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All Journal Jurnal Art Nouveau JPM17: Jurnal Pengabdian Masyarakat Jurnal Studi Komunikasi Martabe : Jurnal Pengabdian Kepada Masyarakat Share : Journal of Service Learning Business and Finance Journal Ed-Humanistics : Jurnal Ilmu Pendidikan Virtuoso: Jurnal Pengkajian dan Penciptaan Musik Society : Jurnal Pengabdian dan Pemberdayaan Masyarakat Jurnal Pengabdian Kepada Masyarakat Sense : Journal of Film and Television Studies Repertoar Journal Terob : Jurnal Pengkajian dan Penciptaan Seni Sintesa CandraRupa: Journal of Art, Design, and Media Prosiding Seminar Nasional Kusuma Jurnal Ilmiah Multidisiplin Dinamis: Jurnal Pengabdian Kepada Masyarakat Aksi Kita: Jurnal Pengabdian Kepada Masyarakat Gayatri : Jurnal Pengabdian Seni dan Budaya Mavis: Jurnal Desain Komunikasi Visual
Yunanto Tri Laksono, Yunanto Tri
Universitas Dinamika
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EKSPLORASI ESTETIKA GARIS, WARNA, DAN DISTORSI VISUAL DALAM PING PONG THE ANIMATION DENGAN PENDEKATAN GAYA VISUAL GREAT PRETENDER Abipraya Sujatmiko; Muh. Bahruddin; Krisna Yuwono Fora; Yunanto Tri Laksono
CandraRupa : Journal of Art, Design, and Media Vol.5 No.1, March (2026)
Publisher : Universitas Dinamika

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37802/candrarupa.v5i1.1343

Abstract

The Japanese animated film Ping Pong The Animation presents a non-conventional visual approach through the exploration of rough line work, expressive coloring, and formal distortion that challenges mainstream animation aesthetics. This visual style functions not only as an artistic identity but also as a narrative medium for representing the psychological dynamics, emotions, and inner conflicts of its characters. This study aims to analyze the aesthetics of line, color, and visual distortion in Ping Pong The Animation by employing the visual style of Great Pretender (2020) as a comparative framework. Great Pretender is selected due to its similar visual tendencies that emphasize extreme stylization, symbolic color palettes, and visual deformation as strategies for strengthening narrative and characterization. This research adopts a qualitative descriptive method with a visual analysis and animation stylistics approach. The data are collected through close observation of key scenes that represent the use of line, color, and visual distortion in both works. The analysis examines the relationship between these visual elements and their narrative functions, emotional atmosphere, and the construction of symbolic meaning. The theoretical framework is grounded in visual aesthetics theory, animation film stylistics, and visual semiotics. The findings indicate that Ping Pong The Animation employs dynamic and unstable line work to reflect the intensity of competition and the psychological states of the characters, while color is used selectively to emphasize specific emotional atmospheres. Visual distortion functions as an aesthetic strategy to express inner pressure, subjectivity, and character transformation. The visual style approach of Great Pretender demonstrates how similar stylization can produce different narrative effects through the use of more contrasting colors and theatrical visual compositions. This study concludes that the visual exploration in Ping Pong The Animation constitutes an effective cinematic language of animation that expands the possibilities of narrative expression through non-realistic aesthetics.
PELATIHAN DAN PENDAMPINGAN OPTIMALISASI WARNA ALAM PENGHASIL WARNA PRIMER BAGI POKMAS BATIK BAWANGAN, PLOSO, JOMBANG, JAWA TIMUR Karsam Karsam; Yunanto Tri Laksono; Sutikno Sutikno; Krisna Yuwono Fora; Cindy Fellia Gerda Wagiu
Martabe : Jurnal Pengabdian Kepada Masyarakat Vol 9, No 9 (2026): MARTABE : Jurnal Pengabdian Kepada Masyarakat
Publisher : Universitas Muhammadiyah Tapanuli Selatan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31604/jpm.v9i9.%p

Abstract

Batik diakui UNESCO sebagai budaya milik Indonesia. Pengakuan ini hanya berlaku maksimal 10 tahun dengan syarat: batik harus digunakan dalam kehidupan sehari-hari, batik diperjualbelikan, batik dilestarikan, batik diajarkan, dan batik disebarluaskan. Atas dasar ini, maka batik harus diajarkan di masyarakat Indonesia. Usai pengakuan UNESCO batik makin perkembangan di Indonesia dan dunia. Perkembangan ini menyangkut banyak hal, diantaranya adalah penggunaan warna. Warna batik berasal dari bahan kimia dan warna alam. Warna kimia dapat menimbulkan pencemaran lingkungan, maka perlu dikembangan warna alam. Namun disayangkan penggunaan warna alam masih menghasilkan warna yang kusam sehingga pembatik kurang menyukainya. Oleh sebab itu, PkM ini dilakukan. PkM dilakukan di Kelompok Masyarakat Bawangan. Metode PkM yaitu pelatihan dan pendampingan berkelanjutan penggunaan warna alam dengan pendekatan diskusi reflektif, demonstrasi, praktik langsung, dan ceramah. Tujuannya agar para pembatik memahami dan bisa menggunakan warna alam untuk pewarna batik sebagai upaya untuk meningkatkan nilai produksi dan menghasilkan batik yang ramah lingkungan. PkM ini menghasilkan para pembatik mampu menyebutkan bahan pewarna alam penghasil warna primer, membuat formula warna, mencelup warna, pameran, mengikuti bazar, menghasilkan motif dan pengurusan HKI. Harapan kedepannya adalah para pembatik bisa melakukan pewarnaan alam dengan teknik colet dan menghasikan warna sekunder dan tersier.  
Co-Authors Abipraya Sujatmiko Agustin, Alda Ajwar Ridho Setiawan Ardian Jaya Prasetya Ayu, Stephanie Astrid Basir, Udjang Pairin M. Candraningrat, Candraningrat Charisma Dimas Affandi Cindy Fellia Gerda Wagiu Dimas Antoni Daniswara Emy Yunita Rahma Pratiwi, Emy Yunita Rahma Evi Rizqi Salamah, Evi Rizqi Hardman Budiardjo, Hardman Imam Sopingi Karsam Karsam Krisna Yuwono Fora Kurniawan, Eko Pramudya Mega Pandan Wangi Moh Ali Rivan Muh Bahruddin Muh. Bahruddin Musayyanah Musayyanah Raka Fadilah Saelan Rochmania, Desty Dwi Shasdia, Abadillah Rachmat Siswo Martono, Siswo Susilo, Claudya Zahrani Sutikno Sutikno Sutikno Sutikno Sutikno Wahyu Hidayat Wangi, Mega Pandan Weny Indah Kusumawati