Hasil untuk "Handicrafts. Arts and crafts"

Khalid Loukid

Moroccan carpet craftsmanship was of particular interest to the French authorities from the start of the protectorate in Morocco (1912-1935). The particularities and “indigenous” character of Moroccan carpets, whether in Amazigh or Arab style, quickly attracted the interest of Resident General Hubert Lyautey and Prosper Ricard, head of the so-called Service des arts indigènes. At the time, carpet-making in Morocco was flourishing in both urban and rural areas, with production centers such as Rabat, Salé, Casablanca, Meknes, Fez and Marrakech. There was considerable regional diversity, particularly between carpets from the Middle Atlas, the High Atlas and the Haouz region of Marrakech.Thus, the protectorate authorities launched a specific crafts policy, accompanied by the creation of institutions dedicated to the management and development of the crafts sector, in particular Moroccan carpets, which benefited from a legislative framework as well as control and valorization mechanisms. The Office des industries d’art indigènes, created in 1918 and subsequently renamed Service des arts indigènes (1920), was headed by Prosper Ricard (1920-1935). This department transformed the cultural and craft sector, in particular the working methods of carpet weavers. The promulgation of the dahir (royal decree) of stamping, in 1919, outlined and completed the fundamental axes of the colonial strategy towards carpet craftsmanship, its promotion and the control of its “authenticity”.This article takes a critical look at these legislative and “renovation” measures. It examines their impact on the production, conservation, valorization and marketing of Moroccan carpets. The central hypothesis is that, while this policy has made it possible to preserve certain craft practices and promote Moroccan handicrafts internationally, it has also transformed the carpet industry into an instrument serving colonial interests. The aim is to show how the protectorate restructured carpet production while controlling its distribution and exploiting its image to consolidate its hold.Although this policy had both positive and negative effects on carpet craftsmanship, it left a lasting imprint on traditional weaving techniques in Morocco. Its impact endures to this day, influencing carpet decoration, as well as the perception and preferences of the Moroccan public distinguishing between “urban” and “rural” carpets. Morocco’s national archives and museum archives, such as those of the Dar Si Saïd museum in Marrakech with its ancient carpet collection, provide us with information on the policy adopted by Lyautey and Ricard, on the organization of craft fairs and exhibitions as tools for promoting and enhancing these products, both nationally and internationally. In addition, Le Corpus de tapis marocains (The Corpus of Moroccan Carpets) remains a benchmark in Moroccan carpet collections; its four volumes (1923-1934) are the work of Prosper Ricard.The effects of this policy on Moroccan carpet collections are varied and significant: increased and regulated production, intense international marketing and the preservation of a museum collection of indigenous art carpets serving as “models” for craftsmen. However, this policy has modified the old ways of making carpets by influencing the use of motifs to better satisfy a European clientele. Small businesses and craftsmen in general do not seem to have benefited fully from this economic dynamic.

Afdhal Afdhal, Hasan Yudhie Sastra, Husni Husni

Potential rocks such as granite and marble are easy to find in mining products in South Aceh. South Aceh granite and marble, which have high quality, provide benefits and have great potential to be developed. Currently, the use of marble is made into various crafts carried out by workshop the South Aceh PolytechnicCurrent market competition requires a value-added from a product, so the purpose of this study is to conduct a supply chain analysis in the marble production process at the South Aceh Polytechnic. Increasing value chain to marble products is expected to contribute to business development significantly. This research focused on the plan and source stages. The results found that activities in marble production at the South Aceh Polytechnic lack agreements with third parties as both marble supply agents and cooperation agreements with packaging companies, so the marble handicrafts produced have not produced a product. Ready to compete in the market.

Gladys Tagie, Hairulnisak Merman, N. Ibrahim

The Iban people, are one of the main ethnic groups in Sarawak. The Iban people have a unique tattoo culture. The influence of modernity and conflicting religious beliefs pose an increasing threat to this tradition, which is deeply rooted in the tattoo culture. However, the tattoo tradition will endure as people persevere in integrating tattoo motifs into contemporary handicrafts. The fashion industry, which includes both apparel and accessories, is a popular field that involves traditional tattoo motifs. Therefore, we view this study as a significant documentation endeavor, striving to preserve the cultural heritage that forms the core of ethnic pride in Sarawak. The study employs qualitative research methodologies, notably utilizing surveys and interviews with Sarawakians in different regions. The research also seeks to identify tattoo motifs incorporating traditional into contemporary craftwork. Through this study, it inspired local small businesses to increase their enthusiasm for creating and promoting modern crafts that incorporate traditional motifs. In addition, this study also encourages all ethnic groups, including young generations to persist in preserving their traditional cultures, customs, and traditions through contemporary craftwork that will be appropriate for remaining pertinent to the modern era. The enduring nature of traditional tattoo motifs can be utilized in several ways beyond their use on the skin.

Nguyen Bang Nong

This article examines the changing values attributed to wooden statue sculptures and to the brocade weaving of the Jrai and Bahnar people. The Jrai and Bahnar are indigenous groups residing in Gia Lai province in Vietnam's Central Highlands. They are unique handicrafts. Their wooden statues are displayed in three central locations: communal houses, stilted houses, and tombs. Brocade weaving is a typical woman's job. Both sculptures and brocade weaving help animate the Cultural Space of the Gongs of indigenous peoples in the Central Highlands, which was recognized by UNESCO in 2005. The boom of the market economy since 1986, along with religious changes and the development of tourism in recent years, has altered the value of wooden statue sculpture and brocade weaving, as well as the cultural values of the Jrai and Bahnar people in the Central Highlands of Vietnam. This research evaluates the policies for preserving and promoting the traditional crafts of the two ethnic groups mentioned above. Living with cultural heritage becomes the policy slogan, but it also shows the difficulties artisans face in preserving their craft. The research also challenges the State and the people to protect traditional cultural values.

Shutan Zhao, Ruotong Li, Shiyi Xu et al.

Driven by the wave of digitalization and fashion, traditional handicrafts in intangible cultural heritage (ICH) have experienced a remarkable transformation in the existing social value coordinate system. On the one hand, as a key carrier of the historical and cultural memory of the nation and the state, intangible cultural heritage is faced with many challenges of preservation and inheritance; on the other hand, the rapid development of digital technology provides innovative solutions for the modernization of traditional arts. This paper uses Ningbo gold, silver and color embroidery as a case study to explore the application of CLO3D software technology in the design of nonheritage apparel products and shows nonheritage crafts through digital simulation technology, which is not only the future development direction of the apparel industry but also the reconstruction of the apparel form and the use of function, aiming to assess its impact on nonheritage protection and innovation and to find a new path for the digital inheritance of nonheritage.

Gang Li, Jianyao Hu

Wuhu iron painting is a unique arts and crafts of Wuhu. As one of the traditional Chinese handicrafts, it has extremely high artistic value. Under the influence of new media, the development of Wuhu iron paintings has been hindered, and has fallen into problems such as insufficient talents, lack of funds, and broken inheritance. In order to propose a more valuable inheritance and development path, we now use literature analysis and case study methods, combined with policy documents and excellent cases, to explore the development direction of the cultural industry on the basis of existing research, and propose form innovation and improvement of media Economic system, establishing a sound education inheritance model, opening up industrial barriers, and integrating multiculturalism are four measures in order to promote the inheritance and development of Wuhu iron painting, stimulate the internal driving force for the development of Wuhu iron painting, and form a sustainable development chain.

Zamroni, Bayu Karunia Putra, Noviana et al.

Background: A tourism village is a rural area designed or developed as a tourist destination by utilizing diverse local potentials. These potentials may include natural beauty, culture, traditions, handicrafts, cuisine, and local community activities that attract tourists. A tourism village serves as a place for recreation, education, and sustainable development of the local economy. Findings: [a] Empowering local communities:  Active involvement of local communities is essential to maintaining the sustainability of tourism villages. Empowered communities can take a leading role in managing tourism activities, such as tour guides, homestay operators, or local artisans. Training programs and capacity-building initiatives are often vital to help communities adapt to tourists' needs while preserving their cultural identity. [b] Preservation of local culture: Sustainable tourism villages support the preservation of cultural heritage, such as traditions, arts, and local crafts. This creates a unique attraction for tourists while safeguarding local culture from extinction. Practices such as routine cultural performances, traditional festivals, and the promotion of local products are essential strategies. [c] Environmental conservation: Proper waste management, such as recycling systems or reducing plastic waste. Use of renewable energy, like solar panels or micro-hydro systems. Protection of local ecosystems, such as forests, rivers, or coral reefs. Methods: The method used is a literature review through a research approach conducted by collecting, analyzing, and evaluating relevant literature on a specific topic, based on scientific journals, books, conference proceedings, reports, and articles. Conclusion: [a] Empowering local communities: Sustainable tourism villages prioritize the involvement of local communities as the main actors in tourism management. This includes participation in planning, management, and benefiting from tourism activities. [b] Environmental conservation: In sustainable tourism villages, the use of natural resources is regulated to avoid damaging ecosystems. Waste management, the use of renewable energy, and the protection of biodiversity are essential components. [c] Economic sustainability: Tourism villages should create stable and equitable economic opportunities, including generating new jobs, supporting micro, small, and medium enterprises (MSMEs), and promoting village economic growth without overexploiting local resources. [d] Preservation of culture and traditions: Sustainable tourism villages protect and promote local culture and traditions, making them a key attraction while maintaining the identity of the local community. [e] Multi-stakeholder collaboration: Sustainable tourism villages require support from various stakeholders, including government, private sectors, academics, and the community, to ensure effective management and development.

Mengtian Lu, Wahiza Abdul Wahid, Amer Shakir Bin Zainol

Ningxia Yanchi handmade carpets have a history of more than 300 years. They are one of the important handicrafts intangible cultural heritages (ICH) in China, similar to other handicrafts, facing the challenge of disconnecting from daily life. Cultural and creative development, as an important non-inheritable approach, has played a significant role in the modernisation and branding of various arts and crafts. The purpose of this study is to analyse the technological process and creation mode of Ningxia Yanchi handmade carpets on the basis of the theory of design affairology, and to propose a new optimal design framework. Based on the theory of design transactions, establish the "thing" logic in the creation of Yanchi handmade carpets and extract "elements". By transitioning from "thing" to "elements" in terms of graphical structure and colours, the individual pattern elements with modern aesthetics are organised. Based on the theoretical research foundation of Design Doctrine, cultural and creative design has the characteristics of clear thematic expression and coherent structure, which not only satisfies people's daily needs through traditional forms but also promotes the revival of traditional Chinese craftsmanship. It can serve as a new path for the innovation and development of traditional techniques. From a practical perspective, design affairology combines traditional skills of Intangible Cultural Heritage (ICH) with cultural creative design, creating new avenues for research and development of ICH-related designs. At the same time, the modernisation of ICH products through cultural and creative design is just one approach to heritage preservation and protection, expanding the scope of theoretical research.

Yensharti Yensharti, Hendra Afriwan

Handicrafts in West Sumatra are an integral part of the arts that have developed over a long time. Koto Gadang, a village in the Agam district, is known as a center of potential crafts. This traditional art marks the cultural identity of Koto Gadang. In the past, the people of Koto Gadang used their crafts, primarily silver and songket, mainly for accessories in wedding ceremonies. The population of Koto Gadang has shifted from agriculture to roles as employees and craftsmen, a change that has been ongoing since the Dutch colonial era. In this context, there is a gender-based division in the choice of professions, where men tend to choose to work in gold and silver crafts, while women opt to become weavers, embroiderers, and lace makers. Significant progress in the advancement of women in Koto Gadang has been greatly influenced by Rohana Khudus. Thanks to her educational initiatives, women began to have the opportunity to go to school and develop skills in sewing, terawang, and lace. The distinctive works of Koto Gadang in this field have been widely known to this day under the umbrella of the Amai Setia association. The crafts of Koto Gadang are the fruit of the hands of the women artisans of the Koto Gadang area, which have high sales value and beauty. It is, of course, incumbent upon us as the community of West Sumatra to preserve and maintain the works of our native village as potential in their respective areas, thus making these areas productive and well-known both regionally, locally, nationally, and internationally."

Rohit Kumar

Kamala Devi Chattopadhyay was a pioneering leader in India’s independence movement and a dedicated advocate for social reform. Her life’s work, spanning political activism, women’s rights, economic empowerment, and cultural preservation, helped shape India’s socio-political landscape in transformative ways. Born in 1903, Kamala Devi defied societal expectations for women of her time, joining the freedom struggle, participating in the Salt Satyagraha, and enduring imprisonment for her activism. Beyond fighting for India’s independence, she championed the cause of women’s education, economic independence, and equal rights, understanding that a truly free nation must include the upliftment of women and marginalized communities. After independence, Kamala Devi’s vision extended to preserving India’s cultural heritage, which she believed was critical to the country’s identity. She was instrumental in reviving traditional arts, crafts, and textiles, founding institutions like the All India Handicrafts Board and the Crafts Council of India, which continue to support artisans and rural communities today. Her initiatives provided sustainable livelihoods and promoted India’s cultural pride, reflecting her belief in a self-reliant nation deeply rooted in its heritage. Kamala Devi’s legacy is a multifaceted one, encompassing her roles as a freedom fighter, social reformer, and cultural revivalist. Her holistic vision for India—a vision of political freedom, social justice, economic empowerment, and cultural preservation—remains profoundly influential and serves as an enduring source of inspiration for building a more inclusive and equitable society.

E. Alekseev

This article examines the activity of the Art Industry and Handicrafts Department at the All-Russian Congress of Artists (1911–1912, St Petersburg). The congress delegates, including S. S. Goloushev, M. N. Dietrich, P. S. J. Marcerou, L. G. Orshansky, P. P. Pashkov, N. F. Root, P. S. Filosofov, A. P. Eisner and others, possessed considerable expertise in the organisation of art and industrial educational institutions and handicraft industries. They were highly knowledgeable about the nuances of decorative and applied art and had a keen understanding of folk art and the developments that occurred within the Western European art industry. The Proceedings of the All-Russian Congress of Artists in Petrograd, December 1911–January 1912 (in 3 vols, 1915) contains a wealth of information pertaining to specific crafts (ceramic, lace, carpentry, etc.), the lives and work of artisans, the characteristics of the market and the training system for master craftspeople. In addition to the reports, discussions were published that enabled the identification of the relevance of the issues raised and the inconsistency of the approaches proposed to address them. Despite differing opinions on individual issues, common positions were developed. The participants of the event considered it crucial to maintain the national identity of artisanal products while widely promoting folk art through exhibitions, museum displays and printed publications. They also emphasised the importance of communicating to local officials the necessity of providing comprehensive support to crafts. Furthermore, they highlighted the necessity of imparting artistic literacy to artisans and involving experienced artists and educators who possessed a comprehensive understanding of the nuances associated with handicrafts in their collaboration with artisans. Simultaneously, the speakers perceived no potential for artistic design and attempted to differentiate mass industrial products from handicrafts. During the Soviet era, several congress participants would persist in their endeavours and would vigorously promote the advancement of handicrafts in the context of evolving socio-economic circumstances.

I. M. Suparta, I. W. Karja, Ketut Muka

Bali is known worldwide for most of its people's activities using handicrafts; one of the most commonly found arts and crafts is Balinese ornaments. Ornaments are very well developed, not only to decorate temples, but also to decorate traditional houses, and tourism commodity needs. Some Balinese ornaments symbolically have particular meanings and symbolize something based on culture, customs, beliefs, and also religion. Understanding the form and function of Balinese ornaments is very important to improve knowledge and services to the community, not only locally, nationally, but also internationally. To overcome this, Balinese ornaments need to be developed comprehensively and holistically, especially to improve practical and theoretical knowledge. The art-based research method is to introduce the finished ornament drawing or drawing in stages, and the introduction of its function. Therefore, this research is important to improve the understanding of ornaments. Some of the ornaments discussed are keketusan (independent loose shapes), pepatran (vines), kekarangan (stylization of the faces of living beings), and wayang. An understanding of ornaments can improve artistic insight, especially in the application of the form and function of Balinese ornaments. It is expected that Balinese ornaments will continue to develop in form and function following the times to answer the needs of local and global art.

Kristen K. Swanson, D. Timothy

Hernani Hernani, Risfaheri Risfaheri, Tatang Hidayat

<p>Penggunaan bahan pewarna alami untuk batik memiliki beberapa keunggulan karena menghasilkan warna khas yang eksotis dengan pencitraan yang eksklusif dan bersifat ramah lingkungan akibat limbah yang dihasilkan  mudah terdegradasi.  Tujuan dari penelitian adalah untuk mendapatkan ekstrak pewarna tekstil dari secang <em>(Caesalpinia sappan L) </em>dan jambal <em>(Pelthoporum pterocarpum) </em>dengan berbagai jenis pelarut terhadap kualitas warna yang dihasilkan dalam aplikasinya pada kain mori. Metode ekstraksi secara maserasi dengan menggunakan beberapa jenis pelarut, yaitu air, etanol, etanol asam, metanol, dan metanol asam. Dari ekstrak yang dihasilkan kemudian diujicobakan terhadap kain mori setelah diberi mordan. Jenis mordan yang digunakan adalah tawas, kapur dan tunjung. Pengamatan yang dilakukan meliputi rendemen ekstrak, intensitas warna ekstrak, intensitas warna pada kain mori dan uji kelunturan. Hasil ekstraksi dari masing-masing zat warna mempunyai rendemen dengan kisaran 10,76 sampai 23% untuk secang dan 12,52 sampai 23,51% untuk jambal. Intensitas warna ekstrak dengan nilai <em>hue</em> tertinggi dihasilkan dari ekstrak metanol asam secang (77,95) dan terendah ekstrak metanol secang (64,44).  Hasil aplikasi ekstrak secang terhadap kain mori dengan berbagai bahan mordan menunjukkan bahwa nilai <em>hue</em> terendah dihasilkan dari ekstrak air dengan mordan kapur (8,41) dan nilai tertinggi dari ekstrak metanol asam dengan mordan tawas (59,64). Untuk ekstrak jambal nilai <em>hue</em> terendah dari ekstrak metanol mordan tawas (50,06) dan nilai <em>hue </em>tertinggi dari ekstrak air mordan tunjung (82,80). Dari uji kelunturan, nilai ΔE terkecil (3,30) dan tertinggi (58,21) masing-masing dari ekstrak etanol secang dengan mordan tunjung dan ekstrak air secang tanpa mordan. </p>

Titiek Pujilestari, Irfa'ina Rohana Salma

<p><strong>ABSTRAK</strong></p><p>Tumbuhan pembawa warna mengandung senyawa kimia yang berbeda beda baik jumlah maupun jenis senyawanya. Senyawa-senyawa dominan pembawa warna mempunyai ketahanan tertentu pada berbagai kondisi suhu . Suhu ekstraksi zat warna alam dari tumbuhan mempengaruhi arah warna. Penelitian ini bertujuan untuk mengetahui kandungan senyawa kimia dan arah warna kayu secang dan gambir. Ekstraksi zat warna alam dilakukan pada berbagai variasi suhu pemanasan yaitu 50 ^oC, 75 ^oC, 100 ^oC dan perendaman dalam alkohol selama 7 (tujuh) hari pada suhu kamar. Zat warna alam yang diperoleh diaplikasikan untuk pewarna batik pada kain katun dan sutera. Arah warna ditentukan melalui fiksasi menggunakan tawas, kapur dan tujung. Hasil penelitian menunjukkan bahwa suhu ekstraksi berpengaruh pada senyawa kimia zat warna alam kayu secang dan gambir.  Jumlah senyawa zat warna alam pada kayu secang semakin berkurang seiring dengan peningkatan suhu ekstraksi.  Pada gambir jumlah senyawa zat warna paling banyak diperoleh pada suhu ekstraksi 75^oC. Senyawa zat warna dominan pada kayu secang adalah cyclohexanone sedang pada gambir  adalah methyl 3,4 dideutero 3 nonenoate 3. Arah warna kayu secang merah sampai merah kecoklatan dan pada gambir warna kecoklatan sampai coklat tua.</p><p><strong><em>ABSTRACT</em></strong></p><form><em>Color bearing plant contains chemical compounds that vary both the number and types of compounds. Compounds dominant color carriers having different resistance at various temperature conditions. The temperature of the extraction of natural dyes from plants affects the direction of color. This study aims to determine the content of chemical compounds and direction color of Caesalpinia sappan Linn and Uncaria gambir. Extraction of natural dyes made at various heating temperature is 50 ° C, 75 ° C, 100 ° C and soaking in alcohol for seven (7) days at room temperature. Natural dyes obtained is applied to dye batik on cotton and silk. Directions color is determined by fixation using alum, lime and tujung. The results showed that the temperature effect on the extraction of natural dyes chemical compound Caesalpinia sappan Linn and Uncaria gambir . The amount of compound natural dyes on a Caesalpinia sappan Linn decreases with increase in temperature extraction. In Uncaria gambir  number of compounds most widely dye obtained in the extraction temperature 75^o C. Compounds substances dominant color in the Caesalpinia sappan Linn  is cyclohexanone was in Uncaria gambir is methyl 3,4 dideutero 3 nonenoate 3. Directions color of Caesalpinia sappan Linn is red to red-brown and in Uncaria gambir is brown to dark brown color.</em></form>

Tim Redaksi

Irfa'ina Rohana Salma

<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;">Batik Pekalongan mempunyai ciri khas atau karakter yang berbeda dengan batik dari daerah pesisir <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">lainnya. Corak yang berbeda ini karena adanya pengaruh budaya dari etnis-etnis pembuat batik yang <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">berdomisili di Pekalongan, yaitu etnis Jawa, etnis Cina dan etnis Belanda. Tulisan ini bertujuan untuk <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">melakukan tinjauan dan mengkritisi lebih dalam ciri khas atau karakter corak dari batik yang <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">dihasilkan para pembatik dari etnis yang berbeda di Pekalongan. Metode pendekatan yang dipakai <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">yaitu studi kepustakaan dan eksplorasi di lapangan. Beberapa sampel motif dari ketiga etnis pembatik <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">dianalisis untuk mengetahui keunikan dan kekhasannya masing-masing, serta dengan tinjauan aspek-aspek lain yang melingkupi dinamika industri batik di Pekalongan. Hasilnya menunjukkan bahwa <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">latar belakang budaya yang berbeda menghasilkan corak batik baru yang kemudian menjadi ciri khas <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">batik Pekalongan secara umum. Ada tiga corak batik Pekalongan yaitu: Batik Pekalongan bergaya <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">Jawa, Batik Pekalongan bergaya Cina, dan Batik Pekalongan bergaya Belanda, yang mempunyai <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">keunikan sendiri-sendiri yang membedakan corak batik di antara mereka. Kajian ini dapat menjadi <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">inspirasi pembinaan seni dan industri kreatif di daerah lain yang multietnis.</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;"><br /><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><strong>Kata-kata kunci</strong><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;">: batik, corak, etnis<br /></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;"><strong><em><br /></em></strong></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;"><strong><em>ABSTRACT</em></strong><br /><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>Pekalongan batik has a specific or a different characteristic from other batik of coastal areas. The</em><br /><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>style is differently from other because of the cultural influences of ethnic batik maker who lives in</em> <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>Pekalongan, namely Javanese, Chinese and Dutch. This paper aims to conduct a review and criticize</em> <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>the deeper characteristics or specific pattern of the Pekalongan batik results from the different</em> <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>ethnics. Approximation method used is library research and exploration in the field. Several samples</em> <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>of the three ethnic batik motifs were analyzed to determine the uniqueness and each characteristic, as</em> <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>well as the review of other aspects surrounding the dynamics of the industry in Pekalongan batik. The</em> <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>results show that different cultural backgrounds produce new batik patterns that later became the</em> <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>hallmark of Pekalongan batik in general. There are three Pekalongan batik patterns: Javanese,</em> <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>Chinese, and Dutch style which each of them has its own uniqueness that distinguishes batik patterns</em> <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>among themselves. This study may be the inspiration of art and creative industries development in</em> <span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>other areas of the multiethnic.</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></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;"><strong><em>Key words</em></strong><span style="font-size: 11pt; color: #000000; font-style: normal; font-variant: normal;"><em>: batik , complexion , ethnic</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><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></p>

Lies Susilaning Sri Hastuti, Achmad Arifin, Subagya Subagya

<p><span style="font-family: TimesNewRomanPS-BoldItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><strong><em>ABSTRAK</em></strong><br /><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><em>Kerajinan kerang simping atau dalam bahasa latinnya Amusium pleuronectes banyak diminati oleh</em> <span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><em>konsumen. Umumnya produknya berupa kap lampu yang dibuat dengan sistem bingkai menggunakan kuningan. Pada beberapa daerah kuningan sulit diperoleh, sehingga perlu dilakukan penelitian</em> <span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><em>produk kerang dengan sistem bingkai menggunakan rotan antik lebar ± 4mm. Produk yang dibuat</em> <span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><em>berupa kap lampu dan sketsel. Produk dipasang di ruang pamer BBKB dan dilakukan wawancara</em> <span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><em>dengan 30 responden, 10 butir instrumen untuk mengumpulkan data. Sistem penilaian dilakukan</em> <span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><em>dengan skala Likert dan diperoleh nilai kualitas dari produk adalah 71 ( untuk skor tertinggi 100)</em> <span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><em>atau 71% dari kualitas yang diharapkan. Ini artinya produk yang dibuat kualitasnya baik. Saran</em> <span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><em>yang dapat diberikan adalah desain produk kerajinan kerang agar dapat dikembangkan karena</em> <span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><em>banyak peminatnya dan dapat dipasarkan dengan harga yang cukup baik sesuai dengan desain</em> <span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><em>produk dan tingkat kesulitan dalam pembuatannya.</em><br /></span></span></span></span></span></span></span></span></span></span></span></p><p><span style="font-family: TimesNewRomanPS-BoldItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><em><strong>Kata kunci :</strong> kerang simping, sistem bingkai, rotan.</em></span></span></span></span></span></span></span></span></span></span></span></span></p><p><span style="font-family: TimesNewRomanPS-BoldItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><em><span style="font-family: TimesNewRomanPS-BoldItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><strong><em><br /></em></strong></span></em></span></span></span></span></span></span></span></span></span></span></span></span></p><p><span style="font-family: TimesNewRomanPS-BoldItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><em><span style="font-family: TimesNewRomanPS-BoldItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><strong><em>ABSTRACT</em></strong><br /><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><em>Craft capiz shells (Amusium pleuronectes) has great demand. Generally, products in the form of</em> <span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><em>lamp shades is made with a system using a brass frame. In some regions, the brass is difficult to</em> <span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><em>obtain, so we need research products using a frame systems shells with antique rattan ± 4mm wide.</em> <span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><em>Products are made in the form of lampshade and partition. Products are installed in the showroom</em> <span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><em>BBKB and interviews were conducted with 30 respondents, using 10 items of instruments. Assessment system with Likert scale and value of quality product is 71 (for the highest score 100) or 71% </em><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><em>of the expected quality. It means products have good quality. Design of shells for craft products can </em><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><em>be developed caused by great demand and can be marketed with a good price according with the </em><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><em>design of products and level of difficulty in the making.</em></span></span></span></span></span></span></span></span></span></em></span></span></span></span></span></span></span></span></span></span></span></span></p><p><span style="font-family: TimesNewRomanPS-BoldItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><em><span style="font-family: TimesNewRomanPS-BoldItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><span style="font-family: TimesNewRomanPS-ItalicMT; font-size: 12pt; color: #231f20; font-style: normal; font-variant: normal;"><em><strong>Key words :</strong> capiz shells (Amusium pleuronectes) , frame system, rattan.</em></span></span></span></span></span></span></span></span></span></span></em></span></span></span></span></span></span></span></span></span></span></span></span></p>

Djumala Machmud, Supardi Supardi, Tukidjan Tukidjan

<p class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; text-indent: 36pt;"><span style="font-family: 'Arial','sans-serif';">Industri kerajinan aksesori yang terus berkembang perlu ditunjang dengan peralatan agar produktivitasnya meningkat sehingga lebih mampu bersaing di pasaran. Salah satu peralatan yang perlu diciptakan untuk penyempurnaan produk tersebut adalah alat penyempurnaan dengan sistem tumbling.</span></p><p class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; text-indent: 36pt;"><span style="font-family: 'Arial','sans-serif';">Teknik tumbling, momen gaya, gaya pada putaran vertikal, elemen alat dan bahan alat dipakai sebagai dasar dalam perencanaan rekayasa peralatan tumbling.</span></p><p class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; text-indent: 36pt;"><span style="font-family: 'Arial','sans-serif';">Pembuatan tabung tumbling dengan bentuk segi enam beraturan dan peralatan pengatuh kecepatan putaran merupakan kegiatan yang dilakukan dalam pembuatan peralatan sesuai prosedur pengerjaan yang berlaku, hasil uji coba peralatan dibandingkan dengan bajan kerja sebelum proses dipakai untuk mengetahui tingkat unjuk kerja peralatan.</span></p><span style="font-size: 11.0pt; line-height: 115%; font-family: 'Arial','sans-serif'; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-ansi-language: IN; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;">Peralatan dapat berfungsi sebagaimana diharapkan, dengan hasil penampakan permukaan benda kerja yang berbeda dengan kenampakan permukaan benda kerja sebelum proses.</span><p class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; text-indent: 36pt;"><span style="font-family: 'Arial','sans-serif';">Industri kerajinan aksesori yang terus berkembang perlu ditunjang dengan peralatan agar produktivitasnya meningkat sehingga lebih mampu bersaing di pasaran. Salah satu peralatan yang perlu diciptakan untuk penyempurnaan produk tersebut adalah alat penyempurnaan dengan sistem tumbling.</span></p><p class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; text-indent: 36pt;"><span style="font-family: 'Arial','sans-serif';">Teknik tumbling, momen gaya, gaya pada putaran vertikal, elemen alat dan bahan alat dipakai sebagai dasar dalam perencanaan rekayasa peralatan tumbling.</span></p><p class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; text-indent: 36pt;"><span style="font-family: 'Arial','sans-serif';">Pembuatan tabung tumbling dengan bentuk segi enam beraturan dan peralatan pengatuh kecepatan putaran merupakan kegiatan yang dilakukan dalam pembuatan peralatan sesuai prosedur pengerjaan yang berlaku, hasil uji coba peralatan dibandingkan dengan bajan kerja sebelum proses dipakai untuk mengetahui tingkat unjuk kerja peralatan.</span></p><span style="font-size: 11.0pt; line-height: 115%; font-family: 'Arial','sans-serif'; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-ansi-language: IN; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;">Peralatan dapat berfungsi sebagaimana diharapkan, dengan hasil penampakan permukaan benda kerja yang berbeda dengan kenampakan permukaan benda kerja sebelum proses.</span>

Edi Eskak

<p><strong>ABSTRAK </strong></p><p>Pengembangan pola laminasi tempurung kelapa telah banyak dilakukan oleh seniman, desainer, maupun pengrajin. Namun hasil kreasi tersebut tidak terdokumentasi dengan baik sehingga banyak  yang hilang. Pemberian nama pada motif-motif yang dihasilkan pun belum dilakukan. Tujuan penelitian ini adalah untuk mengumpulkan berbagai hasil kreasi pola laminasi tempurung kelapa di Yogyakarta, serta melakukan identifikasi terhadap pola-pola tersebut. Metode yang digunakan yaitu pengumpulan data, observasi mendalam, dan identifikasi terhadap pola-pola yang ada. Hasil dari identifikasi tersebut mendapatkan 17 jenis pola laminasi tempurung kelapa yaitu:  (1) Pecahan, (2) Pecahan Belang, (3) Kotak-Kotak, (4) Kotak Poleng, (5) Nata Bata,  (6) Segitiga, (7) Anyaman, (8) Rajang Anyam, (9) Rajang  Poleng, (10) Rajang Acak, (11) Rajang Pusaran, (12) Rajang Kawung, (13) Rajang Kipas, (14) Rajang Galaran Vertikal, (15) Rajang Galaran Horisontal, (16) Rajang Blarak, dan (17) Kancing.</p><p> </p><p><strong>Kata kunci:</strong> identifikasi, motif, laminasi, tempurung kelapa</p><p><strong><em> </em></strong></p><p><strong><em>ABSTRACT</em></strong></p><p><em>Development of lamination motif on coconut shell has been done by artists, designers, and craftsmen. However, the creation is not well documented so many motifs missing. Giving the name of the resulting motifs had not been done. The purpose of this study was to collect various creation of lamination motif on coconut shell in Yogyakarta, as well as the identification of those motifs. The method used is the collection of data, in-depth observation and identification of existing motifs. The results of this identification are: (1) Pecahan, (2) Pecahan Belang, (3) Kotak-Kotak, (4) Kotak Poleng, (5) Nata Bata,  (6) Segitiga, (7) Anyaman, (8) Rajang Anyam, (9) Rajang  Poleng, (10) Rajang Acak, (11) Rajang Pusaran, (12) Rajang Kawung, (13) Rajang Kipas, (14) Rajang Galaran Vertikal, (15) Rajang Galaran Horisontal, (16) Rajang Blarak, and (17) Kancing. </em></p><p><em> </em></p><strong><em>Keywords:</em></strong><em> identification, motif, lamination, coconut shell</em>