Hasil untuk "Handicrafts. Arts and crafts"

Paolo Zecchin

In 1754 the State Inquisitors of Venice learned that a worker at Daniele Miotti's factory had fled abroad with a copy of his master's books. Fearing that he would divulge secrets—especially in Bohemia, where there were important glass factories—they ordered his death. Was this extreme action really necessary? Did the Bohemians have something to learn from the recipe books or did they already know everything? We know what secrets Miotti's worker could divulge, because the Miotti recipe book still exists (we also know the Darduin recipe book, which Miotti copied), and we can assume that the German world knew Johannes Kunckel's Ars vitraria experimentalis, the German version of Neri's L'arte vetraria published in 1612. By comparing recipes for the most interesting kinds of glass, in particular how to make red glass (transparent and opaque) and chalcedony glass, we can assess the threat. The aventurine recipe was the most dangerous among those that the Miotti recipe book could transmit, and it would have been serious if it had fallen into the hands of the Bohemians, because Kunckel did not know it.

Ingeborg Krueger

The numerous glass stones coexisting with precious or semi-precious stones on many medieval objects have been mostly neglected by scholars to date. Often they are difficult to distinguish from natural stones, and if their material is recognized as glass, they are regarded as cheap substitutes (or even fakes) and suspected to be added some time later. But there is a special type of glass gems which are without a doubt medieval: those made of colorless glass with blue inclusions. Such glass stones were probably made somewhere in the northwest of present-day Germany because they are found almost exclusively on objects made in those regions during the eleventh through thirteenth centuries. So, the blue-spotted gems are key pieces for our understanding of at least some aspects of the production and use of medieval glass stones.

Suzhen Wang, Weijie Chen, Wei Zhang et al.

Character customization, or 'face crafting,' is a vital feature in role-playing games (RPGs), enhancing player engagement by enabling the creation of personalized avatars. Existing automated methods often struggle with generalizability across diverse game engines due to their reliance on the intermediate constraints of specific image domain and typically support only one type of input, either text or image. To overcome these challenges, we introduce EasyCraft, an innovative end-to-end feedforward framework that automates character crafting by uniquely supporting both text and image inputs. Our approach employs a translator capable of converting facial images of any style into crafting parameters. We first establish a unified feature distribution in the translator's image encoder through self-supervised learning on a large-scale dataset, enabling photos of any style to be embedded into a unified feature representation. Subsequently, we map this unified feature distribution to crafting parameters specific to a game engine, a process that can be easily adapted to most game engines and thus enhances EasyCraft's generalizability. By integrating text-to-image techniques with our translator, EasyCraft also facilitates precise, text-based character crafting. EasyCraft's ability to integrate diverse inputs significantly enhances the versatility and accuracy of avatar creation. Extensive experiments on two RPG games demonstrate the effectiveness of our method, achieving state-of-the-art results and facilitating adaptability across various avatar engines.

Viswa Chaitanya Marella, Sai Teja Erukude, Suhasnadh Reddy Veluru

The introduction of Artificial Intelligence (AI) into the domains of traditional art (visual arts, performing arts, and crafts) has sparked a complicated discussion about whether this might be an agent of disruption or an enhancement of our traditional art forms. This paper looks at the duality of AI, exploring the ways that recent technologies like Generative Adversarial Networks and Diffusion Models, and text-to-image generators are changing the fields of painting, sculpture, calligraphy, dance, music, and the arts of craft. Using examples and data, we illustrate the ways that AI can democratize creative expression, improve productivity, and preserve cultural heritage, while also examining the negative aspects, including: the threats to authenticity within art, ethical concerns around data, and issues including socio-economic factors such as job losses. While we argue for the context-dependence of the impact of AI (the potential for creative homogenization and the devaluation of human agency in artmaking), we also illustrate the potential for hybrid practices featuring AI in cuisine, etc. We advocate for the development of ethical guidelines, collaborative approaches, and inclusive technology development. In sum, we are articulating a vision of AI in which it amplifies our innate creativity while resisting the displacement of the cultural, nuanced, and emotional aspects of traditional art. The future will be determined by human choices about how to govern AI so that it becomes a mechanism for artistic evolution and not a substitute for the artist's soul.

Prof. Rania Mostafa Kamel Deabes, Assist. Prof. Salwa Mohammed Amin Tashkandi

Learning the textile industry is essential in arts and crafts education programs, as it contributes to developing motor and creative abilities and enhances independence. Textile structures science is considered one of the courses to be studied by female students with severe hearing impairment enrolled in the Fashion Industry Program at King Abdulaziz University in Jeddah The research aims to measure the impact of using both the frame loom method and the floor loom method (pedals) to acquire the cognitive skills associated with manual work on the loom. The importance of the research is evident in the necessity of improving the quality of life of female students with hearing impairment and integrating them into society by enabling them to master some handicrafts. This has been applied to different sixth-level female students who were divided into two sections, each section used to be taught in a method, and the “pre-post” cognitive testing tool was used. The research concluded that the use of both methods was successful in acquiring the required cognitive skills and that there were no statistically significant differences between the average scores of the two groups (the first which had been taught using the frame method, and the second which has been studied using the floor loom method (pedals) for the members of the research sample in the post-application of the test. The research recommends paying attention to conducting similar studies on the different methods used in teaching practical courses to female students with severe hearing impairment.

BoYang Zheng

Adversarial attacks against Deep Neural Networks(DNN) have been a crutial topic ever since \cite{goodfellow} purposed the vulnerability of DNNs. However, most prior works craft adversarial examples in the pixel space, following the $l_p$ norm constraint. In this paper, we give intuitional explain about why crafting adversarial examples in the latent space is equally efficient and important. We purpose a framework for crafting adversarial examples in semantic latent space based on an pre-trained Variational Auto Encoder from state-of-art Stable Diffusion Model\cite{SDM}. We also show that adversarial examples crafted in the latent space can also achieve a high level of fool rate. However, examples crafted from latent space are often hard to evaluated, as they doesn't follow a certain $l_p$ norm constraint, which is a big challenge for existing researches. To efficiently and accurately evaluate the adversarial examples crafted in the latent space, we purpose \textbf{a novel evaluation matric} based on SSIM\cite{SSIM} loss and fool rate.Additionally, we explain why FID\cite{FID} is not suitable for measuring such adversarial examples. To the best of our knowledge, it's the first evaluation metrics that is specifically designed to evaluate the quality of a adversarial attack. We also investigate the transferability of adversarial examples crafted in the latent space and show that they have superiority over adversarial examples crafted in the pixel space.

Diederik Aerts, Lester Beltran

As a result of the identification of 'identity' and 'indistinguishability' and strong experimental evidence for the presence of the associated Bose-Einstein statistics in human cognition and language, we argued in previous work for an extension of the research domain of quantum cognition. In addition to quantum complex vector spaces and quantum probability models, we showed that quantization itself, with words as quanta, is relevant and potentially important to human cognition. In the present work, we build on this result, and introduce a powerful radiation quantization scheme for human cognition. We show that the lack of independence of the Bose-Einstein statistics compared to the Maxwell-Boltzmann statistics can be explained by the presence of a 'meaning dynamics', which causes words to be attracted to the same words. And so words clump together in the same states, a phenomenon well known for photons in the early years of quantum mechanics, leading to fierce disagreements between Planck and Einstein. Using a simple example, we introduce all the elements to get a better and detailed view of this 'meaning dynamics', such as micro and macro states, and Maxwell-Boltzmann, Bose-Einstein and Fermi-Dirac numbers and weights, and compare this example and its graphs, with the radiation quantization scheme of a Winnie the Pooh story, also with its graphs. By connecting a concept directly to human experience, we show that entanglement is a necessity for preserving the 'meaning dynamics' we identified, and it becomes clear in what way Fermi-Dirac addresses human memory. Within the human mind, as a crucial aspect of memory, in spaces with internal parameters, identical words can nevertheless be assigned different states and hence realize locally and contextually the necessary distinctiveness, structured by a Pauli exclusion principle, for human thought to thrive.

Halyna Melnychuk, Viktoriia Dutka

In Hutsul region, due to many historical circumstances and peculiarities of the natural and geographical environment, a specific way of managing the locals was formed; home crafts and handicrafts were developed. The process of formation and development of Hutsul crafts is inextricably linked with the life of the mountaineers, who almost completely provided themselves with consumer goods. The availability of natural raw materials and the remoteness from industrial centres encouraged locals to engage in pottery, weaving, producing furniture, utensils, brass, clothing, lizhnyky (blankets of wool) and more. The most popular trades of Kosiv region at the end of the 18th – second half of the 19th centuries were pottery and artistic weaving, including lizhnyk making. Having a fertile artistic and raw material base, the manufacture of lizhnyks has always played a huge role in the life of Hutsul house. The lizhnyk had to be among the dowry of the girl; it was given at baptisms and it accompanied the last journey. The development of Kosiv, Pistyn and Kut pottery was facilitated by the presence of rich deposits of plastic pottery clays, as well as the need to make utensils for everyday use. The products of each of these centres of pottery differed in their characteristics, which depended on the natural properties of materials, the level of ceramic production and local traditions. The artistic traditions and the unique spiritual culture, over the centuries, are a permanent basis for the development of folk arts and crafts. From generation to generation passed artistic and stylistic techniques of decoration; the secrets of technical and technological skills, and improved techniques for processing natural materials. Traditions of folk arts and crafts, which have stood out in a bright artistic phenomenon, have become one of the important aspects of socio-economic and artistic life of modern Hutsul region. The rapid development of factory industry in the second half of the 19th century caused a reduction in the production of most household items. At the same time, the growth of industrial production of goods, trends in their domestic use contributed to the rise of the role of artistic origin in traditional types of applied crafts. Improving the quality of products, adjusting the development of industrial production and folk crafts required the introduction of art and industrial education. In this context, the establishment in 1882 of the Weaving School in Kosiv was a significant event in the beginning of professional education in Hutsul region.

Willem van Jaarsveld, Joachim Arts

We consider the canonical periodic review lost sales inventory system with positive lead-times and stochastic i.i.d. demand under the average cost criterion. We introduce a new policy that places orders such that the expected inventory level at the time of arrival of an order is at a fixed level and call it the Projected Inventory Level (PIL) policy. We prove that this policy has a cost-rate superior to the equivalent system where excess demand is back-ordered instead of lost and is therefore asymptotically optimal as the cost of losing a sale approaches infinity under mild distributional assumptions. We further show that this policy dominates the constant order policy for any finite lead-time and is therefore asymptotically optimal as the lead-time approaches infinity for the case of exponentially distributed demand per period. Numerical results show this policy also performs superior relative to other policies.

I. V. Lovtsova, L. A. Burovkina

We substantiate the importance of preserving the nonmaterial cultural heritage, folk culture and the development of traditional handicrafts, the need to integrate culture and education. We prove the effectiveness of measures to preserve the nonmaterial cultural heritage through the development of children’s traditions and technologies of folk art crafts and handicrafts in additional education. We analyze the implementation of additional general educational programs in the field of decorative and applied arts and activities to preserve folk art crafts and handicrafts are being conducted in the regions of the Russian Federation. We make proposals for the development of educational programs in the field of folk crafts.

Noha Soultan

Egyptian villages are rich in many arts and crafts that are about to be destroyed, Including the village of Akhmeem, which is one of the oldest villages in Upper Egypt, which was famous for the craft of manual weaving throughout the different ages and is one of the most important Egyptian historical cities since the ancient Egyptian Pharaonic state and until now, especially in hand embroidery, where the women of this village excelled in creating themes and artistic elements inspired by The Egyptian environment, as this craft is one of the handicrafts and folk arts that have been on the decline, especially with the increasing trend of modern digital technology in design and due to the richness of these works, Hence the problem of research in the question, How to benefit from the folk artistic heritage that this village is proud of as a source of inspiration for modern printed upholstery designs that suit the needs of consumers? The research aims to study aesthetic value in the tapestries of Akhmeem women and study the impact of the social environment on their art, designs for furniture fabrics characterized by originality and contemporary inspired by these artworks, The importance of the study is The documentation of Egyptian women's creations in Akhmeem to preserve and develop the Egyptian folk arts which is close to extinction and benefiting from them in providing contemporary textile with designs of Egyptian identity, An analytical and applied approach by analysis the subjects of the art of hand embroidery of Akhmeem to study the effect of the surrounding environment on their art and its role in enriching the artist's imagination and the applied approach in the implementation of some designs for the furniture fabrics derived from Akhmeem art, The results of the research summarize the importance of preserving the Egyptian identity and studying the popular heritage in the Egyptian villages as a rich source for the creation of contemporary designs that bear identity of the folk Egyptian

Sumanto Sumanto, Muhana Gipayana, Rumidjan Rumidjan

Abstract: The current study was intended to describe the types, the models, the techniques and the materials of the handicrafts in Blitar City/Regency which could be treated as the learning sources of cultural arts and crafts in elementary schools. The subjects of this study were the handicrafts home industries. The data was collected by using observation, documentation, and interview techniques. The results suggested that (1) the types of the crafs included the key chains, bags, kendang, brooches, ketipung, birdcage crowns, marakas, creative bamboo, potteries, painted glasses, barongan, carved woods, puppets, and batik; (2) most of the models were three dimentionals and a few of them were two dimentionals; (3) the techniques were carving, sewing, tying, threading, applying, embroidering, folding, jiggering and jolleying, voluting, swiveling , printing, screen printing, painting, torah, and loathing; and (4) the materials were woods, coconut shells, leather, bamboo, clothes, and paper. Keywords: handicrafts, learning sources, cultural arts, Blitar. Abstrak: penelitian ini bertujuan mendeskripsikan jenis, model, teknik, dan bahan kerajinan tangan di Kota/Kabupaten Blitar yang dapat dimanfaatkan sebagai sumber belajar Seni Budaya dan Prakarya Sekolah Dasar (SBdP SD). Subyek penelitian adalah home industri kerajinan tangan di Blitar. Data dikumpulkan dengan teknik observasi, dokumentasi, dan wawancara. Hasil penelitian menunjukkan (1) jenis kerajinan meliputi bandul kunci, tas, kendang, bros, ketipung, mahkota sangkar burung, marakas, bambu kreatif, gerabah, kaca lukis, barongan, ukir kayu, wayang, dan batik; (2) modelnya sebagian besar tiga dimensi dan sebagian kecil dua dimensi; (3) tekniknya anyaman, ukiran, jahit, Ikat, rangkai-ronce, aplikasi, sulaman, batik, lipat, butsir, pilin, putar, cetak, sablon, lukis, torah dan bubut. (4) bahannya, yaitu kayu, batok kelapa, kulit, bambu, kain, plastik, dan kertas. Kata Kunci: kerajinan tangan, sumber belajar, seni budaya, Blitar.

Joni Setiawan, Ady Prasetyo, Risdiyono Risdiyono

<p>Proses pembuatan kerajinan <em>pewter</em> dengan teknologi <em>spin casting</em> membutuhkan cetakan berbahan karet silikon. Jenis karet silikon yang tersedia adalah karet silikon dengan sistem vulkanisasi pemanasan dan vulkanisasi pada suhu kamar atau <em>room temperature vulcanized (RTV) silicone rubber</em>. RTV <em>silicone rubber</em> memiliki harga yang lebih murah dibandingkan karet silikon dengan sistem vulkanisasi pemanasan, namun nilai kekerasannya lebih rendah.  Nilai kekerasan menggunakan skala <em>durometer</em> <em>shore-A</em> pada <em>RTV silicone rubber</em> sebesar 16,8 sedangkan karet silikon dengan vulkanisasi pemanasan sebesar 50,6.  Penelitian ini bertujuan untuk meningkatkan kekerasan cetakan <em>RTV silicone rubber</em> dengan penambahan <em>talc</em>. Variasi sampel cetakan karet adalah komposisi <em>RTV silicone rubber </em>: katalis (dalam gram) yaitu 50:1 dan 50:2 serta penambahan <em>talc</em> (dalam gram) sebesar 0, 2, 6, 8, 10, 20, 30, 40 dan 50. Hasil penelitian menunjukkan bahwa komposisi <em>RTV Silicone rubber </em>: katalis : <em>talc</em> sebesar 50:1:40 dapat meningkatkan kekerasan cetakan karet menjadi 41,6 dan komposisi 50:2:4 dapat meningkatkan kekerasan menjadi 47,6. Hasil evaluasi produk menunjukkan cetakan berbahan karet dengan penambahan <em>talc</em> menghasilkan produk yang lebih presisi jika dibandingkan dengan cetakan karet tanpa penambahan <em>talc</em>.</p>

Edi Eskak, Harnandito Paramadharma

<p>Limbah <em>center log </em> kayu sengon (<em>Paraserianthes falcataria </em>(L.) Nielsen) baru dimanfaatkan sebagai bahan baku untuk tanur pengering. Limbah <em>center log </em>kayu sengon mempunyai kelebihan-kelebihan sehingga berpotensi untuk dikembangkan lebih lanjut. Penelitian ini bertujuan untuk meningkatkan nilai jual <em>center log</em> kayu sengon sebagai komponen aksesoris interior, dengan teknologi yang paling efektif dan efisien. Tahap eksperimen peningkatan nilai jual produk difokuskan pada eksperimen peningkatan nilai dekoratif melalui (1) pengembangan desain; (2) percobaan pengaplikasian ragam hias ukiran kayu dengan alat pahat ukiran Jepara dan pisau serut (<em>cutter</em>); (3) upaya peningkaan nilai karakteristik tekstur yang menonjol, dan (4) eksplorasi pewarnaan <em>center log</em> kayu dengan pewarna baik, Bahan berbasis air dan <em>thinner</em> baik transparan atau non-transparan. Hasil percobaan menunjukkan bahwa produk dengan teknik ukir kayu dengan alat penyerut kayu (<em>cutter</em>) menghasilkan ukiran yang lebih baik dan waktu pengerjaan dengan pahat <em>cutter</em> lebih cepat dua kali lipat dibandingkan dengan menggunakan ukir. Dalam uji pasar Sembilan prototipe produk ini dinilai cukup digemari dan juga mampu meraih pembeli yang lebih luas dari target pasar yang ditentukan.</p><p> </p><p><strong>Kata Kunci</strong>: sengon, limbah kayu lapis, desain, <em>finishing</em> kayu, produk interior</p>

Edi Eskak

<p><strong>ABSTRAK </strong></p><p>Ukiran kayu khas Asmat merupakan suvenir yang banyak diminati wisatawan. Dewasa ini pengrajin ukiran mulai kesulitan mendapatkan bahan kayu karena harganya semakin mahal. Oleh karena itu perlu memanfaatkan bahan alternatif yang lebih mudah didapatkan serta harganya relatif murah, yaitu bambu. Bambu yang berukuran cukup besar dan tumbuh di Papua adalah bambu ater. Tujuan penelitian penciptaan seni ini adalah untuk mengkreasikan produk suvenir ukiran bergaya Asmat dengan menggunakan bambu ater. Hasil penelitian menunjukkan bahwa bambu ater dengan ketebalan rata-rata 0,8 cm dapat dikerjakan dengan teknik ukir lubang tembus dengan hasil baik. Penggunaan alat bor dan gergaji <em>hand jigsaw</em> dapat mempercepat proses pelubangan 5,4 kali lebih cepat dibandingkan bila menggunakan cara pahat manual. Teknik ukir lubang tembus dilakukan untuk tetap mempertahankan kekhasan ornamen ukir khas Asmat.    </p><p> </p><p><strong>Kata kunci:</strong>  kreasi, ukiran Asmat, bambu ater</p><p> </p><p><strong><em>ABSTRACT</em></strong></p><p><em>Asmat wood carving is typical souvenirs which attracted many tourists. Today craftsmen began to have difficulty </em><em>to get</em><em> wood </em><em>because the </em><em>price</em><em> is expensive</em><em>. </em><em>T</em><em>herefore</em><em>, it is</em><em> necessary to use alternative, available and cheaper materials, namely bamboo. </em><em>Sizeable b</em><em>amboo grow</em><em>n</em><em> in Papua are bamboo at</em><em>t</em><em>er. The aim of this research is to create Asmat carvings and stylish souvenir products by using bamboo at</em><em>t</em><em>er. Bamboo a</em><em>t</em><em>ter with the thickness of an average of 0.8 cm can be done with carving techniques through the hole in a good results. The use of drilling tools and hand saws jigsaw can accelerate the process by perforating 5.4 times faster than using a chisel way manually. Carving techniques through the hole is made to retain the distinctiveness of Asmat carved ornaments.</em></p><p><strong><em> </em></strong></p><p><strong><em>Keywords:</em></strong><em> creation, Asmat carvings, bamboo at</em><em>t</em><em>er.</em></p>

Maryono Maryono, Bambang Moyoretno

<p class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; text-indent: 36pt;"><span style="font-family: 'Arial','sans-serif';">Dalam industri kerajinan kulit kerang simping, sistem rangkai (pateri) diperlukan sebagai bingkai (plepet) dari plat kuningan dengan ketebalan 0,1 – 0,2 mm. Bingkai tersebut dibuat perajin dengan menggunakan alat cetakan yang berbentuk kerucut yang disebut cropong. Ujung potongan-potongan plat kuningan dengan ukuran tertentu dimasukkan ke dalam cropong kemudian ditarik sehingga menjadi bingkai yang bentuknya seperti pipa yang mempunyai alir memanjang. Pada umumnya bingkai yang dihasilkan mempunyai kelengkungan yang cukup besar sehingga mutu barang jadi yang dihasilkan kurang memuaskan (kurang rapi).</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;">Dalam percobaan ini dilakukan proses pembuatan bingkai dengan bahan potongan plat kuningan ukuran tebal 0,2 mm. Lebat 4 mm dan panjang 20 cm. Alat cetakan yang dipergunakan terdiri dari 3 macam sudut, masing-masing 30^o, 45^o dan 60^o. Diameter ujung ketiga cetakan sama yaitu 2 mm dengan proses penarikan konstan dan horisontal. Hasil penelitian menunjukkan bahwa pembuatan bingkai dengan menggunakan cetakan berbentuk kerucut dengan sudut cetakan yang semakin kecil (sampai sudut 30^o) dapat menghasilkan bingkai yang semakin baik mutu dan penggunaannya.</span><p class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; text-indent: 36pt;"><span style="font-family: 'Arial','sans-serif';">Dalam industri kerajinan kulit kerang simping, sistem rangkai (pateri) diperlukan sebagai bingkai (plepet) dari plat kuningan dengan ketebalan 0,1 – 0,2 mm. Bingkai tersebut dibuat perajin dengan menggunakan alat cetakan yang berbentuk kerucut yang disebut cropong. Ujung potongan-potongan plat kuningan dengan ukuran tertentu dimasukkan ke dalam cropong kemudian ditarik sehingga menjadi bingkai yang bentuknya seperti pipa yang mempunyai alir memanjang. Pada umumnya bingkai yang dihasilkan mempunyai kelengkungan yang cukup besar sehingga mutu barang jadi yang dihasilkan kurang memuaskan (kurang rapi).</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;">Dalam percobaan ini dilakukan proses pembuatan bingkai dengan bahan potongan plat kuningan ukuran tebal 0,2 mm. Lebat 4 mm dan panjang 20 cm. Alat cetakan yang dipergunakan terdiri dari 3 macam sudut, masing-masing 30^o, 45^o dan 60^o. Diameter ujung ketiga cetakan sama yaitu 2 mm dengan proses penarikan konstan dan horisontal. Hasil penelitian menunjukkan bahwa pembuatan bingkai dengan menggunakan cetakan berbentuk kerucut dengan sudut cetakan yang semakin kecil (sampai sudut 30^o) dapat menghasilkan bingkai yang semakin baik mutu dan penggunaannya.</span>

Tim Redaksi

Dwi Suheryanto

<p>Proses pelorodan (pelepas Iilin) Iilin pada kain batik sutera umumnya dapat menggunakan kanji, natrium silikat, dan bensin. Penggunaan kanji biasanya digunakan pada kain katun. Jika digunakan pada kain sutera hasilnya kurang sempurna dan menyebabkan kain sutera berkerut. Sedangkan penggunaan natrium stlikat selain dapat menurunkan kekuatan tarik juga menurunkan derajat intensttas warna. Penggunaan bensin juga tidak ekonomis dan sangat berbahaya bagi keselamatan kerja, selain juga akan menurunkan intensitas warna.</p><p>Tujuan penelitian ini adalah untuk menguji pelorodan Ii/in batik dengan bahan kimia yang lain yaitu natrium silikat (Na₂Si0₃) sekaligus terhadap kekuatan tarik kain batik sutera hasil pelorodan tersebut. Pada penelitian proses pelorodan ini digunakan berbagai konsentrasi natrium silikat, yaitu 2 gr/l, 4 gr/I. dan 6 gr/l. Sedangkan kain sutera yang dipakai sebagai contoh diuji adalah jenis T 54 dan pewamaannya menggunakan zat warna indigosol. Pengujian dilakukan untuk mengetahui seberapa jauh prosentase Iilin batik yang lepas dari kain, dan kekuatan tarik kain sutera.</p><p>Penelitian memberikan basil bahwa nilai rata-rata konsentrasi natrium silikat yang meningkat memberikan kekuatan arah lusi yang meningkat diikuti pula meningkatnya arah pakan. Selanjutnya hasil yang diperoleh adalah prosentasi berat Iilin yang terlorod menunjukan hasil similar, yaitu meningkat sesuai dengan meningkatnya konsentrasi natrium silikat yang digunakan. Ternyata dari hasil analisa dinyatakan bahwa tidak ada perbedaan yang signifikan terhadap uji kekuatan tarik terhadap penggunaan konsentrasi natrium silikat pada proses pelorodan. Akan tetapi diperoleh hasil bahwa natrium silikat dengan konsentrasi 2 g/l dapat digunakan untuk pelorodan kain batik sutera dan nilai yang lebih ekonomis.</p><p><em><br /></em></p><p><strong>Kata kunci</strong> : natrium silikat, pelorodan, kain batik sutera, kekuatan tarik</p>

Sukundayanto Sukundayanto

<p>Limbah kerajinan anyaman berupa potongan-potongan pendek serat mendong dan pelepah batang pisang merupakan limbah hasil pertanian yang dapat dimanfaatkan sebagai bahan baku industri kerajinan kertas seni. Pembuatan kerajinan kertas seni dapat dilakukan dengan cara dan peralatan sederhana, sesuai untuk industri kecil dan rumah tangga terutama di pedesaan. Permasalahan yang ada yaitu belum adanya IKM yang memanfaatkan limbah pertanian tersebut untuk kerajinan kertas, karena keterbatasan pengetahuan dan ketrampilan dan sampai saat ini pemanfaatan pelepah pisang maupun mendong untuk kertas seni masih sangat terbatas.</p><p>Tujuan dari penelitian ini adalah untuk penganekaragaman produk kertas seni dari limbah pertanian. Dalam penelitian ini dilakukan uji coba pembuatan bubur dari pelepah pisang dan mendong dengan variasi cara perebusan selama 1, 1,5 dan 2 jam, perendaman dengan variasi 7 , 10, 13 hari, waktu penggilingan 10, 15, 20 menit. Pengujian dilakukan terhadap lembar kertas yang dihasilkan meliputi : kekuatan tarik. sobek, jebol dan pengamatan visual dan karakteristik kertas.</p><p>Dari penelitian yang telah dilakukan sebelumnya dengan bahan baku pelepah pisang diperoleh hasil optimal pada pembuatan bubur pulp dengan pemasakan perebusan kostik soda 1 % dan waktu rebus 1 jam setelah mendidih dengan perlakuan awal perendaman dan penggilasan dalam perbandingan vlot 1 :6.</p><p>Hasil penelitian ini menunjukkan bahwa dengan waktu perendaman optimal adalah 10 hari, waktu penggilingan 20 menit, waktu perebusan 1 jam. Limbah mendong menghasilkan kertas lebih keras dan kaku dengan warna kehijauan sesuai untuk kerajinan model otomotif, kemasan dan cinderamata. Limbah pelepah pisang menghasilkan kertas yang lebih elastis dengan warna kecoklatan dan tekstur menarik terutama untuk. kerajinan kap lampu, lampion, dan pembatas ruangan.</p><strong>Kata kunci</strong>: limbah pertanian dan kerajinan, proses pembuburan, pembuatan kerajinan kertas seni

Sulaeman Sulaeman, Kun Lestari, Sutadi Sutadi

<p class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; text-indent: 36pt;"><span style="font-family: 'Arial','sans-serif';">Telah dilakukan cara pengolahan limbah cair batik hasil proses pencelupan dengan zat warna Naphtol secara laboratoris. Limbah cair diidentifikasi dan kemudian diolah dengan cara koagulasi, pengendapan, penyaringan dan absorpsi.</span></p><p class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; text-indent: 36pt;"><span style="font-family: 'Arial','sans-serif';">Lima contoh-uji masing-masing 500 ml limbah cair dikoagulasikan dengan menggunakan: larutan tawas 10% 35,0 ml, larutan tawas 10% 40,0 ml, campuran larutan tawas 10% dan H₂SO₄ teknis masing-masing 20,0 ml dan 1,5 ml, campuran larutan tawas 10% dan H₂SO₄teknis 20,0 ml dan 2,0 ml serta campuran larutan tawas 10% dan kaporit 5% 25,0 ml dan 12,5 ml. Kelima contoh-uji kemudian diaduk, diendapkan, disaring dan diabsorpsi dengan karbon aktif.</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;">Dari hasil penelitian, penggunaan larutan tawas 10% sebanyak 40,0 ml pada 500 ml limbah cair atau penggunaan tawas padt sebanyak 8 g/1 limbah cair dengan waktu pengendapan selama 24 jam dan waktu kontak dengan karbon aktif selama 5 menit merupakan kondisi terbaik yang dapat menurunkan nilai parameter pencemar atau efisiensi pengolahan sebesar 95 – 98%.</span><p class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; text-indent: 36pt;"><span style="font-family: 'Arial','sans-serif';">Telah dilakukan cara pengolahan limbah cair batik hasil proses pencelupan dengan zat warna Naphtol secara laboratoris. Limbah cair diidentifikasi dan kemudian diolah dengan cara koagulasi, pengendapan, penyaringan dan absorpsi.</span></p><p class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify; text-indent: 36pt;"><span style="font-family: 'Arial','sans-serif';">Lima contoh-uji masing-masing 500 ml limbah cair dikoagulasikan dengan menggunakan: larutan tawas 10% 35,0 ml, larutan tawas 10% 40,0 ml, campuran larutan tawas 10% dan H₂SO₄ teknis masing-masing 20,0 ml dan 1,5 ml, campuran larutan tawas 10% dan H₂SO₄teknis 20,0 ml dan 2,0 ml serta campuran larutan tawas 10% dan kaporit 5% 25,0 ml dan 12,5 ml. Kelima contoh-uji kemudian diaduk, diendapkan, disaring dan diabsorpsi dengan karbon aktif.</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;">Dari hasil penelitian, penggunaan larutan tawas 10% sebanyak 40,0 ml pada 500 ml limbah cair atau penggunaan tawas padt sebanyak 8 g/1 limbah cair dengan waktu pengendapan selama 24 jam dan waktu kontak dengan karbon aktif selama 5 menit merupakan kondisi terbaik yang dapat menurunkan nilai parameter pencemar atau efisiensi pengolahan sebesar 95 – 98%.</span>