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All Journal PRABANGKARA Segara Widya: Jurnal Penelitian Seni Panggung VCD (Journal of Visual Communication Design) Randwick International of Social Science Journal ARTISTIC : International Journal of Creation and Innovation Jurnal Ilmiah Wahana Pendidikan International Journal of Social Science calaccitra: jurnal film dan televisi International Journal of Multidisciplinary Research and Literature (IJOMRAL) Jurnal Desain Komunikasi Visual Nirmana Journal of Aesthetics, Creativity and Art Management Journal of Industrial Product Design Research and Studies Innovative: Journal Of Social Science Research Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Hastagina: Jurnal Kriya dan Indsutri Kreatif Panggung
I Nyoman, suardina
Institut Seni Indonesia Denpasar
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Civil Engineering, Building, Construction & Architecture Computer Science & IT Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Engineering Environmental Science Health Professions Industrial & Manufacturing Engineering Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Mathematics Medicine & Pharmacology Physics Public Health Social Sciences Transportation Other

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REAKTUALISASI MOTIF ORNAMEN PENINGGALAN PURI AGUNG KARANGASEM DALAM PENCIPTAAN TEGEL GERABAH I Nyoman Laba; I Nyoman Suardina; Ni Kadek Karuni
Prosiding Bali Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara Vol. 2 (2022): Prosiding Bali Dwipantara Waskita: Seminar Nasionar Republik Seni Nusantara
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Salah satu pergeseran dalam bidang budaya, dapat dilihat pada model bangunan lama yang diganti dengan bangunan model baru. Gaya, teknik, dan bahan termasuk penerapan motif ornamen berorientasi pada style kekinian. Tidak semua gubahan ornamen yang diterapkan berakar pada eksplorasi keaslian kazanah ornamen Bali. Salah satu contoh ornamen yang belum pernah dipopulerkan adalah gaya ornamen yang diterapkan pada Bangunan Puri Agung Karangasem. Pengaktualisasian ornamen/ragam hias Bangunan Puri Agung Karangasem, melalui eksplorasi dan replika pola motif dalam ciptaan tegel berbahan gerabah bertujuan pelestarian budaya dan peningkatan taraf hidup masyarakat. Metode yang digunakan dalam mewujudkan reka cipta ini adalah metode Tiga Tahap Enam Langkah (Gustami), untuk memenuhi semua proses yang dilakukan, dari tahap observasi sampai pada tahap evaluasi. Produk Tegel Berbahan Gerabah dengan Motif Ornamen Puri Agung Karangasem dapat dievaluasi dalam uji pasar dalam jangka waktu yang cukup dan massif agar motif ini dapat masuk dalam ragam hias Bali yang diakui masyarakat Bali.
Presentation of Traditional Folktale Through 3-Dimensional Animation Film in Gromore Studio YouTube Channel, A Study Case Hutomo Setia Budi; I Wayan Adnyana; I Wayan Swandi; I Nyoman Suardina
Jurnal Desain Komunikasi Visual Nirmana Vol. 24 No. 1 (2024): JANUARY 2024
Publisher : Institute of Research and Community Outreach - Petra Christian University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.9744/nirmana.24.1.41-47

Abstract

This research aimed to discover audience responses toward animation content that tells about folklore and is uploaded onto the Gromore Studio YouTube platform. It is designed based on interview data as well as observation of the view count, comments, and literature study. This research included cultural studies which studied social culture phenomena by using descriptive quantitative analysis methods with emphasis on discovering the comparison of positive and negative comments, and the comparison between like and dislike counts from the folklore video which was uploaded by Gromore Studio. The results of this research showed that the presentation of legendary folktales received outstanding responses from the audience with Indonesians as the majority. Comments given by the audience mostly showed positive feedback and support toward animation content produced by Gromore Studio which lifted the local cultures and stories, packed into interesting visual media. Through the positive responses in the comments, it can be concluded that the animations by Gromore Studio in traditional folktales became very welcomed by Indonesian audiences.
Kajian Bentuk, Filosofi Ornamen dan Konstruksi Sanggah Rong Tiga Hindu di Bali I Putu Putra Suryadana; I Wayan Mudra; I Nyoman Suardina
Hastagina : Jurnal Kriya Seni Vol 1 No 01 (2021): Hastagina: Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v1i01.68

Abstract

UD Undagi Bali merupakan perusahaan yang bergerak atau berkontribusi di dalam bidang seni ukir style Bali (kriya) kayu dalam bentuk arsitektur tradisional Bali, sanggah, pintu kuwadi dan pepanilan. Penelitian ini bertujuan untuk membahas bentuk, filosofi ornament dan konstruksi pada sanggah rong tiga sebagai arsitektur suci Hindu di Bali. Penelitian ini merupakan penelitian sampel dilakukan dengan pendekatan deskriptif kualitatif, dengan metode pengumpulan data yaitu observasi, wawancara dan dokumentasi. Pengambilan sampel dilakukan tahun 2020 di UD Undagi Bali, Banjar Bantas, Desa Manukaya, Tampaksiring, Gianyar, Bali sebagai keberadaan subjek penelitian. Hasil penelitian menunjukkan bentuk, filosofi ornament dan konstruksi pada sanggah rong tiga sebagai salah satu arsitektur suci masyarakat Hindu di Bali. Peneliti berharap kajian ini dapat memberikan gambaran dalam bentuk ilmu pengetahuan terkait dengan keberadaan sanggah rong tiga yang merupakan arsitektur suci Hindu di Bali, sebagai pijakan dalam perwujudan dan pengetahuan generasi muda (milenial) Bali tentang keberadaan dan pelestarian arsitektur suci yang perlu dijaga dan diterapkan berkaitan dengan pedoman-pedoman perwujudan sanggah rong tiga yang sudah ada sejak dahulu kala.
P Penciptaan Produk Perlengkapan Ruang Tunggu Kantor Transformasi Bentuk Jembatan Kolonial Kampung Tinggi Buleleng I Made Widhya Divabhawana; I Nyoman Suardina; Ni Kadek Karuni
Hastagina : Jurnal Kriya Seni Vol 1 No 02 (2021): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v1i02.544

Abstract

Generally, when someone is waiting there are many opportunities to see and form opinions about the office being visited, so it is necessary to have attractive office waiting room furniture. The purpose of making this work is limited to office waiting room products consisting of: one table, one chair, and wall decoration. The method of creating works is the transformation method, by applying the stages of SP theory. Gustami are the three pillars of art creation including: (1) Exploration, which is the stage of exploring the source of ideas, collecting data, references, processing and analyzing data. (2) The design, built on the acquisition of important points from the formulated analysis, is continued with the visualization of ideas in the form of alternative sketches. The selected sketch is poured into the working drawing, completed with dimensions, (3) Embodiment, making the design so that it has a form. The embodiment process uses several stages, namely: selecting raw materials, breaking wood, shaving wood, making malls, assembling, sanding and finishing. The creation of the work consists of a set of chairs, tables, and wall decorations for the office waiting room. The style of furniture created has a characteristic rustic style, which is a design concept that has a texture that is not smooth or rough and is not finished.
Penerapan Proses Wax Carving Dalam Perwujudan Produk Perhiasan Cincin Perak di Deni Jewelry Made Mikki Bharadvaja Wirawan; I Nyoman Suardina; I Made Berata
Hastagina : Jurnal Kriya Seni Vol 2 No 02 (2022): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v2i02.1093

Abstract

An internship is a form of lecturing in the MBKM curriculum where students are given the means to carry out lecture activities that are carried out outside the institution. Through this internship program, students are directly involved in the world of work. This internship is a practical activity for students with the aim of gaining experience from these activities, which can later be used for professional development. The internship program is a learning activity as well as training for students so that they can understand theoretically and practically certain areas of expertise gained through direct work activities in the world of work as a form of work experience for students of the internship program (Raira, 2018). This work internship was carried out at the Deni Jewelry company in Denpasar, Bali. Currently, Deni Jewelry has a variety of decorations and types of products. one of the triggers is market demand that is always growing so this must always be with quality products in order to maintain consumer confidence. Wax carving/wax carving is a process that requires special skills in the manufacture of silver jewelry. this process is one of the determinants in realizing aesthetic silver jewelry at Deni Jewelry. The touch of the hands and the skill of the artist in shaping the wax can be "imprinted" on the product for decades or even hundreds of years to come. The wax carving process requires precision considering that jewelry tends to have small sizes and details. So in the implementation of this internship, I chose Deni Jewelry because the author can dig up information about the knowledge, skills, technology, and management that occur in it, especially the production process carried out by the Deni Jewelry company. By doing an internship at Deni Jewelry, it is hoped that the author will gain knowledge related to the topic, namely knowledge of various silver-making skills at Deni Jewelry.  
Estetika Sejarah Desa Jimbaran Dalam Sajian Film Eksperimental Mahardika, I Wayan Agus; Suardina, I Nyoman; Udayana3, Anak Agung Gde Bagus
Jurnal Ilmiah Wahana Pendidikan Vol 9 No 22 (2023): Jurnal Ilmiah Wahana Pendidikan
Publisher : Peneliti.net

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5281/zenodo.10118160

Abstract

The story of Sri Dalem Batu Putih and Sri Dalem Batu Ireng told the history of the formation of Jimbaran Village. This story was presented in the form of an experimental film. The purpose of making this film was to introduce a new nuanced film by bringing elements of local culture and history of an area to the public. This work used the concept of an experimental film so that it could stimulate the minds of the audience and easily understand the flow and meaning conveyed from the historical film of Jimbaran Village. It used experimental theory from Himawan Prasista. The production used the method of pre-production, production and post-production creation. The film was supported by videographic composition techniques, two-dimensional animation, conventional shooting with cameras and aerial shots (shooting with drones). The visual presentation is also supported by the selection of gold and green as the dominant colors in the animation section. The gold color symbolized the wiser character, while the green color symbolized grandeur and prosperity that balanced emotions and tranquility which contained in the historical story of Jimbaran Village
Penciptaan Kostum Tari Pancering Dewata Mahendra, I Putu Agus; Suardina, I Nyoman; Suparta, I Made
Hastagina : Jurnal Kriya Seni Vol 3 No 02 (2023): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v3i02.1995

Abstract

Karya kostum Tari Pancering Dewata terinspirasi dari gambar pada kalender mengenai lima dewa penguasa penjuru mata angin,  lengkap dengan wahana dan atributnya. Hal ini yang merangsang munculnya ide untuk menciptakan sebuah kostum tari dengan imajinasi dan mereinterpretasi konsep panca dewata. Pancering Dewata memiliki arti inti atau pusat dari segala dewa. Sastra-sastra Hindu menjelaskan bahwa pusat dari segala dewa dan semesta adalah Siwa. Dewa Siwa menjadi pusat segala dewa yang menaungi segala arah  semesta dan penjuru mata angin. Tujuan penciptaan Kostum Tari Pancering Dewata ini adalah sebagai pemenuhan luaran program Projek Independen MBKM yang menitik beratkan pada inovasi baru melalui kemerdekaan belajar bersama sanggar atau pihak terkait, guna terciptanya karya yang lebih kreatif. Penciptaan karya kostum Tari Pancering Dewata menggunakan metode penciptaan seni kriya SP.Gustami yang dijelaskan dalam buku yang berjudul Butir-Butir Mutiara Estetika Timur ‘’ide dasar penciptaan seni kriya indonesia’’, Terdapat tiga tahap penciptaan, yaitu: ekspolrasi, perancangan, dan perwujudan. Eksplorasi meliputi aktivitas penjelajahan menggali sumber ide dengan langkah indentifikasi dan perumusan masalah mengenai sumber kreatif pencipta dalam memaknai Pancering Dewata. Perancangan, ide dibangun berdasarkan perolehan butir penting dari hasil analisis yang dirumuskan dalam visualisasi gagasan bentuk sketsa alternatif dan terpilih sebagai acuan reka bentuk. Perwujudan, pembuatan model sesuai sketsa terpilih atau gambar teknik yang telah disiapkan menjadi model prototype sampai ditemukan kesempurnaan karya yang dikehendaki. Berdasarkan eksplorasi, eksperimen teknik dan bahan, inovasi dan capaian proses bimbingan dalam projek MBKM dengan mengutamakan teknik tatahan kulit tradisional Bali, dihasilkan 5 (lima) set Kostum tari Pancering Dewata menggunakan kulit sapi sebagai bahan utama dalam pembuatannya.  Luaran ini bermanfaat dalam pengembangan bentuk tari dengan tema Dewata dalam masyarakat, sehingga memiliki daya guna dan aplikatif.
Proses Pembuatan Topeng Panca Di Sanggar Seni Citra Kara Desa Batuan, Kecamatan Sukawati, Kabupaten Gianyar: Proses Pembuatan Topeng Panca Di Sanggar Seni Citra Kara Desa Batuan, Kecamatan Sukawati, Kabupaten Gianyar Cahayana Putra, I Gede; Suardina, I Nyoman; Jana, I Made
Hastagina : Jurnal Kriya Seni Vol 3 No 02 (2023): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v3i02.2912

Abstract

Topeng Panca sebagai hasil dalam budaya Bali, berkaitan dengan upacara keagamaan, yang luarannya menyatu ke seni pertunjukan. Namun, dalam topik ini penulis lebih mempelajari proses pembuatan Topeng (Tapel) yang digunakan dalam pergelaran Topeng Panca. Untuk itu penulis menggunakan metode observasi, yaitu mengamati karakteristik dan bentuk Topeng Panca, dan wawancara kepada tokoh ahli dan budayawan, mengenai asal – usul tari Topeng Panca, dan juga dilakukan metode pengumpulan data melalui kepustakaan. Setelah data terkumpul dilakukan reduksi dan di analisis data, baik penggunaan bahan, teknik/proses pembuatan dan proses pewarnaan Tapel/Topeng Panca. Proses pembuatan Tapel/Topeng Panca, mengambil tempat, yaitu di Sanggar Seni Citra Kara, Br.Puaya, Desa Batuan, Kecamatan Sukawati, Gianyar di rumah/studio Sang Guru Bapak I Made Muji. Proses penciptaan berlangsung selama lima bulan, menghasilkan sejumlah Topeng Panca, yaitu Topeng Keras, Topeng Tua, Topeng Arsa Wijaya, Topeng Penasar Wijil dan Topeng Sidakarya. Fungsi Topeng Panca ini, dapat digunakan untuk kepentingan upacara agama, kebutuhan masyarakat baik sebagai benda pajangan, maupun dijadikan benda cendramata.
HARMONY AS A CONCEPT OF CREATION BONE BASED ACCESSORIES AT PT. KIRANA'S IMAGINATION HOUSE, JIMBARAN, BADUNG, BALI Widhi Adnyana, I Wayan; I Made, Suparta; I Nyoman, suardina
Hastagina : Jurnal Kriya Seni Vol 4 No 01 (2024): Hastagina : Jurnal Kriya dan Industri Kreatif
Publisher : Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/hastagina.v4i01.3482

Abstract

The creation of accessories made of bone with the concept of harmony is one of the answers to the phenomenon that occurs in the fashion world, where the fashion world sometimes overrides accessories in its manifestation. In fact, accessories and the fashion world have a relationship and dependence on each other, so accessories have an important role in the fashion world to add to the perfection of the appearance of fashion works. This phenomenon is interesting to reveal by creating a set of fashion accessories products with the concept of harmony taking the shape of roses as an exploration space that is in harmony with the shape of roses that have harmony, unity of shape, color and fragrance forming an amazing harmony frame. Through the creation of this fashion accessories product, it is hoped that it will provide a further understanding for fashion designers as well as the general public that accessory products can raise the dignity and value of fashion itself. The creation process uses the method proposed by Sp Gustami (2007:329) through three stages and six steps, namely exploration, design, and embodiment. Exploration includes exploration activities to explore creative sources. The design is built based on the acquisition of items from the results of the analysis formulated in the visualization of the idea of sketch form as a design reference. The embodiment of making a model according to the selected sketch becomes a prototype model until the perfection of the desired product shape is found. The result Based on exploration, experimentation of techniques, materials, innovations and using carving techniques with a tuner drill produced five sets of accessories with the titles Urn of Life, Compassion, Life Cycle, Charisma, and Three Brothers, which have applicative power in the world of fashion design.
Patra Punggel dalam Telaah Konsep Penciptaan Seni Visual Nyoman Suardina; I Wayan Suardana; I Nyoman Laba
PANGGUNG Vol 31 No 4 (2021): Implementasi Revitalisasi Identitas Seni Tradisi
Publisher : LP2M ISBI Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26742/panggung.v31i4.1907

Abstract

Patra Punggel adalah ragam hias Bali yang menyimpan pengetahuan penting untuk digali proses kemunculannya. Asumsi ini menjadi dasar ketertarikan untuk meneliti Patra Punggel, dengan Permasalahan, “Apa dasar konsep kriyawan masa lalu dalam menciptakan Patra Punggel yang unik bagi masyarakat Bali?” Tujuan penelitian ini untuk mencari gejala intertekstualitas sebagai sebuah simulasi konsep penciptaan seni, yang dapat dirujuk sebagai konsep penciptaan seni visual masa kini. Deskripsi setiap objek yang teridentifikasi merupakan metode yang digunakan untuk mengungkap proses terbentuknya Patra Punggel. Intertekstualitas digunakan sebagai pendekatan, sehingga setiap teks yang terbaca dari materi pembentuk hingga menjadi bentuk baru dan memiliki makna baru, menjadi temuan konsep dalam penelitian ini. Sampel objek penelitian ditentukan secara purposive, dengan menetapkan ciri yang diketahui sebelumnya terkait dengan bentuk Patra Punggel. Fokus kajian ini adalah proses stilirisasi dari bentuk materi awal, sampai menjadi motif Patra Punggel yang utuh. Penelitian ini akan sangat bermanfaat bagi mahasiswa untuk dijadikan rujukan dalam membuat konsep penciptaan seni selanjutnya.Kata Kunci: Patra Punggel, Intertekstualitas, Konsep Penciptaan Seni Visual
Co-Authors Adiputra, Komang Anak Agung Gde Bagus Udayana Anak Agung Gede Sugianthara Arimbawa, I Gede Aryadi, I Gusti Made BAYU PRAMANA, I MADE BUDIAPRILLIANA, LUH Cahayana Putra, I Gede Darmawan, James Fatkurrohanif, RM Mochamad Gusti Ngurah Agung Dalem Diatmika Hutomo Setia Budi I Ketut Muka I Komang Ananta Pradnya Wikarna I Kt. Suteja I Made Berata I Made Suparta I Made Suparta I Made Widhya Divabhawana I Made, Suparta I NYOMAN PAYUYASA . I Putu Putra Suryadana I Wayan Adnyana I Wayan Adnyana I Wayan Mudra, I Wayan I Wayan Suardana I Wayan Swandi Ida Ayu Dyah Maharani, Ida Ayu Dyah Ida Ayu Gede Artayani Ismayana, Diva Jana, I Made Karuni, Ni Kadek Laba, I Nyoman Made Gana Hartadi Made Mikki Bharadvaja Wirawan Mahardika, I Wayan Agus Mahendra, I Putu Agus Marina Wardaya Ni Kadek Karuni Prayatna, I Wayan Dedy Putrayasa, I Ketut Raharja, I Gede Mugi Shienny Megawati Sutanto Sukron Madani Dwi Prasetyo Sukron Madani Dwi Prasetyo Udayana, A. A. Gde Bagus UDIANA NINDHIA PEMAYUN, TJOKORDA Widhi Adnyana, I Wayan Wijaya, I Kadek Adi Putra