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Rekonstruksi Tokoh Wayang Ramayana Pada Komik Seri H2O:Reborn Karya Sweta Kartika Terra Bajraghosa
DeKaVe Vol 11, No 1 (2018): Jurnal DeKaVe Vol.11 No.1 2018
Publisher : Institut Seni Indonesia Yogyakarta

Persinggungan dalam Rampokan; Apresiasi Komik karya Peter Van Dongen Terra Bajraghosa
DeKaVe Vol 7, No 1 (2014): DeKaVe Vol. 07 No. 01 2014 Januari - Juni 2014
Publisher : Institut Seni Indonesia Yogyakarta

Rampokan Jawa & Selebes, is a comic created by Peter Van Dongen, telling a story about Johan Knevel, aDutch soldier, in his mission looking for Ninih, his childhood nanny back in Netherland-Indies. This comic attractedmany Indonesian readers because of two aspects. First, the setting is in Indonesia around the year 1946-1947, whichprovides readers with old time indis architectures and vintage designs of things. The second one is its clear line style,similar to Herge’s ‘Tintinesque’ style. These tendecies may appear as pseudo-appreciation to the medium.This essay’s goal, departed from Rampokan’s intersection with Tintin, and Indonesia history setting, is to find out theproportionally apreciation on comic as a medium. According to David Carrier, one of comic aesthetic quality relies onthe ability of the readers to project their desires on the comic they read. In creating the story, comic compositioninvolved the power of color and visual art syle choice to deliver the idea of the story.From the discussion, two things about Rampokan appreciation are apprehended. The location and time settingvisualization which based on deep research became the main power of this Rampokan comic; representing narrativeenvironment that projected reader’s desire: the detailed visualization of the young Indonesia. The choice of clear linestyle, combined with color composition as an emblematic presentation enabled the delivery of multi plots narratives.Combination of the setting as an observation result and detail art style, provide readers to reasonably believe the storyworldcreated by Peter Van Dongen. Rampokan’s appreciaton quality based on the well-crafted storytelling throughwell-constructed story-world which enabled readers to follow its fictional or even surrealistic plot twistsunconditionally.Keywords: Comic, Appreciation, Aesthetic, Rampokan Jawa & Selebes

KOMIK DI LINGKARAN INDUSTRI MUSIK Terra Bajraghosa
DeKaVe Vol 1, No 2 (2011): DeKaVe Vol. 1 No. 2 2011 Juli-Desember 2011
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dkv.v1i2.158

Comic ges. Based on comprehention as a narrative media, comics in Indonesia are oftenly compared to bas-reliefs on Borobudur temple and Wayang Beber.. From many kind of stories Indonesian comic books recently offered, with the developed visual wrapping, some comics steal attentions by its unique themes. These comic books are created because of the inspiration and relation to music industry. These comic books couldn't be seen from the visual style alone, as they were created in many visual genres, but they could be seen from their relations to music industry, whether the mainstream or indie ones. These comic books are published together with the music CDs, telling fictional stories from factual bands or musicians, telling a band's factual stories, or created by one of the band members. To understand modes of creation of these music industry-related-comic books, visual narrative approach will be applied. Through visual narrative approach, the band members' or musician's necessity for telling stories via comics, beside the common practices via music and song lyrics, will be observed.Keywords : Comic book, music industry, visual narrative

Dinamisme Sekuensial Pada Komik Gundala Karya Hasmi Terra Bajraghosa
DeKaVe Vol 9, No 2 (2016): Jurnal DeKaVe Vol. 9 No. 2 2016
Publisher : Institut Seni Indonesia Yogyakarta

Perancangan Buku Taktil dengan Media Clay sebagai Media Pengenalan Hewan untuk Tunanetra Usia Anak-Anak Kristiana Melanie Setiawan; Terra Bajraghosa; Edi Jatmiko
Fenomen: Jurnal Fenomena Seni Vol 1, No 1 (2023)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/fenomen.v1i1.8616

Tunanetra merupakan kondisi seseorang yang memiliki keterbatasan dalam penglihatannya. Untuk dapat menyerap informasi, mereka menggunakan indera pendengaran dan peraba. Oleh karena itu, tunanetra membutuhkan sarana dan pra-sarana khusus seperti buku braille. Buku braille memberikan suatu kemudahan bagi mereka untuk membaca seperti orang-orang awas. Tetapi, buku braille sendiri masih memiliki kekurangan yakni belum mampu memberikan akses terhadap bentuk-bentuk yang mampu memvisualisasi braille tersebut, sulit diakses karena keterbatasan jumlah buku, proses produksi yang susah dan memakan banyak biaya. Lalu, media apa yang mampu memberikan semua yang tunanetra butuhkan dalam satu buku?Dengan menggunakan identifikasi 5W+1H, tedapat pertanyaan apa, siapa, kenapa, kapan, dimana, dan bagaimana perancangan itu dibuat. Dari situ ditemukanlah media utama buku taktil yang mampu memberikan informasi melalui bentuk, tekstur, dan ukuran mengenai hewan-hewan yang ada di sekitar lingkungan kehidupan berupa ayam, kucing, burung, tikus, kambing, dan bintang laut dengan clay sebagai bahan utama dalam merancang bentuk-bentuk visual hewan secara semi 3D. Pengambilan data dilakukan dengan cara wawancara, pengamatan, dan uji media langsung. Perancangan buku taktil ini diharapkan mampu membantu tunanetra khususnya usia anak-anak dalam menyerap dan memahami informasi secara keseluruhan dalam satu genggaman mereka, melatih kemampuan motorik dan sensorik serta menjadikan proses pembelajaran lebih menyenangkan.Kata Kunci : Buku taktil, Pengenalan hewan, Braille, Clay, Tunanetra usia anak-anak TACTILE BOOK DESIGN USING CLAY AS A MEDIUM FOR ANIMAL RECOGNITION FOR YOUNG CHILDREN WITH BLINDNESSBlind is a condition of someone who has limitations in their vision. To be able to absorb information, they use their sense of hearing and touch. Therefore, the blind need special facilities and infrastructure such as braille books. Braille books make it easy for them to read like people with normal vision. However, braille books themselves still have drawbacks, namely not being able to provide access to forms that able to visualizing braille, difficult to access because of the limited number of books, the production process is difficult and costs a lot. Then, what media can provide everything that the blind need in one book?By using the 5W + 1H identification, there are questions of what, who, why, when, where, and how the design was made. From there it was found that the main medium of tactile books was able to provide information through shape, texture and size about animals that exist around the environment in the form of chicken, cat, bird, mouse, goat and starfish with clay as the main material in designing semi 3d animal visual shape forms. Data collection was carried out by means of interviews, observations, and direct media tests. The design of this tactile book is expected to be able to help the visually impaired, especially children, in absorbing and understanding overall information in one hand, training motor and sensory abilities and making the learning process more enjoyable.Keywords : Tactile book, Introduction to animals, Braille, Clay, Children’s blind age

Family Photography as Object and Practice in Independent Comics in Indonesia Terra Bajraghosa; Budi Irawanto; Seno Gumira Ajidarma
IJCAS (International Journal of Creative and Arts Studies) Vol 10, No 2 (2023): December 2023
Publisher : Graduate School of Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ijcas.v10i2.11166

One small element that is rarely put in the comics’ scene setting is photographic imagery, commonly a portrait of a person or a family photograph. It is assumed that once a family photograph is presented in a comic, it definitely has a particular function. This study will examine how the family photograph as an object and practice is depicted and present the signification of the story meaning in independent comics. The research object is a drawing that represents a family photograph in a panel, or series of panels – consecutive or non-consecutive -in the independent comic "Pupus Putus Sekolah" (2022) and “Phagia” (2016) as the case study. This research uses a comic studies approach based on qualitative methods. The first analysis process is to pay attention to the presence of family photographic images in comic stories. In the following analysis stage, family photographs are treated as an object defined by social practices based on a semiological/discursive approach, especially the Doing Family Photography approach introduced by Gillian Rose. The study revealed that photographic images in independent comics were shown using the same artistic drawing style as the characters and objects in the story. The inclusion of family photographs in comics aims to present a portrayal of the 'evidence,' 'truth,' and 'indexicality' as the genuine authenticity of the photographed moments in photography while also serving as a symbolic picture in storytelling. The readers' comprehension of the indexical nature of the family photograph is inherently linked to the manner in which the photographic imagery is portrayed and organized with other elements in the sequential composition of comics.Foto Keluarga sebagai Objek dan Praktik dalam Komik Independen di Indonesia Abstrak Salah satu elemen kecil yang jarang dimasukkan ke dalam adegan komik adalah citra fotografi, biasanya potret seseorang atau foto keluarga. Diasumsikan jika foto keluarga disajikan dalam komik, pasti memiliki fungsi tertentu. Penelitian ini akan mengkaji bagaimana foto keluarga sebagai objek dan praktik digambarkan dan menyajikan signifikasi makna cerita dalam komik independen. Objek penelitian adalah gambar yang merepresentasikan foto keluarga dalam sebuah panel, atau rangkaian panel—berurutan atau tidak berurutan—dalam komik independen "Pupus Putus Sekolah" (2022) dan "Phagia" (2016) sebagai studi kasus. Penelitian ini menggunakan pendekatan studi komik berdasarkan metode kualitatif. Tahap analisis pertama adalah memperhatikan citra fotografi keluarga dalam cerita komik. Pada tahap analisis berikutnya, foto keluarga diperlakukan sebagai objek yang didefinisikan oleh praktik sosial, berdasarkan pendekatan semiologis/diskursif, terutama pendekatan Doing Family Photography yang diperkenalkan oleh Gillian Rose. Studi ini mengungkapkan bahwa gambar fotografi dalam komik independen ditampilkan menggunakan gaya gambar yang sama dengan karakter dan objek dalam cerita. Pencantuman foto keluarga dalam komik bertujuan untuk menyajikan penggambaran 'bukti', 'kebenaran', dan 'indeksikal' sebagai keaslian asli dari momen yang difoto dalam fotografi sekaligus berfungsi sebagai gambaran simbolis dalam bercerita. Pemahaman pembaca tentang sifat indeksikal foto keluarga secara inheren terkait dengan cara di mana citra fotografi digambarkan dan diatur dengan unsur-unsur lain dalam komposisi komik yang berurutan.

Perancangan Komik Strip Digital mengenai Game Genre Tabletop Role Play Game (TRPG) untuk Pemula Ismayudha, Tasya Dwi; Bajraghosa, Terra; Jatmiko, Edi
Fenomen: Jurnal Fenomena Seni Vol 1, No 2 (2023)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/fenomen.v1i2.10730

Permainan anak di Era milenial di Indonesia bahkan dunia dipengaruhi internet teknologi dan digital, hal ini mempengaruhi berbagai aspek kehidupan termasuk cara anak-anak bermain, dalam Era milinial ini, anak-anak tidak lagi terbatas pada permainan tradisional seperti berlari-lari, petak umpet atau bermain sepak bola. Sebaliknanya permainan anak-anak diera milinial berorientasi pada perkembangan teknologi dan digital. Persebaran informasi permain menggunakan media komik digital 4 panel diunggah ke platform sosial media Instagram, cara menyampaikan informasi dasar mengenai game DnD nanti nya akan dibuat melalui alur cerita tentang pemain DnD. Sinopsis dari cerita komik perancangan ini yaitu sekelompok pemain DnD berpindah dunia ke dunia permainan DnD dan para pemain ini berusaha membantu dan menjelaskan ke kekawan nya yang baru saja mempelajari tentang permainan ini. keunikan dari cerita dan isi komik perancangan ini sendiri yaitu berasalkan dari cerita pengalaman dan cerita permaianan dari beberapa pemain. Game TRPG atau table-top role play game, dikenal juga sebagai turn base role-playing game atau tactical roleplaying game, adalah sebuah permainan yang memerlukan pemain untuk menyusun strategi. banyak pemula yang merasa kewalahan mencerna informasi dari permainan dungeon and dragon dan membutuhkan media informasi lain yang memiliki visual unik dan mudah untuk dibaca. untuk mempelajari permainan DnD Dengan elemen visual dan penyampaian informasi dalam komik, komik strip ini dapat diakses dengan mudah karena dipublikasikan dalam media social intagram, metode 5W+1H metode analisis data dalam penyusunan perancangan ini Designing digital comic strip about TRPG game genre for beginnerChildren's play in the millennial era in Indonesia and even the world is influenced by technological and digital internet, this affects various aspects of life including the way children play, in this millennial era, children are no longer limited to traditional games such as running, hide and seek or playing football. On the contrary, children's games in the millennial era are oriented towards technological and digital developments. The distribution of game information using 4-panel digital comic media is uploaded to the Instagram social media platform, How to convey basic information about the DnD game will later be made through a storyline about DnD players. The synopsis of this comic story is that a group of DnD players move the world to the DnD game world and these players try to help and explain to their friends who have just learned about this game. The uniqueness of the story and content of this design comic itself is provided that it is from the experience stories and game stories of several players. A TRPG or table-top role play game, also known as a turn base role playing game or tactical roleplaying game, is a game that requires players to strategize. Many beginners feel overwhelmed digesting information from the Dungeon and Dragon game and need another information medium that has unique visuals and is easy to read. to learn DnD games with visual elements and information delivery in comics, this comic strip can be accessed easily because it is published in social media intagram, the 5W+1H method of data analysis in the preparation of this design.

Comic-film-music of “Pendekar Cyborg”: a case study of transmedia storytelling in Indonesian contemporary independent comics Bajraghosa, Terra; Irawanto, Budi; Ajidarma, Seno Gumira
International Journal of Visual and Performing Arts Vol 7, No 1 (2025)
Publisher : ASSOCIATION FOR SCIENTIFIC COMPUTING ELECTRICAL AND ENGINEERING (ASCEE)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31763/viperarts.v7i1.1723

This study explores independently published comics in Indonesia after 2010, which show differences from independent comics in the late 1990s and early 2000s. Contemporary independent comics distinguish themselves by positioning readers as patrons and the application of transmedia storytelling across platforms, especially related to film and music, and not for industrial purposes. The research questions presented are: what are transmedia storytelling practices in contemporary independent comics in Indonesia, and how is the context of creative freedom and control that underlies the production of printed comics presented through cross-media platforms? Using qualitative methodology, this study applies descriptive discourse analysis based on the visual culture framework, following Gillian Rose's methodological approach. The descriptive analysis focuses on the case study of transmedia storytelling "Pendekar Cyborg", an independently published comic series, which intersects with other media such as motion comics, animated music videos, film, and music. The findings show that contemporary Indonesian independent comics engage in canonical transmedia storytelling, in dimensions of spreadability, continuity, and multiplicity, while still reflecting the socio-political context. The work “Pendekar Cyborg” affirms creative freedom within an independent artistic community and expands narrative experiences through innovative, creator-driven transmedia strategies with community support. This research contributes to understanding how independent visual storytelling in Indonesia embraces transmedia formats to negotiate cultural meaning and audience engagement.

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