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All Journal Jurnal Bahasa Rupa Panggung AKSIOLOGIYA : Jurnal Pengabdian Kepada Masyarakat JTAM (Jurnal Teori dan Aplikasi Matematika) SELAPARANG: Jurnal Pengabdian Masyarakat Berkemajuan Ganaya: Jurnal Ilmu Sosial dan Humaniora Jurnal Budaya Nusantara Jurnal Inovasi Hasil Pengabdian Masyarakat (JIPEMAS) Abdi Seni Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Ideas: Jurnal Pendidikan, Sosial dan Budaya International Journal of Visual and Performing Arts Aksara: Jurnal Ilmu Pendidikan Nonformal Jurnal Pembelajaran Pemberdayaan Masyarakat (JP2M) Jurnal Abdimas Ilmiah Citra Bakti (JAICB) Community Empowerment Jurnal Mandala Pengabdian Masyarakat International Journal of Multi Discipline Science (IJ-MDS) Jurnal Abdimas Bina Bangsa Sibatik Journal : Jurnal Ilmiah Bidang Sosial, Ekonomi, Budaya, Teknologi, Dan Pendidikan Indonesian Community Journal Bakti Budaya: Jurnal Pengabdian kepada Masyarakat Jurnal Atma Inovasia JUARA: JURNAL WAHANA ABDIMAS SEJAHTERA SERVIRISMA: Jurnal Pengabdian kepada Masyarakat Engagement: Jurnal Pengabdian Kepada Masyarakat Panggung Jurnal Bahasa Rupa Proceeding of International Conference on Art, Media, and Culture (ICAMAC) Jurnal Bahasa Rupa

Ariesa Pandanwangi

Universitas Kristen Maranatha

Author-ID : 3344165

Religion Agriculture, Biological Sciences & Forestry Arts Humanities Chemical Engineering, Chemistry & Bioengineering Chemistry Civil Engineering, Building, Construction & Architecture Computer Science & IT Control & Systems Engineering Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Engineering Environmental Science Health Professions Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Mathematics Medicine & Pharmacology Nursing Physics Public Health Social Sciences Other

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BAHASA RUPA MOTIF BATIK CIAMIS MELALUI PROGRAM LINDENMAYER SYSTEMS Ratnadewi Ratnadewi; Ariesa Pandanwangi; Agus Prijono
Jurnal Bahasa Rupa Vol. 5 No. 1 (2021): Jurnal Bahasa Rupa Oktober 2021
Publisher : LPPM Institut Bisnis dan Teknologi Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31598/bahasarupa.v5i1.961

West Java has a centre for craftsmen who have a variety of motifs drawn from their regional potential. One of them is Ciamis batik, but now with the pandemic of the Corona 19 virus, it has had a tremendous impact on the macro and micro industrial economy in the development of the batik business. More and more are stopping their business. So it is feared that Ciamis batik motifs are increasingly rare in the market. Through Turtle graphics, existing batik motifs are made in the form of vector images to be preserved by utilizing digital technology. This research has the aim to that the Ciamis batik motif can be made into a visual language through the digitalization process using the MuPAD programming language. The benefit is to document and reintroduce Ciamis Batik motifs that are almost extinct. The method used is a digitalization experiment through the Lindenmayer System. Ciamis batik samples selected motifs that have repetition in the form of a repeating pattern. Based on the research, the Ciamis batik motif can be made using the technique of arches, horizontal lines, vertical lines, and rotation. The conclusion of this research is that batik motif design can use the Lindenmayer System program as a blueprint and can be implemented on Indonesian batik. This research contributes to the efficient documentation of batik motifs in digital form with good quality so that they can be implemented in the creative industry.

VISUALISASI PEREMPUAN PADA LUKISAN TRADISIONAL TIONGHOA DI INDONESIA (Analisis karya-karya seni lukis Lee Man Fong dan Chiang Yu Tie) Ariesa Pandanwangi; Nuning Damayanti
PANGGUNG Vol 27, No 2 (2017): The Revitalization of Tradition, Ritual and Tourism Arts
Publisher : LP2M ISBI Bandung

ABSTRACT Both Lee Man Fong - a male painter - and Chiang Yu Tie - a female painter - are Chinese who migrated to Indonesia. In the beginning of the 20th century, Lee Man Fong lived in Bali while Chiang Yu Tie lived in Java. Many of their artworks were collected by the National Palace and many government officers. The questions of this research are visualization of the women as the object of paintings of both artists and gesture of the women in the paintings of both artists. The purpose of the research is to enrich the documentary infrastructure about women as object in the social area of visual arts which has not been studied much. The research method that will be used is qualitative method with purpose sampling. The result of the research will show that both artists are very familiar with a particular social life during their stay in a certain place, so that their perceptions are focused in excavating the women object in their artworks.Keywords: Chiang Yu Tie, Chinese, Lee Man Fong, Painting, Woman.ABSTRAK Lee Man Fong adalah pelukis laki-laki dan Chiang Yu Tie adalah pelukis perempuan. Keduanya adalah orang Tionghoa yang merantau ke Indonesia. Pada tahun 1900 an Lee Man Fong tinggal di Bali sedangkan Chiang Yu Tie tinggal di Jawa Barat. Karya keduanya banyak dikoleksi oleh Istana Negara juga oleh pejabat pemerintahan. Penelitian ini untuk mengetahui visualisasi perempuan yang dijadikan objek pada lukisan tradisional tionghoa dan gestur perempuan pada objek karya seni lukis kedua seniman tersebut. Tujuan penelitian ini adalah untuk melengkapi infrastruktur pendokumentasian tentang objek perempuan dalam medan sosial seni rupa yang belum banyak dibahas. Metode penelitian ini adalah metode kualitatif dengan purpose sampling. Hasil penelitian ini memperlihatkan bahwa kedua seniman tersebut sangat akrab dengan lingkungan sosial ketika mereka tinggal disuatu daerah, sehingga pengamatannya banyak di fokuskan pada penggalian objek perempuan dalam karya seni lukisnya.Kata kunci: Chiang Yu Tie, Lee Man Fong, Perempuan, Seni lukis, Tionghoa.

Bahasa Rupa Gambar Anak Berkesulitan Belajar dan Relasinya dengan Gambar Seni Rupa Tradisi Ariesa Pandanwangi; Yasraf Amir Pialang; Nuning Damayanti Adisasmito
PANGGUNG Vol 24, No 2 (2014): Modifikasi, Rekonstruksi, Revitalisasi, dan Visualisasi Seni
Publisher : LP2M ISBI Bandung

ABSTRACTÂ Children with learning disabilities have creative capabilities that sometimes unnoticed by their pa- rents or teachers. Their creative capabilities are usually observed from their drawings, which as creative as the drawings created in traditional arts. The aim of this research is to determine the relationship between drawings from children with learning disabilities compared to the drawings created in traditional arts.The research methods employed is a qualitative descriptions with visual languages approaches. The approaches used are contents of wimba, way of wimba, enlargement and shrinkage. It can be shown that the way of drawing by children with learning disabilities has direct relationship with the traditional arts. The way of wimba of these childrenâ€™s drawings is having similar characteristics with the way of wimba in traditional arts. Â This similarity is observed from the unique way of drawing of these children which are figurative objects drawn on a flat sand surface, various backgrounds, various relieves, tranparencies, emphasizing large objects, green colour, and symmetrical compositions. These similarities are constructed because these children do not know about perspective drawing and gravitational principles in the draw- ing, somethings which are also found in traditional art, so that both tend to have similar way of wimba in drawings. The characteristics of drawing by children with learning disabilities can be seen from the way of wimba figures which are schematics, which should already surpassed by children with similar age.Â Keywords: Children, Drawings, Learning disabilities, Traditional arts, Visual languageÂ Â Â Â ABSTRAKÂ Anak berkesulitan belajar mempunyai kreativitas yang belum diketahui oleh orang tua bah- kan guru. Kreativitas yang tergali dari gambar yang dihasilkan oleh Anak Berkesulitan Belajar (ABB), sama kreatifnya dengan gambar yang berasal dari seni rupa tradisi. Penelitian ini untuk mengetahui relasi antara gambar ABB dengan gambar seni rupa tradisi. Relasi adalah hal yang membuat adanya keterhubungan antara gambar ABB dengan gambar seni rupa tradisi.Metode penelitian ini adalah deskriptif kualitatif dengan pendekatan bahasa rupa. Bahasa rupa yang dipergunakan adalah isi wimba, cara wimba, diperbesar atau diperkecil. Hasil pene- litian ini diketahui bahwa cara gambar anak memiliki relasi dengan gambar seni rupa tradisi, yaitu cara wimba gambar ABB mempunyai karakteristik kemiripan dengan gambar seni rupa tradisi. Hal tersebut dapat diamati dari cara khas gambar anak yaitu objek figur digambarkan diatas rata tanah, aneka latar, aneka tampak, tembus pandang, objek yang besar dibuat penting, warna hÄ³au, komposisi simetris. Kemiripan tersebut karena anak-anak belum mengenal gam- bar perspektif dan gaya gravitasi pada gambar, hal yang sama juga ditemui dalam seni rupa seni tradisi sehingga mereka memiliki kecenderungan penggambaran cara wimba yang mirip. Sedangkan karakteristik gambar ABB dapat dilihat dari cara wimba figur yang menyerupai bagan, padahal untuk anak seusianya anak sudah melampaui bentuk tersebut.Â Kata kunci: Anak-anak, Bahasa rupa, Berkesulitan Belajar, Gambar, Seni rupa tradisi

komparasi karya seni lukis MOOI Indie Antara Seniman Indonesia dan Seniman Dari Barat Periode 1930-an Ariesa Pandanwangi
Jurnal Budaya Nusantara Vol 2 No 2 (2019): NUSANTARA & TEKNOLOGI
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol2.no2.a1968

The purpose of this study is to compare the 1930s indie mooi painting works between Indonesianartists and western artists. The samples of this study were paintings of Indonesian artists andWestern artists made in 1930s. Each work of these artistsis selected to represent his period. Hiswork is, therefore, analyzed using Feldman's theory. The results of this study show that manyartists' creative ideas are inspired by the scenery of Indonesia. These creative ideas lead to themesemerged which visualizing fields and mountains on their indie mooi paintings. The primarilyreason of visualizing the beautiful scenery on their paintings is that these paintings are intended tofavourEuropean communities living in Java. Another result of the study is that paintings at thattime still used traditional techniques and media, oil paint on canvas and the colours used aremostly bright.

NARASI VISUAL CERITA FABEL DALAM KARYA SENI LUKIS Ariesa Pandanwangi; Belinda Sukapura Dewi; Shopia Himatul Alya
Jurnal Budaya Nusantara Vol 3 No 2 (2020): Nusantara & Media
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol3.no2.a2545

Bandung is one of the creative cities in Java, especially West Java. Proven Bandung has a lot of local wisdom dug up from legendary stories, animal fable stories, culinary riches, and many more which later became interesting ideas into the concept of creating art. This local wealth is an important claim by artists who actively work. This research will reveal the expression of artists in paintings. They express their expression by bringing up the fable story of the archipelago. Archipelago fable story is processed, dug up and used as a source of inspiration to create works of art. The problems in this study are (1) What is the concept of a painting that was conceived from the fable story of the archipelago. (2) What is the visualization of the archipelago fable painting created by female artists ?. This research method is descriptive qualitative by examining the aesthetic aspects which include elements of the object, composition, color, harmonization. The media used in this painting is fabric. Samples of paintings, taken from works created by women from an exhibition held in Bandung. The coloring process with the colet technique. The color used is the dye for the fabric. The findings in the research are the concept of the work carried by artists visualizing animal stories that can be used as good moral examples. This exhibition is important because in addition to visual narration there is also a message delivered to the public. Whereas visually, many female artists use realistic objects, center composition, contrasting and attractive colors. The results of this study the concept of fable stories are brought back into an attractive visual narrative with colors that are presented in contrast with many techniques in coloring.

Inspirasi Batik Tamarind dari Cerita rakyat Belinda Sukapura Dewi; ARLETI M. APIN; Ariesa Pandanwangi; Nuning Damayanti
Jurnal Budaya Nusantara Vol 4 No 2 (2021): NUSANTARA & RUANG VIRTUAL
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol4.no2.a4056

Batik is known not only for its beauty, but also for the values it contains. This potential is very inspiring and gives an idea visualized into batik storytelling using the cold method of tamarin paste, a new approach that is more environmentally friendly. This technique has also been tested both domestically and abroad and has great potential for opportunities batik development with new ideas. An opportunity to preserve batik novelty that have no potential harass to traditional batik. This study applies the discussion of visual language to folklore theme batik works. In the earlier times, speech was common culture carried by elders to their children or grandchildren. Folktales in the form of legends, myths and fables are moral messages way conveyed in a friendly, fun but also educating with devotion. The theories and methods used to discuss two batik samples are taken from folklore which contains educational moral values. Based on a study of selected samples of batik works, it is known that the images or shapes on batik use the Space Time Flat (RWD) and Naturalist Perspective Moment Opname (NPM) systems simultaneously. Most of the depictions of motifs and shapes in batik still use the RWD system, although some forms also use NPM.

The Meaning of Visual Language on Traditional House In Nias Ariesa Pandanwangi; Krismanto Kusbianto
International Journal of Multi Discipline Science Vol 1, No 1 (2018): Volume 1 Number 1 February 2018
Publisher : STKIP Singkawang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26737/ij-mds.v1i1.414

Indonesia memiliki beragam karya seni. Salah satunya yaitu bahasa rupa yang terdapat pada rumah tradisional. Pada umumnya, bahasa rupa yang ditampilkan dapat berupa cerita figur-figur binatang, manusia, dan status sosial masyarakat. Saat ini, semua bahasa rupa yang terdapat pada rumah adat di Nias belum terdokumentasikan dengan baik sehingga hal ini dapat diadopsi untuk menciptakan bangunan modern di masa yang akan datang. Tujuan penelitian ini untuk mengungkapkan bahasa rupa yang terdapat pada rumah tradisional Nias. Penelitian ini menggunakan metode etnografi, eksplorasi lapangan, dan deskriptif. Pendekatan penelitian yang digunakan adalah bahasa rupa. Hasil dari penelitian ini adalah bahasa rupa yang terdapat pada dinding kayu rumah tradisional bagian luar: figur binatang yang ditempatkan horisontal, dan saling berulang. Bahasa rupa di dalam rumah tinggal, terdapat pada atap rumah dan pada bagian atas jendela depan rumah. Figur yang ditampilkan di tengah-tengah atap rumah adalah buaya (Ni'obuaya). Setiap figur yang ditampilkan baik pada bagian luar rumah dan dalam rumah adat mempunyai makna yang mendalam bagi para penghuninya.

Wastra Kreatif: Sosialisasi Dan Pelatihan Teknik Cabut Warna Ariesa Pandanwangi; Belinda Sukapura Dewi; Dewi Isma Aryani; Tessa Eka Darmayanti; Ismet Zainal Effendi; Dieni Nuraeni
Aksara: Jurnal Ilmu Pendidikan Nonformal Vol 8, No 2 (2022): May 2022
Publisher : Magister Pendidikan Nonformal Pascasarjana Universitas Negeri Gorontalo

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37905/aksara.8.2.1011-1022.2022

Teknik cabut warna dalam karya-karya seni banyak dipergunakan oleh masyarakat yang mencintai dunia kreatif. Istilah cabut warna ini awal mulanya dikenal dalam teknik sablon yaitu sebuah istilah yang sama dengan angkat warna. Wastra yang dibutuhkan adalah jenis katun berwarna gelap, apabila di sablon maka tintanya akan berubah sama dengan warna tinta yang disablonkan. Berbagai eksperimen diatas kain terus dikembangkan termasuk dalam pengembangan wastra kreatif, yang membedakan adalah jenis tinta yang dipakainya. Dalam wastra kreatif jenis cairan untuk menghilangkan warna memanfaatkan pemutih yang beredar di pasaran. Pemakaiannya dengan menggunakan benda tumpul yang aman dan dicelupkan ke dalam pemutih, dan torehkan di atas kain. Tapak jejak torehan tersebut akan berganti warna menjadi putih, warna dasar kain tersebut tercabut warnanya. Metode pengabdian yang dipergunakan adalah metode partisipan yang akan dilakukan empat tahapan yaitu persiapan alat dan bahan, kedua untuk pelaksanaan dilakukan sosialisasi, demo dan pelatihan, ketiga tahapan evaluasi peserta melalui diskusi dan tanya jawab. Peserta pengabdian ini adalah Guru Dasyat Nusantara (GDN) dengantarget peserta adalah 40 orang. Pelaksanaannya setiap peserta memperhatikan apa yang diuraikan oleh trainer. Hasil pengabdian dari wastra kreatif cabut warna ini peserta dapat meningkatkan kompetensinya dalam membuat karya wastra kreatif.

Mirror As Inspiration In The Creation Of Artworks Kerine Claudya Wijaya; Ariesa Pandanwangi; Belinda Sukapura Dewi
Aksara: Jurnal Ilmu Pendidikan Nonformal Vol 7, No 3 (2021): September 2021
Publisher : Magister Pendidikan Nonformal Pascasarjana Universitas Negeri Gorontalo

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37905/aksara.7.3.1009-1016.2021

Every artist has the goal of creating works of art that cannot be separated from the spiritual feelings experienced daily. The creative process of creating this work of art is initiated from the mirror which will be explored in the work of art. The method used is descriptive qualitative study and experimental method. The problem in this creation process is how the phenomenon that occurs when humans feel unhappy in their inner life so that they feel depressed, even judged between individuals, both physically and non-physically. The result of this creation process is a puzzle arrangement which is a metaphor for the results of reflection as well as the spiritual relationship of the soul with the body that has been experienced in living and contemplating life. The message conveyed through this work is that humans must understand each other.Setiap seniman memiliki tujuan menciptakan karya seni yang tidak lepas dari perasaan spiritual yang dialami sehari-hari. Proses kreatif penciptaan karya seni ini digagas dari cermin yang akan dieksplorasikan pada karya seni. Metode yang dipergunakan adalah studi metode deskriptif kualitatif dan metode eksperimental. Permasalahan dalam proses penciptaan ini bagaimana fenomena yang terjadi ketika manusia merasakan perasaan tidak bahagia dalam kehidupan batinnya sehingga merasa tertekan, bahkan dinilai antar individu, baik secara fisik maupun non fisik. Hasil dari proses penciptaan ini adalah susunan puzzle yang merupakan metafora dari dari hasil refleksi sebagaimana hubungan spiritual jiwa dengan tubuh yang telah berpengalaman dalam penjalanan hidup dan perenungan hidup. Pesan yang disampaikan melalui karya ini adalah manusia harus saling memahami antara satu dengan lainnya

Ekspresi Visual Memori Traumatik Florenza Octarina; Ariesa Pandanwangi; Belinda Sukapura Dewi
Aksara: Jurnal Ilmu Pendidikan Nonformal Vol 8, No 2 (2022): May 2022
Publisher : Magister Pendidikan Nonformal Pascasarjana Universitas Negeri Gorontalo

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37905/aksara.8.2.1231-1242.2022

An accident experienced by a person, becomes an unforgettable experience. Events that are embedded in memory are often a source of inspiration for artists in the creative process. Some great artists who have experienced an accident have become ideas in the process of creation. The purpose of this creation is to visualize an accident that is recorded in memory and leaves a deep trauma, so that emotions and expressions through art can be appreciated by appreciators. The method used is descriptive analysis and historical. The results of the creation of the artwork are 4 works of art using oil paint on canvas measuring 100 x 120 cm which carry trauma, through these artworks the appreciators can feel the emotions offered by the artist. The visualization in this work is the object of the human body gesture which is dominated by a centered or centered composition with black, white, and gray monochrome colors.Peristiwa kecelakaan yang dialami oleh seseorang, menjadi sebuah pengalaman yang tak terlupakan. Peristiwa yang melekat dalam ingatan kerap menjadi sumber inspirasi seniman dalam proses kreatif. Beberapa seniman besar yang pernah mengalami sebuah sebuah peristiwa kecelakaan, justru menjadi gagasan dalam proses penciptaan. Tujuan penciptaan ini untuk memvisualisasikan sebuah peristiwa kecelakaan yang terekam dalam memori dan meninggalkan trauma yang mendalam, sehingga emosi dan ekspresi melalui karya seni dapat diapresiasi oleh apresiator. Metode yang digunakan adalah deskriptif analisis/historis. Hasil dari penciptaan karya seni adalah 4 karya seni dengan menggunakan cat minyak diatas kanvas berukuran 100 x 120 cm yang mengusung traumatis, melalui karya seni tersebut para apresiator mampu merasakan emosi yang ditawarkan oleh seniman. Visualisasi dalam karya ini adalah objek gesture tubuh manusia yang didominasi dengan kmposisi memusat atau ditengah dengan warna monokrom hitam, putih, abu-abu.

Co-Authors Abdusyukur Budiarvin Septiadi Abdusyukur Budiarvin Septiadi Agus Prijono Agus Prijono Alisha Sugianto Alya, Shopia Himatul Alya, Sophia Himatul Amanda Harmani Apin, Arleti Mochtar ARLETI M. APIN ARLETI M. APIN Arleti Mochtar Apin Arleti Mochtar Apin Atridia Wilastrina Atridia Wilastrina Atridia Wilastrina Aulia Wara Arimbi Putri Ayuningtyas, Nabilla Baene, Basituasi Basituasi Baene Basituasi Pane Belinda Sukapura Dewi Cama Juli Rianingrum Carla Angelica da Silva, Maria Imakulata Darmayanti, Tessa Eka Deniansha, Farhan Dewi Isma Aryani Dieni Nuraeni Dieni Nuraini Dina Lestari Doro Edi Elnissi, Sharon Erika Ernawan Erlina Novianti Ernawan, Erika Erwani Merry Sartika Farhan Deniansah Farhan Deniansha Florenza Octarina Fragranthia Jennifer Hendrawan, Lucky Ida IDA IDA Ida Ida Ida Ida, Ida Iman Budiman Iman Budiman Iman Budiman Indralaksmi Indralaksmi Ismet Zainal Effendi Ismet Zainal Effendi Zainal Effendi Janette Kiara Zerlinda Santosa Kartika Suhada Kerine Claudya Wijaya Krismanto Kusbianto Krismanto Kusbiantoro Kuncoroputri, Sari Dewi M. Dwi Marianto Marutama, I Gusti Ngurah Tri Meythi, Meythi Muhamad Ali Rahim Muhammad Ali Rahim Nuning Damayanti Nuning Damayanti Nuning Damayanti Nuning Damayanti Nuning Damayanti Nuning Damayanti Adisasmito Nuning Damayanti Adisasmito, Nuning Damayanti Olga Catherina Pattipawaej Pande Made Sukerta Purnomo Adi, Sigit Putri, Aulia Wara Arimbi Ratnadewi Ratnadewi . Ratnadewi, Ratnadewi Ria Wardani Rosida Tiurma Manurung Rutnanda Inne Bulu Sari Dewi Kuncoroputri Se Tin Sharon Elnissi Shopia Himatul Alya Shopia Himatul Alya Shopia Himatul Alya sigit purnomo adi Sophia Himatul Alya Sri Hadi Sukapura Dewi, Belinda Suryana, Wawan Teddy Marcus Zakaria Tessa Eka Darmayanti1 Utomo, R. Drajatno Widi Vera Liendani Verren Lesiando Septian Vincent Vincent Wahyu Widowati Wangsaputra, Priscylia Susanto Wawan Suryana Wawan Suryana Yasraf Amir Pialang Yasraf Amir Pialang, Yasraf Amir Yohanes Bastian Vestralen Lameng Yudhanto, Sigied Himawan Zeta Ranniry

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