Articles
<![CDATA[TANDA DAN MAKNA KARTUN MICE PADA KORAN KOMPAS EDISI 8 MARET 2020 ]]>
<![CDATA[Nuriarta I Wayan]]>
<![CDATA[ Studi Budaya Nusantara Vol 4, No 1 (2020) ]]>
Publisher : <![CDATA[Studi Budaya Nusantara ]]>
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<![CDATA[Penelitian ini menggunakan rancangan kualitatif untuk mengumpulkan, menyaring dan menganalisis data. Subjek kajian penelitian ini adalah kartun Mice pada Koran Kompas tahun 2020. Penyeleksian kartun menggunakan teknik penyampelan purposif (purposive sampling). Purposive sampling adalah pengambilan sampel yang disesuaikan dengan tujuan penelitian. Dari sejumlah kartun yang diobservasi, kartun yang terbit pada tanggal 8 Maret 2020 dipilih sebagai sampel karena kartun tersebut menunjukan situasi pandemik masyarakat dunia dan juga Indonesia. Objek penelitian ini difokuskan pada analisis visual kartun, makna denotasi dan makna konotasi. Objek penelitian tersebut didasarkan pada analisis makna denotasi dan makna konotasi dengan menggunakan teori semiologi Roland Barthes. Hasil penelitian menunjukan bahwa kartun Mice tidak saja menyampaikan realitas kehidupan masyarakat Indonesia dalam menghadapi covid-19, Mice juga menghadirkan senyuman dalam memberikan solusi pencegahannya, terlebih lagi kartun Mice mengingatkan seluruh masyarakat untuk selalu menjaga diri dan mengindahkan himbauan pemerintah dengan cara menggunakan masker jika bepergian atau dengan cara “mengurung diri” dari keramain. Kata Kunci: Kajian Visual, Kartun, Semiotika, Covid-19.]]>
<![CDATA[Tanda Dan Makna Kartun Politik Koran Jawa Pos Tahun 2019 ]]>
<![CDATA[I Wayan Nuriarta]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 34 No 3 (2019): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v34i3.795
<![CDATA[Tulisan ini dibuat untuk membaca tanda visual dan tanda verbal yang terdapat pada karya kartun politik Koran Jawa Pos tahun 2019. Pembacaan terhadap tanda tersebut akan digunakan untuk mendeskripsikan makna denotasi dan menggali makna konotasi kartun di tahun politik. Dari sejumlah kartun yang diobservasi, kartun yang terbit pada 13 Januari dan 7 April 2019 dipilih sebagai sampel karena kartun-kartun tersebut menunjukan kartun politik yang menghadirkan kritik terhadap calon presiden serta calon anggota legislatif. Objek penelitian ini difokuskan pada analisis visual kartun, makna denotasi dan makna konotasi. Objek penelitian didasarkan pada analisis makna denotasi dan makna konotasi dengan menggunakan teori semiologi Roland Barthes. Kartun politik yang hadir pada Koran Jawa Pos Minggu tahun 2019 adalah sebuah kartun kritik terhadap calon peserta pemilu yaitu calon presiden dan wakil presiden serta kritik terhadap calon anggota legislatif. Kartun ini memanfaatkan teks visual berupa gambar yang diwarna, dilengkapi dengan teks verbal yang berupa tulisan yang terangkai menjadi kalimat pada satu panel/frame. Teks visual dan teks verbal yang hadir dalam satu panel memunculkan sebuah narasi kritik terhadap persoalan yang diperbincangkan di masyarakat. Pramono sebagai kartunis menggambarkan isu dimasyarakat tersebut dengan gambar yang kritis berbalut nuansa humor.]]>
<![CDATA[Gulo Puan Visual Brand: Medium Promotion of Gastronomic Tourism Destinations, Pampangan District, South Sumatra ]]>
<![CDATA[Sumbo Tinarbuko]]>;
<![CDATA[Risvi Pangestu]]>;
<![CDATA[I Wayan Nuriarta]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 38 No 2 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v38i2.2365
<![CDATA[Gulo Puan is a traditional food from the Pampangan sub-district, South Sumatra Province. Its existence has sunk into the ages. Gulo Puan does not yet have a visual brand that can represent her existence. The absence of a visual brand makes people less aware of the existence of this gastronomy. The purpose of this study is to present the Gulo Puan visual brand as a promotional medium for the gastronomic tourism destination "Guwan" Gulo Puan in the Pampangan sub-district. This study uses a qualitative method with a five-stage approach to design thinking according to Tim Brown's version: empathy, define, ideate, prototype, and test. The data collection process was carried out by interviews, observation, literacy, documentation, and questionnaires. The data obtained were then analyzed using the Triadik Sumbo Tinarbuko design concept approach. The results of this synthesis form the basis for designing the Gulo Puan visual brand. The results of the synthesis are also positioned as a solution for the Gulo Puan visual brand for visual communication problems found at the Gulo Puan production center, Pampangan sub-district, South Sumatra Province. The novelty of the results of this design puts forward the concept of Gulo Puan's visual branding as a promotional medium that represents the Gulo Puan gastronomic tourism destination in the Pampangan sub-district. The theory used in this study: visual branding for strategies to design visual branding, sociology theory of design to determine the needs of target audiences, theory of tourist destinations to design tourist destinations, and visual communication design theory is used to design the form of messages and the contents of verbal and visual messages. Conceptually, this research also contributes theoretical and practical knowledge to the development of visual communication design science.]]>
<![CDATA[KOMUNIKASI VISUAL KARTUN SOMPRET KARYA I WAYAN SADHA ]]>
<![CDATA[I Wayan Nuriarta]]>;
<![CDATA[I Gede Agus Indram Bayu Artha]]>;
<![CDATA[Ni Putu Dhea Pramesti]]>;
<![CDATA[Pande Putu Sastra Wibawa]]>
<![CDATA[ Widya Duta: Jurnal Ilmiah Ilmu Sosial Budaya Vol 16 No 2 (2021): WIDYA DUTA SEPTEMBER 2021 ]]>
Publisher : <![CDATA[UHN IGB Sugriwa Denpasar ]]>
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DOI: 10.25078/wd.v16i2.219
<![CDATA[This paper was written to read visual signs and verbal markscontained in the cartoon Sompret by I Wayan Sadha. I Wayan Sadha'sSompret cartoon has its uniqueness as a work of visual communication.The uniqueness is that the visual communication of this cartoon presentsillustrations, typography, and layouts with a deep appreciation of Balineseculture. The illustration presents a Balinese wearing a headdress is arepresentation of a Balinese in traditional culture. The illustration of aBalinese without a headdress is a representation of a Balinese who is in themodern culture. The typography used utilizes the display font to presentthe conversation and clarify the description of the image. The letters areused to explain the issue raised as Sadha's opinion and point of view on theBali issues. Sadha's Sompret Cartoons only use lines, no color, so his worksappeared as black and white cartoons. Sompret cartoons used thesymmetrical balance composition and hidden balance layout, theperspective of human eye level, and the perspective of a bird's eye. Thisresearch uses descriptive qualitative research method. Semiotic theory isused in this research and focus on denotation and connotation meaning.Denotationally, the Sompret cartoon of Sadha presents a narrative ofevents based on the issue raised related to Balinese traditional culture andthe flow of globalization. The work is created in a one-panel cartoon. Thestory of this cartoon sometimes with conversations of several charactersor only illustrations of the characters without any conversation. With thenarrative being built, the meaning of the connotation can be read. Theconnotations meaning of Sompret cartoons as opinion cartoons is showingthe flow of globalization or modern culture in the middle of the strength ofthe Balinese traditional culture. Connotatively this cartoon can be read asa development of globalization in Bali]]>
<![CDATA[DEKONSTRUKSI MAKNA IKLAN SABUN LUX ]]>
<![CDATA[Nuriarta I Wayan]]>
<![CDATA[ Studi Budaya Nusantara Vol 7, No 1 (2023) ]]>
Publisher : <![CDATA[Studi Budaya Nusantara ]]>
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<![CDATA[Keberadaan iklan pada media massa bukan lagi sebagai elemen pelengkap system industrialisasi dan kapitalisme, melainkan telah menjadi instrument paling vital. Penelitian ini akan membahas iklan sabun LUX. Iklan sabun mandi LUX selalu menampilkan perempuan-perempuan cantik untuk menjadi ikon produknya. Karena identik dengan iklan yang eksklusif dan bintang-bintang papan atas Indonesia. Iklan dalam produk sabun kecantikan LUX rupanya mempunyai banyak makna yang terpendam. Dengan teori dekonstruksi, hasilnya menunjukan bahwa makna tidak saja mengacu pada aroma dan kesegaran sabun LUX akan membuat perempuan mampu beraktifitas secara aktif dalam profesi apa saja, baik sebagai eksekutif muda, artis, penyanyi, mahasiswa ataupun pegiat pejuang hak-hak perempuan, juga dengan sabun LUX lantas perempuan akan menjadi layaknya Maudy Ayunda, seorang perempuan cantik dan aktif. Namun makna lainnya adalah karena Maudy Ayunda merupakan artis yang memiliki banyak prestasi maka ia menjadi bintang iklan sabun LUX. Selain parasnya yang cantik, berbagai aktifitas padatpun ia jalani. Dalam proses pemaknaan iklan sabun LUX, secara dekonstruksi akan dipandang terjadinya pembalikan makna. Makna tidak final yang menunjukan bahwa dengan menggunakan sabun LUX maka seseorang akan menjadi seperti Maudy Ayunda, yaitu tampil sebagai perempuan cantik dan aktif. Tetapi makna lain yang sebaliknya bisa disampaikan yaitu bahwa karena Maudy Ayunda adalah seorang artis cantik, cerdas dan juga aktif, maka dipilih sebagai bintang iklan sabun LUX.]]>
<![CDATA[KAJIAN SEMIOTIKA BARTHES PADA KARTUN MICE TAHUN 2022 ]]>
<![CDATA[I Wayan Nuriarta]]>
<![CDATA[ SEMIOTIKA: Jurnal Komunikasi Vol 17, No 1 (2023): SEMIOTIKA: Jurnal Komunikasi ]]>
Publisher : <![CDATA[Universitas Bunda Mulia ]]>
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DOI: 10.30813/s:jk.v17i1.4276
<![CDATA[This study uses a qualitative design to collect, filter and analyze data. The subject of this research study was Mice cartoons in Kompas Newspaper in 2022. The selection of cartoons used a purposive sampling technique. Purposive sampling is sampling adjusted to the research objectives. From a number of observed cartoons, cartoons published on January 23, 2022 and March 6, 2022 were chosen as samples because these cartoons show how to express comics with issues of novelty regarding IKN (National Capital City) and the extension of the presidential term. These two issues were issues at the beginning of the year that warmed up because they were connected by political discourse ahead of the 2024 Election. IKN and the three-term president have a connection in politics. The object of this study is focused on comic analysis using McCloud's comic theory, denotative meaning and connotative meaning using Barthes' semiotic theory. The results of the study show that the denotation meaning of the Mice cartoon is a picture of the Indonesian people who are in dialogue, either dialogue between colleagues or dialogue between the people and their officials. This dialogue is presented in black and white comic panel transitions. This panel transition creates a narrative or story for the reader. The narrative can also be interpreted connotatively. The connotative meaning of Mice's cartoons shows that there is something that is discussed further in relation to the context of the discourse raised when compared to the witty visualization. There is a serious problem covered in a humorous cartoon appearance. The name of the IKN is still being debated by several groups, the issue of names is being seriously discussed, and the three-term presidential discourse is considered to be possible if the president wants it.]]>
<![CDATA[Ideologi Visual Media Representatif Konstruksi Citra Budaya Bali ]]>
<![CDATA[I Wayan Swandi]]>;
<![CDATA[I Wayan Nuriarta]]>;
<![CDATA[I Nyoman Larry Julianto]]>
<![CDATA[ PANGGUNG Vol 33, No 2 (2023): Ideologi, Identitas, dan Kontekstualitas Seni Budaya Media ]]>
Publisher : <![CDATA[LP2M ISBI Bandung ]]>
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DOI: 10.26742/panggung.v33i2.2623
<![CDATA[Bali dikenal sebagai daerah tujuan pariwisata yang berbudaya. Padahal di abad ke-17, Bali dikenal sebagai pulau kejam dengan masyarakatnya yang suka menjarah kapal karam. Penelitian ini bertujuan untuk mendeskripsikan secara kritis konstruksi citra Bali oleh kolonial Belanda dengan memanfaatkan peran media-media representatif. Metode yang digunakan adalah deskriptif kualitatif kritis. Hasilnya menunjukan bahwa media-media representatif seperti brosur, folder, dan desain sampul buku yang dibuat oleh kolonial Balanda telah berhasil mengkonstruksi citra budaya Bali. Dengan menghadirkan ilustrasi perempuan, patung, upacara Ngaben, dan keindahan alam Bali, citra yang melekat pada pulau Bali sampai saat ini adalah sebagai pulau surga terakhir. Bali memiliki berbagai daya tariknya tersendiri untuk dikunjungi baik keindahan alam maupun tradisi yang masih dijaga kuat. Ideologi visual yang dimunculkan adalah ideologi ketenangan, kenyamanan, dan keindahan pulau Bali. Bali adalah surga terakhir bagi para wisatawan Barat. Kata Kunci: Ideologi Visual, Budaya Bali, Kajian Budaya, Desain Komunikasi Visual]]>
<![CDATA[Articulation of Indonesian Identity in Mahabharata Epic Puppet Comics by Sundanese, Javanese, and Balinese Comic Artists ]]>
<![CDATA[I Wayan Nuriarta]]>;
<![CDATA[I Nyoman Suarka]]>;
<![CDATA[Ida Ayu Laksmita Sari]]>;
<![CDATA[Suryadi Suryadi]]>
<![CDATA[ Jurnal Kajian Bali (Journal of Bali Studies) Vol 14 No 1 (2024): ARTICULATING IDENTITY ]]>
Publisher : <![CDATA[Pusat Kajian Bali Universitas Udayana ]]>
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DOI: 10.24843/JKB.2024.v14.i01.p02
<![CDATA[This research examines Mahabharata epic puppet (wayang) comics, created by three renowned comic artists: R. A. Kosasih, Teguh Santosa, and Gun Gun, who respectively have Sundanese, Javanese, and Balinese cultural backgrounds, through the lens of Indonesian identity articulation. The comics of wayang which translates ‘puppet’, are a distinctive genre that employs panels to depict puppetry tales. While being influenced by foreign cultures such as American comic art and the Indian Mahabharata epic, these artists intentionally incorporate Indonesian elements into their works. This is evident from 1955 to the present. This research used a critical qualitative descriptive approach to investigate the articulation of the identity discourse within the cultural realm of comics. The comic works of the artists are analysed through articulation and hegemony theory. The research concludes that the artists’ works establish a cultural connection and relate cultural comic art to Indonesian readers. This not only constructs Indonesian identity but also promotes cultural diversity.]]>
<![CDATA[ANALISIS VISUAL GAMBAR ANAK PADA MASA PRA-SKEMATIK ]]>
<![CDATA[Nuriarta I Wayan]]>;
<![CDATA[Dwita Krisna Ari Ida Ayu]]>;
<![CDATA[Suryawan I Gde]]>
<![CDATA[ PRATAMA WIDYA : Jurnal Pendidikan Anak Usia Dini Vol 6 No 2 (2021): Pratama Widya Oktober 2021 ]]>
Publisher : <![CDATA[UHN I GUSTI BAGUS SUGRIWA DENPASAR ]]>
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DOI: 10.25078/pw.v6i2.156
<![CDATA[This article aims to read visual signs and verbal signs by utilizing the children's drawings during the pre-schematic stage. The reading of the signs will be used to describe the elements of fine arts in the children's drawing. Four works of kindergarten children were chosen and observed. The four works are entitled "Mother", "Brother", "Zoo" and "Tree". These have been selected as the subjects of the study. These four works were chosen because these works were created by using different media, such as pencil on paper, watercolors on paper, and digital media. The object of this study is focused on visual analysis of the children's drawings on the elements of art, such as points, lines, shape, spaces, and colors. The pre-schematic stage is characterized by the appearance of circular images with lines that seem to indicate human or animal figures. During this stage, the scheme (the visual idea) is developed. The drawing shows what the child considers most important about the subject. There is a little understanding of space - objects are placed randomly throughout the image. The use of color is more emotional than logical. The elements of fine art are shown in the drawings can be described as the result of the observation 1) The lines have been controlled so has formed the image. 2) The shape of the object described has been identified as representing the object that the child wants to describe. 3) The colors used to fill the shapes are based on the child's imagination and desires except the color used to fill the shape of the tree. The colors of nature are the same as in real life, such as green leaves, blue sky, and green grass. In general, the image or drawing presented by the child is an illustration]]>
<![CDATA[Semiotics Study Of The 2019 Jawa Pos Political Cartoon ]]>
<![CDATA[I Wayan Nuriarta]]>;
<![CDATA[Ni Wayan Masyuni Sujayanthi]]>
<![CDATA[ Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 3 No. 2 (2020): October ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/lekesan.v3i2.1168
<![CDATA[The general purpose of this study is to increase knowledge in the form of academic studies of the 2019 Jawa Pos newspaper political cartoon, and its specific purpose is to describe the denotation, connotation, myth and visual ideology of the Sunday edition of the Jawa Pos newspaper political cartoon in the sketch rubric. This study used a qualitative design. Everything related to the 2019 Jawa Pos newspaper political cartoon will be described qualitatively. The qualitative step taken was to collect, filter and analyze data to produce descriptive data in the form of words and notes related to its meaning. The research sample is the political cartoon of the January 13 and March 10 2019 edition of the Jawa Pos Newspaper. The results showed that visually, politicians occupy the top position in the drawing room. The size of the depiction was made much larger than that of the other public figures. Meanwhile, voter community figures were depicted as occupying a space position at the bottom. The depiction only showed half of the body, namely from the head to the waist. The meaning that is born from each image is determined in part by the meanings of other texts which appear to be the same. This is what is called intertextuality. Cartoonists and readers have carefully gathered various texts on politicians and voters to see the power of ideology with the intertextuality of various other texts / images.]]>
