ABSTRAK

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Melukis pada media tekstil memiliki dasar teknik yang menyerupai kegiatan melukis ... langsung zat pewarna ke media tekstil dianggap sebagai sebuah upaya ...
ABSTRAK Melukis merupakan salah satu pelepasan ekspresi manusia yang diungkapkan dari zaman dulu. Melukis pada permukaan kain (hand painting) ditemukan dalam teknik olah reka bahan dan termasuk dalam kelompok olah reka latar. Menurut Bambang Subarnas pada presentasi Perkembangan Teknik Melukis dalam Seni Rupa Indonesia “Pengertian melukis sebelum masuknya pengaruh Eropa : tradisi olah bentuk dan rupa tidak terpilah pilah seperti dalam tradisi modernis, tetapi bersifat holistik (seni sebagai bagian dari keseluruhan cara hidup). Teknik dan medium berkarya sangat beragam baik pada bidang datar (dua dimensi) atau bentuk ruang/ meruang (tiga dimensi), dengan menggunakan bahan-bahan lokal. Teknik berkarya juga sangat kaya dan beragam, mulai dari teknik semprot, kuas, pahat, sungging, sampai batik. Setiap etnik di Indonesia memiliki pola ungkap, nilai keindahan, medium, serta teknik pembuatannya masing-masing”. Melukis pada media tekstil memiliki dasar teknik yang menyerupai kegiatan melukis sebagaimana yang ditemukan pada material lain seperti kanvas, kertas, tembok, dan lain-lain. Kepekaan terhadap unsur-unsur desain, olah komposisi, dan pemahaman teknik menjadi modal untuk membuat lukisan menjadi menarik secara visual. Ketepatan penggunaan material tekstil dan zat pewarna yang tepat merupakan hal lain yang juga harus dipahami benar berkaitan degan kegiatan melukis untuk produk tekstil. Dalam penelitian ini kajian ditekankan pada kegiatan melukis khususnya keragaman teknik dalam melukis pada media tekstil, sehingga berbagai proses yang menorehkan secara langsung zat pewarna ke media tekstil dianggap sebagai sebuah upaya dalam melukis kain. Penggabungan dengan berbagai teknik olah reka latar dilakukan untuk mendukung produk secara visual serta konseptual. Bentuk produk tekstil sebagai hasil akhir dari proses penelitian ini ditentukan dari lembaran kain hasil eksplorasi dan ditujukan sebagai keperluan sandang.

ABSTRACT Painting is one of the human expressions that are used since the prehistoric era. Painting on cloth’s surface (hand painting) was found in fabric-reengineering technique and included in background-reengineering group. According to Bambang Subarnas in his presentation on Painting Technique Development in Indonesia’s Fine Arts, he stated that, “The definition of painting before the introduction of European influence: tradition of art form was not divided as in modern tradition, but more holistic (art as a part of the whole way of life). Work technique and media are various, whether two dimensional or three, by using local materials. Work techniques are also rich in variety: from spray, brush, sculpting, décor, and batik. Every ethnic in Indonesia has its own unique pattern of exposure, value of beauty, creative media, and method of creation.” Painting on textile has a basic technique which is similar with other painting on different media such as canvas, paper, wall, etc. Sensitivity on design elements, composition, and technical knowledge become the ingredients to make a painting to be visually attractive. The precision in using the right textile material and coloring substance is something that needs to be properly acknowledge in terms of painting textiles. In this research, the study emphasizes on the variety of technique in painting on textile, so that the various process which incise the color substance directly to the textile is considered as an effort of cloth painting. Combining with various background-reengineering techniques is needed to support the product visually and conceptually. The form of textile product as the end result of this research is determined by the examined cloths that are used as apparel. Humans have the tendency to decorate something, textile included, to fulfill the need of aesthetic aspect. In textile, the fulfillment of decoration need can be achieved through background-reengineering. Tritik is one of dip-background-reengineering traditional techniques which use seam as patching media. This technique is practiced in many areas in Indonesia and abroad. Tritik technique produces significant feature which can be seen from its line-like cluster of dots which appears as broken lines and three dimensional textures which is the result of

stitches before the coloring process. Tritik is sometimes combined with other dip-patch technique, such as plangi and batik, to create variety on the cloth.

This exploration was done with the tabulation of many tritik aspects (types of cloth, seam, and coloring) to find new things that might add the richness of Indonesia’s textile culture, though tritik is a traditional technique.

Tritik manufacture as a media of creating cloth decoration variety can be developed based on the creativity of its practitioners. Thus, tritik will not be only a complimentary backgroundreengineering, but as main background-reengineering which becomes the main attraction of a cloth.