaatan larutan bekas pencelupan batik. Hasil yang diperoleh adalah larutan bekas pencelupan batik dapat digunakan kembali untuk pencelupan meskipun sudah tersimpan beberapa hari. Dengan pemanfaatan larutan bekas pencelupan batik diperoleh tiga keuntungan yaitu keuntungan secara ekonomis, lingkungan dan organisasi.</p><p> </p><strong>Kata kunci</strong>: pencelupan cara rendaman, pencelupan cara padding, larutan bekas pencelupan batik

Fery Wisnu Saputro, Arif Kusumawanto, Anna Maria Sri Asih

<p><strong>ABSTRAK</strong></p><p>Penelitian ini mengenai pengelolaan limbah industri kecil menengah di Kabupaten Sukoharjo yang mengintegrasikan antar IKM. Tujuan dari penelitian ini adalah untuk mengetahui potensi limbah IKM di Kabupaten Sukoharjo agar dapat meningkatkan kesejahteraan IKM secara ekonomi dan lingkungan dan untuk mengetahui apakah konsep <em>eco-industrial park</em> (<em>EIP</em>) bisa diterapkan pada IKM di Kabupaten Sukoharjo. Hasil dari penelitian ini adalah dengan merancang konsep <em>zero waste</em> dari limbah masing-masing IKM dengan cara mendaur ulang dan/atau menggunakan kembali limbah yang dihasilkan, kemudian memetakan pengelolaan limbah IKM dalam sistem <em>EIP</em> realistis dan <em>EIP</em> menuju ideal sehingga menjadi kawasan industri yang  <em>zero waste</em>. Pemanfaatan limbah IKM dengan konsep sistem <em>EIP</em> realistis mampu memperoleh penghematan sebesar  Rp172.176.360,- per bulan dan peningkatan keuntungan sebesar Rp79.705.000,- per bulan dengan <em>BCR</em> sebesar 2,15. Sedangkan pemanfaatan potensi limbah IKM dengan konsep sistem <em>EIP</em> menuju ideal mampu memperoleh penghematan sebesar  Rp166.447.860,- per bulan dan peningkatan keuntungan sebesar Rp 66.409.100,- per bulan dengan peningkatan investasi sebesar Rp2.289.182.500,- dengan nilai <em>BCR</em> sebesar 1,89. Hasil analisis dampak lingkungan dari sistem <em>EIP</em> realistis dan sistem <em>EIP</em> menuju ideal adalah memiliki dampak positif terhadap lingkungan. Hasil analisis <em>gap</em> menunjukkan bahwa konsep (<em>EIP</em>) bisa diterapkan pada IKM di Kabupaten Sukoharjo.</p><p>                       </p><p><strong>Kata kunci</strong>: IKM, limbah, <em>EIP</em>, <em>zero waste</em></p><p><em> </em></p><p><strong><em>ABSTRAC</em></strong><strong><em>T</em></strong><em></em></p><p><em>This research is about Small Medium Industry (SMI) waste management which integrate SMIs in Sukoharjo. The aim of this study is to determine the potential of the SMI waste in order to improve the welfare of SMIs in Sukoharjo economically and environmentally, and to determine whether the concept of eco-industrial park (EIP) can be applied to SMIs in Sukoharjo. Results from this research is that </em><em>with </em><em>design the concept of zero waste from each IKM waste by recycling and / or reuse of waste produced,</em><em> then mapping the </em><em>SMI waste management</em><em> to</em><em> realistic EIP system</em><em> and</em><em> EIP towards the ideal system</em><em> </em><em>thus becoming a zero waste</em><em> industrial</em><em> region</em><em>.  </em><em>SMIs waste utilization with realistic EIP system capable of obtaining savings of Rp172.176.360, - per month and an increase in profit of Rp79.705.000, - per month with BCR of 2.15. While the concept of EIP towards the ideal system capable of obtaining savings of Rp166.447.860, - per month and an increase in profit of Rp 66.409.100, - per month with an increase in investment of Rp2,289,182,500,- with BCR of 1.89. Results of analysis of the environmental impact of EIP realistic system and EIP towards the ideal system is to have a positive impact to the environment. Results of the analysis gap shows that concept of EIP can be applied to SMIs in Sukoharjo.</em><em></em></p><p><em> </em></p><p><strong><em>Keywords</em></strong><em>: SMI, waste, EIP, zero waste</em></p>