cover
Article Per Year (5 Year)
All
Home Page
OAI Link
Editorial Team
Contact
Reviewer
Google Scholar
Contact Name
Albertus Rusputranto Ponco Anggoro, S.Sn., M.Hum
Contact Email
acintya@isi-ska.ac.id
Phone
-
Journal Mail Official
acintya@isi-ska.ac.id
Editorial Address
-
Location
Kota surakarta,
Jawa tengah
INDONESIA
Acintya
Published by Institut Seni Indonesia Surakarta
ISSN : 20852444     EISSN : 26555247     DOI : -
Core Subject : Humanities, Art,
Arts Humanities
Arjuna Subject : -
Articles 512 Documents
 37   38   39   40   41 
PELATIHAN SABLON DENGAN TEKNIK COLET CRAYON BAGI SISWA BERKEBUTUHAN KHUSUS DI SLB BINA KARYA INSANI KARANGANYAR Syafi’i, Achmad
Acintya Vol. 9 No. 1 (2017)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v9i1.2119

Abstract

Screen printing businesses still had great opportunities to serve as potential entrepreneurial activities. The purpose of screening training with colet crayon technique to students with special needs(disabled) in SMPLB and SMALB Bina Karya Insani was to prepare the skills of SLB students in orderto gain recognition and be able to be independent in society besides could be used for entrepreneurship. Activities that were carried out involving 40 studentsof Deaf-Speech impaired (B-class) andMentally Disables (C-class). The execution technique used brainstorming method and the method ofspecial classroom action techniques. The brainstorming method was used so that the active workshopparticipants expended their ideas in the form of visual design to be transferred on paper throughscreen printing with colet crayon technique. While the specific classroom action method was meant,was a persuasive approach, because people with special needs required more attention. So with theindividual approach in fishing ideas and their imagination, students were expected to be honed andwell developed.Keywords: colet crayon, screen printing, special need students.
IDENTITAS VISUAL DESA WISATA BATIK COKROKEMBANG MELALUI ENVIRONMENT GRAPHIC DESIGN SEBAGAI PENGEMBANGAN DI KABUPATEN PACITAN Prilosadoso, Basnendar Herry; Suyanto, S.,; Rosmiati, Ana; Handriyotopo, H.,
Acintya Vol. 9 No. 1 (2017)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v9i1.2120

Abstract

Moral value awareness had begun to be shifted by the western culture that tended to be incompatiblewith the condition of our society. This research was an effort to give reinforcement of local wisdomcontained in wayang beber figure, as a source for the development of batik patterns of Pacitan. Thegeographical condition of Pacitan Regency was very potential to be developed as a superior ecotourismwhere Pacitan got the nickname as Word class karst geopark tourism area. The economic condition ofthe community was mostly supported by a variety of small and medium industries. Batik industrydeveloped rapidly and had great potential to be developed and improved from the aspect of productivity, so that later could increase the economic level of Pacitan society. This research used actionresearch theory where there were four stages, namely select a focus, collect data, analyze and interpret data, and take action. Methods performed in several stages: assessment, design, socialization,mentoring and training, production, and launching. The research results aimed to increase batikproductivity and creativity through the development of Cokrokembang batik tourism village, Ngadirejo,Pacitan through corporate identity design, so it was expected to increase the economy of the peopleand the opening of the leading tourist attraction in Pacitan.Keywords: local wisdom, corporate identity,, batik tourism.
REINTERPRETASI PENDAPA PADA DESAIN INTERIOR “THIRD SPACE” SEBAGAI FASILITAS KOMUNITAS MENUJU SOLO KOTA KREATIF Hastuti, Dhian Lestari; Santosa, Cahyono Budi
Acintya Vol. 9 No. 1 (2017)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v9i1.2121

Abstract

Surakarta is one of initiators of Indonesia Creative Cities Network (ICCN), which takes importantrole in the establishment of Creative Cities in Indonesia. It required synergy among penta helix academicians, businessmen/ladies, government, people, and medias to produce creative ecosystem. WhileSurakarta community is the center of the implementation and program implementation and creativeeconomic development program within the pattern of interaction, connection and collaboration offive (5) elements mentioned above. In order to create the pattern, it requires informal and formalspace to facilitate creative activity for community members. In urban community this space namedThird Space which is a new space typology after a home and work place. In Javanese community thefunction of this space provided by pendapa. Pendapa has been long time to function as a place forsocial interaction between the host and its neighborhood. This article is a result of artistic researchwhich shows reinterpretation of immaterial value of pendapa into architecture and Third Space interior design. Design method based on user need and three various research methodologies, namelyscenario based survey, co-creation session and focused interview. Philosophy, socio-culture, function and ergonomic approaches are used as a base to redesign pendapa. It achieves ‘’meeting tree’’ orkayon, a two (2) floors building with Indisch style, Scandinavian interior design. The process andThird Space design produce synergy embodiment between academician and community to supportSolo, A Creative City program.Keywords: Creative City, penta helix synergy, community, reinterpretation of pendapa, kayon, Scandinavian design.
PANDHU MUKSA DALAM PAMUKSA KARYA KI NARTO SABDO Triyogo, YB Rahno
Acintya Vol. 9 No. 1 (2017)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v9i1.2122

Abstract

Pamuksa was a play told us that heaven and hell were a mere options. Heaven was togetherness withthe God, the divine source of happiness, while hell was the opposite. Pandhu and Tremboko hadpicked the fruit of their choices. Pandhu went to hell not because of his fault and sin but rather by hisown choice. Pandhu’s choice to prefer worldly life was a reckless attitude that did not reflect sarirahangrasa wani. Due to the devotions of his sons: Bratasena and Arjuna, and with support by theangels, Pandhu was saved. This study discussed the moral aspect, therefore a moral approach wasused. The result of this study were the moral messages that first, if humans wanted to be happy thenthe heavenly value was the first and foremost priority. Second, that children’s devotions to the parentswas able to save the parents from disgrace which in Javanese tradition was referred as mikul dhuwur,mendhem jero.Keywords: heaven and hell, option, children’s devotion, save.
SAPUT POLENG DALAM PENCIPTAAN KARYA SENI LUKIS DENGAN TEKNIK OPAQUE DAN IMPASTO Suyasa, I Nyoman; Rahman, Deni
Acintya Vol. 9 No. 1 (2017)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v9i1.2123

Abstract

The research titled “Saput Poleng dalam Penciptaan Karya Seni Lukis dengan Teknik Opaque danImpasto” was an art creation research based on the development of painting that served as an awareness media of nature conservation by raising local wisdom as symbol of natural balance. Polengcloth was a symbol of natural balance. In everyday life, Hindus in Bali, especially in Hindu ritualactivities, often wore objects or woven fabrics with various colors, such as white, red, yellow, or amixture of these colors. The variety of colors used was not just for enhancing the beauty of theceremonies in order to make them look splendid, but actually the use of color was based on thephilosophical meaning derived from the Vedic scriptures. This research used several methods of artistic research (art creation). These stages included: research, experimentation, contemplation, and formation. The research was focused on the meaning of poleng cloth in nature conservation, usingmetaphor language in its disclosure, visualizing it by combining opaque technique and impasto technique. These technique was used to create cloth characters and tree characters. Utilized acrylic paintas the ingredient, because in addition to dry quickly, this paint brought unexpected effects added tothe artistic value. The hope was, by creating this painting in addition to experimenting and exploringfor new possibilities in combining opaque techniques with wider and free impasto techniques, thepainting was also became awareness media to be more concerned with nature conservation.Keywords: Saput poleng, metaphor, opaque and impasto.
ANTROPHOMETRI DAN AKSESBILITAS DIFABEL PADA TOILET UMUM PORTABEL DI SURAKARTA Hapasari, Putri Sekar
Acintya Vol. 9 No. 1 (2017)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v9i1.2124

Abstract

Public toilets for persons with disabilities were important tool used as a support for the smooth functioning of disabled persons in the public sphere. Portable public toilets were usually used to supportcertain activities that were considered incapable of being facilitated by permanent toilets. This studyaims to determine the level of anthrophometry and accessibility of people with disabilities in portabletoilets in Surakarta. To find out if the disabled people had difficulty or even felt the ease and comfortwhen using the facility. Anthrophometric measurements were essential to see if they fitted their dimensions with the needs of the users, especially those with disabilities.The research object was a portable public toilet located on Jl. Slamet Riyadi Surakarta. The methodused is descriptive with qualitative approach supported by quantitative data, or could also be calleddouble research strategy that was the use of various methods in solving a research problem. Quantitative here using numerical data from field observation measurements, then compared with referencesand in the analysis based on interpretation of researchers taken from field data and interviewees.The results of the research were expected to be input to the Surakarta City Government and otherstakeholders, in order to provide a good public facility in accordance with the rules of anthrophometryof portable public toilets that could be made to function optimally. The results of this study were alsoexpected to provide teaching material on Interior Design Study Program ISI SurakartaKeywords: Disable accessibility Anthrometry,
PENGALAMAN EKSPLORASI PERTUNJUKAN TARI DALAM ACARA PEMBUKAAN FESTIVAL SEBAGAI TEMUAN METODE CIPTA SENI (Studi Kasus Proses Penciptaan Karya Tari Seno Kridho) Samsuri, S.,; Wibowo, Anggono Kusumo
Acintya Vol. 9 No. 1 (2017)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v9i1.2125

Abstract

In the domain of public dance performances, aspects of space, time, and particular interests greatlyaffected creative outcomes. Space, time, and particular interests were sometimes considered as limiting the creativity. In this art work planning, the limitation of space, time and interests were used as atrigger for creativity. On this occasion the dance performance creation would be directed to make aset of dance performances as a festival opening by carrying a wayang story titled “Dewa Ruci”, andtrying to show typical performance requirements for a festival opening ceremony, namely: festive, fullof surprises, message events, and still pay consideration to the dramaturgy impression in the packaging. Dance performances as the opening of a festival was a form of performances packaging thatwere within the limits of space, time, and particular interests, it could not be negotiated. While theshort duration still demanded excitement and surprise, the message content of the event must beshown in the work. This became a huge creative challenge for an artist. The experience of creating aperformance in this interest context, became a methodological experience that could be proposed asa finding.Keywords: festival opening perfomance packaging, drama “Dewa Ruci”.
PROSES KREATIF PEMERANAN RUTH MARINI DALAM MONOLOG WANCI KARYA IMAS SOBARIA Hudha, Tafsir
Acintya Vol. 9 No. 1 (2017)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v9i1.2126

Abstract

Ruth Marini’s creative process in performing Wanci Monologue by Imas Sobariah, was Ruth Marini’sattempt in exploring various stages of work or creativity in the role of Icih as the main character in WanciMonologue. As a consequence of the singular characterization of the monologue, the subsequent searchwas directed at the specific creativity that Ruth Marini had done in transforming the Icih character to therole of several other figures as a result of Icih’s narrative of her past which later spawned tragic stories inher life. The search for this creative process was thus focused on the creative ways that Ruth Marinipursued in developing role play or acting, including the stimulants that supported the maximal acting ofRuth Marini in the Imas Sobariah’s Wanci Monologue.Stimulants that were excavated for the developmentof Ruth Marini’s acting was traced through various views of Ruth Marini works of art, especially RuthMarini’s perspective on acting in a monologue. The conclusion of the views of art and acting would bepreceded by exploring some of Ruth Marini’s works of art through previous performances to understandRuth Marini’s contributions to her artistic enrichment process, specifically to the development of actingthat was required in the Wanci Monologue by Imas Sobariah.Keywords: Monologue,art perspective, acting.
MODEL PENYELENGGARAAN STUDIO PEMBELAJARAN PROGRAM TELEVISI YANG IDEAL UNTUK INSTITUSI PENDIDIKAN PERTELEVISIAN Adji, Titus Soepono; Agung, I Putu Suhada
Acintya Vol. 9 No. 1 (2017)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v9i1.2127

Abstract

The learning studio for television programs was the space used by educational institutions in television program as studio simulations that demonstrate television stations, in organizing the productionof television programs for students. This room was the main infrastructure that should be owned byeducational institutions that run television programs, considering most television programs were produced in the studio. Currently, many educational institutions opened television and broadcastingprograms, but in reality not all television program administrators had studio that met the standards.This caused the learning process did not take place optimally. The number of work produced bystudents each semester were not maximum, the production ability was also not optimum, and thiscaused the expected output from graduates in mastering in-door studio production became not maximum too. The purpose of this research was to arrange the model of organizing studio production fortelevision program in educational institution so that it could increase the target of learning to beachieved. This research was a qualitative research, with data collection methods in the form of observation and interview with purposive sampling model in some educational institutions. The analysisused was qualitative verification analysis. The conclusion was to design an adaptive television studiothat could be held in an existing room while maintaining the standards of television program production.Keywords: Learning studio model,production studio of television program.
RANCANG BANGUN DESAIN STAND PKL NGARSOPURO BERBASIS ERGOKULTURAL DENGAN PEMANFAATAN LIMBAH KAYU PALET Utomo, Tri Prasetyo; Mardjono, M.,
Acintya Vol. 9 No. 1 (2017)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v9i1.2128

Abstract

Stand product is an important tool that is used to support the smooth operation of the business in thepublic space for entrepreneurs. Stand product used by employers to display merchandise products inorder to attract visitors to come and make transactions, so as to increase the income of smallentrepreneurs.This applied research aims to determine the condition of the product PKL Stand NightMarket Ngarsopuro, then perform analysis and sinteta, then do engineering design in accordancewith ergonomic aspects and kulural. Stand so that there can function optimally support the view theproducts offered, to increase sales turnover PKL. Give a touch of local culture so that tourists whocome to identify with both local content in Surakarta. Creation of art / design endeavors to utilizewood waste material discarded packaging / pallets which are found in Surakarta container terminalto be used again. Applied research objects of art / design is PKL Stand Night Market Ngarsopuro, themethods used in descriptive qualitative approach supported by quantitative data, or can also becalled dual research strategy. Kuantitafif here using numerical data which is the result of the measurement field, and then compared with the reference referred, sources and analyzed by researchersinterpretation. Activities beginning with product discovery phase to obtain a result of the creation ofinnovations in product design process.The results of applied research art / design show that the standthat there is now not yet meet the standards of ergonomics and yet showed a touch of culture. Furthermore, in this study, the design of booths in accordance with the standards of ergonomics and cultural.Keywords: stand products, ergokultural, wood waste.

Page 39 of 52 | Total Record : 512

 37   38   39   40   41 

Filter by Year

2009 2025


Reset
Filter By Issues
All Issue Vol. 17 No. 1 (2025) Vol. 16 No. 2 (2024) Vol. 16 No. 1 (2024) Vol. 15 No. 2 (2023) Vol. 15 No. 1 (2023) Vol. 14 No. 2 (2022) Vol. 14 No. 1 (2022) Vol. 13 No. 2 (2021) Vol. 13 No. 1 (2021) Vol. 12 No. 2 (2020) Vol. 12 No. 1 (2020) Vol. 11 No. 2 (2019) Vol. 11 No. 1 (2019) Vol. 10 No. 2 (2018) Vol. 10 No. 1 (2018) Vol. 9 No. 1 (2017) Vol. 8 No. 2 (2016) Vol. 8 No. 1 (2016) Vol. 7 No. 2 (2015) Vol. 7 No. 1 (2015) Vol. 6 No. 2 (2014) Vol. 6 No. 1 (2014) Vol. 2 No. 2 (2010) Vol. 2 No. 1 (2010) Vol. 1 No. 2 (2009) Vol. 1 No. 1 (2009) More Issue