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All Journal Rekam : Jurnal, Fotografi, Televisi Animasi Harmonia: Journal of Research and Education Jurnal Ilmu Komunikasi Journal of Urban Society´s Arts ANDHARUPA JADECS (Journal of Art, Design, Art Education and Culture Studies) Gondang: Jurnal Seni dan Budaya Texture : Art and Culture Journal Acintya Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Capture : Jurnal Seni Media Rekam Gelar : Jurnal Seni Budaya Ornamen Jurnal Pengkajian dan Penciptaan Seni Kriya Pendhapa Satwika : Kajian Ilmu Budaya dan Perubahan Sosial DESKOVI : Art and Design Journal Dinasti International Journal of Education Management and Social Science PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT ARTISTIC : International Journal of Creation and Innovation CITRAWIRA : JOURNAL OF ADVERTISING AND VISUAL COMMUNICATION International Journal of Social Science ARTCHIVE: Indonesia Journal of Visual Art and Design East Asian Journal of Multidisciplinary Research (EAJMR) Offscreen: film and television journal Jurnal Sains Informatika Terapan (JSIT) Soshum: Jurnal Sosial dan Humaniora Eduvest - Journal of Universal Studies Electronic Journal of Education, Social Economics and Technology Paradigma: Jurnal Kajian Budaya Arty: Jurnal Seni Rupa Serat Rupa: Journal of Design
Handriyotopo Handriyotopo
Institut Seni Indonesia Surakarta
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TIPOGRAFI DEKORATIF KAWUNG FLORAL REGULAR Handriyotopo, Handriyotopo
Acintya Vol. 6 No. 2 (2014)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v6i2.217

Abstract

Typeface as a print advertising communication element has an important role to convey the message.There are many variations in the use of type application in typography. One is a kind of decorativetypeface. The existence of decorative letters during the Dutch East Indies in terms of silografi iswidely used in newspapers. Currently the use of decorative letters is less productive because it is onlyused as a supplement and as an aesthetic element. The creation of works of decorative letters will adddigital reference letters in adopting elements of local culture in the motif. The chosen motif to thesource of creation decorative letters is like motif kawung of Surakarta and Yogyakarta batik stylesthat have a common history. The application of this new type of decorative fonts as supporting visualaesthetic in design wedding invitations, especially themed Javanese batik or marriage. The method ofcreation is through the stages of observation and exploration, experimentation, creation and applicationin the design of wedding invitation cards.Keywords: Decorative letter, batik, wedding invitations
IDENTITAS VISUAL DESA WISATA BATIK COKROKEMBANG MELALUI ENVIRONMENT GRAPHIC DESIGN SEBAGAI PENGEMBANGAN DI KABUPATEN PACITAN Prilosadoso, Basnendar Herry; Suyanto, S.,; Rosmiati, Ana; Handriyotopo, H.,
Acintya Vol. 9 No. 1 (2017)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v9i1.2120

Abstract

Moral value awareness had begun to be shifted by the western culture that tended to be incompatiblewith the condition of our society. This research was an effort to give reinforcement of local wisdomcontained in wayang beber figure, as a source for the development of batik patterns of Pacitan. Thegeographical condition of Pacitan Regency was very potential to be developed as a superior ecotourismwhere Pacitan got the nickname as Word class karst geopark tourism area. The economic condition ofthe community was mostly supported by a variety of small and medium industries. Batik industrydeveloped rapidly and had great potential to be developed and improved from the aspect of productivity, so that later could increase the economic level of Pacitan society. This research used actionresearch theory where there were four stages, namely select a focus, collect data, analyze and interpret data, and take action. Methods performed in several stages: assessment, design, socialization,mentoring and training, production, and launching. The research results aimed to increase batikproductivity and creativity through the development of Cokrokembang batik tourism village, Ngadirejo,Pacitan through corporate identity design, so it was expected to increase the economy of the peopleand the opening of the leading tourist attraction in Pacitan.Keywords: local wisdom, corporate identity,, batik tourism.
RETORIKA INFOGRAFIS PANDEMI CORONA VIRUS MEDIA JURNALISTIK DIGITAL ONLINE Handriyotopo, Handriyotopo
Acintya Vol. 13 No. 1 (2021)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v13i1.3819

Abstract

AbstractThe phenomenon of infographics as a visual strategy to attract readers of digital newspapers in order to realize the importance of the protocol issued by WHO and the government of the Republic of Indonesia in an effort to deal with the Covid-19 pandemic, is currently quite prevalent by online media press. The visual form of infographics published by the digital-based press (online) is usually derived to accompany the main article on the front page (headline). The important message of the infographic that is prioritized is not to spread quickly, namely by maintaining social distancing, encouraging work at home, and always maintaining cleanliness and wearing a mask when leaving the house, even then with restrictions. How the form of visual communication design in the form of an infographic is able to provide aesthetic appeal in visual rhetoric to readers who will be the attention of this study. Through a qualitative research method approach to the phenomenon of infographic design from the perspective of text study from the aesthetic value of symbolic visual rhetoric with visual communication design analysis in terms of harmony achievement through its persuasive informative constituent elements. The findings of this study are related to the form of the infographic which is more portrait or vertical dominant. Colors tend to be strong colors red, yellow, blue, and black to indicate pandemic-related color psychology. Visual rhetoric tends to be iconic and header and copy letters are dominant in using sanserif to persuade understanding and reading of information to the reading audience. To remind adherence to health protocols, such as messages from mothers, namely wearing masks, washing hands and maintaining social distancing are the keywords to break this pandemic.Keywords: Covid-19 infographics, aesthetics, visual rhetoric, online press media
METAFORA DAN IDEOLOGI FILM IKLAN MANDIRI SECURITAS Handriyotopo, H.,; Lastoro, GR Lono; Gustami, SP
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 10 No. 2 (2018)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/bri.v10i2.2332

Abstract

The Mandiri Securitas advertisement film is a corporate advertisement that contains a persuasive message to increase brand image as a leader in investment in the Stock Exchange or trusted banking investment in Indonesia. The metaphor in the Mandiri Securitas advertisement contains cinematographic images that borrow keris culture to be sided with banking culture. This qualitative descriptive study uses a semiotic approach to appropriate verbal and visual messages from the system of rhetorical marks "Minus One". The content of visual rhetoric and verbal rhetoric on the Mandiri Securitas advertisement was reviewed by Roland Barthes's semiotic theory, because it was considered capable of uncovering the relationship of the sign meaning behind the denotative marker system and connotative markers from the ideology of Mandiri Securitas advertisements with the  theme of empu keris (keris maker). The results of this study prove that the application of the "Minus-One" method is very helpful to find and recognize the roles played by the constituent elements of a film construction. The Mandiri Securitas advertisement film is an example of the appropriation of the tradition world for the benefit of the modern world. The tradition world is not displayed in its entirety as it is, but is displayed partially and determined based on the image of the modern world wants to construct as an imagery form of advertising. Keywords: Metaphor, rhetoric, Semiotics, and ideology 
Character Design in Golek Puppet: Daster Rombeng Warrior and the Powerful Storyteller Chotimah, Fanny; Handriyotopo, Handriyotopo
Gondang: Jurnal Seni dan Budaya Vol. 8 No. 2 (2024): GONDANG: JURNAL SENI DAN BUDAYA, DECEMBER 2024
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v8i2.64562

Abstract

Creative documentaries are not yet popular in Indonesia. So it needs to be produced to enrich the treasury of documentary films in the archipelago. The public needs to be given knowledge to recognize the variety of narratives and storytelling in the documentary category. This film can contribute as an alternative viewing for the public and also as an educational media related to the virtues of the storytelling tradition. The creation of this film aims to be a medium to revive the culture of storytelling in society based on the values ​​of the storytelling tradition itself. The character of the film as a puppet puppet puppet story figure that can be used as an illustration of the scene in visualizing the fairy tale of Si Leungli and Geber-geber Hihid Aing. The method of creating film art through research stages for enkranation or transfer of vehicles from the short story Pendekar Daster Rombeng and Pendongeng Sakti in the research and production stages of puppets as a creative strategy and artistic arrangement of the film.
VAMPIR POLITIK INDONESIA SAMPUL DESAIN GRAFIS TABLOID DEMOKRAT EDISI 49 TANGGAL 23-30 JANUARI 2000 Representasi Senimannya Pada Masa Reformasi -, Handriyotopo
Capture : Jurnal Seni Media Rekam Vol. 1 No. 1 (2009)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v1i1.461

Abstract

The Press Independency that have been opening and tend to be bold to voice feeling and all condition starts to counter each other in their news, headlines, and illustrations. Including, PDIP ( Partai Demokratik Indoesia Perjuangan) shows in its tabloid ‘Demokrat’ that appears the slogan ‘yang penting srudukannya bung’ more over in which the cover illustrates Amien Rais as if a vampire creature ( makluk vampir). This illustration images encourage the PAN’ s (Partai Amanat Nasional anger. This seems to be a part of the graphics design function as a provocation to the consumers. Keyword : graphic design function
Film Mini Televisi: Alternatif Menghadirkan yang Kecil di Tengah yang Besar Utami, Thesa Resi Sila; -, Handriyotopo
Capture : Jurnal Seni Media Rekam Vol. 2 No. 2 (2011)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v2i2.617

Abstract

Television drama in Indonesia are almost dominated by soap operas. The story themes often lifted beyond the reality of society, and even tend to be exaggerated. The scenes and dialogue have sexist, rude, filthy and indecent language spoken by the children actors. Ambiguity plot, theme, and segmentation will direct the public mindset, a fictional drama on television is no longer a positive impact impressions but rather a negative influence. Screenplay is absolutely necessary to facilitate television programs production team for communicating everything related to the creative process of copywriting for film and television drama. Besides, television drama is also expected to present certain value espesially social responsibility and learning. Key words: film, miniseries, screenplay, drama, television
Interpretasi Caddy Pada Serial Animasi Shaun The Sheep Episode Who’s The Caddy -, Handriyotopo; Dewi, Sari Kesuma
Capture : Jurnal Seni Media Rekam Vol. 5 No. 2 (2014)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v5i2.683

Abstract

 This study describes the interpretation of “Caddy” in the animated film series Shaun the Sheep episodes of “Who’s the Caddy?” The method used in this research is descriptive qualitative using a semiotic approach of Charles S. Peirce. The primary data of the film is presented in such a visualization of each scene. Data were analyzed in a descriptive narrative form based on mark classification in the process of signification that takes place in the triadic relationship namely representament, interpretant, and object. This study uses the approach to the concept of the mark that divides a sign into three categories: icons, indices, and symbols by using the concept of triangle meaning. From the results of the meaning of these signs can be drawn a conclusion that this study is interconnected. Based on the data analysis, it can be seen that Caddy in the series of Shaun The Sheep episode “Who’s the Caddy?” is a symbol that is full of messages. The message reflected through scene after scene that is presented by Caddy is an interpretant that refers to the object. In this case, it represents the three main actors in this episode, they are three golfers (Farmer, Shaun and Bitzer), in which each player is Caddy in a different context. Farmer has become a symbol of the Caddy, Shaun as an index and Bitzer as an icon of Caddy. Caddy represents interpretan, figures (Farmer, Shaun, and Bitzer) represent an object while representamen is a game of golf that has a relationship with the characters. Keywords: interpretation, semiotics, and the animated series
Peluang Dan Tantangan Industri Pencetak Insan Kreatif Dan Handal Di Dunia Pertelevisian 1 -, Handriyotopo
Capture : Jurnal Seni Media Rekam Vol. 6 No. 1 (2014)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v6i1.713

Abstract

The growth of the television industry is quite rapid and gives a significant impacton the growth of the audiovisual information media . No exception that in this industryalso demands a reliable and creative human resources in preparing and developing thecontents of the program. Qualified human resources is the key word to be prepared infacing global competition in the television media industry. The power of television isstill able to hypnotize for everyone to search for information and entertainment.Considerable opportunities of this in the end gives a pretty good chance for thosewho want to engage in the creative industry of television programs. It is not surprisingthen that many emerging courses offered employment in the industry. Not only at thelevel of vocational but also on the level of D4 and S1 program broadcasting, television,and film.Keywords: opportunities, television industry, human resources
INDUSTRI ANIMASI MENJADI TUAN DI RUMAH SENDIRI (Sebuah Kenyataan dan Harapan bagi Insan dan Penggiat Industri Animasi Lokal) -, Handriyotopo
Capture : Jurnal Seni Media Rekam Vol. 6 No. 2 (2015)
Publisher : Seni Media Rekam ISI Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/capture.v6i2.759

Abstract

One day animation industry in Indonesia can be host of his own country. An expectation that requires a struggle and a challenge to the invasion of the animated movie from outside of the domestic animation industry. A lot of animated film produced by the global industries require human resources and no small cost. In fact, the capability of Indonesian human resources in animation are not inferior to the foreign and a lot of Indonesia human resources involved in global animation industry such as Hollywood industry. There are domestic animation industries which produce animation movie, but they are not consumed for domestic people of Indonesia. Government support is expected to develop the domestic animation industry, in which the development of creative industries have promising prospects for increasing foreign exchange earnings. Internet and social media are media to introduce and promote the Indonesia animated films to the international markets although they are still based on local identity.Keywords:  animation, creative, local, and identity
Co-Authors Aisyah, Chairini Ajiprabowo, Gheraldi Waskito Alfiani Kristiana Dewi Ana Rosmiati Anung Rahman Arieska Wulandari Arif Suryawan Suryawan Aris Setiawan Aryawan, Salsabil Rizqi Aziza Asya Ari, Ilham Musyafa Atnin, Sepba Fri Basori, Alif Catur Nugroho Catur Nugroho Cendharana, Nanda Aqshal Chairini Aisyah Chotimah, Fanny Deddy Setyawan Dela Cahyaning Permata Delfin Febriansyah Dewi, Sari Kesuma Ega Damayanti Eko Supriyanto Fadilla, Alya Nur Fajri Rahma Pratiwi Febriansyah, Delfin Fenda, Intan Yulia Febbyu Gheraldi Waskito Ajiprabowo Handita Kesoema, Ivan Hikmawan, Dhika Ramahani Kusumoningrum, Ipung Dyah Lastoro, GR Lono Mulyani, Try Muthia Anas Salma Ni Luh Putu Ratna Suandari Nova Wulan Priyandani Novia Sisca Haryani Pahlevi, Syahtuta Rahul Permata, Dela Cahyaning Prilosadoso, Basnendar Herry Pujiono, Bagong Puri, Litya Ainunning Putra, Rahdan Hutama Putri, Alifia Ananda Qonita, Khoirunnisa Rachman, Zahrani Syalwa Raden Ersnathan Budi Prasetyo Rahmi Dyah Pratiwi Ramadhan, Aditya Wahyu Ramadhani, Dhika Ramadhani, Putri Munadiyah Ranang Agung Sugihartono Reno Abdurahman Reno Abdurrahman Rintania Rosita Citra Dewi Rosita Yuni Sera Rustim Rustim Rustim, Rustim Salma, Muthiah Anas Sekarnegara, Zafira Saraswati Yasmin SP Gustami Sunarmi Sunarmi Suyanto, S., Tatik Harpawati Tatik Harpawati Try Mulyani Utami, Thesa Resi Sila Widayaningsih, Nur Hanifati Widyastutieningrum, Sri Rochana Wulandari, Arieska Yuninggar Renaningtyas