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PENGARUH TOKOH PUNAKAWAN SANGUT DAN DELEM TERHADAP PEMAHAMAN PEMBACA KARTUN EDITORIAL SANGUT DELEM DI HARIAN BALI POST Witari, Ni Nyoman Sri
Prasi: Jurnal Bahasa, Seni, dan Pengajarannya Vol 7, No 13 (2012): Periode Januari-Juni 2012
Publisher : Universitas Pendidikan Ganesha

Sangut and Delem who are two servant figures in the Balinese shadow puppets grip are adopted asan editorial cartoon of Bali Post newspaper. The concept of plot and character to the traditional characterizationsturns into a special appeal when they are interpreted as editorial cartoons. So that the election of theircharacters as the main characters is very interesting to study the importance of considering the editorial role inbuilding the image of a newspaper. Furthermore the election of their characters as the main characters is veryinteresting to study given the mission to preserve traditional cultural symbols to reinforce the character of theyoung generation which is an important agenda.This study used a questionnaire instrument to collect data and are presented in the form of descriptiveanalysis through simple charts and tables. From the results of the analysis it is showed that puppet characters Sangut and Delem remains relevant and are used as an editorial cartoon today.Keywords: character, cartoon editorial, punakawan Sangut Delem

ANALISIS VISUAL SAMPUL MAJALAH â€œBOBOâ€ EDISI BULAN APRIL 2016 Witari, Ni Nyoman Sri; Wardana, Ketut Nala Hari
Prasi: Jurnal Bahasa, Seni, dan Pengajarannya Vol 12, No 01 (2017)
Publisher : Universitas Pendidikan Ganesha

Bobo Magazine is one of childrenâ€™s magazine which is still exsisted from 1974 until now. Their cover has its own uniqueness. This research was aimed at identifying visual layout of Bobo Magazine, finding the quality of elementâ€™s design and visuals elements. The research method is qualitative approach which are collected from observation results, documentation and library research. The object of research was Boboâ€™s magazine cover of April edition, 2016. The data analysis used to analyze visualization quality was the theory of Tom Lincy about five principal design on printed works, such as proportion, balance, contrast, rhyme, and unity. From the visual data analysis it was found that layout composition from illustration, texts/letter, and colour on cover has applied the principles of unity, balance, rhyme, contrast and proportion. The visualâ€™s fascination is unique, different from others, because it was supported by the use of Boboâ€™s family characters as icons, the use of bright pastel colours, the use of exact San Serif letters and dynamic layout of objects

PENERAPAN TEKNIK AIR BRUSH KE MEDIA LAYANGAN DI â€œKITE PAINTING NO PROBLEM SING KEN-KENâ€, CELUK,SUKAWATI ., I Gede Riski Soma Himawan; ., Ni Nyoman Sri Witari, S.Sn.; ., Drs.Mursal
Jurnal Pendidikan Seni Rupa Undiksha Vol 4, No 1 (2014)
Publisher : Universitas Pendidikan Ganesha

â€œKite Painting No Problem Sing Ken-kenâ€, yang terletak di Br. Cemenggaon, Celuk, Sukawati, Gianyar, adalah salah satu perusahaan yang memproduksi layangan yang dilukis dengan menggunakan teknik air brush. Keunggulan-keunggulan teknik air brush di â€œKite Painting No Problem Sing Ken-kenâ€ dibandingkan dengan teknik pewarnaan dengan cat kuas antara lain: 1.Waktu pewarnaan menggunakan teknik air brush relatif lebih cepat dibandingkan dengan menggunakan teknik cat kuas, sehingga pesanan dari konsumen bisa lebih cepat dikerjakan. 2.Lukisan yang dibuat dengan teknik air brush tidak menampakan guratan kuas, sehingga gradasi warna yang dihasilkan tampak lebih hidup. 3.Hasil lukisan lebih awet, karena pigmen warna yang disemprotkan ke media lebih menempel ke pori- pori, sehingga daya rekatnya lebih kuat. Artikel ini mengulas tentang keberadaan â€œKite Painting No Problem Sing Ken-kenâ€,proses penerapan teknik air brush ke media layangan di â€œKite Painting No Problem Sing Ken-kenâ€, dan jenis motif yang diterapkan ke media layangan di â€œKite Painting No Problem Sing Ken-kenâ€. Penelitian ini merupakan penelitian deskriptif dengan pendekatan kualitatif. Subjek penelitian ini adalah pengerajin layangan di â€œKite Painting No Problem Sing Ken-kenâ€, Celuk, Sukawati. Pengumpulan data dalam penelitian ini dilakukan dengan teknik observasi, wawancara, dan kepustakaan. Hasil temuan dalam penelitian ini adalah: Keberadaan â€œKite Painting No Problem Sing Ken-kenâ€, Celuk, Sukawati, dimulai sejak tahun 1993 yang diawali oleh Bapak I Wayan Bambang Netra. Proses penerapan teknik air brush ke media layangan di â€Kite Painting No Problem Sing Ken-kenâ€ yang meliputi antara lain: proses pengerjaan sketsa dengan pensil atau kapur tulis, proses pengerjaan sketsa menggunakan sprayer dengan menerapkan teknik freehand, proses pemotongan plaster kertas, proses pengecatan warna dasar dengan menerapkan teknik stencil, proses pengerjaan warna gradasi dan proses pengerjaan detail. Di â€œKite Painting No Problem Sing Ken-kenâ€, kedua teknik ini selalu dikombinasikan sesuai kebutuhan. Jenis motif yang dihasilkan oleh â€œKite Painting No Problem Sing Ken-kenâ€ dibagi menjadi dua, yaitu motif fauna dengan bentuk realis antara lain: motif kupu-kupu, motif capung, motif burung elang, motif burung merak. Dan motif fauna dengan bentuk imaginatif antara lain: motif serangga, motif burung hantu, motif naga, motif ikan, motif ular kobra, motif barong.Kata Kunci : Teknik air brush, proses, motif. â€œKite Painting No Problem Sing Ken-kenâ€œ, which is located in Br. Cemenggaon, Celuk, Sukawati, Gianyar, is one of the companies that manufacture kites painted with a brush using water techniques. The advantages of the air brush technique in "Kite Painting No Problem Sing Ken-ken" compared with staining techniques with paint brushes, include: 1. Staining time using the air brush technique is relatively faster than using a brush paint technique, so that the order of the consumer can be done faster. 2. Paintings made with air brush techniques not show brush strokes, so that the resulting shades seem more alive. 3. Results paintings more durable, because the color pigment is sprayed over the media to stick to the pores, resulting in a stronger adhesive power. This article reviews about the existence of "Kite Painting No Problem Sing Ken-ken", process of applying the technique to a media air brush kites in "Kite Painting No Problem Sing Ken-ken", and motifs are applied to medium kites in "Kite Painting No Problem Sing Ken-ken". This research is a descriptive qualitative approach. The subjects were craftsmen kites in "Kite Painting No Problem Sing Ken-ken", Celuk, Sukawati. Collecting data in this study was done by using observation, interviews, and literature. The findings in this study are: The existence of "Kite Painting No Problem Sing Ken-ken", Celuk, Sukawati, started since 1993 which was started by Mr. I Wayan Bambang Netra. The process of implementation of the media to air brush techniques kites in "Kite Painting No Problem Sing Ken-ken" which include, among others: process of sketching with pencil or chalk, process of using a sprayer to apply a sketch freehand technique, plaster paper cutting process, painting process by applying basic color stencil technique, the process of gradation of color and detail workmanship. In "Kite Painting No Problem Sing Ken-ken", the second technique is always combined as needed. Motifs generated by "Kite Painting No Problem Sing Ken-ken" is divided into two, fauna motifs with realistic forms include: butterfly motif, dragonfly motif, eagle motif, peacock motif. And fauna motifs with imaginative forms include: insect motif, owl motif, dragon motif, fish motif, cobra motif, barong motif. keyword : : air brush techniques, processes, motives.

SABLON DENGAN MESIN ROTARI DI SAHADEWA SABLON BANJAR TAMAN SARI, DESA DELOD PEKEN, KECAMATAN TABANAN, KABUPATEN TABANAN ., I Gusti Made Prawira Yudha; ., Ketut Nala Hari Wardana, S.Sn.; ., Ni Nyoman Sri Witari, S.Sn.
Jurnal Pendidikan Seni Rupa Undiksha Vol 4, No 1 (2014)
Publisher : Universitas Pendidikan Ganesha

Penelitian ini bertujuaan untuk (1) mendeskripsikan keberadaan Sahadewa Sablon, (2) mengetahui alat dan bahan apa saja yang digunakan dalam cetak sablon di Sahadewa Sablon, (3) mengetahui proses cetak sablon dengan mesin rotari di Sahadewa Sablon, (4) mengetahui kelebihan dan kendala dalam penggunaan mesin rotari di Sahadewa Sablon.Manfaat penelitian ini adalah untuk memperkenalkan hasil cetak sablon, dan meningkatkan nilai ekonomi bagi masyarakat. Penelitian ini adalah penelitian deskriptif yang menggunakan pendekatan kualitatif. Instrumen yang digunakan adalah (1) instrumen observasi, (2) instrumen wawancara, (3) instrumen dokumentasi. Teknik pengumpulan data yang dilakukan adalah (1) teknik observasi, (2) teknik wawancara, (3) teknik dokumentasi, (4) teknik kepustakaan. Analisis yang digunakan dalam penelitian ini adalah (1) analisis domain yang bertujuan untuk memperoleh pengertian umum, (2) analisis taksonomi dengan mengolah data lebih rinci.Hasil penelitian ini adalah (1) keberadaan Sahadewa Sablon berdiri pada tahun 2008 diawali melakukan cetak sablon secara manual, setelah mulai berkembang Sahadewa Sablon melakukan proses sablon menggunakan mesin rotari. (2) Alat dan bahan yang digunakan dalam cetak sablon di Sahadewa Sablon yaitu screen, rakel, mesin rotari, pigmen, obat afdruck, dan lainnya. (3) Proses cetak sablon meliputi membuat acuan cetak, menyablon menggunakan mesin rotari, penghapusan film. (4) Kelebihan dan kendala menggunaan mesin rotari adalah proses cetak sablon lebih cepat, dan kendalanya biaya untuk pengadaan mesin ini cukup mahal.Kata Kunci : Sablon, mesin rotari, teknik sablon This study aimed (1)to describe existences of Sahadewa Sablon, (2)to know the tools and the materials which were used in the screen printing in Sahadewa Sablon, (3)to know the process of screen printing with the rotary engine in Sahadewa Sablon, (4)to know the advantages and obstaicles in using of the rotary engine in Sahadewa Sablon. The benefit of this research is to introduce screen printing and the results to increase the economic value to society. This research was a descriptive study which was use qualitative approach. The instrument were (1)observation instrument, (2)interview instrument, (3)documentation instrument. The Data collection techniques are (1)observation technique, (2)interview technique, (3)documentation technique, (4)literature technical. The analysis which was used in this research were (1)analysis domain that aims to obtain general sense, (2)analysis taxonomic by processing the data more detail. The result of this study were (1)the existences Sahadewa Sablon since in 2008 started from doing screen printing manually, after evolve Sahadewa Sablon used screen printing process a rotary engine. (2)The eequipment and materials which were used in Sahadewa Sablon are a screen printing, squeegee, rotary engine, pigments, drugs afdruk, and others. (3)The process of screen printing including to making printing tool, using a rotary engine to screen printing, the eliminating of the film. (4)The advantages and the obstaicle in using a rotary engine were the screen printing process were quickie, and cost out providing the machines was quite expensive.keyword : screen printing, a rotary engine, screen printing technique

POLA VISUALISASI KOMIK 101% â™¥ INDONESIA ., Ni Luh Pangestu Widya Sari; ., Ni Nyoman Sri Witari, S.Sn.; ., Drs.Mursal
Jurnal Pendidikan Seni Rupa Undiksha Vol 4, No 1 (2014)
Publisher : Universitas Pendidikan Ganesha

Komik saat ini memiliki peran yang cukup penting salah satunya sebagai sebuah sarana dalam mengimbangi fenomena pertarungan kebudayaan. Sifatnya yang merakyat, penampilannya yang unik, dan menarik karena menyatukan gambar dengan teks verbal mampu menyedot perhatian banyak kalangan. Komik 101% â™¥ Indonesia merupakan salah satu contoh peran serta seorang komikus dalam mendidik para pembacanya (baca:masyarakat) lewat tema-tema nasionalisme yang dihadirkannya. Artikel ini mengulas komik 101% â™¥ Indonesia yang diluncurkan tahun 2012 oleh komikus bernama Vbi Djenggotten, dengan metode penelitian deskriptif kualitatif, yang bermaksud menggambarkan dan menjelaskan pola visualisasi dari komik 101% â™¥ Indonesia.Kata Kunci : komik 101% â™¥ Indonesia, pola visualisasi Nowadays, comic has important roles in which one of them is as media in balancing phenomena of cultures battle. Its characteristics, which are global, unique, and attractive by connecting pictures with verbal text, are able to attract peopleâ€™s attention. The 101% â™¥ Indonesia comic is one example of participations of a comic author in educating the readers by presenting nasionalism themes. This article reviews the 101% â™¥ Indonesia comic which was launched in 2012 by a comic author Vbi Djenggotten. By using descriptive analysis research method, it is aiming at describing and explaining the visualization pattern of the 101% â™¥ Indonesia comic.keyword : the 101% â™¥ Indonesia comic, vizualitation pattern

PROSES KREATIF KARTUNIS JANGO PRAMARTHA ., I Gede Panca Gautama; ., Drs. I Gusti Nyoman Widnyana; ., Ni Nyoman Sri Witari, S.Sn.
Jurnal Pendidikan Seni Rupa Undiksha Vol 4, No 1 (2014)
Publisher : Universitas Pendidikan Ganesha

Penelitian ini bertujuan untuk mengetahui: (1) catatan perjalanan kartunis Jango Pramartha; (2) proses kreatif dari kartunis Jango Pramartha; (3) wujud karya dari kartunis Jango Pramartha. Subjek dalam penelitian ini adalah kartunis Jango Pramartha. Metode pengumpulan data yang digunakan dalam penelitian ini adalah metode dokumentasi, wawancara dan kepustakaan. Data dianalisis dengan menggunakan teknik deskriptif kualitatif. Hasil penelitian menunjukkan bahwa: (1) perjalanan kartunis Jango Pramartha dipengaruhi oleh orang tuanya yang beraktivitas di bidang bisnis seni rupa dan menyukai gambar ilustrasi Si Jon (Suryono) di majalah GADIS. Jango pernah menggambar kartun strip di koran Bali Post dan sekarang menjadi kartunis di koran Nusa Bali. Pernah melakukan kegiatan pameran kartun bersama kelompoknya dan pameran tunggal skala nasional maupun internasional. (2) Proses kreatif Jango Pramartha dalam berkarya kartun mengutamakan tiga hal yakni intelektual, olah rupa dan humor. Kartun yang digambar Jango berisi muatan satire. (3) Wujud karya kartunis Jango Pramartha adalah kartun strip, kartun editorial dan kartun lepas. Kata Kunci : proses kreatif, kartunis, Jango Pramartha This study aimed to determine: (1) track record cartoonist Jango Pramartha; (2) creative process of cartoonist Jango Pramartha; (3) the nature of the work of cartoonist Jango Pramartha. The subject of this study was the cartoonist Jango Pramartha. Method of data collection used in this study was a method of documentation, interviews and literature. The analyzed data was by using descriptive qualitative techniques. The results showed that: (1) trip cartoonist Jango Pramartha influenced by his parents who move in the field of fine arts business and liked the illustrations Si Jon (Suryono) in GADIS magazine. Jango ever drew a cartoon strip in the Bali Post newspaper and now a newspaper cartoonist in Nusa Bali. Jango ever done a cartoon exhibition with his group and solo exhibition nationally and internationally. (2) The creative process of working in a cartoon Jango Pramartha prioritizes three things; intellectual, form manner and humor. Cartoon drawn by jango contain the content of satire. (3) The form of the work of cartoonist Jango Pramartha are cartoon strips, editorial cartoons and cartoon off keyword : creative process, cartoonist, Jango Pramartha

ANALISIS TEKS VISUAL MANGA CERITA SPESIAL DORAEMON - CANDA ., I Made Apriwan Diputra; ., Drs.Jajang S,M.Sn; ., Ni Nyoman Sri Witari, S.Sn.
Jurnal Pendidikan Seni Rupa Undiksha Vol 4, No 1 (2014)
Publisher : Universitas Pendidikan Ganesha

Penelitian ini bertujuan untuk memperoleh informasi tentang: penggambaran karakter tokoh manga Cerita Spesial Doraemon â€“ Canda, unsur visual manga Cerita Spesial Doraemon â€“ Canda, dan relevansi teks visual dengan teks verbal manga Cerita Spesial Doraemon â€“ Canda. Penelitian ini bersifat deskriptif kualitatif kuantitatif dengan teknik pengumpulan data yaitu obervasi dan kajian pustaka. Penelitian ini membahas teks visual manga Cerita Spesial Doraemon â€“ Canda. Hasil penelitian ini antara lain: 1) manga Cerita Spesial Doraemon â€“ Canda menampilkan tujuh karakter utama, yaitu: Doraemon, Nobita Nobi, Shizuka Minamoto, Suneo Honekawa, Takeshi Gooda alias Giant, Nobisuke Nobi, dan Tamako Nobi; 2) unsur visual yang menjadi bahan analisis dalam bahasan manga Cerita Spesial Doraemon â€“ Canda sebagai berikut: pembagian panel, balon kata, simbol, latar belakang, dan efek visual; 3) teks visual dan teks verbal dalam manga Cerita Spesial Doraemon â€“ Canda memiliki relevansi karena visualisasi adegan dengan memanfaatkan simbol-simbol serta efek visual mampu mengarahkan/ menjelaskan kepada pembaca mengenai kesan adegan/kondisi latar belakang cerita dengan baik.Kata Kunci : analisis, semiotika, teks visual, manga, komik, Doraemon This research is purposed to gain information about: visualization of the characters in Cerita Spesial Doraemon â€“ Canda manga book, visual elements of Cerita Spesial Doraemon â€“ Canda manga book, and the relevance of visual text to verbal text of Cerita Spesial Doraemon â€“ Canda manga book. This is a quantitative-qualitative descriptive research paper, technically conducted by observation technique and literary analysis. This research concerned to the visual text analysis of Cerita Spesial Doraemon â€“ Canda manga book. Results of the analysis are: 1) the manga book story consist of seven main characters, including: Doraemon, Nobita Nobi, Shizuka Minamoto, Suneo Honekawa, Takeshi Gooda aka Giant, Nobisuke Nobi, and Tamako Nobi; 2) the visual elements analyzed including: panel division, speech balloon, symbols, background, and visual effects; 3) both visual text and verbal text of the manga has relevance by each other, as the manga visualization involving symbols and visual effects which elegantly describes the pictorial impression/background condition of any circumstance to the reader. keyword : analysis, semiotics, visual text, manga, comics, Doraemon

BATIK SITUBONDO DI DESA SELOWOGO KECAMATAN BUNGATAN KABUPATEN SITUBONDO ., Rochman Kifrizyah; ., Drs.Agus Sudarmawan, M.Si.; ., Ni Nyoman Sri Witari, S.Sn.
Jurnal Pendidikan Seni Rupa Undiksha Vol 5, No 1 (2015)
Publisher : Universitas Pendidikan Ganesha

Penelitian ini bertujuan untuk mengetahui (1) alat dan bahan apa saja yang digunakan dalam proses pembuatan batik Situbondo, (2) bagaimana proses pembuatan batik Situbondo (3)ragam motif yang dihasilkan batik Situbondo, (4) makna simbolik yang ada pada motif batik Situbondo di Desa Selowogo Kecamatan Bungatan Kabupaten Situbondo. Jenis penelitian yang digunakan adalah penelitian deskriptif kualitatif. Subjek penelitian ini adalah pengrajin batik Situbondo di Desa Selowogo Kecamatan Bungatan Kabupaten Situbondo. Teknik pengumpulan data yang digunakan dalam penelitian ini adalah observasi, wawancara, pendokumentasian dan kepustakaan. Penelitian kualitatif ini menggunakan Purposive Sampling yang khusus bertujuan untuk meneliti sampel yang memiliki filosofi motif dan makna simbolik pada motif batik Situbondo di Desa Selowogo. Hasil penelitian menunjukkan bahwa (1) Alat dan bahan yang dipakai untuk membuat batik antara lain: canting, kuas, wajan, kompor, kuas, tong, bak besar, dan bahan yang digunakan ialah kain katun, malam, remazol, napthol, water glass dan soda abu; (2) Proses pembuatan batik tulis, meliputi proses pengetelan mori, mendesain motif di kain, proses pencantingan dalam membuat motif, dan proses pewarnaan, penjemuran, penyucian dengan water glass, dan pelorodan; (3) Ragam motif batik Situbondo di Desa Selowogo Kecamatan Bungatan Kabupaten Situbondo diberi nama motif batik Tale Percing, Kerang Gempel, Lerkeleran, Kerang Bertopeng, Malate Satoâ€™or, Baluran Menunggu, Sonar Bulen, Sonar Are, Jaring Samudra, Gelang Bahari; (4) Makna filosofi dari ragam motif batik Situbondo di Desa Selowogo, Kecamatan Bungatan, Kabupaten Situbondo , sebagian besar mengajarkan tentang tata/norma kehidupan masyarakat Situbondo yang berada di daerah pesisir timur pulau Jawa yang sebagian besar penduduknya bekerja sebagai nelayan dan petani.Kata Kunci : batik Situbondo, ragam motif, makna filosofi The objectives of this research are to find out: 1) the equipment and materials that needed of making Batik Situbondo, 2) the psocess of making Situbondo batik, 3) the motifs of Batik Situbondo which are produced, 4) implicit meaning of each Batik Situbondoâ€™s motif in Selowogo village, Bungatan district, Situbondo Regency. The design of this research is descriptive qualitative research. The subjects of this research are the craftsmen of Batik Situbondo in Selowogo village, Bungatan district, Situbondo Regency. The instruments that used in this research are observation sheet, interview guide, and documentation .This qualitative reserch use purposive sampling, specifically aimed to philosophy of batik itself and the meaning behind the Situbondo batikâ€™s motif. The result of this research showed that 1) the equipment and materials that needed in making Batik Situbondo are canting, brush, wok, stove, chair, barrel, large container, and the materials needed are cotton, malam, remazol, napthol, water glass, soda ash; 2) The process of making batik includes the process of pengetelan mori, motif on the cloth, process of pencantingan in making the motif, and process of coloration, sunbathing, washing using water glass, and pelorodan; 3) Types of the motif of Batik Situbondo in Selowogo village, Bungatan district, Situbondo Regency, given the name Tale Percing, Kerang Gempel, Lerkeleran, Kerang Bertopeng, Malate Satoâ€™or, BaluranMenunggu, Sonar Bulen, Sonar Are, Jaring Samudra, Gelang bahari; 4) the philosophical meaning of the motif of Batik Situbondo in Selowogo village, Bungatan district, Situbondo Regency is almost related to the the life of Situbondoâ€™s people who live in left littoral of Java islandin which the occupation of almost of the people as fisherman and farmer.keyword : batik Situbondo, motifs, philosophical meaning

ANALISIS MAKNA DENOTATIF DAN KONOTATIF TERHADAP CITRA VISUAL KOMIK 101% â™¥ INDONESIA Widya Sari, Ni Luh Pangestu; Sri Witari, Ni Nyoman; -, Mursal
Prasi: Jurnal Bahasa, Seni, dan Pengajarannya Vol 8, No 16 (2013)
Publisher : Universitas Pendidikan Ganesha

Nowadays, comic has important roles in which one of them is as media in balancing phenomena of cultures battle. Its characteristics, which are global, unique, and attractive by connecting pictures with verbal text, are able to attract peopleâ€™s attention. The 101% â™¥ Indonesia comic is one example of participations of a comic author in educating the readers by presenting nasionalism themes. This article reviews the 101% â™¥ Indonesia comic which was launched in 2012 by a comic author Vbi Djenggotten. By using descriptive analysis research method, it is aiming at describing and explaining the denotative and connotative of the 101% â™¥ Indonesia comic.Keywords : the 101% â™¥ Indonesia comic, denotative and connotative.

NILAI BUDAYA BALI DALAM KARTUN EDITORIAL SANGUT DELEM PADA KORAN BALI POST Sri Witari, Ni Nyoman -
Prasi: Jurnal Bahasa, Seni, dan Pengajarannya Vol 11, No 01 (2016)
Publisher : Universitas Pendidikan Ganesha

ABSTRACTÂ Â Wayang kulit is one of the assets of Balinese culture that developed from generation to generation. The existence of the characters even merge with the daily life of the Balinese. Including prominent punakawan shadow puppets inspired many artists to develop into different media at once more modern. This article examines two clown character named Sangut and Delem composed the cast of Bali Post newspaper editorial cartoons. Although packaged in the form of modern discourse, but cultural values are displayed in the visualization and the story is still showing the values of traditional Balinese shadow puppets.Â To analyze this case the author uses iconography and iconology approach Erwin Panofsky (1934) studied in three stages. An analysis of the preikonografi, iconography and iconology indicates that the visual appearance, function and meaning of editorial cartoons Sangut and Delem laden with cultural values Bali.Keywords: Shadow puppets, cultural values, cartoon, iconography-iconologyABSTRAKÂ Wayang kulit merupakan salah satu aset seni budaya Bali yang berkembang secara turun temurun. Keberadaan tokoh-tokohnya bahkan menyatu dengan kehidupan sehari-hari masyarakat Bali. Termasuk tokoh punakawan wayang kulit yang banyak menginspirasi seniman untuk mengembangkannya ke dalam media berbeda sekaligus lebih modern. Tulisan ini mengkaji dua tokoh punakawan yang bernama Sangut dan Delem yang digubah menjadi tokoh kartun editorial suratkabar Bali Post. Meskipun dikemas dalam bentuk wacana modern, namun nilai budaya yang ditampilkan dalam visualisasi dan ceritanya masih memperlihatkan nilai-nilai wayang kulit tradisional Bali.Â Untuk menganalisa hal ini penulis menggunakan pendekatan ikonografi dan ikonologi Erwin Panofsky (1934) yang dikaji dalam tiga tahap. Hasil analisa pada preikonografi, ikonografi dan ikonologi menunjukkan bahwa tampilan visual, fungsi dan makna dari kartun editorial Sangut dan Delem sarat dengan nilai-nilai budaya Bali.Kata kunci: Wayang kulit, nilai budaya, kartun, ikonografi-ikonologi

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