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Prasetyo Adhitama
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LPPM ITB, Gedung CRCS, Institut Teknologi Bandung, Lt. 6 & 7, Jl. Ganesha No. 1, Bandung, 40132
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Journal of Visual Art and Design
Published by Institut Teknologi Bandung
ISSN : 23375795     EISSN : 23385480     DOI : https://doi.org/10.5614/jvad
Core Subject : Humanities, Art,
Arts Humanities
Journal of Visual Art and Design focuses on theoretical and empirical research articles in the Visual Art and Design disciplines in the region of Asia and Pacific. The scope includes the following subject areas: Design and Art History, Visual Culture, Art and Design Methodology, Art and Design Discourse, Design and Culture, Art and Design Sociology, Design and Art Management, Art Criticism, Anthropology of Art and Design, Industrial Design, Visual Communication Design, Photography, Interior Design, Craft, Architectural Design, Film, Multimedia, Design Policy, Psychology of Art and Design as well as Art and Design Education. Journal of Visual Art and Design welcomes original research, Art and Design work, and critical discourse on traditional and contemporary issues in the field of Art and Design. Researchers, Artists, and Designers are welcomed to contribute in the form of conceptual or theoretical approaches, designer/artists writings, case studies or critical essays in the fields of Art and Design.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 8 Documents
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Search results for , issue "Vol. 6 No. 2 (2014): ITB Journal of Visual Art and Design" : 8 Documents clear
Ciri Visual Komik Strip Sunda Opat Madhab Setan dalam Majalah Manglé Kankan Kasmana; Riama Maslan Sihombing; Irfansyah Irfansyah
Journal of Visual Art and Design Vol. 6 No. 2 (2014): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/itbj.vad.2014.6.2.1

Abstract

Opat Madhab Setan, sebuah komik strip yang diterbitkan Manglé, majalah berita, sastra dan budaya Sunda hadir Maret hingga Desember 1988 dalam 42 edisi. Komikus berusaha mengangkat budaya Sunda melalui penggambaran ilustrasi yang khas dalam menyusun unsur visual melalui komposisi cukup kental dengan nilai Sunda dan kesundaan. Penelitian ini bertujuan mengetahui serta memahami bagaimana budaya Sunda direpresentasikan melalui gambar dan tulisan. Selain itu untuk mengidentifikasi unsur-unsur dalam komik, yang menjadi ciri visual dan karakter sebuah komik Sunda. Penelitian menggunakan analisis isi kualitatif untuk membuka dan memaparkan dengan teliti bagaimana unsur-unsur pada sebuah cerita diungkapkan. Dari penelitian disimpulkan komik Opat Madhab Setan memiliki ciri visual, gaya gambar semi realis, banyak menangkap gestur, tidak detail, inkonsistensi ukuran panel dan tidak rapih, tipografi tulisan manual menggunakan huruf besar, dominasi normal baloons, dan panel gabungan interdependen, onomatopea yang khas dalam bahasa Sunda. Budaya Sunda direpresentasikan melalui cerita, penokohan orang Sunda berupa karakterisasi stereotype, gambaran fisik postur, gestur, facial, serta latar Islam digambarkan sebagai sistem religi yang dianut, bahasa yang digunakan bahasa Sunda loma/lancaran. Kampung Sunda dihadirkan melalui arsitektur rumah panggung, gambaran alam dengan budaya sawah dan ladangnya, atribut berupa benda pakai, interaksi sosial, kepercayaan serta nilai-nilai kempimpinan yang ada di masyarakat Sunda. Kata Kunci: budaya; karakter visual; komik; komik strip; Sunda. Opat Madhab Setan, a comic strip published by Manglé; Sundanese news, literature, and culture magazine from March to December 1988 in 42 editions. The comic artist tries to depict Sundanese culture through a distinguished illustration in making up the visual elements by taking into account the compositions of societies and its value. The aims of this research are to discovering and comprehending the way Sundanese culture is represented. In addition, it is also meant to identify the visual criteria in the comic. The qualitative-content analysis is used to describe in details how the elements in particular story revealed through drawings and writings. Based on the analysis, it can be concluded that the comic Opat Madhab Setan has the characteristics of semi-realistic drawings, gestural, not detailed, untidy and inconsistent in its panel size, large font for its manual typography, dominated by normal balloons, interdependent joint panel, and peculiar sundanese onomatopoeic sound effects. The Sundanese culture is represented through stereotype characterization, physical illustration, gestures, facial expression, and background. Islam is illustrated as the belief system being adopted. The nature illustrated through the existence of the rice fields, daily use attributes, social interactions, belief, and the value of leadership among the sundanese society. Keywords: comic; comic strip; culture; Sundanese; visual character.
Perupaan dan Sinkronisasi Artefak Percandian Batujaya di Karawang, Jawa Barat dengan Borobudur di Jawa Tengah dan Mon-Dwarawati di Thailand Nuning Damayanti; Ira Adriati; Savitri Putri Ramadina
Journal of Visual Art and Design Vol. 6 No. 2 (2014): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/itbj.vad.2014.6.2.2

Abstract

Percandian Batujaya adalah sebuah kompleks sisa-sisa percandian Budha kuno yang terletak di Kecamatan Batujaya dan Kecamatan Pakisjaya, Kabupaten Karawang, Provinsi Jawa Barat. Adanya dua fase pembangunan pada Batujaya membuka kemungkinan terhadap interpretasi akan adanya gaya-gaya perupaan yang berbeda pada percandian Batujaya. Berdasarkan hasil penelitian, dapat ditarik kesimpulan bahwa mazhab Budha yang diterapkan pada kompleks percandian Batujaya adalah mazhab Mahayana, dicirikan dengan keberadaan votive tablet dengan perupaan yang menggambarkan sosok-sosok bodhisattva dan Budha. Perbandingan gaya visual dengan artefak-artefak yang berasal dari periode Mon-Dwarawati di wilayah Thailand dan artefak Borobudur di Jawa Tengah menunjukkan bahwa artefak Batujaya cenderung memiliki gaya naturalis yang lebih serupa dengan Dwarawati terutama pada profil wajah dibandingkan gaya stilasi Borobudur yang lebih dekat secara geografis. Terdapat ciri khas pada arca Batujaya yaitu cenderung memiliki bentuk mata yang didistorsi menjadi lebih besar dan terkesan membelalak, serta hidung yang lebar. Kemungkinan hal ini didasari bentuk fisik masyarakat lokal atau pemikiran ideal lokal mengenai fisik yang sempurna.Kata kunci: arca; Batujaya; Budha Mahayana; gaya perupaan; votive tablet.Batujaya enshrinement complex is a remnant of ancient Buddhist monument, located in Kecamatan Batujaya and Kecamatan Pakisjaya, Karawang, West Java. The two development phases of Batujaya would open the possibility of different interpretations of visual style in Batujaya. Based on these results, it could be concluded that the Buddhist sect worshipped in Batujaya was Mahayana sect, characterized by votive tablets depicting bodhisattva and Budha. Comparison of visual style with the artifacts dating from Mon-Dvaravati period in Thailand region and Borobudur in Central Java indicated that Batujaya artifacts tend to have more naturalistic style similar to Dwarawati primarily onfacial profile compared to Borobudur style that was closer geographically. There are characteristics found in Batujaya statues, namely the tendency of eyes being distorted and gave the impression of bulging, and wide noses. There is some possibility that it was based on the physical feature of local people or the local beliefs of an ideal physique.Keywords: Batujaya; Mahayana Buddhism; statue; visual style; votive tablet.
Hibriditas Medium pada Film Opera Jawa Karya Garin Nugroho sebagai Sebuah Dekonstruksi Riksa Belasunda; Acep Iwan Saidi; Iman Sudjudi
Journal of Visual Art and Design Vol. 6 No. 2 (2014): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/itbj.vad.2014.6.2.3

Abstract

Di tengah penyeragaman ide, gagasan, pesan, dan estetika pada film-film nasional, menarik menjadikan film Opera Jawa karya Garin Nugroho sebagai obyek penelitian sekaligus menjadi alasan kenapa penelitian ini dilakukan. Penelitian ini sebagai upaya peningkatan peran aktif produktif penonton dalam memahami dan memaknai teks film. Dengan fokus bagaimana pesan dan makna tersebut dibaca melalui elemen-elemen visual teks film yang dikonstruksi oleh keragaman penggunaan medium. Penelitian dilakukan dengan pendekatan estetika posmodern melalui metode semiotika dengan teknik deskriptif interpretatif. Membongkar struktur kode bahasa film, melalui analisis struktur dramatik naratif dan unsur pembentuk film, yang berkaitan dengan aspek non-verbal berupa tanda-tanda elemen visual dan gerak pada shot film. Elemen-elemen tersebut dikonstruksi oleh pilihan medium ungkap yang menjadi gaya ungkap (ekspresi) sineas dalam menyampaikan pesannya. Ekspresi sineas dalam menyampaikan ide gagasan, dan konsep tersebut, berupa idiom estetik parodi, dengan pelencengan makna, eksplorasi medium (hibriditas medium), dan gaya ungkap, sebagai kritik atau sindiran atas bentuk yang dijadikan rujukan. Lewat film ini, Garin Nugroho melakukan dekonstruksi terhadap tokoh-tokoh, ruang, pesan dan makna, serta narasi dari epik Ramayana karya Walmiki yang menjadi rujukannya. Merefleksikan persoalan gender, feminisme, dominasi maskulinitas, dominasi kekuasaan, pertentangan kelas, dan kapitalisme. Kata kunci: hibriditas medium; semiotika film postmodern; dekonstruksi.In the midst of the ideas, concepts, messages, and aesthetics uniformity at national films, it is interesting to make Opera Jawa movie by Garin Nugroho the object of study. That is the reason why the study was conducted. The research was an effort to improve the audience's productive and active role in understanding and interpreting the subtitles by focusing on how to read the message and meaning through subtitles constructed by the diversity of the medium use. The study conducted with the postmodern aesthetic approach through semiotic method with descriptive interpretive technique dismantles the structure of the film code language through the analysis of narrative and dramatic structure-forming elements of the film. It deals with aspects such as non-verbal signs of visual elements and movement in the film shot. These elements are constructed by the medium expression choice of the filmmaker in delivering his message. The filmmaker delivers his criticism or satire through swerved meaning and medium exploration (medium hybridism). Through this film, Garin Nugroho deconstructed the figures, space, message and meaning, as well as the narrative of the epic Ramayana by Walmiki as a reference. It reflects gender issues, feminism, masculinity domination, class warfare, and capitalism.Keywords: medium hybridity; postmodern films Semiotics; deconstruction.
Pengembangan Teknik Jahit Celup (Tritik) dengan Pola Geometris Bintan Titisari; Kahfiati Kahdar; Intan Rizky Mutiaz
Journal of Visual Art and Design Vol. 6 No. 2 (2014): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/itbj.vad.2014.6.2.4

Abstract

Teknik jahit celup biasa dikenal dengan istilah tritik, yang berarti titik, merupakan teknik tekstil kelompok celup rintang. Tritik adalah cara menghias kain putih dengan menjahit jelujur lalu ditarik kemudian dicelup dan motif terbentuk setelah benang dilepaskan. Teknik tritik digunakan untuk membuat kain sasirangan, kain tradisional Kalimantan Selatan, Indonesia. Proses menjahit pada tritik dikerjakan secara tradisional tanpa ketentuan yang jelas, sehingga pengembangan desain motif belum maksimal. Melihat kondisi tersebut, penelitian  ini menggunakan pola geometris pada teknik tritik untuk melihat kemungkinan dihasilkan motif berbeda. Dengan  metode eksperimen kualitatif didapat ketentuan mengenai aturan jahitan yang diaplikasikan pada pembuatan pola geometris. Penggunaan pola geometris menghasilkan motif lebih teratur dengan tetap terkesan samar sebagai ciri khas tritik. Pewarnaan bertahap dan pengaturan jarak menghasilkan efek ilusi optik (kedalaman, arah, dan gerak). Motif tersebut diaplikasikan pada produk fashion dengan menonjolkan efek ilusi optik untuk menghasilkan siluet pada pakaian wanita.Kata kunci: geometri; jahit celup rintang; pola; sasirangan; tritik.Resist stitch-dyeing, also known locally as tritik (lit. dots), is resist dye textile weaving technique. Tritik is a method to embellish white cloth by tacking, which is then dyed and removed. The motif is formed after the thread is removed. Tritik methods and techniques are less popular compared to batik or dyed ikat. It is, however, used in making sasirangan cloth, a traditional cloth from South Kalimantan, Indonesia. The stitching has always been done traditionally due to the lack of clear convention on stitching as a resist-media. Thus, development of motif designs is not in full capacity. Taking into consideration the above, this study is carried out to create new geometric patterns using tritik techniques. Qualitative experiment methods are used to obtain ideal stitching parameters, which could later be applied in creating geometric patterns. The use of geometric patterns creates more organized motifs but still showing blurry impression, a distinctive feature of tritik. The combination of gradual colouring and evenly-spaced tacking creates optical illusions on motifs (depth, direction, and motion). The motifs may be applied to fashion products by accentuating optical illusions to create silhouettes on women's clothing. Keywords: geometric; pattern; resist stitch dyeing; sasirangan; tritik.
Banana Bark as A Part of Acoustic Design Unit by Hybrid Technology Application Maharani Dian Permanasari; Dwinita Larasati; Dian Widiawati
Journal of Visual Art and Design Vol. 6 No. 2 (2014): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/itbj.vad.2014.6.2.5

Abstract

Abstract. Banana bark is one of tropical indigenous natural resources that can be used as main material for many products. Being a fast-growing renewable material, it is durable and has natural patterns that people find visually attractive. Naturally, its textures and patterns are its main values; therefore it has the potential to be developed further. This research is needed to optimize the growth of small craft industries of banana bark, including the community where production activities take place, and also to provide information or reference of banana bark utilizations. Previous experiments conclude that banana bark has porous structure, high flexibility, relatively water-resistant due to its natural wax coating that resists water droplets, unless being washed down immensely. Also, due to its softwood- and paper-like properties, ithas many possibilities to be formed and processed into various functional products, mostly as craft products. In the subsequent study, the research about the utilization of banana bark in small industries starting from the harvesting system, handling problems in raw material supply, applying proper technology in improving the material's quality, improving the human-resource working culture by appropriate technologies, and also innovating the product's designs. The recommended designs can be implemented to improve the performance and qualities of banana bark products.Keywords: applied technology; banana bark; renewable materials; design; sustainability.
Cover Vol. 6 No. 2, 2014 Journal of Visual Art and Design
Journal of Visual Art and Design Vol. 6 No. 2 (2014): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

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Front Matter Vol. 6 No. 2, 2014 Journal of Visual Art and Design
Journal of Visual Art and Design Vol. 6 No. 2 (2014): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

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Back Matter Vol. 6 No. 2, 2014 Journal of Visual Art and Design
Journal of Visual Art and Design Vol. 6 No. 2 (2014): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

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