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Pembelajaran Melukis dengan Teknik Mixed Media Oleh Guru Seni Lukis di SMK Negeri 1 Sukasada Bilqis Dini Adzkiya Nisa; Langen Bronto Sutrisno; Luh Suartini
Jurnal Pendidikan Seni Rupa Undiksha Vol. 13 No. 1 (2023)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v13i1.60971

Pembelajaran Melukis dengan Teknik Mixed Media Oleh Guru di SMK Negeri 1 Sukasada diteliti dengan menggunakan penelitian kualitatif yang meliputi: 1) Pendekatan mixed media yang diterapkan oleh guru terhadap kelas fase F seni lukis di SMK Negeri 1 Sukasada, 1) Proses atau langkah pengajaran mixed media yang dilakukan oleh guru terhadap kelas fase F seni lukis di SMK Negeri 1 Sukasada, 3) Hasil karya mixed media oleh siswa kelas fase F seni lukis di SMK Negeri 1 Sukasada. Data didapatkan dengan observasi serta wawancara terhadap guru seni lukis SMK Negeri 1 Sukasada kemudian diolah menggunakan model Miles dan Huberman (1984). Hasil penelitian yaitu: 1) Penggunaan pendekatan Inspiratif atau stimulasi, 2) Proses pembelajaran menggunakan pengajaran Konstruktivisme, 3) Hasil karya siswa kelas fase F seni lukis mixed media. Kesimpulan penelitian yang dilakukan adalah peran guru terhadap pembelajaran yang dilakukan serta cara guru dalam menyampaikan pembelajaran mixed media harus dilakukan dengan tepat dan sesuai sasaran.Kata-kata Kunci: pembelajaran, seni lukis, mixed media.

Penerapan Elemen Tipografi Pada Desain Logo Karya Mahasiswa Program Studi Pendidikan Seni Rupa dalam Kuliah Desain Komunikasi Visual I Gusti Made Budiarta; Ni Nyoman Sri Witari; Langen Bronto Sutrisno
Jurnal Pendidikan Seni Rupa Undiksha Vol. 13 No. 1 (2023)
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v13i1.60973

Penerapan elemen tipografi pada desain logo yang dirancang mahasiswa Prodi Pendidikan Seni Rupa – Undiksha secara khusus penelitian difokuskan pengidentifikasian jenis font/huruf dan faktor-faktor yang mempengaruhi pemilihan dan penggunaan font/ huruf. Penelitian ini dilakukan terhadap 18 orang mahasiswa Prodi Pendidikan Seni Rupa – Undiksha semester V Tahun Ajar 2022/2023 yang mengikuti perkuliahan Desain Komunikasi Visual. Penelitian dilakukan dengan menggunakan metode kualitatif dan dianalisis menggunakan interaktif model Miles and Huberman (1992). Penelitian ini menghasilkan antara lain: 1). Jenis Font/Huruf yang digunakan pada desain logo karya mahasiswa dikelompokkan menjadi 3 jenis font/ huruf. Ketiga kelompok jenis font tersebut adalah Serif, Sans Serif dan Script. 2). Faktor-Faktor yang Mempengaruhi pemilihan dan penggunaan font/huruf pada desain logo karya mahasiswa meliputi selera desain, aplikasi desain pada Komputer,Kata-kata Kunci: elemen. Tipografi, desain logo, mahasiswa

ANJING SEBAGAI SUMBER INSPIRASI PENCIPTAAN KARYA SENI LUKIS I Made Bayu Saka Palwaguna Saka; I Nyoman Rediasa; Langen Bronto Sutrisno
Jurnal Pendidikan Seni Rupa Undiksha Vol. 15 No. 3: Desember 2025
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v15i3.109570

Penciptaan karya seni lukis ini bertujuan untuk merefleksikan hubungan paradoks antara manusia dan anjing dalam konteks sosial dan budaya Bali. Anjing diposisikan tidak hanya sebagai objek visual, tetapi juga sebagai simbol kesetiaan, pengorbanan, dan ironi relasi manusia-hewan di tengah modernitas. Metode penciptaan yang digunakan adalah Design and Development (D&D) yang dipadukan dengan pendekatan practice-based research. Proses penciptaan dilakukan melalui tahapan analisis, perancangan, pengembangan, evaluasi, dan penyempurnaan karya. Hasil penciptaan berupa lima karya seni lukis yang terbagi ke dalam dua narasi utama, yaitu anjing sebagai sahabat manusia dan anjing sebagai makhluk yang mengalami keterasingan. Karya-karya tersebut diharapkan mampu menjadi media refleksi sosial serta sarana edukasi visual dalam menumbuhkan empati dan kesadaran etis terhadap kesejahteraan hewan.

Eksploitasi Pesisir Pantai Bali Utara Sebagai Sumber Inspirasi Seni Instalasi Made Bayu Ariada; I Nyoman Rediasa; Langen Bronto Sutrisno
Jurnal Pendidikan Seni Rupa Undiksha Vol. 16 No. 1: April 2026
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v16i1.113630

The creation of this installation artwork aims to convey damage observed in environmental issues, with coastal areas that are beginning to be exploited now represented in the installation artwork to invite people to reflect on the damage to coastal areas. Exploitation is one of the activities carried out arbitrarily to utilize natural resources. Coastal exploitation is used as a source of visual ideas for the creation of artwork using a practice-based research (PBR) method. The research stages include site observation, documentation, concept design, and development of the work by visual arts experts. Techniques in creating installation art works using environmentally friendly materials to be able to imitate or mimic forms and places according to the exploited environmental conditions, art works that do not emphasize aesthetics but rather the reality of coastal environmental damage that has been encountered, so that they can be used as references or sources of inspiration in the development of contemporary visual art. Keywords: Bali Beach, Exploitation, Visual Inspiration, Practice-Based Research, Installation Art

PENERAPAN MOTIF CAKRA PALAH PADA KAIN BATIK PRODUK UMKM BATIK LWO LWANG WENTAR KABUPATEN BLITAR Laela Farndatul Alifah; Luh Suartini; Langen Bronto Sutrisno
Jurnal Pendidikan Seni Rupa Undiksha Vol. 16 No. 1: April 2026
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v16i1.113928

This study examined the application of the Cakra Palah motif on batik fabrics produced by UMKM Batik Lwang Wentar in Blitar Regency as a form of cultural transformation based on local wisdom. The main focus of the research included the process of motif implementation, visual form, and the symbolic meaning embedded within it. The method used was a descriptive-analytical qualitative approach with data collection techniques consisting of observation, interviews, and documentation. The results showed that the implementation process involved several systematic stages, including conceptualization, pattern design, motif transfer, waxing, coloring, and finishing. Visually, the Cakra Palah motif displayed a complex geometric structure combined with supporting ornaments, resulting in a harmonious aesthetic composition. In terms of meaning, the motif represented life philosophy, self-awareness, and the relationship between humans, nature, and God. The transformation from the relief of Penataran Temple into batik media indicated a creative reinterpretation that was adaptive to techniques and contemporary needs. The role of UMKM was crucial in maintaining the sustainability of the motif through innovation, education, and marketing strategies. Thus, batik functioned not only as an economic product but also as a dynamic and sustainable medium of cultural preservation. Keywords: Cakra Palah, batik, symbolism, cultural transformation, UMKM

PENERAPAN METODE COOPERATIVE TIPE GROUP INVESTIGATION MELALUI APLIKASI IBIS PAINT X BAGI PEMBELAJARAN DESAIN BUSANA KELAS X DI SMKN DARUL ULUM MUNCAR Sagita Imtias Rahmani; Langen Bronto Sutrisno; I Nyoman Rediasa
Jurnal Pendidikan Seni Rupa Undiksha Vol. 16 No. 2: Agustus 2026
Publisher : Universitas Pendidikan Ganesha

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23887/jjpsp.v16i2.117817

Dalam era teknologi digital telah memberikan dampak besar terhadap berbagai aspek, terutama dalam dunia pendidikan. Penelitian ini dilakukan untuk menerapkan metode pembelajaran yang lebih efektif yaitu Cooperative tipe Group Investigation atau pembelajaran kelompok dalam mata pelajaran praktik desain busana dan memaparkan hasil analisis karya desain busana pada kelas X di SMKN Darul Ulum Muncar. Pembelajaran dilakukan dengan menggunakan media digital aplikasi menggambar Ibis Paint X. Penelitian ini menggunakan metode dengan jenis deskriptif kualitatif berupa mendeskripsikan proses pembuatan karya desain busana dan memaparkan hasil analisis karya desain busana siswa. Penelitian ini adapun menggunakan; (1) Teori belajar dalam diskusi dan proses pembuatan karya pada aplikasi menggambar, (2) Teori estetika dan (3) Teori estetika desain visual digunakan dalam pembahasan hasil analisis karya desain busana siswa.

Face Painting as Gender Performativity in Didik Nini Thowok’s Lathi Challenge on Indonesian Social Media Langen Bronto Sutrisno; I Gusti Made Budiarta; I Wayan Sudiarta
Journal of Local Culture Study Vol. 4 No. 01: June, 2026
Publisher : Research And Social Study Institute

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33292/locus.v4i01.32

Cross-gender performance in Indonesia has been examined largely as stage practice, and face painting largely as a technical adjunct to costume and choreography; neither body of work accounts for what happens when the painted face becomes the principal carrier of meaning in a piece made for circulation on a social media platform. This article examines the visual form, the symbolic meaning, and the self-expression articulated through face painting in the Lathi Challenge uploaded to the YouTube channel of Didik Nini Thowok, the dancer recorded by the Indonesian World Record Museum as the first cross-gender dance artist in the country. The study is qualitative and situated within cultural studies, drawing together the aesthetic theory of The Liang Gie, sign categories as applied to performance by Sahid, Butler’s account of performativity, and McNeal’s theory of drag performance. The corpus comprises the four painted faces that structure the video, analysed alongside non-participant observation of the artist’s digital activity between October 2024 and October 2025 and semi-structured interviews with makeup artists, dancers, and practitioners of Javanese character makeup; the material was triangulated by source and by technique and analysed through the interactive model of Miles and Huberman. The analysis finds that the four faces move from a complete Javanese feminine face towards a bilaterally symmetrical death’s head; that the decisive face is the second, on which the two registers are held at once and divided horizontally across the middle; and that red migrates from the cheek and the lip to the gum line, turning cosmetic colour into exposed tissue. Face painting thus operates as a medium through which gendered identity is negotiated for a scrolling audience.

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