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All Journal PRABANGKARA Jurnal Hukum Prasada Retina Jurnal Fotografi Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni Jurnal bahasa, sastra, seni, dan pengajarannya
Tjokorda Udiana Nindhia Pemayun Pemayun, Tjokorda Udiana Nindhia Pemayun
Institut Seni Indonesia Denpasar
Arts Humanities Education Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Other

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Transformasi Prasi Tantri Carita Dalam Animasi Prasimotion BUDIAPRILLIANA, LUH; UDIANA NINDHIA PEMAYUN, TJOKORDA; SUARDINA, I NYOMAN
Prabangkara : Jurnal Seni Rupa dan Desain Vol 21 No 2 (2017): Pabangkara
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (353.974 KB)

Abstract

Penciptaan ini dilatarbelakangi ketertarikan pencipta terhadap prasi. Prasi mulai ditinggalkan generasi muda. Seni prasi merupakan seni menoreh gambar di atas daun rontal. Dalam prasi terkandung unsur seni visual berupa gambar ilustrasi serta seni sastra berupa naskah-naskah lontar yang mengandung nilai moral. Pada tulisan ini dirumuskan tiga masalah yakni, bagaimanakah menciptakan media yang sesuai untuk pengenalan prasi kepada remaja?, bagaimana mentransformasikan prasi ke dalam bentuk animasi digital?, bagaimana bentuk/wujud prasi digital? Tujuan dari penciptaan ini yaitu merancang media pembelajaran untuk mengenal prasi. Sasaran dari penciptaan ini adalah remaja usia 12-18 tahun (siswa SMP dan SMA) di Buleleng. Pada penciptaan ini melalui tiga tahapan yakni eksplorasi, eksperimentasi, dan proses perancangan. Adapun teori yang digunakan pada penciptaan ini meliputi teori simulasi, transformasi, dan semiotika. Hasil Cipta pada penciptaan ini terdiri dari karya utama dan karya pendukung. Karya utama yaitu berupa karya animasi Prasimotion dengan judul Kacarita Pedanda Baka. Karya animasi tersebut merupakan animasi 2D yang visualisasinya dibuat seakan-akan animasi tersebut terjadi di atas daun rontal. Selain karya utama terdapat juga karya pendukung berupa animasi slideshow dengan mengambil cerita fabel lain dari rangkaian fable dalam Tantri Carita. Media ini dirancang untuk dapat dibawa ke berbagai tempat dengan hanya mengaksesnya dari gadget saja. Selain karya pendukung berupa animasi slideshow ini juga akan dibuat media pendukung berupa poster, X-banner, dan prototype prasi dalam bentuk printout.This creation is motivated by the creator’s interest in prasi. Prasi began to be abandoned by the young generation. Art prasi is the art of incised images on the leaf rontal. In the prasi contained elements of visual art in the form of illustrations and literary arts in the form of lontar (manuscripts) that contain moral values. In this paper formulated three problems namely, how to create appropriate media for the introduction of prasi to adolescents?, how to transform the prasi into the form of digital animation ?, how is the form of digital prasi ?. The purpose of this creation is to design learning media to introduce prasi. The targets of this creation are adolescents aged 12-18 years (junior and senior high school students) in Buleleng. At this creation through three stages of exploration, experimentation, and the design process. The theory used in this creation includes the theory of simulation, transformation, and semiotics. The Creative results in this creation consist of the main works and the supporting works. The main work is in the form of Prasimotion animation with the title Kacarita Pedanda Baka. The work of the animation is a 2D animation that the visualization is made as if the animation took place on the leaf rontal. In addition to the main work there is also a supporting work in the form of slideshow animation by taking another fable story from a series of fables in Tantri Carita. This medium is designed to be brought to various places by only accessing it from the gadget. In addition to supporting works in the form of animation slideshow will also be made supporting media in the form of posters, X-banner, and prototype of prasi in the form of printout.
Fotografi Decopauge Keindahan dan Fenomena Subak Bali di Daerah Gianyar dan Bangli SATRIA, CHRISTOFER; UDIANA NINDHIA PEMAYUN, TJOKORDA; SUTEJA, I KETUT
Prabangkara : Jurnal Seni Rupa dan Desain Vol 21 No 2 (2017): Pabangkara
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Penciptaan ini dilatarbelakangi oleh ketetarikan pencipta terhadap keindahan dan fenomena subak diBali khususnya daerah Gianyar dan Bangli. Subak adalah organisasi kemasyarakatan yang mengatursistem pengairan sawah, yang digunakan untuk bercocok tanam padi di Bali. Subak biasanya memilikipura yang dinamakan Pura Uluncarik yang diperuntukan untuk “Dewi Sri” (dewi kemakmuran dan kesuburan). Penciptaan ini difokuskan pada fotografi decopuage keindahan dan fenomena subakBali khususnya daerah Gianyar dan Bangli. Berorientasi dari keindahan dan fenomena subak di Bali, pencipta ingin mengungkapkan ke dalam sebuah karya fotografi decopauge, dengan menggunakandua teknik yang berbeda menjadi satu kesatuan, sehingga kesan foto akan lebih berbeda dan mengikuti tekstur batu yang digunakan. Berdasarkan hal tersebut pencipta menggunakan teori transformasi, untuk perubahan dari karya asli ke-dalam karya baru dan teori semiotika, sebagai pembuatan karya untuk melihat komposisi foto dan tekstur batu yang digunakan. Metode yang digunakan adalah metode observasi dan metode dokumentasi, yang difokuskan didaerah Gianyar dan Bangli. Pencipta berharap dengan adanya perancangan ini, dapat memberikan dampak baik terhadap Subak di Bali terutama daerah Gianyar dan Bangli, dan dapat menjadi media yang menarik untuk memelihara dan menjaga Subak di Bali.This creation is motivated by the creator’s attractiveness of the beauty and phenomenon of subak in Bali, especially the area of Gianyar and Bangli. Subak is a community organization that regulates the irrigation system of paddy fields, which is used to grow rice in Bali. Subak usually has a temple called Uluncarik Temple which is intended for “Dewi Sri” (goddess of prosperity and fertility). This creation is focused on photography decoupage beauty and phenomenon of subak in Bali especially area of Gianyar and Bangli. Oriented from the beauty and phenomenon of subak in Bali, the creators want to express into a photography decopauge work, using two different techniques into one unity, So the impression will be more different photos and follow the texture of the stone used. Based on that the creator used the theory of transformation, for a change from the original work into the new work and the theory of semiotics, as a work to see the composition of photographs and texture of stones used. The method used is the method of observation and method of documentation, which focused on Gianyar and Bangli areas. Creator hopes with this design, can give good impact to subak in Bali especially area of Gianyar and Bangli, and can become an interesting media to maintain and keep subak in Bali.
Ekspresi Emosi Dalam Seni Patung Endra Kurniawan, I Wayan; Udiana Nindhia Pemayun, Tjokorda; Suardana, I Wayan
Prabangkara : Jurnal Seni Rupa dan Desain Vol 22 No 2 (2018): Desember
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Penciptaan ini dilatarbelakangi ketertarikan pencipta terhadap ekspresi emosi.Emosi dapat dilihat melalui ekspresi yang muncul pada wajah manusia.Emosi merupakan reaksi terhadap rangsangan dari luar dan dari dalam diri individu.Ketertarikan ini muncul karena di masyarakat muncul anggapan bahwa emosi semata-mata merupakan perasaan marah, padahal emosi tidak hanya tentang perasaan marah atau hal-hal yang negatif. Emosi dapat juga berupa hal yang positif.Pada tulisan ini dirumuskan dua masalah yakni, bagaimana memvisualisasikan ekspresi emosi ke dalam penciptaan karya seni patung?dan Bagaimana bentuk/ wujud karya pada penciptaan karya seni patung ekspresi emosi ini? Tujuan dari penciptaan ini yaitu memvisualisasikan ekspresi emosi ke dalam karya seni patung untuk dapat menyampaikan pesan dan menyadarkan masyarakat bahwa emosi bukan hanya tentang rasa marah melalui karya seni patung.Sasaran dari seluruh penikmat seni khususnya karya seni patung serta masyarakat awam. Pada penciptaan ini melalui tiga tahapan yakni eksplorasi, eksperimentasi/ perancangan dan proses pembentukan. Adapun teori yang digunakan pada penciptaan ini meliputi teori estetika, semiotika, dan kreativitas. Hasil Cipta pada penciptaan ini terdiri dari enam karya berupa patung berbahan logam yang dibuat dengan teknik assembling  disertai dengan teknik las dan solder. Selain logam, bahan tembaga juga digunakan untuk menambah nilai estetis pada karya.Objek-objek yang ditampilkan merupakan figur-figur wajah manusia dengan berbagai ekspresi emosi yang biasa muncul dalam kehidupan manusia.Figur-figur dan ekspresi emosi tersebut merupakan hasil pengamatan dan lihatan pribadi pencipta terhadap kehidupan manusia di sekitar.Selain itu banyak pesan yang terkandung di dalamnya untuk dapat membuat masyarakat awam mulai menyadari tentang lingkup emosi yang tidak hanya berkisar pada rasa marah saja.
Abstraksi Gerak Anjing Dalam Penciptaan Karya Seni Patung Artha Adi Wijaya, I Nengah; Udiana Nindhia Pemayun, Tjokorda; Yosef Tjokropramono, Gede
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 2 No 1 (2022): Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni
Publisher : PROGRAM STUDI SENI MURNI ISI DENPASAR

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/citakara.v2i1.1542

Abstract

Dogs are social animals, but the personality and behavior of dogs can vary depending on the breed. In addition, the dog's personality depends on the treatment it receives from the dog and the people who interact with it frequently. From the dog's personality, it is interesting to be appointed as the object of internship at CV. Richstone. The author realizes the work of sculpture by observing the dog's movements by abstracting the dog's movements from various points of view by using line and plane composition to achieve visualization of the work. The process of making the work uses a cast iron frame first using cast concrete, followed by the addition technique in which the cast frame of the statue is wrapped with burlap sacks on the entire frame of the statue. In visualization the work displays two dog figure movements which are abstracted by the presentation not directly, but using non-representational forms or more depicting the shape of the objects depicted which are often difficult to grasp for meaning by ordinary observers/art connoisseurs, the first work with dynamic dog movements running and the second work with the movements of a frightened dog.
Tari Sanghyang Dedari Sebagai Ide Penciptaan Seni Lukis Kariasa Putra, I Komang; Pemayun, Tjokorda Udiana Nindhia; Tjokropramono, Gede Yosef
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 2 No 2 (2022): Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni
Publisher : PROGRAM STUDI SENI MURNI ISI DENPASAR

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/citakara.v2i2.1849

Abstract

Balinese dance is a variety of dances originating from the island of Bali. Balinese dance does not always depend on the storyline. The main goal of Balinese dancers is to dance each stage of movement and sequence with full expression. Sang Hyang Dedari dance is a Balinese dance that is used as a religious tool. Balinese people still believe that when girls aged 9-12 years dance this dance, they will be possessed by the holy spirit of an angel. Usually, the Sang Hyang Dedari Dance is played or danced before the rice harvest around April to resist disease outbreaks, and this dance has been designated as an endangered cultural heritage. By taking the theme of Sanghyang Dedari Dance, it is hoped that it can represent ideas in the creation of painting. The writer's interest in this dance is because this dance is very sacred and unique because starting from the headdress and the clothes used are very simple, and the flowers used are also colorful and easy to get and so that the younger generation in particular to know and preserve Balinese culture, that in some areas still do this tradition. At the visualization stage, the author emphasizes the decorative flow. In addition, it also uses the method of creation, namely Exploration, Improvisation, Formation, and Final Completion. And through these stages, 6 works were created entitled: 1) "Sanghyang Dedari Dance", 2) "Ngukup", 3) "Dancer Possessed by Sanghyang Dedari", 4) "Sanghyang Dedari Dancer", 5) "Aci Bethara Sri", 6 )"Rolling". In the end, a work was created which was appointed to the title "Sanghyang Dedari Dance as an Idea for Painting Creation". The author hopes that the Balinese people are more familiar with the Sanghyang Dedari Dance.
Tari Baris Cina Sebagai Referensi Penciptaan Karya Seni Lukis Divayana, I Putu; Pemayun, Tjokorda Udiana Nindhia; Tjokropramono, I Gede Yosef
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 3 No 1 (2023): Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni
Publisher : PROGRAM STUDI SENI MURNI ISI DENPASAR

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/citakara.v3i1.2341

Abstract

This independent project thesis raises the Chinese Baris Dance as a Reference for the Creation of Painting Art works, starting from an interest in the visuals of the Baris Cina dance which is unique and different from the visuals of the Baris dance in general. This fueled the urge to bring the visuals of the Chinese Baris dance by combining certain techniques and references to achieve the desired meaning. The problem being faced is how to work on the visuals of the Chinese Baris dance to represent the ideas and meanings that you want to materialize so that they are still packaged attractively. The benefits and objectives of this thesis are to increase the existence of the Chinese Baris dance, and to increase the author's understanding of the Chinese Baris dance. To answer what is the goal of this work, the methods used are exploration, improvisation, and forming. With elements of fine art, and through the stages of exploration, improvisation or experimentation and formation, and combined with ideas and concepts so as to create 6 works entitled: 1) "Freedom", 2) "Desire", 3) "Leader", 4) "Surge", 5) "Dark Fall", 6) "Circle of Harmony". In creating works, the author combines several techniques to references from several artists. By combining the techniques obtained at the Art kenyem studio and the placement of objects typical of Sugiyo Dwiarso, we hope to produce innovative works and are expected to produce novelty.In the end, it can be concluded that dance, especially the Chinese Baris dance, is very worthy to be appointed as a reference that can be developed and will become an innovative work. With the creation of this work, it is hoped that it can convey messages and meanings as well as give the author a new style or identity.
Creative Innovation of Multifunctional Painted Shawl Nisa, Apriliana Putri Khairun; Pemayun, Tjokorda Udiana Nindhia; Budiaprilliana, Luh
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 3 No 2 (2023): Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni
Publisher : PROGRAM STUDI SENI MURNI ISI DENPASAR

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/ctkr.v3i2.2862

Abstract

Multifunctional Painting Shawl is a product of 4moon that emphasizes Functional and beauty. According to Wikipedia, Shawls is a traditional Indonesian clothing in the form of a long cloth. Shawls are usually used by women. This shawl is specially designed to have several functions at once in one object only. Not only functional, the 4moon shawl also has additional aesthetic value found in the surface design and additional prada. The purpose of this study are 1) To find out the Transfer of Knowledge of Multifunctional Painting Shawl Entrepreneurial Governance, 2) To find out the Transfer of Multifunctional Painting Shawl Entrepreneurial Skills, 3) To find out the Transfer of Knowledge and Marketing Technology of multifunctional Painting Shawl, 4) To find out the Analysis of multifunctional Painting Shawl Entrepreneurship activities. This type of research is included in quantitative research and observation as a method of data collection. The result of the study are 1) There are 6 multifunctional painting shawl products by 4moon 3) Marketing that the author does is offline and online such as Instagram. The author also applies a custom-order system 4) Adding insights such as adding prada using massage canting techniques
Facial Expressions According to Tones on Jegog Leaf Blade as A Source of Installation Art Works Creation Indrawan, I Ketut Deni; Mustika, I Ketut; Pemayun, Tjokorda Udiana Nindhia
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 3 No 2 (2023): Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni
Publisher : PROGRAM STUDI SENI MURNI ISI DENPASAR

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/ctkr.v3i2.3001

Abstract

Gamelan Jegog comes from the Jembrana area, where this Jegog has a very melodious and loud voice so that Jegog is well known throughout foreign countries. Gamelan Jegog is made of bamboo. Incidentally, in the Jembrana area there are many bamboo trees and the bamboo grows well because of the fertile soil, many bamboo trees grow and develop there, and that is what prompted Jembrana artists to create musical instruments made of bamboo. The tone in the Jegog gamelan can make a musical rhythm so alive. Each music must have its own rhythm. Tone is a musical movement that is controlled in time. Without good tunes, it's easy to get lost in the music and get out of sync. In Gamelan Jegog there are various melodies and rhythms such as the high and low of a note to make the rhythm of the music being played calm and peaceful. Based on the description above, the tones and facial expressions in Jegog gamelan are the inspiration for creating installation art works. Thus facial expressions according to tone in Gamelan Jegog serve as a source of inspiration in the creation of works as well as being the title for facial expressions according to tone on jegog leaf blades as a source for creating installation art works
Penyesuaian Diri Dan Komunikasi Interpersonal Pendatang Baru Sebagai Ide Penciptaan Seni Lukis Digital Saraswati, Intan; Utami, Ni Made Purnami; Pemayun, Tjokorda Udiana Nindhia
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 4 No 2 (2024): Cita Kara : Jurnal Penciptaan Dan Pengkajian Seni Murni
Publisher : PROGRAM STUDI SENI MURNI ISI DENPASAR

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/ctkr.v4i2.3301

Abstract

The purpose of this writing is to describe the visualization process which includes: concepts, themes, techniques and forms of painting works with the title Self-Adjustment and Interpersonal Communication for Newcomers as Ideas for Creating Digital Painting Art. The methods used in creating digital painting works of art are exploration, experimentation and execution. Exploration in creating digital works of art includes research, theme exploration and model exploration, namely combining themes and concepts and determining the poses of female figures by means of observation. The experimental method was carried out to discover new things such as the use of effects in the Adobe Photoshop application and to apply ideas and notions to the creation of digital works of art by applying filters to the photo images that will be used, then continuing with experiments on combining the drawn figures. with photo images that have been edited in the Adobe Photoshop application. The execution stage is carried out by moving the sketch to a new layer. After the discussion and creative process, it can be concluded: 1.) The concept in creating digital painting works of art is to express thoughts and feelings into digital works of art by using female figures as the main objects as symbols of feelings that have meaning regarding each event that occurs. experienced by the author related to the phenomenon of adapting to a new environment and visualized with a surrealistic approach. 2.) The concept in creating digital painting works of art is to express experiences or phenomena related to interpersonal communication and self-adjustment experienced by artists in their lives. 3.) The manufacturing technique uses the Adobe Photoshop application and the IbisPaint digital drawing application and later combines photo images and figure drawings drawn manually. 4.) The form in the painting visualization displays a self-portrait painting with a surrealistic style and is inspired by the Art Nouveau art style which depicts female figures and other objects as symbols arranged by adjusting the composition so that it looks harmonious.
Pet Attachment and Animal Abuse in Human Relationships with Pets as Inspiration for Digital Artworks Ivana, Jessica; Pemayun, Tjokorda Udiana Nindhia; Mustika, I Ketut
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 4 No 1 (2024): Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni
Publisher : PROGRAM STUDI SENI MURNI ISI DENPASAR

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/ctkr.v4i1.3631

Abstract

Humans and animals have coexisted for a long time with mutual benefits to one another. Relationships between species can create a balanced relationship for the survival of living things on earth. Attachment is an emotional relationship formed by individuals with other individuals who are considered stronger during their lives. Attachment will tend to encourage individuals to trigger closeness through contact and sad reactions due to separation. Individuals have the goal of seeking security and comfort in attachment. Human attachment to pets includes emotional, psychological, and physical interactions that will develop into a good mutual relationship. In attachment relationships, the role of empathy, attachment and anthropomorphism (the human tendency to assign characteristics, feelings and behaviors to non-human species) can influence the level of concern for pet welfare. Lack of empathy, attachment and anthropomorphism can lead to lower levels of care for animals, which may lead to neglect and abuse. Animal abuse is deliberate and repeated behavior with the aim of causing physical or psychological suffering to animals. Physical or psychological suffering in detail includes suffering and misery as well as the onset of pain and death of the animal.
Co-Authors Artha Adi Wijaya, I Nengah BUDIAPRILLIANA, LUH christofer satria Divayana, I Putu Endra Kurniawan, I Wayan Eveanna, Caitlin Gulendra, I Wayan I Gede Jaya Putra I Ketut Mustika I Kt. Suteja I Made Ruta I Nyoman, suardina Indrawan, I Ketut Deni Intan Saraswati Ivana, Jessica Kariasa Putra, I Komang Mahananda, I Putu Gede Rindra Ni Made Purnami Utami Niken, Ni Wayan Nisa, Apriliana Putri Khairun Putu Agus Bratayadnya, Putu Agus Putu Andika Aries Tusana Tjokorda Gde Tirta Nindhia Tjokropramono, Gede Yosef Tusana, Putu Andika Aries Yundari, Yundari