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All Journal Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni
Tjokropramono, I Gede Yosef
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Arts Humanities

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Upakara Aci Usaba Sumbu Desa Pakraman Timbrah Sebagai Inspirasi Penciptaan Karya Seni Lukis Silasana, I Putu Arya; Gulendra, I Wayan; Tjokropramono, I 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.v2i2.1835

Abstract

the phenomenon of religious rituals in Timbrah Village named Aci Usaba Sumbu which has its own uniqueness from the facilities used in the ritual. Banten Sumbu which resembles a towering tower with all the attributes that adorn the banten and the banten be guling which is presented by the public en masse is an attraction or encouragement to present the visualization of the ceremony in a painting with certain references to achieve the goals and meanings expressed. The problem faced is how to process the visuals of the ceremony so that the meanings contained in a work can be realized and look attractive. The visualization stage in the work will apply the principles of art in the form of Balance, Proportion, Rhythm, Emphasis, and Unity. To answer related to the phenomena described, the method of creation is to carry out exploration, improvisation, formation and completion stages. From the ideas obtained, 6 works were created entitled: 1) "Kesadaran Manusia", 2) "Menjaga Keharmonisan", 3)" Rwa Bhineda", 4) "Keyakinan", 5) "Tulus Iklas" , 6)"Tali Silaturahmi". In the embodiment of the work, the author uses several references related to the tools, colors and styles that produce the work by adopting the form of offerings in the Aci Usaba Sumbu tradition which has the meaning of each object displayed. With the creation of this work, it is hoped that it will be able to convey a message or meaning to the observed phenomena and feelings of the writer.
Perahu Layar Sebagai Inspirasi Penciptaan Karya Seni Lukis Kubisme Rajagukguk, Kevin Gerald; Supriyatini, Sri; 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.v3i1.2340

Abstract

MBKM Independent Project Report carries the title “Sailboats as Inspiration for the creation of Cubism Painting Works. It started with the author making works using cubism techniques and seeing the shape of sailboats as suitable for combining these techniques to create works of art. The problem that is obtained is how to visualize sailboats in each work in visualizing, the author uses methods and techniques obtained from the MBKM process, the goals and benefits and develops the creativity of the author in expressing imaginary forms and images/photos that are edited accordingly the needs of the author in the process of creating. The author is also assisted by I made Gunawan as an artist who guides the creation of works and uses a creation method which includes several stages of contemplation, basic research, exploration, experimentation, execution, completion. From this process the author produces works entitled 1) "Berlash", 2) "Boats and the moon", 3. "Equipment", 4) "Reliable Sailers", 5) "Stranded", and 6) "Remembrance" It can be concluded that the author created the work because of his interest in embossed leaves, with ideas originating from phenomena captured at the Kaki Bisma Batan Timbul studio and reading reference sources from the internet. At the processing stage, the writer combines the techniques from the MBKM results and the techniques that the writer gets on campus, to be realized in 2-dimensional From all these processes it is hoped that one can find identity in work.
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.
Interpretasi Dan Ekspresi Dwarapala dalam Penciptaan Seni Lukis Ja’far, Wanda Masyita; Kondra, I Wayan; 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.v3i1.2342

Abstract

At first glance, in every building on the island of Bali, we will find two doorman statues, starting from the experience of seeing and observing - the doorman statue or the Dwarapala statue which if examined more deeply has high value and philosophy. Its very unique shape can inspire our imagination about current phenomena and the effect of modernity on the pattern of people's lives that affect the form and culture of our ancestors. that the meaning of the Dwarapala statue is something that needs to be raised so that it can become a lesson and reflection on oneself when entering a room or, especially a holy place. The benefits that are expected from this writing are that it can add to the public's insight about relics that are rich in philosophical meaning and can provide freedom of imagination in increasing creativity in the creation of painting.
Figures of Classic Kamasan Painting as Inspiration for the Creation of Modern Painting Neode, Haris Candra; Tjokropramono, I Gede Yosef; Budiarta, I Dewa Putu Gede
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.v3i2.2994

Abstract

The classic painting of Wayang Kamasan began when the Modara puppet painting, made by I Gede Mersadi was favored by the king of Klungkung. Then he was given the nickname Modara according to the puppet figure he painted. By king Klungkung Modara was sent to work on many projects so that his puppet painting style spread and until now it is known as Classical Painting Wayang Kamasan. The characteristic of this painting can be seen from the coloring technique that uses the sigar warna and sigar mangsi techniques. (Ni Wayan Sri Wedari, 2022:9). Broadly speaking, the forms of wayang can be distinguished through the shape of the face, body shape or abdomen and coils as well as detailed parts of the eyes, eyebrows, nose, mouth, mustache, and other detailed shapes. (I Made Yasana, Menggambar Wayang Klasik Bali 1). Gede Modara who created the Kamasan Wayang style inspired the author to create puppets with a new style through the figures in the Kamasan Classical Puppet. This creation process aims to preserve the Kamasan Classical Puppet and develop it into a modern painting without eliminating the existing packages. The paintings created are expected to be able to become the characteristics of the author.
Sanghyang Sampat Dance in Puluk - Puluk Village as an Idea for Creating Painting Works Putra, I Gede Agus Adnyana; Supriyatini, Sri; Tjokropramono, I Gede Yosef
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.v3i2.3004

Abstract

This independent study report has the theme Sanghyang Sampat Dance in Puluk-Puluk Village as an Idea to Create Paintings. The choice of partners in Galung Wiratmaja is due to their different characteristics from the others. The specialty in terms of choosing color mixing, the choice of painting objects tends to be in the form of imagination in the form of the natural environment. The visual appearance created has an appeal, because taking objects displays the back of the object and creates an impression of interest to those who see it. Sanghyang Sampat is a tradition that developed in the village of Puluk-Puluk Penebel, Tabanan, this tradition exists for the welfare of people who have livelihoods as farmers. Sanghyang Sampat dance is a Bugis tradition that is highly trusted by the local community. Art as an element of culture is also born as a result of the demands of religious activity. There are many ways to preserve the Sanghyang Sampat Dance Tradition, one of which is by visualizing the dance in a painting medium, to encourage the creation of various symbolic-magical art forms which are representations of something abstract. In inspiring the Sanghyang Sampat Dance, artists process their visual forms into forms of personal expression, and there are also those who bring it up through an interpretation of the meaning and value of sanghyang sampat, which in visualization may give rise to new forms as personal codes. in his work. In this case, the Sanghyang Sampat Dance is a source of ideas for artists in creating modern works of art without leaving traditional values behind.
Anatomy Of The Human Body As an Expression Of Painting Creation Putra, Kadek Win Mahesa; Ruta, I Made; Tjokropramono, I Gede Yosef
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.v4i2.3372

Abstract

In this Independent Project MBKM TA report, the author raises the title “Anatomy Of The Human Body As an Expression Of Painting Creation” which originated from the author’s daily activities when looking in the mirror in front of glass cabinet of the room which finally sparked the author’s idea to create works of painting. The problem is how to visualize the anatomical form of the human body in each work. In realizingit, the author uses methods and techniques obtained during the MBKM process. The purpose and benefits are to develop the author’s creativity in expressing expressive and semi-realist forms in the process of creating works. As well as using a method of creation that includes several stages, namely, contemplation, exploration, improvisation, realization/formation. From this process  the author produced six works entitled : 1) “Walking”, 2) “Behind”, 3) “Grasping”, 4) “Leaning”, 5) “Hearing”, 6) “ Trail II”. It can be concluded that the author created the work based on his interest in the anatomical form of the human body, with ideas that come from the author’s daily experience through direct observation and digital media sources. In the realization stage, the author combines techniques from the results of MBKM and teaching obtained on campus, to be realized in the form of two dimensional works. From all processes, the author tries to get characteristics in painting.
Fineline Tattoo Design as a Form of Self Expression at Ingkeu Ink Tattoo Studio Fauzi, Ivan; Tjokropramono, I Gede Yosef; 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.v4i1.3642

Abstract

The main objective of this research and art creation is to create and present the work "Designing Fineline Tattoos as a Form of Self-Expression at Ingkeu Ink Tattoo Studio" as a representation of arts and culture education. Fineline tattoo is a style of tattoo that involves creating a design with very thin and smooth lines. These tattoos are often minimalist and subtle, with intricate and detailed designs that require a skilled artist to execute. This creation is research-based, so the method consists of two inseparable parts, namely the research method and the creation method. The technique for implementing MBKM internship/work practice activities at Ingkeu ink tattoo studio is carried out using a project based learning model. In designing this tattoo design, it begins with brainstorming together to collect the concepts and topics that will be discussed. After getting a mature concept, students can continue to the stages of the work process. In this research the author will describe the Fineline Tattoo design process as a form of self-expression at Ingkeu ink tattoo studio along with an analysis of the design results. The data in this research was obtained directly from Ingkeu ink tattoo studio as a partner who has a project to be featured in the internship report using several methods. The results of the tattoos done by the author are also uploaded by partners on social media and TikTok, in this way the partners believe they are very effective in attracting client interest.
Karakteristik Potret dalam Seni Tato Realis Prayoga, I Kadek Dena Ari; Tjokropramono, I Gede Yosef; Putra, I Gede Jaya
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 5 No 1 (2025): Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni
Publisher : Program Studi Seni Murni ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/ctkr.v5i1.4488

Abstract

This study aims to analyses the characteristics of portraiture in realistic tattoo art, one of the most popular tattoo styles today. The main focus of this research is to identify the key elements that make portrait tattoos look realistic and lifelike, as well as the techniques used by tattoo artists to achieve these results. This research is part of the MBKM internship report and employs a descriptive qualitative research method. Data were collected through interviews with tattoo artists experienced in the realistic style, direct observation during the tattoo-making process, and photographic documentation of their works. Content analysis was used to identify common features that define realistic portrait tattoos, such as accuracy in capturing facial proportions, placement of light and shadow, and the use of smooth shading gradients to create depth effects, along with attention to small details that enhance the realistic impression.The main findings of this study show that accuracy in depicting facial expressions and skin texture significantly impacts the quality of realistic portrait tattoos. Additionally, a deep understanding of facial anatomy and proficiency in ink application and colour gradients are crucial factors. The implications of this research suggest that mastering these techniques not only improves the quality of tattoos but also promotes the development of the realism style within the tattoo art industry.
IMPLEMENTATION OF FINE ARTS VALUES IN THE WEAVING INDUSTRY AT AGUNG BALI COLLECTION Sukendy, Thania Aprila; Karja, I Wayan; Tjokropramono, I Gede Yosef
CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI Vol 5 No 2 (2025): Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni
Publisher : Program Studi Seni Murni ISI Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/ctkr.v5i2.4450

Abstract

This article analyzes the integration of fine art values into the weaving industry at PT. Agung Bali Collection, focuses on the production of creative woven fabric products, such as patchwork paintings. The research identifies technical challenges, such as color consistency and motif complexity, and explores innovative solutions, including modern technology and artisan training. The application of fine art principles like creativity, precision, and cultural significance enhances the aesthetic and cultural value of the products. This study highlights the role of art in preserving cultural heritage while meeting contemporary standards, contributing to the development of the weaving industry.
Co-Authors Bayu Arisuta, I Gede Budiarta, I Dewa Putu Gede Divayana, I Putu Fauzi, Ivan Gulendra, I Wayan Ja’far, Wanda Masyita Jodog, I Made Kondra, I Wayan Mustika, I Ketut Neode, Haris Candra Pemayun, Tjokorda Udiana Nindhia Prayoga, I Kadek Dena Ari Putra, I Gede Agus Adnyana Putra, I Gede Jaya Putra, Kadek Win Mahesa Rajagukguk, Kevin Gerald Ruta, I Made Silasana, I Putu Arya Sukendy, Thania Aprila Supriyatini, Sri Wayan Karja