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All Journal Nirmana Imaji: Jurnal Seni dan Pendidikan Seni ARS: Jurnal Seni Rupa Dan Desain DeKaVe Rekam : Jurnal, Fotografi, Televisi Animasi SURYA SENI ANDHARUPA IJCAS (International Journal of Creative and Arts Studies) MUDRA Jurnal Seni Budaya Jurnal Invensi (Jurnal Penciptaan dan Pengkajian Seni) Jurnal Riset Rumpun Seni, Desain dan Media (JURRSENDEM)

Prayanto Widyo Harsanto

Institut Seni Indonesia Yogyakarta

Author-ID : 276585

Religion Arts Humanities Education Environmental Science Languange, Linguistic, Communication & Media Social Sciences

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Interdisciplinary and Globalisation Issue at the International Conference for Interdisciplinary Studies 2014 (ICIS) in South Korea H, Prayanto Widyo
IJCAS (International Journal of Creative and Arts Studies) Vol 2, No 1 (2015): June 2015
Publisher : IJCAS (International Journal of Creative and Arts Studies)

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

Metamorfosis Kebudayaan (Sebuah Tinjauan Media Televisi dan Budaya Kekerasan) Harsanto, Prayanto Widyo
Nirmana Vol 11, No 1 (2009): JANUARY 2009
Publisher : Institute of Research and Community Outreach - Petra Christian University

Culture and communication media cannot be separated one from another, because culture does not only determine who is talking, but also determine about what and how the communication takes place. Culture, in this case, takes a role in determining how the messages are received and meanings are conveyed. The plenty of (visual) mass communication media have succeeded in affirming that globalism has occured everywhere including in Indonesia as a developing country. Television is one sort of mass communication media produced by a long process of human culture development. The intended development is improvement in technological field, specifically in communication and information technology that revolutionize communication techniques. The television mass media have the most powerful effect towards society concerning imitation. Various television programs, especially those that contain violence factors, the violence that is watched by children may stimulate them doing crime in their adulthood. This is because there is a strong relationship between violence on television with factual life. This is a characteristic of media culture that is a kind of visualization culture which can be imitated and followed by anyone. Abstract in Bahasa Indonesia: Budaya dan media komunikasi tidak dapat dipisahkan satu dengan yang lainnya, sebab kebudayaan tidak hanya menentukan siapa yang berbicara, tetapi tentang apa dan bagaimana komunikasi itu berlangsung. Kebudayaan dalam hal ini ikut menentukan bagaimana pesan-pesan ditangkap dan makna-makna disampaikan. Gencarnya media komunikasi massa (visual) telah berhasil mengukuhkan bahwa globalisme telah terjadi di mana-mana termasuk Indonesia sebagai negara berkembang. Televisi merupakan salah satu jenis media komunikasi massa hasil dari suatu proses perkembangan budaya manusia yang panjang. Perkembangan yang dimaksud adalah kemajuan dalam bidang teknologi, khususnya teknologi komunikasi dan informasi yang merevolusi teknik-teknik berkomunikasi. Media massa televisi ini memiliki efek paling kuat terhadap masyarakat dalam hal peniruan. Berbagai program tayangan di televisi khususnya yang mengandung unsur kekerasan, hasil tontonan kekerasan yang dinikmati anak dapat mendorong aksi kriminalitas saat dewasa nantinya. Karena ada hubungan erat kekerasan di tayangan televisi dengan yang terjadi di kehidupan nyata. Ini merupakan ciri khas budaya media adalah bahwa ia merupakan suatu budaya peragaan yang dapat ditiru dan diikuti siapa saja. Kata kunci: kebudayaan, televisi, kekerasan.

Fotografi: Sains, Teknologi, Seni, dan Industri Harsanto, Prayanto Widyo
Nirmana Vol 13, No 1 (2011): JANUARY 2011
Publisher : Institute of Research and Community Outreach - Petra Christian University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.9744/nirmana.13.1.34-42

The digital photography era is a great development in science and technology in the history of photography after Niepce and Daguerre. Where in the 19th century, their experiments lead to the ability to capture images permanently with the subject of a cityscape in France. This discovery was considered most perfect in photography compared to previous ones. In the digital camera era, society views photography as something easy, inexpensive, and a part of everyday life. This is what is called the digitalization of photography. However so sophisticated the photographic equipment there may be today, there is still the need a photographer that has the knowledge and technical skills with good aesthetic sensibilites as â€œthe man behind the camera.â€ In the era of creative industry like today, photography can be said to be in four aspects, which are sciense, technology, art, and industry, that are intertwined. It is because photography is not as easy as pushing the shutter button, even more so in the world of education. The teaching of photography cannot be seen as merely teaching techniques, adjusting apertures, speed, and lighting, but it involves the eyes, thoughts (knowledge and understanding), and feeling in selecting an object and arranging it in a frame of a photograph. Furthermore, what should be considered is that besides teaching how to produce and create a photo, one should know and understand as to every possibilites of aspects of its distribution after the photo has been successfully produced.

FOTOGRAFER DAN RISET Pcntingnya Riset dalam Fotografi Prayanto WH.
Ars: Jurnal Seni Rupa dan Desain No. 6/September - Desember 2007
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i1.259

W1ien an audience observes a picture or photograph, the resulting opinions might be varied, suchas that a picture is good or interesting; there is an emotional bond with a picture; a photograph conveysmemory, it has a story or a specific message. Basically, photography is a communicative medium since aphoto possesses a communicative value when it is used to deliver a message, or when it is an idea expressedto an audience so that there will be a similar understanding «> /0 its meaning When the “expressiono f the photo" is not clcar, not only its meaning but also its objective as well as the message it deliverswould be unclear - which means the communicative process does not work as it is supposed to. In orderto effectively express a message through a photo, in addition to obtaining a go a l idea, an appropriateand contextual "structure of photographic language' should be applied. This "structure o f photographiclanguage" includes the application o f technique, lighting and appropriate composition (aesthetics)In addition to possessing and mastering the above skills, it is necessary for a photographer to beaware o f undertaking research before conducting a photography session. Conducting research provides boththe photographer and also others interested in the photo with several advantages. It not only enables aphotographer to obtain good, interesting and beautiful photos, but the photo session will also be more effectiveand efficient because of this research. No matter how simple is the reason for conducting a photographysession; research should be earned out. Conducting research for photography - fo r aspects o f idea, techniqueas well as aesthetics - can encompass the problem o f identification, analysis, and developing a conclusionprior to the execution o f the photography session.Keywords: photography, photographer, research

Hindia Belanda dalam Fotografi Prayanto Widyo Harsanto
Ars: Jurnal Seni Rupa dan Desain Vol 1, No 13: Mei-Agustus 2011
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i13.129

Netherlands East Indies in Photography. The Dutch colonization in Indonesia caused two different cultures- the Western culture (Europe-Dutch) and the Eastern culture (Indonesia) - to meet. Each was supported by distinct ethnic with dissimilar social structure as well. This situation resulted in the fact that the Dutch culture enriched the Eastern cultures, Javanese culture for instance. The Dutch culture influenced broader field and various culture elements. The Indies style was developed to cope with the historical, political, social, economical, art and cultural condition. The Indies style can be sensed in many forms of documentation, photography to mention one. Meanwhile, the need of visual information to be used in knowledge development and the tracing of human civilization became crucial. Basically, photography concerns with how this recording technology encourages the effort to study the need. This study aimed at proofing that photography in Netherlands East Indies was not merely a recording aid,but also an agent of modernization and of life style changes. It also illustrated how the Eastern image was projected by the Western (Orientalism)Keywords: photography, Indies culture, Orientalism

YOGYAKARTA DALAM KEPUNGAN IKLAN (Sebuah Kajian tentang Estetika Lingkungan) Prayanto Widyo Harsanto
DeKaVe Vol 7, No 2 (2014): DeKaVe Vol. 7 No. 2 Juli-Desember 2014
Publisher : Institut Seni Indonesia Yogyakarta

Banyaknya iklan luar ruang yang memenuhi sudut-sudut kota di Yogyakarta saat ini padaakhirnya menimbulkan berbagai permasalahan. Di Yogyakarta, kini jalan-jalan selain telah dipenuhilalulintas yang padat, masyarakat pengguna jalan masih dijejali berbagai macam bentuk media iklan luarruang, sehingga semakin lengkap kesemrawutan lingkungan kota (tata kota) di Yogyakarta. Kondisi yangdemikian bisa berujung pada kekhawatiran hilangnya slogan yang dicanangkan pemerintah dankebanggaan masyarakat Yogyakarta yaitu Jogya istimewa dan Jogya berhati nyaman. Berfokus pada iklanluar ruang yang bertebaran di Yogyakarta, studi ini menyoroti fakta bahwa ada interaksi antara iklan dankonteks lingkungan-sosial.Untuk mendeskripsikan terhadap fenomena penelitian dengan objek material berupa iklan luar ruang diYogyakarta, maka penelitian menggunakan pendekatan estetika lingkungan-sosial dari Berleant dan VictorPapanek. Dimana estetika lingkungan-sosial adalah estetika kontekstual, berangkat dari karya seni yangterwujud dalam penciptaan karya dan diapresiasi, terkait dengan konteks lingkungan-sosial.Dalam konteks fungsional, iklan dibuat untuk tujuan membantu pemasaran atas produk dan jasa secarapersuasif kepada target audiens. Pada konteks estetis, tampilan/pemasangan iklan luar ruang perlu melihattata ruang kota yang enak dilihat, tidak merusak pandangan dan tidak menyalahi aturan. Karena citravisual kota sangat terkait dengan terbentuknya identitas sebuah kota, sebuah jati diri yang membuat kotadikenal secara spesifik dan berbeda dengan kota-kota lainnya. Tentu saja, citra visual yang baik yangmampu memberikan identitas yang baik pula, dan di lain sisi, citra kota yang buruk akan memberikanidentitas yang buruk pada kota tersebut.

ANALISIS VISUAL PADA SAMPUL DEPAN MAJALAH DESAIN GRAFIS “CONCEPT” EDISI ULTAH PERDANA (Sebuah Kajian Semiotika) Prayanto WH
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.v1i2.156

Magazine is one of the forms of mass media that has fungsikomunikasi to convey information to mass audiences. The cover is an important element because it is through cover / cover one can guess the contents of the magazine, as well as further interested to know further information contained therein. On a magazine cover consists of drawings and writings are arranged in such a way that looks interesting and has meaning Press publications, especially magazines, today's not enough just to rely on the quality of news or manuscript, although verbal aspect is very important. It must be recognized that the visual aspects (design) as the cover / envelope has crucial role to capture the prospective reader. For the cover of a magazine is a window that shows the content information, can be either a text or photographs, illustrations, and design elements. The function of a magazine cover is to attract, dazzle prospective readers, by way influence the thoughts flow in a short time. So it's no wonder much current the magazine publisher who made the cover of such a way as to attract the attention of prospective readers. Thus the task of designers to magazine cover to create designs that attract the attention of the reader becomes increasingly severe. This study tries to analyze a visual on the front cover Magazine Graphic Design 'Concept' birthday inaugural edition by using the Roland Barthes' semiotic approach. As Roland Barthes (1984), any simple "design work (magazine cover)" continue to play in management of the sign. So that will generate a message (image) specific. Design cover, usually contains the elements of the sign in the form of objects, context of the environment, people or other beings who provide meaning to objects, and text (of writing) that reinforce the meaning.Keyword: cover, magazine Concept, semiotics

Visualitas Fotografi: Foto Bupati Klaten dalam Kampanye Pilkada di Tengah Covid-19 Prayanto Widyo Harsanto
Rekam : Jurnal Fotografi, Televisi, Animasi Vol 17, No 1 (2021): April 2021
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/rekam.v17i1.4475

Abstrak Agenda politik tahun 2020 di Indonesia adalah pesta demokrasi untuk Pemilihan Kepala Daerah (Pilkada) secara serentak yang diikuti 270 wilayah meliputi 9 provinsi, 224 kabupaten, dan 37 kota. Namun, pada saat semua calon (kandidat) mulai mempersiapkan dan memperkenalkan diri kepada masyarakat, pada saat itu pula muncul wabah virus korona (Covid-19) di dunia, termasuk di Indonesia. Kondisi ini mengakibatkan munculnya kampanye terselubung di tengah upaya pemerintah dalam menangani dan mencegah menyebarnya Covid-19. Indikasi munculnya kampanye terselubung telah dilakukan beberapa kepala daerah, salah satunya oleh bupati Klaten di tengah wabah Covid-19 dengan menyertakan foto diri dalam bantuan sosial (bansos), bahkan juga ditandai dengan munculnya foto kepala daerah di baliho-baliho di berbagai tempat strategis, di media massa, dan di media sosial di tengah pandemi virus corona. Wabah virus Covid-19 yang merupakan tragedi sosial kemanusiaan dimanfaatkan untuk kepentingan politik yang sifatnya pragmatis oleh segelintir anak bangsa. Terjadinya fenomena visualitas fotografi yang bersinggungan dengan fenomena politik dalam Pilkada 2020 ini menarik dan penting untuk dikaji. Tujuan kajian ini adalah untuk membaca dan memahami lebih dalam atas intervensi visual secara terus-menerus sebagai bagian esensi komunikasi sosial-politik. Untuk mengkaji fenomena tersebut menggunakan visual metodologis dari Gillian Rose (2001) yang didasarkan pada objek material berupa foto bupati Klaten pada berbagai media yang ditengarai sebagai bentuk kampanye politik Pilkada. Metode ini akan memaparkan deskripsi dan analisis secara komprehensif dengan dibantu berbagai literatur. Visualitas fotografi dalam konteks ini digunakan untuk menggambarkan citra visual yang dapat menarasikan melalui berbagai macam simbol visual. Visualitas fotografi yang dimanfaatkan pejabat publik pada media komunikasi visual dapat dilihat sebagai bentuk politisasi sebagai konsekuensi lahirnya upaya penafsiran terhadap fakta atau realitas sosial. Oleh karena itu, fotografi menjadi salah satu elemen penting sebagai upaya kampanye dalam menghadapi pemilihan kepala daerah, di mana foto dilihat dari fungsinya memiliki daya tarik dan persuasi yang kuat untuk membantu memperjelas dan memperteguh isi pesan terhadap konstituen atau masyarakat sebagai target sasarannya. PHOTOGRAPHIC VISUALITY: Photo of the Klaten Regent in the Regional Election Campaign in the Middle of Covid-19 Abstract The 2020 political agenda in Indonesia is a simultaneous democracy for regional heads (pilkada) followed by 270 stakes covering 9 provinces, 224 districts, and 37 cities. However, at a time when all candidates (candidates) start to prepare and introduce themselves to the public, at that moment a worldwide outbreak of the Corona virus (covid-19), including Indonesia. This resulted in a covert campaign amid government efforts to handle and prevent the spread of covid-19. Indications of the emergence of covert campaigns have been carried out by several regional heads, including the klaten regent in the middle of the covid-19 outbreak by including self-portraits in baliho-baliho in various strategic places, in the media, and at social media amid the corona virus pandemic. The covid-19 virus outbreak that was a social humanitarian tragedy was used for pragmatic political interests by a few national children. The occurrence of visualization of photography in relation to the political phenomenon of this 2020 pillage is of interest and importance. The purpose of the study is to read and understand more deeply about visual interventions constantly as part of the essence of socio-political communication. To review the phenomenon using a visual methodological of gillian rose (2001) based on material Photograph of the regent of klaten on various media that are believed to be a form of the election political campaign. It will outline comprehensive descriptions and analyses with help from different literature. Photographic visuals in this context are used to depict visual images that can apply through various visual symbols. Visualization of photography used by public officials on visual communication media can be viewed as politicisation as a consequence of an interpretation of facts or social reality. In consequence, photography becomes one of the key elements of a campaign effort in the face of the electoral election, where photographs of its function have a strong appeal and persuasion to help clarify and solidify the message's content of the constituency or society as its target.

POSTER HAK ASASI ANAK Prayanto Widyo Harsanto
SURYA SENI Vol 3, No 2: September 2007
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v3i2.73

Talking about children world is always fun because there is innocence, cheerfulness, honesty, and a lot of hope. Since the future of our nation and country is on their shoulders. But, in everyday life, a lot of children cannot enjoy the beautiful “Garden of Eden”. Not only few children that are in fact ﬂ ung away in the “sick world”. They have to live their days with pains, have no hope, and their rights are taken by force.On television and other various media, we can almost see and read everyday that children become violent victim in family (KDRT). The violent criminal can be the closest ones (father, mother, older brother/sister, uncle, aunty), and canbe also foreign people (in kidnapping case, children exploitation). The Law of Children’s Rights Protection seems to be powerless. The clauses that threaten the criminals do not make them frighten or deterred. Not all children of courseundergo bad experiences. There are still a lot of children who can grow and develop in conducive environment. They feel love as they should have and their basic rights are fulﬁ lled.By taking the subject of children world, and in purpose taking pictures of children world from two different sides as mentioned above, the aim of designing this poster is to remind, make society realize, especially them who care of children,to see the reality around us. In fact, there are a lot of children who need our hands, attention, and deserve our ﬁghtagainst some factors that take their rights by force.Through poster media with photographic approach, we can show the reality that will easily be understood by society. It is real photos that show the real condition so that they can convince and awaken those who see the photos.Keywords: Poster, Children’s right, and Photography

FOTOGRAFI DALAM DESAIN KOMUNIKASI VISUAL (DKV) Prayanto Widyo Harsanto
Imaji Vol 15, No 2 (2017): IMAJI OKTOBER
Publisher : FBS UNY

Kebutuhan penggunaan karya fotografi untuk elemen iklan cetak saat ini masih tinggi. Iklan cetak di Indonesia 98% menggunakan ilustrasi dengan menggunakan teknik fotografi. Serta, pengetahuan dan keterampilan fotografi telah diberikan sebagai mata kuliah wajib di Perguruan Tinggi yang memiliki Program Studi Desain Komunikasi Visual (DKV). Tujuan tulisan ini adalah untuk mengingatkan betapa pentingnya pelajaran fotografi di desain grafis atau DKV, sehingga penting untuk dikelola dengan baik. Selepas tahun 1990-an dunia fotografi mulai memasuki era teknologi digital yang merubah budaya kerja di industri. Dari ketergantungan pada kemampuan skill manual manusia, berubah menjadi serba komputerisasi (digital). Era analog sedikit demi sedikit telah ditinggalkan karena di era digital kegiatan memotret dan paradigma tentang fotografi sudah bergeser. Dunia fotografi dulu dianggap kegiatan yang sulit dan mahal, namun sekarang relatif murah dan mudah. Teknologi boleh berkembang serta paradigma dapat bergeser, tetapi fungsi dan makna pada karya fotografi tetap penting serta diperlukan dalam desain komunikasi visual. Pendidikan Tinggi DKV tentunya ingin menciptakan sumber daya insani yang kompeten pada bidangnya dan diharapkan dapat memberikan kontribusi optimal di lapangan kerja. Alangkah baiknya apabila lembaga pendidikan mempedulikan profesi yang sesuai dengan levelnya.Kata kunci: fotografi, pendidikan DKV, desain komunikasi visual PHOTOGRAPHY IN VISUAL COMMUNICATION DESIGNAbstractThe need for photography works for printed advertisement is still high. Ninety-eight percents of printed advertisements in Indonesia use illustrations from photography techniques. In addition, the knowledge and skills of photography have been given as compulsory subjects in Higher Education which have a Visual Communication Design Program. The purpose of this paper is to remind us of the importance of photography lessons in graphic design that it is important to be well managed. After the 1990s the world of photography began to enter the age of digital technology that changed the work culture in the industry, from its dependence on human or manual skills into a completely computerized (digital) one. The analogue era has been gradually abandoned because in the digital era photographing activities and the paradigm about photography have shifted. The world of photography was once considered a difficult and expensive activity, but is now relatively cheap and easy. echnology may evolve as well as paradigms may shift, but the function and significance of photography work remain important and necessary in visual communication design. The purpose of a Visual Communication-Design program in Higher Education is to create competent human resources that are able to contribute optimally in the field of work. It would be nice if the educational institutions care about the profession in accordance with the level.Keywords: photography, visual communication design, education

Co-Authors Abielta Harisjaya Adeline Oktavia Gunawan Adiel Yuwono Adiel Yuwono Adiel Yuwono Adiel Yuwono Adiel Yuwono S.Sn Alicia Christy Amelia Puspita Wongso Anak Agung Gde Bagus Udayana Ananta Hari Noorsasetya Andrew Jeremy Husin Anggianto, Davy Anggriana Wijaya . Anggriana Wijaya . Anita Susanto Anita Susanto Antonius Antonius Bie Karina Raditya Christy, Alicia Clarisa Sita Theodorus Dandy Sugiarto Daniel Yohanes Daniel Yohanes, Daniel David Christian David Christian David Christian, David Davy Anggianto Dikky Alandito Hermawan Djohan Djohan Erick Firmansyah R. Daud Febrina Febrina Felicia Priscillya Gavriela Insan Saputri Hans Julian Hen Dian Yudani Hen Dian Yudani Imanuella Anindita Lestyana Imanuella Anindita Lestyana Irene Novita Sutanto Irene Novita Sutanto Ivan Jonathan Jakti, Jalung Wirangga Kevin Chandra Kevin Chandra Lauw, Celine Lawinata Leo, Stefani Lidya Limanto Lidya Limanto, Lidya Liem Steffi Allan Liem Steffi Allan Marvel Ferdinand Ferdinand Natalia B., Rebecca Milka Natalia Basuki, Rebecca Milka Priscilla Natasia L Priscilla Natasia L Rebecca Milka N. Basuki Rebecca Milka Natalia Rebecca Milka Natalia B. Rebecca Milka Natalia B. Rebecca Milka Natalia Basuki Rebecca Milka Natalia Basuki Rebecca Milka Natalia Basuki, Rebecca Milka Natalia Rio Novly Winaldy Samuel Balimula Satuti, Kinanthi Raras Stefani Angela Marcella Steven Steven Sugiarto, Dandy Taranita Mulia Sim Targa Santoso Putra Teresa Tiffany Kartono Theodorus, Clarisa Sita Tuwio, Namuri Migo Udayana, Anak Agung Gede Bagus Victor Felix Soesanto Vincent Jonathan Sugianto Vincent Jonathan Sugianto, Vincent Jonathan Vivin Angeline Yuzak Gunawan Wijaya Yuzak Gunawan Wijaya

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