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All Journal ANDHARUPA Panggung Proceeding of International Conference on Art, Language, and Culture Visualita : Jurnal Online Desain Komunikasi Visual Texture : Art and Culture Journal Abdi Seni Acintya Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Capture : Jurnal Seni Media Rekam Wayang Nusantara: Journal of Puppetry Besaung : Jurnal Seni Desain dan Budaya Aksara: Jurnal Ilmu Pendidikan Nonformal Visual Heritage: Jurnal Kreasi Seni dan Budaya ARTISTIC : International Journal of Creation and Innovation Dikmas: Jurnal Pendidikan Masyarakat dan Pengabdian Jurnal Dimensi Seni Rupa dan Desain Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Panggung

sigit purnomo adi

Fakultas Seni Rupa Dan Desain Universitas Sebelas Maret Surakarta

Author-ID : 3375724

Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences Other

Published : 43 Documents Claim Missing Document

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Kaca Aklirik (Plexiglas) sebagai Medium Alternatif Lukis Kaca Bahari, Nooryan; Kurniawati, Dyah Yuni; Adi, Sigit Purnomo
Visualita Jurnal Online Desain Komunikasi Visual Vol 8 No 1 (2019): Agustus
Publisher : Universitas Komputer Indonesia

The research aim of art creation and presentation is to revitalize traditional glass painting in Indonesia by utilizing plexiglas flexibility as a medium in fine artwork. This is due to the use of glass as a medium is very heavy and easily broken when moved or taken for display. The research method used in the creation of art uses experimental method with the order of exploration stage, design stage, and realization stage. Exploration stage is an exploration activity that explores the source of ideas, including exploring plexiglass materials using various types of water-based and oil-based paints, as well as gravur and grinder techniques to erode the surface. Next is collecting data and references, as well as processing and analyzing data which results are used as the basic for making designs. Design Stage visualizes exploration results into various design alternatives which then the best is chosen and used as references in making works. Realization Stage is the process of manifesting the chosen design into the real work. Research showed that the use of plexiglass material as a medium of traditional glass painting has a very good results, and plexiglas can fully replace glass in terms of aplicable to various paint types, even plexiglas has excellence over ordinary glass that is water-based acrylic paint can be applied better in plexiglas and can fused (compound). Exploration of works visualization using plexiglas as medium has a very good result, as applied to ordinary glass. Exploration of works visualization has a very good result, some works still use traditional motifs and symbols combined with modern motifs and symbols with illustrative, expressionist and pop art style.

Karakter Bima Sebagai Sumber Inspirasi dalam Karya Seni Grafis Bagaskoro Ardhi; Nooryan Bahari; Sigit Purnomo Adi1
Wayang Nusantara: Journal of Puppetry Vol 2, No 1 (2018): Maret 2018
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/wayang.v2i1.2999

The resulting graphic artwork was inspired by the Bima puppet figure who was dashing, muscular, athletic, honest, brave, never giving up, warlord, and accomplished knight. Bima’s characters and attributes are then poured in this graphic art. This work was created using a high-speed/print technique that has a unique shading effect, such as a texture effect because it goes through the printing process many times. The basic principles of art include unity, balance, harmony, proportion (proportion), and emphasis (domination) used as a theoretical framework. The author utilizes reproductive works in the form of photos of print media and from the internet to be explored. There are 14 works produced from the exploration. Karya seni grafis yang dihasilkan terinspirasi dari tokoh wayang Bima yang gagah, kekar, atletis, jujur, pemberani, pantang menyerah, panglima perang, dan ksatria ulung. Karakter dan atribut Bima itulah yang kemudian dituangkan dalam karya seni grafis ini. Karya ini diciptakan dengan menggunakan teknik cukil tinggi/relief print yang memiliki efek cukilan yang unik, seperti efek tekstur karena melalui proses cetak berkali-kali. Prinsip dasar seni rupa antara lain kesatuan (unity), keseimbangan (balance), keselarasan (ritme), perbandingan (proportion), dan penekanan (domination) dipakai sebagai kerangka teori. Penulis memanfaatkan karya reproduksi berupa foto media cetak maupun dari internet untuk dieksplorasi. Ada 14 karya yang dihasilkan dari eksplorasi tersebut.

WATER, FIRE, WIND, AND SOIL AS THE IDEAS OF CREATION OF GRAPHIC ART WORK sigit purnomo adi; Pande Made Sukerta; M. Dwi Marianto; Sri Hadi
ARTISTIC : International Journal of Creation and Innovation Vol 1, No 2 (2020)
Publisher : Institut Seni Indonesia Surakarta

The creation of this graphic work considers the reciprocal relationship between art and the environment as well as its preservation with an Eco Art perspective. The creation of this Eco-Graphic work uses the Artistic Creation approach which includes experimentation, reflection, and formation (art structure). This Eco Graphic work is inspired by the stimulation of creating water, fire, wind and soil in Javanese philosophy which is then processed in such a way that it becomes a graphic art work in an eco art perspective. Through inner research or inner wandering, the creator is able to visualize the work of Eco Graphic after discovering triangles, circles and lines as the main motive with the abstract expressionism model.

MINIPRINT ARTWORK CREATION WITH SATO KEWAN OBJECT Sigit Purnomo Adi, S.Sn, M.Sn; Mohammad Khizal Mohamed Saat; I Gusti Ngurah Tri Marutama
ARTISTIC : International Journal of Creation and Innovation Vol 2, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Animals have provided humans with everything from meat to eggs to pleasure. Thus, animals, including chameleons, must be rescued from extinction. The chameleon's uniqueness makes it an intriguing subject for artistic creation. The purpose of this artwork is to visualize the concept of personal expression through miniprint works using Sato Kewan (variety of animals) object, specifically the chameleon. The creation of this printmaking work is part of artistic research, more specifically research into art practice, which is conducted using plywood as a medium, an abstract expressionism style, and the concept of art as personal expression. The stages of creation include experimentation, contemplation, and formation. A chameleon miniprint reflecting personal expression is created as a result of the creation process. Hence, visualization of chameleon miniprints using advanced printing techniques can result in abstract expressionism-inspired printmaking works. The creation, which incorporates traditional and contemporary art elements, is expected to be competitive nationally and internationally.

EARTH'S CREATION STIMULUS: CREATION OF GRAPHIC ARTS WITH USED PLYWOOD MEDIA Sigit Purnomo Adi; Pande Made Sukerta; M. Dwi Marianto; Sri Hadi
ARTISTIC : International Journal of Creation and Innovation Vol 2, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Natural phenomena, especially climate change, are increasingly worrying lately. Graphic art can be used to express concern for the environment in response to climate change. The creation of this graphic art work uses the concept of the earth's creation stimulus. The creative methods used include: experimentation, contemplation, and formation. Abstract Expressionism was chosen as the style of personal expression in the creation of this work. The creative technique used is high printing technique with used plywood media. The results of the creation process show that the visualization of the concept of the earth's creative stimulus produces the forms of circles and lines. These forms are the main motif in the creation of graphic art with the stimulation of this earth's creativity

Poster dengan Teknik Cetak Tinggi sebagai Bentuk Kritik Ekologis Sigit Purnomo Adi; I Gusti Ngurah Tri Marutama; Seviana Rinawati; M. Khizal Mohamed Saat
Visual Heritage: Jurnal Kreasi Seni dan Budaya Vol 4, No 2 (2022): Visual Heritage: Jurnal Kreasi Seni dan Budaya
Publisher : Universitas Indraprasta PGRI

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30998/vh.v4i2.4018

Tujuan penelitian ini adalah ingin memahami persoalan yang muncul dalam eksistensi poster dengan teknik cetak tinggi pada karya seniman-seniman di Indonesia dalam menyingkapi fenomena ekologis. Pertanyaan yang diajukan (1) apakah poster dengan teknik cetak tinggi mampu menghadirkan dimensi estetik yang kritis; (2) bagaimana pengaruh lingkungan membentuk kesadaran seniman dalam praktik poster dengan teknik cetak tinggi. Keberadaan praktik poster dengan teknik cetak tinggi terhadap perkembangan seni rupa kontemporer dengan teknik dan medium baru, serta dengan paradigma, konsep dan keyakinan dasar seniman yang lebih memiliki kepekaan ekologis. Dalam proses kreatif penciptaan poster dengan teknik cetak tinggi mampu menghadirkan sesuatu yang dipandang kritis terhadap berbagai fenomena ekologis. Beberapa seniman yang bermukim di Indonesia memanfaatkan ruang publik sebagai tempat untuk mempresentasikan karya sebagai bentuk penyadaran publik tentang berbagai hal, khususnya tentang kerusakan lingkungan alam. Hasil penelitian ini menunjukkan bahwa praktik poster dengan teknik cetak tinggi ternyata mampu menghadirkan dimensi pendidikan kritis. Sebagai bentuk tanggungjawab sosial seniman, seni bukan hanya urusan estetik dan galeri, seni yang baik adalah seni yang mampu memberikan kontribusi bagi kehidupan yang lebih baik sebagai bentuk pemuliaan terhadap nilai-nilai hidup dan menghidupi.

DEVELOPMENT OF LEATHER CALLIGRAPHY CRAFTS THROUGH INNOVATION OF DESIGN AND COLORING TECHNIQUE Adam Wahida; Sigit Purnomo Adi
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Publisher : Universitas Sebelas Maret

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1019.284 KB)

This article is the result of community service program to develop micro business of leather calligraphy crafts in Sonorejo Village Sukoharjo District. So far the product of leather calligraphy, made using a single color screen printing technique with a monotonous visual form without variations of decoration. In general, craftsmen tend to be passive in developing new designs because they feel enough to produce calligraphy from the order designs carried by middlemen. Dependence on the middleman, causing the weak bargaining position of craftsmen in determining the price of the product. Meanwhile, craftsmen have production experience as a basis to develop their creativity in creating design innovations that are likely to expand the marketing area. In view of these conditions, the program is implemented to develop creativity and craftsman skills in: 1) create more varied designs of calligraphy, 2) create decorative patterns, 3) apply techniques of color screen printing on leather calligraphy crafts products. This community service program uses a participatory approach with a buttom up method; where the participation of craftsmen during the activity is expected to be able to answer their needs in a participative manner. Its activities are focused on training on the development of shape design, decorative pattern, and application of color screen printing technique. Through this program, there has been an increase in the ability of craftsmen in terms of: 1) creating new and more varied calligraphic designs using coreldraw software. 2) composing calligraphy style, decorative pattern, and background in harmony and artistic, 3) creating product according to design by applying color screen printing technique.

ANALISIS TEKNIK CETAK TINGGI SEBAGAI MEDIA DUPLIKASI PADA POSTER KRITIK LINGKUNGAN sigit purnomo adi
Texture:Art and Culture Journal Vol 4, No 2 (2021)
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Surakarta

In this research the author emphasizes how relief print techniques as a medium for duplication in propaganda poster works are able to present artistic beauty that has distinctive characteristics and is also able to provide awareness to those who see it. The reason the writer is interested in relief print techniques as a means of duplicating propaganda posters is because if you look at the history of relief print, its role wasvery important during the struggle, especially as a medium for duplicating posters of the struggle. Until now, relief print has also been used as a media for duplicating environmental criticism posters to awaken and as a means of education about the importance of protecting this environment. This writing aims to explore further about high printing techniques as a medium for duplication of environmental criticismpropaganda posters as a form of awareness and education about the environment, it turns out that graphic art is not only a form of art that has aesthetic value, but can also be a medium for duplication. The results of this paper are expected to be able to provide benefits in order to enrich the repertoire of graphic arts, especially relief print techniques.

PELATIHAN PEMBUATAN MINIPRINT DENGAN MENGGUNAKAN MEDIA TRIPLEK DI KOMUNITAS MAKMOER ART PROJECT SUKOHARJO sigit purnomo adi
Abdi Seni Vol 12, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/abdiseni.v12i1.3748

Abstract Miniprint is one of the print size formats in graphic arts that is not yet very popular in Indonesia. Miniprint format prints in small sizes both matrix and paper. Printing in small sizes is fun. Small format requires patience and technical skill in visualizing the artist's ideas and ideas. Considering that miniprints have many features apart from a small format, they can also be carried everywhere and can also be used as an aesthetic element or room decorator and have good selling power, encouraging the author to hold a workshop or training on making miniprints in the Makmoer Art Project Sukoharjo community. The selection of the training venue in the Makmoer Art Project Community is because this community is indeed engaged in the arts and humanity. A community that always provides free workshops to people in need. Community service methods, problem identification, training and mentoring, evaluation. The works produced in this training after completion are then framed in a minimalist way. The miniprints produced are small-sized works of graphic art, using a matrix of plywood. These works are used as aesthetic elements of the house or as room decoration. Works for the aesthetic element of the house are currently popular among the public so that they have a selling value and can be used as an alternative in entrepreneurship.

Visualisasi Cerita Rakyat: Figur Perempuan dalam Karya Seni Batik Kontemporer Ariesa Pandanwangi; Sigit Purnomo Adi; Belinda Sukapura Dewi; Nuning Damayanti; Arleti Mochtar Apin
PANGGUNG Vol 31, No 4 (2021): Implementasi Revitalisasi Identitas Seni Tradisi
Publisher : LP2M ISBI Bandung

Figur perempuan telah menjadi inspirasi sebagai subjek dalam karya seni seniman di seluruh dunia. Untuk waktu yang lama, diwujudkan dalam artefak artistik, baik dalam patung (seperti Venus dari artefak Willendorf) atau dalam lukisan yang diciptakan oleh maestro dunia. Figur perempuan yang mendominasi cerita dengan menggambarkan sosok kebaikan dan keibuan. Namun, sosok perempuan masih menjadi subjek yang mewakili ide-ide para seniman, seperti dalam lukisan batik kontemporer berdasarkan Cerita Rakyat yang menampilkan figur perempuan. Makalah ini menggambarkan hasil penelitian sebagai upaya untuk melestarikan budaya dalam lukisan Batik dan fokus pada Batik kontemporer yang mengadopsi Cerita Rakyat dengan perempuan sebagai karakter utamanya. Penelitian ini bertujuan untuk menggambarkan hasil penelitian yang berfokus pada estetika dan elemen visual, terutama sosok perempuan sebagai objek dalam lukisan Batik yang terinspirasi oleh Cerita Rakyat. Metode penelitian menggunakan sampel batik yang dianalisis deskriptif kualitatif melalui pendekatan analisis formal dan kritik seni tanpa interpretasi. Studi ini menunjukkan bahwa Cerita Rakyat dengan karakter perempuan memberikan inspirasi untuk penciptaan seni lukisan batik kontemporer. Subjek tokoh perempuan adalah salah satu objek utama yang divisualisasikan dengan menyederhanakan bentuk dengan dekoratif yang khas gaya Batik. Sosok wanita distorsi dan disesuaikan dengan proporsi bentuk perempuan. Sosok ini tidak cukup rinci untuk mewakili karakter, tetapi sebagai motif lukisan batik kontemporer dengan nilai genre yang berbeda seperti variasi gaya tradisional, modern, klasik, dan komprehensif. Kontribusi penelitian ini dapat menjadi wacana dalam menginisiasi dan memperkaya visualisasi Cerita Rakyat dengan karakter perempuan dalam pengembangan lukisan batik Indonesia kontemporer.Kata Kunci: Lukisan Batik Kontemporer, Konservasi Budaya, Figur Perempuan, Cerita Rakyat.

Co-Authors Adam Wahida Afatara, Narsen AGUS PURWANTO Agustinus Sumargo Agustinus Sumargo, Agustinus Ajimahendra, Widy Dwi Apin, Arleti Mochtar Ariesa Pandanwangi Ariesa Pandanwangi Aripin, Nur Adibah Nadiah Mohd Arissuta, Dona Prawita Arisutta, Dona Prawita Arleti Mochtar Apin Bagaskoro Ardhi Bahari, Nooryan Dyah Yuni Kurniawati, Dyah Yuni Fuad Safrudin I Gusti Ngurah Tri Marutama I Gusti Ngurah Tri Marutama M. Dwi Marianto M. Khizal Mohamed Saat Marutama, I Gusti Ngurah Tri Mataram, Sayid Mohamed Saat, Mohammad Khizal Mohammad Khizal Mohamed Saat Nadia Sigi Prameswari Nooryan Bahari Nuning Damayanti Nuning Damayanti Octavia, Ercilia Rini Pande Made Sukerta Pande Made Sukerta Pande Made Sukerta Pande Made Sukerta, Pande Made Purwantoro, Agus Rai, I Gusti Ngurah Tri Marutama Rohman Seviana Rinawati Sri Hadi Sri Hadi Sri Hadi Sri Hadi Taemprasit, Somporn Tri Marutama, I Gusti Ngurah Yudhanto, Sigied Himawan

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