Journal of Visual Art and Design
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Ciri Visual Komik Strip Sunda Opat Madhab Setan dalam Majalah Manglé
Get PDFOpat Madhab Setan, sebuah komik strip yang diterbitkan Manglé, majalah berita, sastra dan budaya Sunda hadir Maret hingga Desember 1988 dalam 42 edisi. Komikus berusaha mengangkat budaya Sunda melalui penggambaran ilustrasi yang khas dalam menyusun unsur visual melalui komposisi cukup kental dengan nilai Sunda dan kesundaan. Penelitian ini bertujuan mengetahui serta memahami bagaimana budaya Sunda direpresentasikan melalui gambar dan tulisan. Selain itu untuk mengidentifikasi unsur-unsur dalam komik, yang menjadi ciri visual dan karakter sebuah komik Sunda. Penelitian menggunakan analisis isi kualitatif untuk membuka dan memaparkan dengan teliti bagaimana unsur-unsur pada sebuah cerita diungkapkan. Dari penelitian disimpulkan komik Opat Madhab Setan memiliki ciri visual, gaya gambar semi realis, banyak menangkap gestur, tidak detail, inkonsistensi ukuran panel dan tidak rapih, tipografi tulisan manual menggunakan huruf besar, dominasi normal baloons, dan panel gabungan interdependen, onomatopea yang khas dalam bahasa Sunda. Budaya Sunda direpresentasikan melalui cerita, penokohan orang Sunda berupa karakterisasi stereotype, gambaran fisik postur, gestur, facial, serta latar Islam digambarkan sebagai sistem religi yang dianut, bahasa yang digunakan bahasa Sunda loma/lancaran. Kampung Sunda dihadirkan melalui arsitektur rumah panggung, gambaran alam dengan budaya sawah dan ladangnya, atribut berupa benda pakai, interaksi sosial, kepercayaan serta nilai-nilai kempimpinan yang ada di masyarakat Sunda.
Kata Kunci: budaya; karakter visual; komik; komik strip; Sunda.
Opat Madhab Setan, a comic strip published by Manglé; Sundanese news, literature, and culture magazine from March to December 1988 in 42 editions. The comic artist tries to depict Sundanese culture through a distinguished illustration in making up the visual elements by taking into account the compositions of societies and its value. The aims of this research are to discovering and comprehending the way Sundanese culture is represented. In addition, it is also meant to identify the visual criteria in the comic. The qualitative-content analysis is used to describe in details how the elements in particular story revealed through drawings and writings. Based on the analysis, it can be concluded that the comic Opat Madhab Setan has the characteristics of semi-realistic drawings, gestural, not detailed, untidy and inconsistent in its panel size, large font for its manual typography, dominated by normal balloons, interdependent joint panel, and peculiar sundanese onomatopoeic sound effects. The Sundanese culture is represented through stereotype characterization, physical illustration, gestures, facial expression, and background. Islam is illustrated as the belief system being adopted. The nature illustrated through the existence of the rice fields, daily use attributes, social interactions, belief, and the value of leadership among the sundanese society.
Keywords: comic; comic strip; culture; Sundanese; visual character
Hibriditas Medium pada Film Opera Jawa Karya Garin Nugroho sebagai Sebuah Dekonstruksi
Get PDFDi tengah penyeragaman ide, gagasan, pesan, dan estetika pada film-film nasional, menarik menjadikan film Opera Jawa karya Garin Nugroho sebagai obyek penelitian sekaligus menjadi alasan kenapa penelitian ini dilakukan. Penelitian ini sebagai upaya peningkatan peran aktif produktif penonton dalam memahami dan memaknai teks film. Dengan fokus bagaimana pesan dan makna tersebut dibaca melalui elemen-elemen visual teks film yang dikonstruksi oleh keragaman penggunaan medium. Penelitian dilakukan dengan pendekatan estetika posmodern melalui metode semiotika dengan teknik deskriptif interpretatif. Membongkar struktur kode bahasa film, melalui analisis struktur dramatik naratif dan unsur pembentuk film, yang berkaitan dengan aspek non-verbal berupa tanda-tanda elemen visual dan gerak pada shot film. Elemen-elemen tersebut dikonstruksi oleh pilihan medium ungkap yang menjadi gaya ungkap (ekspresi) sineas dalam menyampaikan pesannya. Ekspresi sineas dalam menyampaikan ide gagasan, dan konsep tersebut, berupa idiom estetik parodi, dengan pelencengan makna, eksplorasi medium (hibriditas medium), dan gaya ungkap, sebagai kritik atau sindiran atas bentuk yang dijadikan rujukan. Lewat film ini, Garin Nugroho melakukan dekonstruksi terhadap tokoh-tokoh, ruang, pesan dan makna, serta narasi dari epik Ramayana karya Walmiki yang menjadi rujukannya. Merefleksikan persoalan gender, feminisme, dominasi maskulinitas, dominasi kekuasaan, pertentangan kelas, dan kapitalisme. Kata kunci: hibriditas medium; semiotika film postmodern; dekonstruksi.In the midst of the ideas, concepts, messages, and aesthetics uniformity at national films, it is interesting to make Opera Jawa movie by Garin Nugroho the object of study. That is the reason why the study was conducted. The research was an effort to improve the audience's productive and active role in understanding and interpreting the subtitles by focusing on how to read the message and meaning through subtitles constructed by the diversity of the medium use. The study conducted with the postmodern aesthetic approach through semiotic method with descriptive interpretive technique dismantles the structure of the film code language through the analysis of narrative and dramatic structure-forming elements of the film. It deals with aspects such as non-verbal signs of visual elements and movement in the film shot. These elements are constructed by the medium expression choice of the filmmaker in delivering his message. The filmmaker delivers his criticism or satire through swerved meaning and medium exploration (medium hybridism). Through this film, Garin Nugroho deconstructed the figures, space, message and meaning, as well as the narrative of the epic Ramayana by Walmiki as a reference. It reflects gender issues, feminism, masculinity domination, class warfare, and capitalism.Keywords: medium hybridity; postmodern films Semiotics; deconstruction
The Priangan Batik in the Constellation of Modern Aesthetics
Get PDFA study of the aspect of identity in the aesthetic domain of Priangan Batik, from the old Priangan Batik to the present day Priangan Batik, in relation to the constellation change of its aesthetic elements. It considers various impacts of modernity, enriching batik through its ornaments, themes, colors, composition, techniques, and naming to the characteristics of each of the Priangan Batik production areas. Priangan Batik has also been influenced by other cultures. When its local know-how and spirit are traced back in its various forms and dimensions, we can find a reflection of the aesthetic cultural identity of the Priangan community. It has experienced cultural transformation diachronically as well as synchronically, and at the same time adopted elements from various new cultures, including the modern paradigm as well as commercial culture. In the 20th century, batik activity developed in the following Priangan areas: Ciamis, Tasik, and Garut. The development of batik in these areas has expanded it to incorporate a number of values within the dimensions of meaning, principles, and goals. Also, it has been influenced by the heterogeneity Indonesian culture within the constellation of modern aesthetics.Keywords: constellation; modern aesthetics; Priangan Batik
Banana Bark as A Part of Acoustic Design Unit by Hybrid Technology Application
Get PDFAbstract. Banana bark is one of tropical indigenous natural resources that can be used as main material for many products. Being a fast-growing renewable material, it is durable and has natural patterns that people find visually attractive. Naturally, its textures and patterns are its main values; therefore it has the potential to be developed further. This research is needed to optimize the growth of small craft industries of banana bark, including the community where production activities take place, and also to provide information or reference of banana bark utilizations. Previous experiments conclude that banana bark has porous structure, high flexibility, relatively water-resistant due to its natural wax coating that resists water droplets, unless being washed down immensely. Also, due to its softwood- and paper-like properties, ithas many possibilities to be formed and processed into various functional products, mostly as craft products. In the subsequent study, the research about the utilization of banana bark in small industries starting from the harvesting system, handling problems in raw material supply, applying proper technology in improving the material's quality, improving the human-resource working culture by appropriate technologies, and also innovating the product's designs. The recommended designs can be implemented to improve the performance and qualities of banana bark products.Keywords: applied technology; banana bark; renewable materials; design; sustainability
I La Galigo Folklore Illustration on Textile Media
Get PDFThis project was an effort in conserving the I La Galigo epic story while at the same time adding value to silk, the famous textile product from South Sulawesi and the origin of I La Galigo. As a work of literature, I La Galigo is categorized as an epic. It is known locally as Sureq Galigo in Bugis. It is divided in a number of episodes or tereng. The most well-known tereng is the one which describes the relationship between Sawerigading and a princess called I We Cudai. From that relationship I La Galigo, the central character of this epic is born. For this project six of the most well-known episodes were selected because of the amount of available supporting data, both theoretical and visual. The selected episodes were translated from their original narrative form into visual language or images. The illustration technique used in this project was STP (Space Time Plane). With this technique every object is drawn from varying viewpoints in one frame, both in space and time. Hand embroidery was added to the painted images. The silk painting can be used as an interior element with value added by the I La Galigo illustrations. Keywords: I La Galigo; epic; Sulawesi; illustration; silk painting; space time plane
Pendekatan One Village One Product (OVOP) untuk Mengembangkan Potensi Kerajinan Daerah. Studi Kasus: Kerajinan Gerabah di Kecamatan Plered, Kabupaten Purwakarta
Get PDFOne Village One Product (OVOP) adalah suatu pendekatan pembangunan daerah yang bertujuan untuk memajukan ekonomi daerah tersebut. Konsep OVOP berasal dari Oita, Jepang dan diadopsi oleh berbagai negara di dunia. Indonesia melalui Kementerian Perindustrian sejak tahun 2008 melaksa-nakan program OVOP yang bertujuan untuk memajukan potensi industri kecil dan menengah kerajinan di sepuluh wilayah di Indonesia, termasuk Purwakarta dengan potensi kerajinan gerabah dan keramik hias. Penerapan OVOP dalam rangka memajukan industri kerajinan memerlukan strategi yang sesuai dengan prinsip mendasar OVOP dan dapat menyelesaikan permasalahan yang dihadapi oleh industri produk kerajinan di daerah sasaranPenelitian ini bertujuan untuk mengevaluasi penerapan OVOP di Indonesia yang telah berlangsung sejak tahun 2008 dan menyusun sebuah rekomendasi bagi pengembangan potensi produk kerajinan dengan pendekatan OVOP dengan mengambil studi kasus di Plered, Purwakarta. Rekomendasi ditujukan bagi pemerintah sebagai pemangku kebijakan, masyarakat sebagai pelaksana, dan pihak swasta, khususnya akademisi desain atau desainer professional.Selain pentingnya konsistensi pemerintah dan partisipasi masyarakat dalam melaksanakan dan mengawasi berjalannya program yang telah disusun, pengembangan desain produk kerajinan memegang peranan yang sangat penting. Diperlukan peran desainer yang sangat kuat untuk dapat mengembangkan desain yang dapat memahami kebutuhan pasar sekaligus mempertahankan nilai-nilai tradisional kerajinan dan menyelesaikan permasalahan yang dihadapi oleh industri.Kata kunci: gerabah; kerajinan; keramik; OVOP; Purwakarta.One Village One Product (OVOP) is a regional development approach that aims to promote the economy of a region. The concept of OVOP was origined from Oita, Japan, and adopted by various countries in the world. Indonesia through the Ministry of Industry since 2008 implementing OVOP program that aims to promote the potential of small and medium craft industry in the ten regions in Indonesia, including Purwakartawith its potential on decorative pottery and ceramic crafts. This study aims to evaluate the implementation of OVOP in Indonesia that has been ongoing since 2008 and make a recommendation for the development of potential handicrafts with OVOP approach by taking a case study in Plered, Purwakarta. In addition to the importance of consistency of government and public participation and oversight in implementing the program, the development of craft product design plays a very significant role. It is required for designers to have very strong roles to develop designs that can understand the market needs while maintaining the traditional values of craft and resolve the problems faced by the industry.Keywords: craft; ceramic; OVOP; pottery; Purwakarta
Makna Simbol Gelar Raja Dalam Masyarakat Adat Bali
Get PDFThrough the 18th and the 19th century, the position of Balinese King (Dewa Agung Jambe) was so important that he held power in both Bali and Lombok island, and he regognized by the title Sesuhunan Bali and Lombok. Dewa Agung Jambe politically and culturaly had several titles that were influential to the harmony of his sociaty livinghood. The titles of the king are related to the symbols that have sacred and trancendent meanings. Dewa Agung was God's Awatara, symbolized or varous forms such as ornaments, carvings, sacrad Balinese writings and letters, bulidings, even the deceased's container or coffin ( Bade beratap tumpang 11). The purpose of this essay was to explore the meanings and symbols that were the reflection of those king titles, to prevent the possibility of misuse from the original function of those sacred symbols. This has been a cultural research with the stucture of the history of Balinese Kingdom traditional sociaty that embranced Hindu. The funtion of these symbols are for strengthening the personality and morality, especialy in the aspect of arts and design. Therefore, it is important to continue preserving, harmonizing these tradisional symbols especially ones that have religious, sacrad, even spiritual values.
