Tuesday, February 23, 2010

Oleh-Oleh Sahabat


Dalam seminggu ini, aku mendapat oleh-oleh dari dua sahabatku. Pertama dari Mei yang mudik untuk merayakan imlek bersama keluarga besarnya di Medan. Oleh-olehnya bener-bener menarik. Selain manisan jambu yang enak itu, Mei bawain aku selendang gendongan bayi bergambar naga. Wow.. aku suka banget gambar naganya, mana warnanya hijau lagi. Keren.. ! selain batik antik, aku belum pernah nemu batik gambar naga (liong). Ya baru sekarang ini dari selendang oleh-oleh Mei. Oleh-oleh lainnya, piring kaleng klasik bergambar bunga. Bener-bener vintage. Mengingatkanku pada baskom dan cangkir kaleng kakekku dulu. Thanks ya Mei.. !


Oleh-oleh berikutnya datang dari sahabatku yang lain, Reza dan Shuang yang baru pulang bulan madu di Vietnam. Aku dapet tas yang Vietnam banget dan kopi Vietnam. Aku suka banget tas-tas tradisional seperti itu, apalagi kalau bahannya dari kain. Jadi menyesal, kenapa aku ga beli tas Indian waktu di Pike Market, Seattle (menyesal kemudian tiada berguna :D). Aku seneng ngumpulin barang-barang begini, karena menurutku cukup inspiratif (meski menurut Roy ga ada gunanya.. heheheh meski tak berguna tapi membuat hati senang.. :D). Apalagi kalau motif atau coraknya oke, bisa jadi referensi visual. Termasuk juga bentuknya, seringkali jadi kepikiran bikin sesuatu merujuk pada bentuk-bentuk itu.. Btw, thanks ya za buat oleh-olehnya..:)

Sunday, February 21, 2010

Siapa Mau 'Indian Pattern'?

 

Liat baju Indianya Amesh, jadi inget kalau aku punya buku pattern-pattern India ini. Isinya lebih dari 100 pattern India full color hanya beberapa saja yang hitam putih. Dan yang menarik lagi, buku ini dilengkapi dengan CD yang isinya adalah file dari pattern-pattern itu dalam format jpg dan tiff. 

  

Buat kamu yang berminat dengan pattern-pattern ini, aku akan mengirimkan file-file isi dari CD pattern ini ke alamat emailmu. Caranya gampang, tinggal tulis alamat emailmu melalui comment di postingan ini dan follow blog ini bagi yang belum. Aku akan segera mengirimkannya padamu :)

Untuk perhatian: 
Ukuran folder berisi file-file ini dengan gambar beresolusi rendah adalah 14.4 MB. 
Sementara untuk folder berisi file2 dengan ukuran aslinya, adalah 74 MB (jika tertarik mendapat folder ini, akan dikirim dalam beberapa attachment dan email mengingat kapasitas maksimum attachment di yahoo atau gmail 25 MB per attachment). 
Jadi silahkan pilih mau yang mana.


Basket Handbag 'Vintage Purple' Pesanan Marjorie


Tiba-tiba saja aku dapet email dari Marjorie yang menyatakan ingin pesan tas seperti yang pernah aku bikin buat Echi. Tapi Marjorie ingin warna yang beda, ingin vintage purple (di foto ungunya ga terlalu keliatan). Setelah tiga kali mengkombinasikan warna, akhirnya dapet deh perpaduan yang ternyata Marjorie menyukainya. Tas ini aku kombinasikan dari beberapa jenis benang: ada benang popo, korduroy kecil, puddle dan dua macam benang keriting. Jadinya tas ini berkukuran 22 x 28 cm dan dilapis dengan kain polos warna coklat.

Kiriman Hand Printed Fabric Dari Ini polaku

 

Mulanya berkunjung ke blog Ini polaku, trus kepincut deh sama kain bikinan Erick Wibowo. Lagi pula aku suka gambarnya.  Tadinya mau aku bikin cover notebook, tapi ternyata polanya terlalu besar kalau di jadikan cover. Sedang berpikir-pikir, sepertinya mau aku bikin tas aja semacam hobo bag yang pernah aku bikin. Nanti aku posting hasilnya..

Thursday, February 18, 2010

Meng-up date Kembali Tobucil's Handmade Blog



Akhirnya, setelah beberapa bulan vakum dengan berbagai macam alasan, aku kembali mengupdate blog Tobucil's Handmade. Buat teman-teman silahkan mengikuti blog ini, karena banyak info-info menarik di seputar art & craft yang hanya teman-teman temukan di blog tobucil's handmade.. :D (promosi). Penasaran dengan menunya? buka aja langsung blog tobucil's handmade :)

'Hanko' Stamp Kiriman Sara


Beberapa hari lalu, Sara meng-smsku menanyakan soal 'hanko' yang jadi logoku. Semula aku bingung, hanko? apa itu hanko? ternyata hanko adalah cap tulisan cina.

Hanko tulisan namaku dalam huruf mandarin yang pertama itu adalah oleh-oleh dari sahabatku Ariani Darmawan, waktu dia ke Cina. Tintanya juga terbuat dari tinta campuran lilin. Aku suka banget waktu dapet hanko pertamaku. Awalnya aku liat punya sahabatku yang lain, R.E. Hartanto punya hanko bertuliskan namanya, trus Agus Suwage juga, malahan hankonya suka dia pake untuk di capkan pada karya-karya cat airnya. Makanya pas cik rani kasih hadiah kejutan hanko bertuliskan namaku, aku hepi banget.

Awalnya aku kira, Sara hanya tanya-tanya soal dimana aku bikin hanko itu, karena dia bilang dia tertarik untuk bikin juga. Eh, besoknya dia sms lagi tanya alamatku dimana, dia sudah selesai membuat hanko untukku. Bahannya dari karet penghapus. Wahhhhh bener-bener kejutan. Dan tadi pagi, paket kecil berisi hanko sudah ada di mejaku. Senangnya. Aku jadi punya 5 hanko. Semua bisa aku pake dengan warna yang beda-beda, bisa bikin kertas kado sendiri dengan motif dari  hanko bertuliskan namaku.

Terima kasih banyak ya Sara..:)

Tuesday, February 16, 2010

Notebook Baru di Tahun Baru Imlek


Aku bikin notebook baru untuk proyek imlek yang sudah aku sebutkan sebelumnya. Di sini aku coba pake running stitch untuk bindingnya (seperti tusuk jelujur tapi bolak-balik). Ternyata bisa mengikat tiap 'signature'nya lebih kuat dan kokoh. Dan aku suka efek garis-garis di punggung notebooknya, seperti buku-buku kuno.

 

 

 

Kain covernya aku lapis dengan kain keras, cukup selapis aja biar ga terlalu kaku, trus di dalemnya dilapis kain polos yang warnanya disesuaikan dengan warna kertas dalamnya (di note book ini kertas dalamnya warna abu-abu dan ada bercak-bercak putih. Aku ga tau kertas ini nama jenisnya apa tapi katanya kertas impor. Trus kertas untuk cover dalamnya aku pake kertas jeruk warna kuning (jadi teksturnya kusut gitu). 


 

  

  

Aku sengaja ga menjahit pinggiran cover, biar lebih simple dan kain covernya lebih terekspos. Kancing untuk kunci notebooknya juga aku pilih knot button, biar kesan orientalnya jadi lebih kuat. Menurutku karakter kain covernya udah kuat banget untuk merepresentasikan 'keorientalannya'. Oya notebook ini berukuran: 14X19.5 cm.

  

  

 


Monday, February 15, 2010

There's No Way This Guy is That Crafty: Jack White

Siapa sangka rockstar sekelas Jack White, ternyata crafty banget. Sebelum nasib membawanya menjadi Musisi tersibuk dekade ini, sejak umur 15 tahun sampai 21 tahun (usia dimana dia menikahi Meg White dan membuat band bareng bernama The White Stripes), Jack menjalani profesi sebagai upholsterer alias tukang reparasi dan ganti jok furniture. Hebatnya, pekerjaan ini, masih ia lakukan sampai saat ini di sela-sela kesibukkannya sebagai musisi, produser dan pemilik studio musik The Thirdman Records, tentunya sekarang ia melakukannya untuk dirinya sendiri bukan untuk melayani klien-kliennya.


 Interviewnya dengan majalah The Believers tentang pengalamannya sebagai Upholsterer, menarik sekaligus menginspirasiku banyak. Terus terang, aku selalu mengagumi orang-orang yang menjadi besar karena dia tahu betul bagaimana bekerja keras dalam melahirkan karya-karyanya, sesederhana apapun karya itu. Semoga interview ini bisa menginspirasi.. [interview ini dipublikasikan ulang dari situs The Believer Magazine]


“YOUR FURNITURE’S NOT DEAD.”
Materials mentioned:
Metal
Wood
Styrofoam
Silk
Furniture has been comfortable for thousands of years. Among the artisans who carried us out from the Dark Ages, among the blacksmiths, the tailors, and the cobblers, there were the upholsterers. The Believer sat down with a former practioner of the trade to learn more. Of particular interest was the upholstery business as it stood in the Midwest in the Eighties. Though upholstery as a trade was on the wane, several active practitioners could still be found, driving their multicolored vans around suburban Detroit, connecting deeply with the textures of the time. Jack White’s experience with upholstery—from his apprenticeship with Brian Muldoon to his enthusiastic and ultimately abortive entrance into the field as an autonomous player—offers a fascinating and instructive glimpse into a young person’s simultaneous encounters with the worlds of business, art, and furniture.
—Tobias de la Manzana

THE BELIEVER: The best thing we can do is talk about upholstery.
JACK WHITE: I was an upholsterer. I worked at a bunch of upholstery shops the whole time I was a teenager. I ended up having my own upholstery shop, called “Third Man Upholstery.”

BLVR: How did you learn that trade? You apprenticed?
JW: Yeah, I apprenticed for this guy named Brian Muldoon in Detroit for three years or so. Then I went out to the suburbs, and I worked in a big shop called “Beaupre Studios.” Then I worked in a couple of other little places, for a few days at a time. I finally got a little studio and opened up my own place. I was working on sculptures, too, in the same space. I wasn’t really business-minded, though. I didn’t really have a love for money, which kind of hurts the drive to keep working. I would get a check for something and I would just say “Oh,” you know, “Big deal, I’m just going to use this to pay bills or something.” I never really loved the money part. I guess it started to hurt my business attitude.

BLVR: What kind of materials did you work with? Metal, wood?
JW: I wanted to work on more mid-century modern things like Noel and Herman Miller furniture when I first started apprenticing, but it’s the most difficult upholstery you can do—I wasn’t experienced enough to get into that yet. Also, the person I apprenticed for in Detroit had the market locked down and I didn’t want to compete with him, so I was mostly doing antique furniture, you know, people’s settees and chaise lounges and stuff like that. The clientele is mostly older people who could actually afford it, because it’s pretty expensive.

BLVR: It’s incredibly expensive, isn’t it?
JW: Yeah. I initially thought I could hook up my friends with cool furniture, stuff they got at Salvation Army, but I couldn’t afford it.

BLVR: Why is it so expensive?
JW: Say you want to re-upholster a couch. The couch is like twelve yards of fabric, and if you’ve got cheap fabric for $10 a yard (which would be really cheap), that’s $120 already. Then it takes 35-40 hours of work to upholster a couch, so even if you work for $10 an hour, it would end up being like $560 to do a couch, not counting the padding, the cushion, all that stuff. So you couldn’t just cut a deal; you can’t upholster someone’s couch for less than $1000.

BLVR: So the piece has to be worth a lot to begin with.
JW: Yeah, exactly. Someone who bought a couch at Salvation Army for 50 bucks isn’t going to spend $1000 to re-upholster it, unless they’re rich. Then it’s probably okay.

BLVR: Is it an investment? If you have a nice piece, like an actual Herman Miller original or something from that era and you re-upholster it, is it of the same value, or does it go down in value?
JW: No, if you have an original piece and you re-upholster it, it maintains the same value; it’s worth more than a reproduction or a reissue of the same chair from nowadays.
It used to be that you got your parents’ furniture when you were married or whatever and you had their mattress re-upholstered and it would last for thirty, forty years. You spent a lot of money on it initially, but you never got rid of it. Now, the whole method of how people get furniture is just disposable. You go to Art Van or whatever and buy a $400 couch and throw it out a couple of years later. That whole method just killed the upholstery trade, and it became a rich person’s thing.

BLVR: Is it not as much of a trade as it used to be?
JW: It’s very much a dying trade. If you’re an electrician or a plumber, you can get work on every house on the street. With upholstery, though, especially in Detroit, you have to get all your business from the suburbs. It becomes a specialty thing, because nobody really needs to get it done, like they used to. Back in the day, you needed to get it re-upholstered, but now it’s like, “Why would I bother? I’ll just buy something real cheap.”

BLVR: What do you think about Ikea?
JW: Oh, it’s really cool, man. It’s bringing more affordable style to people. It’s pretty sweet. So many places ignored that for the last 40 years or so. Then all of a sudden places like Target started making things. What else can you do when you don’t have any money? At least you can get something cool if you don’t have that much.

BLVR: Did you have trouble starting the business by yourself?
JW: Not really. I was in this warehouse with a bunch of artists in their studios, and as soon as I started, they were giving me work, and word of mouth spread around. I was never out of work. I started doing lots of different things; I did a piece for a psychiatrist—a psychiatrist’s couch with a matching chair.

BLVR: That makes sense, the matching.
JW: Things just sort of spring-boarded. It’s like that old saying: If you’re doing something that people want, they’ll find you. It’s pretty funny that way, because that’s exactly how it worked out. I didn’t really advertise or anything.

BLVR: Would people truck in their couches to you, or would you have to go out and pick them up?
JW: I would go pick furniture up and take it back to the studio. My whole shop was only three colors: yellow, white and black. I had this yellow van, and I dressed in yellow and black when I picked up the furniture, and all my tools were yellow, white and black. It was pretty cool. I got so much into the cartooniness of the business, almost to the point of it being a joke to the people who would see me, and they wouldn’t really trust me to do a good job.

BLVR: They thought you were kidding about the whole thing.
JW: Yeah. I starting trying to make an art form out of giving someone a bill for my services, like writing it with crayon on a piece of paper, or having a yellow piece of paper with black marker saying “You owe me $300.” People would be like “What the hell is this?” and I’d be like “I don’t know, I just want you to sign this and give it back to me and pay me, and that way I can have it as a… um…” People just didn’t dig it. It was two different worlds colliding. When I’d re-upholster furniture I’d take off the old fabric and I started to write poems and things inside the furniture, so if it was ever re-upholstered again one day they’d get little messages from the last person who upholstered it. I thought it’d be cool if we all wrote each other messages.

BLVR: It’s like mail art.
JW: The guy who I apprenticed for, Brian Muldoon, was heavy into mail art. He was one of the big guys in the Seventies doing that.

BLVR: How old were you when you were working in furniture upholstery?
JW: I started apprenticing when I was fifteen, and I had my own shop when I was twenty-one.

BLVR: It must have really looked strange. Someone so young, and with the three colors…
JW: I think so. My business cards were yellow, black and white. Each one had an upholstery tack on it with red paint that looked like blood. My slogan was right below it: “Your Furniture’s Not Dead.”

BLVR: [Laughing] Oh no.
JW: Most people didn’t think it was funny. The guy I used to apprentice for, he saw the card and was like, “Do you want anybody’s business?” [Laughs]

BLVR: What was your van like?
JW: I got this yellow Ford van at a used car place that was like $1200 bucks, I had someone loan me the money. That van was the best thing: I already had the yellow and the black hand tools and power tools, so once I had that, I was set. I built a fabric table that I’d seen at an upholstery shop I worked at. It had Styrofoam underneath the cloth of the table and you could pin the fabric down right to the table so you could measure things perfectly. I built one of those with my older brother. It was yellow and black, just huge and really, really nice. I have it in my basement now. When I closed the shop down, all of that stuff ended up in my basement.

BLVR: Do you ever do upholstery now, for fun?
JW: No, it’s not fun. [Laughs] It’s not fun at all. It’s hard work. I’ve talked to a lot of other upholsterers, and it’s considered one of the most difficult trades. I was having a lot of trouble, and I would talk to these guys when I went to pick up supplies. I asked how long they thought it would take me before I could whip out a chair really fast and start making better money and not have it be a huge problem every time I got a new piece. They told me it was probably going take me between eight and ten years before I’d be really comfortable. I was like “Ah, man, I just can’t do it.”

BLVR: Because each piece of furniture posed a completely different set of problems.
JW: Yeah. I had apprenticed for a few years, but a lot of shops won’t teach you how to do stuff because they can’t waste time and show you how to sew a cushion or how to tie springs up properly—they just have you doing more menial things to ease you into it. By the time I started my own shop, when I was like “Fuck it, I’m going to go on my own and try to do this,” I was so inexperienced about so many types of problems. Things would come in and I just wouldn’t know what to do. I’d take something apart and the springs were just destroyed and I didn’t know what kind of springs I should put in there, I just didn’t know every single thing. I would have to call Brian Muldoon, and a couple of times he had to come over and bail me out. It was really stressful, especially for being twenty-one, and being by yourself, in this like warehouse building with this couch they want done by next week, and…[Laughs] it’s really stressful!

BLVR: But it’s all about the bluff, right? You have to sort of pretend like you know what you’re doing.
JW: Yeah, you’ve got to pretend. I remember a couple of times when I re-upholstered someone’s whole chair and charged them $600 and delivered it, and I sat down when I was finished and said “Aw, shit, this is the wrong foam in here, it’s way too stiff. It’s like sitting on wood,” and there was nothing I could do, I had to deliver it. I just had to talk my way out of it. This customer was like “Whoa, this is really hard,” and I’m like “Well yeah, you know, don’t worry, the foam is going to break down, you gotta let it settle in.” I didn’t know what to do. A lot of stuff like that went on.

BLVR: Did you ever get into taxidermy?
JW: Yeah, yeah, definitely. I have a huge taxidermy collection at home.

BLVR: All antique?
JW: A lot of them are. I’ve got a zebra head, two gazelles, an eland, a kudu, a giant white elk…

BLVR: How about a dik-dik?
JW: What was that? What?

BLVR: Have you got a dik-dik? It’s like a small antelope. They have them all over East Africa. Did you ever do any taxidermy yourself?
JW: At one point I thought, “Well, while I have my own shop I should really get into every mode of upholstery I can and learn what I can about everything,” so I remember calling up a bunch of places that were upholstering coffins, three or four in the Detroit area. I called them all up and they just would not hire me. I was like, “I’m an experienced upholsterer and I’ve been working in the trade for years,” and they were like “Why do you want to upholster coffins?” They thought I was some sicko or something, but I wanted to learn that part of the trade because there are certain techniques used in tufting and working with silk in coffins that you don’t get to do in regular upholstery, but they just wouldn’t hire me. They were like, “You know, a lot of this stuff is prefabricated and we just glue it together when it gets here and you don’t want to work here.”

BLVR: And there’s not a whole lot of re-upholstering going on there, either.
JW: [Laughs riotously] No, there’s not. I didn’t think of that. 


Jack White membuat gitar sendiri di adegan awal film It Might Get Loud

Yang ini aku ambil dari blog lain, masih tentang Jack White dan pekerjaan sebagai Upholsterer
......

P- You’re an upholsterer, yes?
JW- Yeah, still.

P- Paul (Reubens) told me he got to see your upholstery equipment
JW- Yeah, he was in my shop! I talked to him yesterday.

P- He said it was amazing. You have it right in your house and you actually still do it. Does it keep you in touch with the real world or something?
JW- Yeah, it’s like… it’s creating. It doesn’t matter what it is, if it’s physical or musical or whatever. It’s the tangible things too, really. The tangible stuff, that’s inspiring. When you work all day long, an 8-hour, 9-hour day, that’s when you start thinking about all of the things you could be doing or writing or recording or painting or sculpting or whatever, when you have to do all this other stuff. If you could combine the two… like in upholstery, I could create, make something tangible, it’s physical labor, and all that fantasizing about what you could be doing besides this. It’s all happening at the same time, so it’s kind of perfect.

P- So you can imagine things while your physically doing it? Wow, that’s a double whammy.
JW- It’s sort of… you just don’t think about the hand parts, it’s hypnotizing.
......

Saturday, February 13, 2010

Handbag 'Imlek' Pesanan Lioni


Masih inget sama handbag ini kan? Temenku Lioni pengen juga. Nah ini hasil jadinya, ada sedikit perubahan di bagian atasnya. Dudukan gagangnya aku bikin lebih kotak dan aku tarik lebih ke bawah, biar bentuknya jadi lebih padet di bawah.. Tas ini pengerjaannya masih belum serapi yang diharapkan dan itu membuat aku pengen bikin lagi :D sekalian ngabisin kain-kain oriental yang masih ada. Bisa sekalian jadi proyek imlek di akhir pekan..

 

  

Lumayan banyak kan, pilihan kainnya..

Friday, February 12, 2010

Notebook Bersabuk Batik Garut

 

Yang paling menyenangkan dilakukan di kala hujan adalah: berdiam diri di tempat kerjaku, bersama mesin jahit, kain-kain, kertas-kertas dengan ditemani kopi susu dan lagu, lalu muncullah ide bagaimana kalau sore yang hujan dan basah ini, diisi dengan membuat notebook. Dari belanja kulit-kulit imitasi di Cibaduyut kemarin, aku beli bahan ini. Tiga warna dan ngedoff (belakangan ternyata menjahit kain kulit imitasi kaya gini, ga gampang juga.. agak nempel di mesin jahit dan bikin hasilnya jadi kurang rapi. Aku mesti mencari tau tips n tricknya menjahit bahan kulit imitasi begini, mengingat aku agak perfeksionis kalo bikin notebook begini, kalo ga rapi suka sebel).

  

  

Kain kulit imitasi ini, kemudian aku kombinasikan dengan batik-batik garut yang masih ada (dan bikin aku pengen ke Garut untuk nyari lebih banyak warna). Sebelum batik garutnya aku satukan dengan kulit imitasiny, si kain batik aku tempel di kain keras dulu biar agak kaku, setelah itu baru di jahit ke bagian kulit imitasinya sekalian jadi bingkai di sisi-sisinya. Jilidnya langsung aku jahit ke sampulnya dengan menggunakan benang katun bali, kebetulan stok warnanya macem-macem di tobucil.

  

 

Bagian sabuknya aku pakai pinggiran kain batik, biar menambah aksen dan ga monoton. Trus untuk kancing sabuknya, aku tempelin magnet tas biar gampang buka tutupnya. Untuk menutupi bagian belakang magnet, aku tempelin kancing bungkus kain dari motif bagian sampul dalam, jadinya serasi.


Untuk kertasnya aku pakai kertas jenis BC (karton manila/ card stock) 120 gr. Ukurannya A4 di lipat 2 bagian. Jadi notebook ini ukurannya A5 atau setengah A4. Sengaja aku pakai kertas tebal, biar kalo notebook ini mau di jadiin scrapbook, ga terlalu tipis kertasnya. 

Foto lebih lengkap untuk Notebook Bersabuk Batik Garut bisa di lihat di sini.  

Wednesday, February 10, 2010

Note Book Kotak-kotak Bersampul Rajutan


Masih dalam rangka 'dampak beres-beres'. Aku menemukan selembar rajutan yang awalnya mau dibikin dompet, tapi karena tertunda-tunda, rencana tinggal rencana. Akhirnya dengan semangat membereskan karya-karyaku yang belum selesai, akhirnya kuputuskan selembar rajutan ini aku jadikan sampul notebook. Sekalian nyobain, bikin sampul dari rajutan. Talinya juga memanfaatkan rajutan yubiami yang dibikin tanpa tujuan.

  

  

 

  Untuk memberi bentuk yang pas dan presisi, bagian dalam rajutan aku lapis dengan kain polka dot biru yang di dalamnya dilapisi kain keras (yang paling kaku). Jadi rajutan di jahitkan pada si kain polka dot itu dengan jahit tangan dan menggunakan tusuk piston. Sementara sakunya yang terbuat dari kain polka dot orange, baru kepikiran setelah kain polka dot biru selesai di tempel. Akhirnya kain orange aku tempel dengan jahitan tangan tusuk jelujur aja dan sengaja ada dibagian depan dan belakang sampul dalam. 

 

 


Setiap 'signature' atau satu bundel kertas, dijahitkan langsung ke bagian sampul dengan menggunakan benang sulam DMC warna orange. Selain itu juga halaman paling depan aku tambahkan sisa kertas kado import yang beberapa waktu lalu aku berli di aksara. Sementara kertas birunya, biar ga terlalu polos, aku print di kertasnya kotak-kotak, biar buku ini jadi seperti buku kotak-kotak.



Pemasangan talinya sengaja aku bikin seperti itu, biar gampang 'ngunci' dan ngiketnya. Ujung rajutan talinya aku kasih manik-manik kayu, sebagai pemberat dan aksen juga. Setelah ini, aku mau nyoba pake sampul dari kulit-kulit imitasi (hasil belanja di Cibaduyut) yang belum aku sentuh sama sekali itu..

Monday, February 8, 2010

Bikin Handbag Dan Dompet Ala U-Handblog

 

Satu lagi yang kutemukan dari hasil beres-beres adalah handbag yang satu ini. Sudah lama banget handbag ini aku simpen, ada sekitar 3 tahun. Padahal tinggal jahit bagian atasnya aja, tapi selalu lupa dan lupa. Berhubung aku lagi semangat menyelesaikan karya-karyaku yang belum selesai, tas ini masuk dalam daftar. Sepanjang sore tadi, aku menyelesaikannya. Lumayan nih buat tas pesta. Aku suka bentuknya dan gagangnya. Waktu itu aku beli gagangnya di Pasar Pagi, Mangga Dua. Trus kain motif oriental ini, aku beli di Tegalega (pasar baju-baju bekas) di kios yang khusus menjual selendang-selendang (FYI: Tegalega sekarang pindah ke Gede Bage). Jadi kain ini awalnya berbentuk selendang, trus aku buka sambungannya. Yang punya ide keren banget bikin tas begini adalah U-handblog, aku dapet tutorialnya disini. Buka aja, jelas banget instruksinya. 



Satu lagi adalah dompet ini. Kainnya memanfaatkan sisa kain untuk handbag tadi. Polanya dan instruksi pembuatannya dengan sangat jelas aku dapat di U-Handblog, buka aja di sini kalo mau bikin juga.

(Pas lagi upload ini, temenku Lioni dateng, trus malah jadi pesen minta dibikinin satu.. untungnya aku masih nyimpen nih kain-kain selendang oriental ini.. nanti kalo dah jadi aku posting juga di sini.)

Si Brother Kembali Bekerja

 

Akhirnya si 'brother' bisa bekerja lagi, setelah kemarin itu sempat tewas karena terlalu berat bekerja. Aku menemukan tukang servis mesin jahit langganan ibuku sejak jaman dulu: Ganda Atmaja (dulu di jalan Ahmad Yani, deket pintu kereta Kosambi), sekarang pindah ke jalan Cikudapateuh Dalam no. 6. Setelah  rawat inap semalam, si brother langsung mulus lagi jalannya. Suaranya halus dan enak di pakai. Sayangnya, karena si brother ini jenis lama, jadi gigi-gigi dari macam-macam jahitannya udah aus dan ga bisa diganti karena ketiadaan spare part. Akhirnya yang bisa di pake cuma jahitan standar dan zig-zag saja.. :(




Bersebelahan dengan meja si brother adalah rak berisi kain-kain (mengingat aku senang sekali belanja kain :D), webbing-webbing, dalam kardus itu ada potongan-potongan kulit bahan sepatu dan tas aneka warna yagn aku dapat di cibaduyut.  Meja dan rak ini letaknya di studio mininya tobucil. Box-box di bawah itu ada box perlengkapan origami yang berisi kertas-kertas, box payet-payet dan manik-manik, box kancing-kancing, box perlengkapan crafty kids tobucil. Aku menahan diri untuk ga belanja kain dulu untuk sementara, karena persediaan masih cukup banyak.. ada juga setumpuk kain batik yang  belum aku apa-apain..  tapi ga jamin juga, kalau tiba-tiba temenku ngajak ke pasar baru atau gang tamim, pastinya ga bisa menahan diri untuk ngeborong kain-kain lagi.. heheheh..

Dompet Jarum Crochet


Beres-beres, nemu sepotong rajutan dari benang korduroy biru yang kubikin beberapa tahun lalu. Waktu itu aku lagi latihan bikin motif kotak-kotak dari tusuk bawah dan atas. Berhubung belum mahir makanya rajutannya sangat tidak rapi.. :D Tapi kalo mau dibuang juga sayang, akhirnya kepikiran bikin tempat jarum crochet aja. Model dompet dengan resleting, biar compact dan gampang kalo mau dibawa-bawa.
Kain pelapisnya aku pake warna merah polka dot dan kotak-kotak, biar kontras dan ga ngebosenin. 

 

Untuk memberi kesan rapi pada rajutannya, aku pasang list merah di sisi-sisinya dengan menggunakan jarum corchet. Sekalian juga memberi frame untuk rajutan ini.

  

Trus pasang resleting di sekeliling rajutan. Mulainya dari tengah dan nanti ketemu lagi di tengah-tengah. Sisa resleting yang ga terjahit  di simpen di tengah-tengah aja biar rapi. Pemasangan resleting ini dilakukan dengan jahitan tangan. 

  

Siapin kain pelapis dalamnya. Panjang dan besarnya menyesuaikan ukuran rajutan luar. 'Laci-laci' untuk menyimpan jarum, ukuran disesuaikan dengan jarum-jarum yang aku punya. 

  

Setelah kain pelapisnya siap, tempelkan di bagian rajutan. Pakai jarum pentul dulu untuk mengepaskannya. Setelah itu baru di jahit pakai tangan. Menjahit dengan menggunakan mesin, tidak dianjurkan, karena bisa merusak bagian rajutannya dan juga mesin jahitnya sendiri.

  

Selesai deh, tempat  jarum crochet ini kalau resletingnya di buka full, dia akan seperti ini bentuknya, tapi kalau di tutup, ukurannya akan jadi setengahnya. Gimana dengan jarum-jarum crochetmu, apa sudah tersimpan rapi di dompetnya.. ?


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