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All Journal E-Journal Of Cultural Studies Jurnal Pendidikan Seni Rupa Ars: Jurnal Seni Rupa dan Desain Corak : Jurnal Seni Kriya Jurnal Kajian Bali Jurnal Sosioteknologi ANDHARUPA MUDRA Jurnal Seni Budaya PRABANGKARA Segara Widya: Jurnal Penelitian Seni Jurnal Bahasa Rupa Panggung Wikrama Parahita : Jurnal Pengabdian Masyarakat Visualita : Jurnal Online Desain Komunikasi Visual Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Demandia : Jurnal Desain Komunikasi Visual, Manajemen Desain, dan Periklanan Pantun: Jurnal Ilmiah Seni Budaya Jurnal Nawala Visual VCD (Journal of Visual Communication Design) Jurnal SASAK : Desain Visual dan Komunikasi Jurnal Cahaya Mandalika International Journal of Economy, Education and Entrepreneurship (IJE3) International Journal of Educational Review, Law And Social Sciences (IJERLAS) International Journal of Multidisciplinary Research and Literature (IJOMRAL) Amarasi : Jurnal Desain Komunikasi Visual Jurnal Desain Komunikasi Visual Nirmana Jomantara International Journal of Art and Culture Abdi Widya: Jurnal Pengabdian Masyarakat Jurnal Dimensi Seni Rupa dan Desain Jurnal Dimensi DKV Seni Rupa dan Desain Jurnal: International Journal of Engineering and Computer Science Applications (IJECSA) Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara International Journal of Economic, Finance and Business Statistics (IJEFBS) Panggung Jurnal Bahasa Rupa Global Art Creativity Conference Jurnal Bahasa Rupa
I Wayan Swandi
Institut Seni Indonesia Denpasar
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Civil Engineering, Building, Construction & Architecture Computer Science & IT Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Engineering Environmental Science Health Professions Industrial & Manufacturing Engineering Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Mathematics Physics Public Health Social Sciences Other

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Pengabdian Masyarakat di Desa Temesi, Gianyar: “Mural Temesi Mewali ka Guru” (Kembali ke Jati Diri Untuk Membangun Ekonomi Desa Temesi) Subtema Mural “Karang Desa” Wibawa, Arya Pageh; Swandi, I Wayan; Trinawindu, Ida Bagus Ketut; Janottama, I Putu Arya; Putraka, Agus Ngurah Arya; Putra, Gede Bayu Segara; Indira, Wahyu; Artha, I Gede Agus Indram Bayu; Wirawan, I Gusti Ngurah; Swandi, I Made Dwiarya
Abdi Widya: Jurnal Pengabdian Masyarakat Vol 3 No 1 (2024): Abdi Widya: Jurnal Pengabdian Masyarakat
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/awjpm.v3i1.3572

Abstract

Desa Temesi merupakan salah satu desa yang berada di Kecamatan Gianyar, Kabupaten Gianyar, Bali. Desa Temesi merupakan salah satu yang menjadi desa binaan PKK Provinsi Bali dengan tema “Aku Hatinya PKK” dan “Desa Peduli Gigi (Deligi)” menuju Bali Bebas Karies tahun 2030. Pada tanggal 15 maret 2023 telah dilaksanakan pembukaan melukis mural yang dihadiri oleh dosen Program Studi Desain Komunikasi Visual dan dekan Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Denpasar. Pelaksanaan melukis mural ini dimulai dari tanggal 15 sampai 24 maret, selama 10 hari. Tujuan dari program mural ini adalah untuk memperindah dan menambah wawasan masyarakat tentang potensi yang ada di Desa Temesi. Tema besar dari mural yang akan dibuat adalah “Mural Temesi Mewali ka Guru” (kembali ke jati diri untuk membangun ekonomi Desa Temesi). Tema ini teebagi menjadi tiga subtema yaitu karang desa, karang awak, dan karang umah. Karang desa memiliki arti mengangkat potensi-potensi yang ada dan dimiliki oleh Desa Temesi seperti berbagai tumbuhan yang unik, kehidupan masyarakat, lingkungan, obyek wisata, dan sebagainya yang digambarkan dalam mural. Mural dapat diartikan sebagai cara menggambar atau melukis diatas permukaan luas yang bersifat permanen lainnya. Tahapan kegiatan ini adalah persiapan, pelaksanaan, dan evaluasi. Mural diharapkan dapat memperindah Desa.
The Education Meaning of Cockfighting Cartoons in Nusa Bali Newspapers Wibawa, Arya Pageh; Swandi, I Wayan; Artha, I Gede Agus Indram Bayu
JOMANTARA Vol. 4 No. 1 (2024): Vol. 4 No. 1 January 2024
Publisher : Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/jijac.v4i1.10939

Abstract

The purpose of the publication of this article is to reveal the educational meaning of the cockfighting cartoon in the Nusa Bali newspaper. Usually, the Nusa Bali Cartoon raises public or political issues with satire, jokes, or humor. In contrast to the Nusa Bali cartoon with an education theme, it features cockfighting, which only contains satire on public issues. Problems that arise: 1) What is the meaning of the cockfighting cartoon in the Nusa Bali on June 5, 2021 ?; 2) Is the cockfighting cartoon in the Nusa Bali newspaper dated June 5, 2021, educational? The problem of this article has been solved by using a qualitative method. Primary data was collected through newspaper observations and interviews with informants. Secondary data was obtained by applying a literature study. All qualitative data was analyzed using a semiotic approach with the help of symbol theory and deconstruction theory. The results showed that: 1) The connotative and denotative meanings of the Nusa Bali cockfighting cartoon; 2) The Nusa Bali cockfighting myth depicts the chances of success without work. The educational meaning of the Nusa Bali cartoon is represented by an explanation of the disadvantages of cockfighting, the state's prohibition on gambling for Indonesian citizens, and the prohibition on Hindu scriptures and literacy for Hindus.
Pengolahan Limbah Gawai Menjadi Produk Dengan Nilai Sentimental Dalam Pendirian Usaha Rintisan Bingkai Jadoel Project Pradnya Ananda, I Made Mardawa; Swandi, I Wayan; Bagus udayana, Anak Agung Gde
AMARASI: JURNAL DESAIN KOMUNIKASI VISUAL Vol 5 No 01 (2024): Amarasi: Jurnal Desain Komunikasi Visual
Publisher : Program Studi Desain Komunikasi Visual

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

With the rapid development and innovation in the world of Indonesian gadgets, manufacturers are starting to present a selection of cheap gadgets with modern specifications that can easily attract consumers' attention in Indonesia. However, this is often a reason for consumers to replace their devices when the latest variant is released to the public, either because they feel bored or the device they are using is old/outdated, or because the cheap price means the device cannot last long. This creates quite a serious problem because only a small portion of old gadgets can be reused and most of these gadgets end up as waste which can be dangerous to health because of the chemicals contained in the waste gadgets. However, the problem of gadget waste also presents several business opportunities, especially for those who pursue business in the creative industry. One form of product produced from processing this waste is the Teardown Frame. How this type of product can become a business opportunity in building a start-up business is the main priority of this research, a qualitative approach method is used to collect the necessary data and information, through Observation, Literature, Interviews, and Participants which helps the author in determining what business model is appropriate for this business as well as the production flow of the Teardown Frame product. Through this approach method, it can be concluded that this type of business has a fairly narrow market segment with a focus on the group/community of old-school goods enthusiasts as the main market segment, where the main quality offered is the nostalgic feeling of the product.
PERANCANGAN IDENTITAS VISUAL PADA EVENT KEEP ON STAGE DI PREGINA SHOWBIZ BALI Pranawa, I.G.A.Ngurah Bagus Rama; Nuriarta, I Wayan; Swandi, I Wayan
AMARASI: JURNAL DESAIN KOMUNIKASI VISUAL Vol 5 No 02 (2024): Amarasi: Jurnal Desain Komunikasi Visual
Publisher : Program Studi Desain Komunikasi Visual

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/amarasi.v5i02.3894

Abstract

Keep on Stage is a concept for a music performance event that is designed by Pregina Showbiz Bali with the intent to conserve the spirit to keep doing live performances on a stage. But, the Keep on Stage event does not yet have any visual identity to present itself to the public. Therefore, Keep on Stage needs a visual identity design that is strong so It can be recognized and remembered. This design uses the creation method developed by Hawkins on the book “Creating Through Dance” that is Exploration, Improvisation, and Formation. This design also uses method of collecting data like interview, observation, literature study, and documentation. This design creates brand visual identity like logo and illustration assets that is apllicated on promotion media like Instagram post, Billboard, T-Banner, T- Shirt, and Nametag. The idea of conserving the spirit of music performance that Pregina Showbiz Bali wants to show through Keep on Stage event are presented on the visual identity that have been designed.
Unveiling HEREDIAQUA: An Exploration of Association Picture Storytelling in Documentary Filmmaking Markadi, Bhimo Wicaksono; Swandi, I Wayan; Udayana, Anak Agung Gde Bagus
PANTUN: Jurnal Ilmiah Seni Budaya Vol 9, No 1 (2024): Interdisciplinary Explorations in Cultural Expression: From Traditional Arts to
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v9i1.3269

Abstract

This study explores the application of the association picture story genre in documentary filmmaking, particularly focusing on the film Herediaqua, to effectively communicate water sustainability issues. The research employs a three-stage methodology: exploration (field research, observation, interviews, and collection of visual materials), experimentation (applying association picture story techniques in short film formats and testing with audiences), and creation (synthesizing findings to produce a cohesive and impactful film).Results indicate that Herediaqua successfully uses strong visual symbolism and narrative to convey messages about the interconnectedness between humans and nature, effectively enhancing audience awareness and understanding of water sustainability issues. The film employs powerful visual language to communicate its environmental message, evoking emotional responses from viewers. Positive audience feedback confirms the films success in communicating its message, demonstrating the effectiveness of the association picture story technique in visual narration. The conclusion asserts that the association picture story technique is a powerful tool for conveying environmental messages through visual storytelling. Herediaqua serves not only as a viewing experience but also as an educational medium and a catalyst for inspiring environmental conservation efforts. By leveraging compelling visual narration and engaging storytelling, the film promotes awareness and encourages concrete actions for sustaining the planets life. This research contributes to advancing documentary filmmaking by highlighting the effectiveness of combining visual symbolism with strong narrative techniques.
Mekepung Jembrana Tradition As a Source of Creation of Documentary Film Yogantara, Wayan Arfian; Mudra, I Wayan; Swandi, I Wayan
PANTUN: Jurnal Ilmiah Seni Budaya Vol 9, No 1 (2024): Interdisciplinary Explorations in Cultural Expression: From Traditional Arts to
Publisher : Pascasarjana ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/pantun.v9i1.3272

Abstract

The Mekepung tradition in Jembrana, Bali, particularly in the form of buffalo racing, is a deeply rooted cultural spectacle representing joy and celebration for agrarian communities. This research aims to explore this tradition and create a documentary film to preserve and promote its significance. Employing a qualitative descriptive method and utilizing the documentary film structure approach, the study incorporates observation, interviews, and documentation to gather authentic data. The documentary follows a three-part story structure, capturing the essence of Mekepung through genuine visual presentations and a well-structured narrative flow. Embracing a performative documentary style, the film emphasizes captivating packaging and meticulous craftsmanship. The creation process encompasses pre-production, production, and post-production stages. Ultimately, the Mekepung Jembrana documentary not only showcases buffalo racing but also serves as a vital tool for cultural preservation and awareness for future generations, ensuring the continuity of this cherished tradition.
INTERPRETASI IKONOGRAFIS VISUAL GAJAH MINA PADA LUKISAN WAYANG KAMASAN BALE KAMBANG TAMAN GILI KERTHA GOSA Cahyadi, I Wayan Agus Eka; Adnyana, I Wayan; Mudra, I Wayan; Swandi, I Wayan
Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Vol. 3 (2023): Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Seminar yang berjudul "Sindhu-Taksu-Sadhu" mengulas mengenai pemuliaan laut sebagai sumber inspirasi untuk karya seni yang bertujuan meningkatkan sikap secara jasmaniah dan spiritual. Dalam konteks ini, terdapat representasi visual dari palelintangan gajah mina, yang juga merupakan sebuah narasi mitos tentang makhluk-makhluk lautan yang muncul dalam ilustrasi wayang kamasan di Kertha Gosa. Penelitian ini bertujuan untuk menganalisis visual gajah mina dalam lukisan wayang kamasan Bale Kambang Taman Gili Kertha Gosa sebagai narasi penciptaan yang berbasis samudra, sesuai dengan tema "Sindhu-Taksu-Sadhu". Metode penelitian yang diterapkan adalah pendekatan ikonografis Panofsky. Pada tahap pra-ikonografis, gajah mina digambarkan terdampar di pesisir bersama dua orang nelayan. Pada tahap ikonografis, gajah mina juga diidentifikasi sebagai makara, yang menjadi penanda estetik pada candi-candi di Jawa dan Sumatra. Makara digambarkan sebagai simbol dari lautan, serta sebagai penanda masa pembangunan candi-candi. Kesimpulannya, narasi visual gajah mina dalam ilustrasi wayang kamasan tersebut mencakup warisan sejarah dari periode peralihan Jawa-Bali, merekam peristiwa sehari-hari masyarakat pesisir Klungkung, dan berfungsi sebagai pengantar visual pada palelintangan, yang memiliki sisi lebih pragmatis ketimbang penggambaran makhluk mitologi.
MAKNA DESAIN KARAKTER “SI METON” PADA MASKOT PILKADA NTB TAHUN 2018 Hasbullah, Hasbullah; Santosa, Hendra; Swandi, I Wayan
ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia Vol. 6 No. 02 (2020): August 2020
Publisher : Dian Nuswantoro University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33633/andharupa.v6i02.3440

Abstract

Abstrak Pilkada NTB tahun 2018, media yang digunakan maskot yang bernama “Si Meton”. “Si Meton” sangat penting diteliti, karena diduga ada makna yang termuat melalui kode visualnya. Akan tetapi, makna dan kode tersebut belum tentu dipahami masyarakat NTB. Permasalahan dalam penelitian ini adalah tentang apa makna di balik kode-kode desain karakter “Si Meton”. Tujuan penelitian ini, untuk menganalisis makna melalui bahasa kode dalam “Si Meton”. Metode yang digunakan penelitian ini adalah kualitatif interpretatif dengan landasan teori kode Rolands Barthes. Teknik pengumpulan data dilakukan melalui observasi, wawancara, dan dokumentasi. Sumber data dikumpulkan melalui wawancara kepada R. Fany Printi Ardi sebagai desainer “Si Meton”, Ahmad Badrul Ula, suku Sasak sekaligus akademisi dalam  bidang seni budaya  dan Supandri, suku Mbojo sekaligus pengamat media. Teknik analisis dilakukan melalui reduksi data, penyajian dan penarikan kesimpulan. Hasil yang dicapai berupa makna-makna pada desain karakter “Si Meton” dilihat melalui bahasa kode proairetik dan kode budaya. Kesimpulannya, makna dilihat berdasarkan kode proairetik, terlihat tinta biru pada jari kelingking tangan kanan serta tangan kiri karakter “Si Meton”yang memasukkan kertas kedalam kotak suara sebagai makna promosi. Sedangkan dalam kode budaya terdapat pada ikon menjangan dan simbol pakaian adat pria Suku Sasak yang sebagai makna pengendali. Kata Kunci: Desain Karakter, Kode, Makna, Maskot, Pilkada NTB, Si Meton AbstractNTB elections in 2018, the media used by the mascot named Si Meton. Si Meton is very important to research because it suspected that there was a meaning that comes through the visual code. However, the interpretation and code are not necessarily intelligible by the people of NTB. The problem in this research is about what is the meaning behind the "Si Meton" character design codes. The purpose of this study, to analyze the meaning through code language in Si Meton. The method used in this research is interpretative qualitative based on Rolands Barthes code theory. Data collection techniques performed through observation, interviews, and documentation. Data sources collected through interviews with R. Fany Printi Ardi as Si Meton designer, Ahmad Badrul Ula, Sasak tribe as well as academics in the field of arts and culture and Supandri, Mbojo tribe as well as media observers. The analysis technique performed through data reduction, presentation, and conclusion drawing. The results achieved in the form of meanings on the Si Meton character design seen through the language of Proairetic codes and cultural codes. In conclusion, the mean is seen based on the Proairetic code, visible blue ink on the little finger of the right hand and left hand of Meton character who put the paper into the ballot box as a promotional meaning. Whereas in the cultural code contained in the icon and the symbol of traditional clothing on Sasak tribe men as the controller meaning.  Keywords: Character Design, Code, Mascot, Meaning, NTB Election, Si Meton
Komunikasi Visual Kajang Dalam Upacara Ngaben di Bali Swandi, I Wayan; Nuriarta, I Wayan
Jurnal Bahasa Rupa Vol. 6 No. 2 (2023): Jurnal Bahasa Rupa April 2023
Publisher : Prahasta Publisher (manage by: DRPM Institut Bisnis dan Teknologi Indonesia)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31598/bahasarupa.v6i2.1313

Abstract

Kajang is one of the essential elements in Balinese death rites. Kajang, as a symbol, has visual communication because it is a representation of the meanings of life. This research aims to classify the Kajang's appearance and interpret the Kajang's rerajahan from a visual communication perspective as the ceremony's spirit. The benefit of this research is that it can be used as a reference in classifying the visual appearance of awnings and is useful for understanding the meaning of awnings, so that awnings can be widely recognized by the Balinese people. The research method used is a critical qualitative method with the point of view of cultural studies.The results show that in the Hindu tradition, especially in Bali, Kajang is written in the Modre script and the Swalalita script and then placed on the curvature of the person to be incised. The types of Kajang in the composition of Ulaka Warih Ida Bhatara Dalem Benculuk Tegeh Kori, namely; (1) Kajang Klasa Walaka, (2) Kajang Pemijilan Walaka, (3) Kajang Kawitan Walaka, (4) Kajang Recedana Walaka, and (5) Kajang Sari/ Siwa Walaka. Kajang in Balinese Hindu tradition is a symbol (pengawak) of the spiritual and physical bodies of people who have died. In visual communication, Kajang is an illustration that explains a narrative of life. Religiously, the Kajang is a religious symbol with the meanings of human life.
Ideologi Visual Media Representatif Konstruksi Citra Budaya Bali I Wayan Swandi; I Wayan Nuriarta; I Nyoman Larry Julianto
PANGGUNG Vol 33 No 2 (2023): Ideologi, Identitas, dan Kontekstualitas Seni Budaya Media
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v33i2.2623

Abstract

Bali dikenal sebagai daerah tujuan pariwisata yang berbudaya. Padahal di abad ke-17, Bali dikenal sebagai pulau kejam dengan masyarakatnya yang suka menjarah kapal karam. Penelitian ini bertujuan untuk mendeskripsikan secara kritis konstruksi citra Bali oleh kolonial Belanda dengan memanfaatkan peran media-media representatif. Metode yang digunakan adalah deskriptif kualitatif kritis. Hasilnya menunjukan bahwa media-media representatif seperti brosur, folder, dan desain sampul buku yang dibuat oleh kolonial Balanda telah berhasil mengkonstruksi citra budaya Bali. Dengan menghadirkan ilustrasi perempuan, patung, upacara Ngaben, dan keindahan alam Bali, citra yang melekat pada pulau Bali sampai saat ini adalah sebagai pulau surga terakhir. Bali memiliki berbagai daya tariknya tersendiri untuk dikunjungi baik keindahan alam maupun tradisi yang masih dijaga kuat. Ideologi visual yang dimunculkan adalah ideologi ketenangan, kenyamanan, dan keindahan pulau Bali. Bali adalah surga terakhir bagi para wisatawan Barat. Kata Kunci: Ideologi Visual, Budaya Bali, Kajian Budaya, Desain Komunikasi Visual
Co-Authors Alit Kumala Dewi Alvin Raditya Sutopo Anak Agung Bagus Aditya Keshawa Putra Anak Agung Bagus Wirawan Anak Agung Gde Bagus Udayana Anak Agung Gede Aris Septiana Putra Artadi, I Made Pande Artawan, Cokorda Alit Artha, I Gede Agus Indram Bayu Arya Pageh Wibawa Ayu Krisna Gayatri Sari Dewi BAYU PRAMANA, I MADE BAYU SEGARA PUTRA, GEDE BRENDA MEIDYTA SARI, BRENDA MEIDYTA BRYANT ALFREDO, BRYANT christofer satria Debora Okdila Santoso Denise Kusuma Dewi, Ayu Krisna Gayatri Sari Elsye Andriani Delfi Elvian Andreani, Ni Putu Ersania, Ayu Bella Ervin Feliana Faisal, Yusuf faran, sefri FENTINNIA YASODHARA, FENTINNIA Garwa, I Ketut Hasbullah - Hasbullah Hasbullah Hasbullah Hasbullah Hutomo Setia Budi I Gede Anjas Kharismanata I Gede Mudana I Gusti Ngurah Agung Mahaputra I Made Agung Windu Sancaya I Made Agung Windu Sancaya I Made Dwiarya Swandi I Nengah Wirakesuma I Nyoman Artayasa I Nyoman Larry Julianto I Nyoman Larry Julianto I Nyoman Larry Julianto I Nyoman Lodra I Nyoman Widhi Adnyana I Nyoman Yoga Sumadewa I Nyoman, suardina I Putu Agus Aditya Mega Putra I Putu Bagus Jayadaru I Putu Tony Aditya I Wayan Adnyana I Wayan Adnyana I Wayan Mudra, I Wayan I Wayan Nuriarta I Wayan Putra Adhi Prayoga Ida Bagus Ketut Trinawindu Janottama, I Putu Arya Kadek Dwiyani Kharismanata, I Gede Anjas Made Gana Hartadi Markadi, Bhimo Wicaksono MENDY HOSANA M., MENDY HOSANA Mendy Hosana, Mendy Ni Luh Sustiawati Ni Made Chandra Oktavia Devi Permatahati, Ayu Leony Mahadewi Putri Pradnya Ananda, I Made Mardawa Pranawa, I.G.A.Ngurah Bagus Rama Pratama, Nicholas Wila Adi Purnama Adi Wirawan Raharja, I Gede Mugi Ratna Anggraini Ratna Cora Sudharsana, Tjok Istri Remawa, Anak Agung Gede Rai Santosa, Hendra Sarjani, Ni Ketut Pande Seanny Kurniawati Halim Sony Prasetya Wanandi Sophia Lerina Chandra Suteja, I Kt Swandi, I Made Dwiarya Try Adi Stanaya, I Komang Udayana, Anak Agung Gede Bagus Vincentius Michael Sugiharto virginia puspadewi hadinoto Vonny Taniwijaya Wahyu Indira Wasista, I Putu Udiyana Wayan Karja Wina Pertiwi putri Wardani Wirawan, I Gusti Ngurah WULAN PURNAMASARI, WULAN Yogantara, Wayan Arfian YONANDO YONANDO, YONANDO