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INDONESIA
Realisasi: Ilmu Pendidikan, Seni Rupa dan Desain
Published by Asosiasi Seni Desain dan Komunikasi Visual Indonesia
ISSN : 30322049     EISSN : 30321662     DOI : 10.62383
Core Subject : Education, Art,
Arts Education
journal include the Education, Fine Arts and Design sub-groups. Realization: Education, Fine Arts and Design
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 127 Documents
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Penulisan Naskah Video Feature “Kopi Manglayang: Nafas Petani dari Lereng Gunung” dengan Menerapkan Struktur Tiga Babak Saeful Fatah Zaelani; Ryan Krisna Gautama; Encang Saepudin; Rifky Adinur Zein
Realisasi : Ilmu Pendidikan, Seni Rupa dan Desain Vol. 3 No. 3 (2026): Juli: Realisasi : Ilmu Pendidikan, Seni Rupa dan Desain
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/realisasi.v3i3.1113

Abstract

The scriptwriter is an important role in the production process of a feature video, particularly in arranging the storyline, building the narrative structure, and directing the delivery of messages so they can be well received by the audience. In the feature video “Kopi Manglayang: Breath of Farmers from the Mountain Slopes”, the scriptwriter plays a role in composing a story about the lives of coffee farmers on the slopes of Mount Manglayang through the application of a three-act structure, namely setup, confrontation, and resolution. The purpose of this final project report is to explain the application of narrative elements in the setup, confrontation, and resolution stages in writing the script for the feature video “Kopi Manglayang: Breath of Farmers from the Mountain Slopes”. The writing method uses a descriptive approach to explain the scriptwriting process systematically, comprehensively, and in detail according to the stages of production. The synthesis of the work in the setup stage presents an introduction to the atmosphere of Mount Manglayang’s slopes, the activities of coffee farmers, and the social conditions that form the basis of the story. In the confrontation stage, the writer presents various challenges and struggles faced by the farmers in maintaining coffee quality amid environmental and economic conditions. In the resolution stage, the story concludes with messages of hope, the spirit of preserving local coffee, and the meaning of the farmers’ struggles as the main message of the work. In conclusion, the application of narrative elements in the three-act structure helps the scriptwriter create a feature video storyline that is well-structured, informative, and emotionally engaging for the audience.
Penerapan Teknik Sinematografi Director Of Photography pada Produksi “Kopi Manglayang: Nafas Petani dari Lereng Gunung” Ryan Krisna Gautama; Saeful Fatah Zaelani; Encang Saepudin; Rifky Adinur Zein
Realisasi : Ilmu Pendidikan, Seni Rupa dan Desain Vol. 3 No. 3 (2026): Juli: Realisasi : Ilmu Pendidikan, Seni Rupa dan Desain
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/realisasi.v3i3.1116

Abstract

This study discusses the application of cinematography in the production of the feature video entitled “Kopi Manglayang: Nafas Petani dari Lereng Gunung.” The work was created to portray the lives of coffee farmers on the slopes of Mount Manglayang through a humanistic visual approach. The objective of this study is to analyze the implementation of cinematographic elements, including composition, shot types, camera movement, lighting, and color tone in supporting visual storytelling. The research method used is a qualitative descriptive method with a creation-based approach involving pre-production, production, and post-production stages. Data were obtained through field observations, interviews with coffee farmers, literature studies, and documentation during the production process. The results show that the use of cinematographic techniques plays an important role in strengthening emotional messages and presenting the realities of farmers’ lives more deeply. Long shots and extreme long shots were utilized to emphasize the natural landscape of Mount Manglayang, while medium shots and close-ups were used to capture expressions and work activities of the farmers. Natural lighting and warm color tones also contributed to building an intimate and realistic atmosphere. Therefore, cinematography in this feature video not only functions as a visual aesthetic element, but also as a storytelling medium capable of increasing audience empathy toward local coffee farmers.
Penciptaan Lukisan Kaligrafi Khat Tsulust di Kayu Halaban Muhammad Ikhsan; Agus Priyatno
Realisasi : Ilmu Pendidikan, Seni Rupa dan Desain Vol. 3 No. 3 (2026): Juli: Realisasi : Ilmu Pendidikan, Seni Rupa dan Desain
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/realisasi.v3i3.1120

Abstract

Abstract. This creation was inspired by kaidah calligraphy, an art form created by Muslim artists to express religious values through paintings that combine diverse colors with a seemingly free artistic style while still conveying meaningful messages. This work employs verses from Surah Al-Adiyat using the Thuluth (Khat Tsuluth) script, painted on halaban wood as the primary medium. The integration of halaban wood with Thuluth calligraphic painting represents an appealing fusion of local cultural heritage and modern artistic expression. This creation aims to examine the visualization process and the techniques applied in producing calligraphic paintings on halaban wood. The study adopts the Pre-factum, Practice-Led Research method, consisting of four stages: the Preparation Stage, Elaboration Stage, Contemplation Stage, and Artwork Realization Stage. The outcome of this creative process is a collection of 12 calligraphic paintings on halaban wood. The artworks were created using acrylic paint with the opaque (blocking) painting technique. These calligraphic paintings on halaban wood are expected to contribute to cultural preservation by helping the public recognize, appreciate, and preserve cultural heritage through the integration of halaban wood into the art of Islamic calligraphy.
Penerapan Teknik Cutout Rigging pada Pembuatan Karakter Animasi 2D "Luka Lama Lautan" Sebagai Media Edukasi SDGS 14: Life Below Water Ghazi Fadhlurrahman Siddiq; Nurmaya Prahatmaja; Andri Yanto
Realisasi : Ilmu Pendidikan, Seni Rupa dan Desain Vol. 3 No. 3 (2026): Juli: Realisasi : Ilmu Pendidikan, Seni Rupa dan Desain
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/realisasi.v3i3.1128

Abstract

The development of digital technology has encouraged the emergence of various educational media that are capable of delivering information in a more engaging and understandable way. Generation Alpha, as a generation that grows up in a digital environment, tends to be more responsive to visual and audiovisual media than to conventional methods of information delivery. Therefore, animation is considered an effective educational medium because it combines visual elements, motion, audio, and storytelling, allowing messages to be communicated more effectively to the audience. This final project is a 2D animation entitled "Luka Lama Lautan" (The Ocean's Old Wound), which addresses the issue of marine pollution caused by plastic waste as an educational medium related to environmental awareness. In the production process, the author acts as the animator and is responsible for designing and animating the characters using cutout rigging techniques. The techniques applied include layering, parenting, anchor point adjustment, deformation using the Puppet Tool, and keyframe animation in Adobe After Effects. The implementation of cutout rigging techniques aims to support production efficiency while producing more communicative character movements in delivering educational messages to the audience. The resulting animation is presented using a vector-based animation style with colorful and expressive visuals that are adapted to the preferences of Generation Alpha. In addition, the main character is designed with inspiration from digital culture trends that are familiar to the target audience, creating a stronger emotional connection with viewers. Through the combination of engaging visuals, communicative character movements, and a simple narrative approach, the animation is expected to function not only as entertainment but also as an effective educational medium that helps increase children's awareness of the importance of protecting the marine environment.
Produksi Game Edukasi Interaktif Berbasis Web “OCEAN BUDDY" sebagai Media Pendukung dalam Transmedia Animasi “Luka Lama Lautan” Iqbal Alfaturochim; Nurmaya Prahatmaja; Andri Yanto
Realisasi : Ilmu Pendidikan, Seni Rupa dan Desain Vol. 3 No. 3 (2026): Juli: Realisasi : Ilmu Pendidikan, Seni Rupa dan Desain
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/realisasi.v3i3.1129

Abstract

Educational media play an important role in delivering learning messages; however, they are still commonly presented in a one-way and less interactive manner, causing elementary school students to become passive recipients of information. One alternative to increase learning engagement is interactive educational games, which enable users to receive information, complete learning activities, and directly evaluate their understanding. This final project aims to describe the pre-production, production, and post-production processes of the web-based interactive educational game OCEAN BUDDY as a supporting medium for the transmedia animation Luka Lama Lautan. The creation process consisted of three stages. The pre-production stage included idea development, theme research, audience identification, content preparation, and the design of the game flow and assets. The production stage involved developing visual and audio assets, the user interface, and game mechanics using Construct 2. The post-production stage included testing with fourth- and fifth-grade elementary school students, evaluation, revision, and publication through the itch.io platform. The final product is an HTML5-based educational game featuring three sections Learn, Waste Sorting, and Quiz equipped with a scoring system and time limits. Careful planning, development, testing, and revision resulted in an interactive educational medium that strengthens the animation's core message while enhancing children's understanding of the dangers of plastic waste in a more active and enjoyable way.
Peran Director of Photography dalam Pendekatan Visual dan Naratif Feature Audiovisual "Setu Babakan: Rumah Betawi Hari Ini" Ridha Elsarah Effendi; Siti Noorhayati Fajrian; Encang Saepudin; Kurnia Lucky Fadillah
Realisasi : Ilmu Pendidikan, Seni Rupa dan Desain Vol. 3 No. 3 (2026): Juli: Realisasi : Ilmu Pendidikan, Seni Rupa dan Desain
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/realisasi.v3i3.1131

Abstract

The rapid development of Jakarta has led to the declining presence of traditional Betawi houses, highlighting the need for media that can introduce and support cultural preservation efforts. Audiovisual feature productions serve as an effective communication medium by combining visual, audio, and narrative elements to deliver cultural information in an engaging manner. This study aims to analyze the role of the Director of Photography in developing visual and narrative approaches in the audiovisual feature Setu Babakan: Rumah Betawi Hari Ini. This research employed a descriptive qualitative approach using a practice-based research method. Data were collected through observation, interviews, literature review, and documentation conducted at the Betawi Cultural Village of Setu Babakan, South Jakarta. The findings indicate that the Director of Photography plays a significant role in translating the creative concept into visual language through the application of cinematographic techniques, including composition, shot size, camera angle, camera movement, and lighting. These techniques successfully produced communicative and aesthetically appealing visuals while strengthening the delivery of cultural messages regarding the Betawi traditional house as a representation of cultural identity. The resulting audiovisual feature is expected to function as an effective cultural communication medium to enhance public awareness, particularly among younger generations, about the importance of preserving Betawi cultural heritage.
Penerapan Struktur Naratif Tiga Babak dalam Penulisan Naskah Video Feature “Setu Babakan: Rumah Betawi Hari Ini” Siti Noorhayati Fajriani; Ridha Elsarah Affendi; Encang Saepudin; Kurnia Lucky Fadillah
Realisasi : Ilmu Pendidikan, Seni Rupa dan Desain Vol. 3 No. 3 (2026): Juli: Realisasi : Ilmu Pendidikan, Seni Rupa dan Desain
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/realisasi.v3i3.1132

Abstract

The existence of Betawi traditional houses amid the rapid modernization of Jakarta has indicated a shift in their function from residential spaces to symbols of cultural preservation. This condition encouraged the creation of the video feature entitled “Setu Babakan: Rumah Betawi Hari Ini” through the implementation of the three-act narrative structure in scriptwriting. This final project report aimed to describe the role of the scriptwriter in applying the three-act narrative structure during the creation process. A descriptive approach was employed by systematically explaining the pre-production, production, and post-production stages based on the creative experience. During pre-production, the scriptwriter conducted research, developed the concept, wrote the script, and prepared interview questions. The implementation of the three-act structure was reflected in the first act, which introduced Setu Babakan as a center of Betawi cultural preservation; the second act, which explored the history, architectural forms, and cultural values of Betawi traditional houses; and the third act, which presented reflections and expectations regarding the continuity of Betawi culture in modern society. During production and post-production, the scriptwriter ensured that all audiovisual elements remained aligned with the predetermined narrative structure. It was concluded that the implementation of the three-act narrative structure assisted the script writer in organizing cultural research findings into a coherent and communicative storyline that effectively conveyed cultural messages to the audience.

Page 13 of 13 | Total Record : 127

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