Eduarts: Jurnal Pendidikan Seni (E-ISSN 2721-785X, P-ISSN 2252-6625 starting in 2024 migrates to better secure from various unwanted things, including journal hacking and so on. To submit, the author please visit the new website page of our journal at the link https://journal.unnes.ac.id/journals/eduart This journal provides a platform for researchers focused on visual culture and visual arts education to publish their articles.
TRIDHATU ALBUM: ‘DAMALUNG BLUEPRINT’ AS INSPIRATION FOR INSTALLATION ARTWORKS
This study project aims to produce interactive installation artworks that represent the local wisdom values of Damalung, including spirituality, social harmony, peace, cultural preservation, and divinity. Inspired by the experimental music album Damalung Blueprint by the group Tridhatu, the works reinterpret 400 years of historical and cultural transformations in the Merbabu region. Through a creative process involving research, material experimentation, and conceptual reflection, five multisensory installations were developed. Each piece engages audiences through visual, auditory, tactile, and symbolic elements to foster reflection and dialogue. The results demonstrate that this approach effectively conveys cultural meaning while offering a profound aesthetic experience. Audience enthusiasm toward the interactivity and atmosphere of the works serves as an indicator of success. This project contributes to the discourse of contemporary art by exploring installation art rooted in local wisdom.
IMPROVING TYPOGRAPHY MATERIAL COMPREHENSION THROUGH COLLABORATIVE LEARNING METHODS USING COGNITIVE DIAGNOSTIC ASSESSMENT IN JUNIOR HIGH SCHOOL (SMP) STUDENTS
This study was motivated by the low level of understanding of typography theory among seventh-grade students at SMP Negeri 1 Singosari. The purpose of this study is to improve their comprehension of typography art material through the implementation of the collaborative learning method combined with cognitive diagnostic assessment. The research approach used is descriptive qualitative, employing a Classroom Action Research (CAR) design consisting of two cycles, each with stages of planning, implementation, observation, and reflection. The data sources for this study were 33 students from class VII-D, with data types including results from cognitive diagnostic assessment tests, student analysis outcomes, student creativity results, and records from each cycle. Data analysis results showed an increase in the average cognitive diagnostic assessment scores from 84.2 in the pre-action stage to 90 for skills scores and 82.6 for work analysis scores in Cycle I. These scores further improved to 93.3 for skills and 84.5 for analysis in Cycle II. The conclusion of this study is that the implementation of the collaborative learning method through cognitive diagnostic assessment can significantly enhance students' understanding of typography.
SCHIZOAFFECTIVE DISORDER AS AN IDEA FOR ILLUSTRATION
Mental health is a crucial aspect that needs to be given equal consideration as physical health. By prioritizing both, one can effectively prevent the onset of diseases that may negatively impact daily activities. However, the prevalence of stigma and lack of understanding regarding mental disorders in society can have detrimental consequences for those affected. As a schizoaffective disorder sufferer, the author aims to convey personal experiences and feelings about the condition through illustrations. The illustrations' titles are derived from the symptoms of schizoaffective disorder personally encountered by the author. The "A Beautiful Mind" zine contains illustrations and a narrative description of schizoaffective disorder, offering insight into the condition from the author's perspective. The audience is expected to gain informative knowledge about mental disorders, particularly schizoaffective disorder through the author's experiences and insights as a sufferer.
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Study of Aesthetic Forms and Symbolic Meaning of Gayor Gong Senen Relief Carving at Rumah Kartini, Jepara
In 2014, Rumah Kartini created a replica of a historical heritage artwork from Jepara's carving culture and pioneered the reproduction of the Gayor Gong Senen relief. The research location was at Rumah Kartini, Pengkol, Jepara Regency. Data collection techniques included observation, interviews, and document review. The data were then analyzed through data reduction, data presentation, and verification or conclusion. This research employed a qualitative descriptive method. The study aimed to understand the creation process, aesthetic forms, and symbolic meaning of the Gayor Gong Senen carved relief. The results showed that the creation process consisted of five stages: research, motif sketching, construction, carving, and finishing. The aesthetic form of the Gayor Gong Senen relief lies in the organization of elements such as lines, space, planes, color, texture, and light-dark contrasts, creating an engaging composition. Balance and proportion in the carving, as well as rhythm and dominance in the motif patterns, serve as the main attractions, forming a cohesive artistic piece. The symbolic meaning conveyed through the Gayor Gong Senen relief includes religious values and philosophical messages about human life within society, particularly in Javanese culture.
The Philosophy of the Life Cycle in Tembang Macapat as an Inspiration for Painting
This research is a visualization of the human life cycle in each mentrum of tembang macapat, with romanticism as its main concept. The paintings are created using the glaze/glazing technique with a tenebrism lighting approach. The purpose of this study is to visualize the philosophy of the human life cycle in tembang macapat through painting, making it a means of appreciation, education, and local cultural preservation. Additionally, this research aims to present a more communicative artistic approach for younger generations, encouraging them to better understand and appreciate their cultural heritage. The novelty of this study lies in its cultural acculturation approach in visual arts, combining the philosophy of tembang macapat a Javanese cultural heritage with Western romanticism style in painting. Furthermore, it introduces the tenebrism lighting technique to enhance dramatic and emotional depth, a technique rarely used in previous visual representations of tembang macapat. This research has resulted in eleven paintings, each depicting the human life cycle based on the mentrum of tembang macapat. Each artwork is visualized in a romantic style, employing the glaze/glazing technique and tenebrism lighting, emphasizing dramatic elements and visual depth. The findings show that the philosophical values of tembang macapat can be interpreted visually to provide a broader understanding to the public and serve as a learning medium through art. The choice of a romantic style with human figure representations as a visualization of the human life cycle serves to present clear and accessible information. This approach ensures that the artworks are easily understood by a wider audience while inviting viewers to see, feel, and comprehend the meaning behind each phase of life.
Traditional Nusantara Dance as an Inspiration for Painted Batik Creations
This research discusses the development of painted batik inspired by traditional Nusantara dance as a creative foundation. The selection of the painted batik technique in this theme aims to combine two traditional art forms traditional dance and batik to create a unique fusion of cultural heritage. This study introduces novelty by highlighting various traditional Nusantara dances, such as the Legong Dance, Burung Enggang Dance, and Gambyong Dance, as sources of inspiration for painted batik creation. This enriches batik art by incorporating broader and more diverse cultural elements. The creation process includes conceptual stages, idea visualization through sketches and designs, and application on primisima mori fabric. Hand-drawn batik techniques and colet coloring are employed in producing seven painted batik artworks of varying sizes. The selected Nusantara dances include the Legong Dance, Burung Enggang Dance, Jaran Kepang Dance, Gambyong Dance, Topeng Klana Dance, Topeng Betawi Dance, and Merak Dance. Each artistic visualization in the painted batik reflects the movements, decorative patterns, philosophy, and meaning embedded in traditional dance. This research aims to produce artworks that offer novelty and innovation by visualizing traditional Nusantara dance in painted batik. The findings indicate that the visualization of traditional Nusantara dance in painted batik is successfully realized through the exploration of movement, decorative patterns, and the philosophy of each dance. The resulting works showcase the unique characteristics of each dance with an innovative aesthetic approach. Additionally, this research contributes to cultural preservation by introducing traditional dance through the medium of painted batik and enhancing public appreciation of traditional arts.
The Production Process and Aesthetics of Batik Motifs at Wardah Batik Industry House in Banjarnegara Regency
Nowadays, the process of producing batik motifs has become an important subject of study due to the declining aesthetic value found in each piece created. Aesthetic value plays a role as a mediator in conveying the moral message inherent in each work. It also has a vital role as the spirit offered in each piece, making it crucial to preserve its existence. This study aims to describe the production process and understand the aesthetics of batik motifs at the Wardah Batik Industry House. The research uses a qualitative approach with data collection techniques such as observation, interviews, and document studies. The study found that the batik production process at the Wardah Batik Industry House includes the stages of creating batik designs, with ideas sourced from the local potential of Banjarnegara, which are explored and sketched into batik designs, followed by the production stages: transferring designs, batiking, dyeing, stripping, and soaking in softener. The aesthetics of the batik motifs at the Wardah Batik Industry House, from a Javanese aesthetic perspective, include: First, the cultural cosmological value, the order of the universe manifested in the depiction and repetition of motifs such as Batik Daun Kelapa (Coconut Leaf Batik), Batik Dawet Ayu (Ayu Dawet Batik), Batik Wajan Canting (Canting Wajan Batik), Batik Ikan (Fish Batik), and Batik Parang Mrica (Parang Mrica Batik), which are depicted symmetrically, balanced, and orderly, with repetition in both vertical and horizontal alignment. Second, symbolic classification, empan papan in the use of batik fabric for clothing, sarongs, and the depiction of motifs that apply the two-pattern categories like top-bottom and left-right. Third, the orientation of life values, harmony, religiosity, justice, mutual cooperation, family, egalitarianism, and respect, which are embodied in the distinctive batik motifs of the Wardah Batik Industry House.
OVERPOPULATION AS INSPIRATION IN CREATING ILLUSTRATION ART
Overpopulation is a problem that arises from an uncontrolled number of people. This issue is often underestimated, which led the authors to choose overpopulation as the subject matter of this study project. This study discusses illustration artworks created by combining various manual techniques. The use of diverse manual techniques aims to produce artistic and appealing impressions to convey the impacts of overpopulation. These illustrations are intended to raise awareness of the urgency of overpopulation and to encourage audiences to take wise action in responding to it. The visual representation of overpopulation impacts was created using hatching, blocking, poster paint, and watercolor techniques. Selective color was used to create monochrome elements in certain objects to add a dramatic effect and emphasize mood differences in the artworks. This study resulted in 11 illustration pieces in various sizes and media, namely: 4 works on A1 paper, 4 works on yellow board measuring 65 cm × 78 cm, and 3 works on fabric sheets measuring 115 cm × 150 cm. The impacts of overpopulation highlighted in this study include traffic congestion, increasing crime rates, the potential submergence of Jakarta, environmental pollution, declining human resource quality, pressure on natural resources, rising unemployment, slum settlements, food crises, social inequality, and the relationship between human population and the environment. The visual forms of the illustrations are imitations of real situations that have been altered and rearranged into unnatural compositions. In addition to producing illustration works, this project is also expected to inspire and encourage younger generations to be more critical in facing the issue of overpopulation.
SANGIRAN ANCIENT SITE AS A BATIK MOTIF IDEA AT “LIANASARI” CRAFTSMAN IN KLIWONAN VILLAGE, SRAGEN REGENCY
Sangiran Batik is a cultural heritage from ancestors originating from Sragen Regency, Central Java. The Sangiran Batik motif is inspired by various prehistoric discoveries at the ancient Sangiran site which has been recognized by UNESCO as a world cultural heritage. However, the general public's knowledge about Sangiran Batik is still minimal and not many craftsmen make it because the Sangiran Batik motif is classified as an old motif. However, there are also craftsmen who are aggressively developing batik motifs inspired by the Sangiran ancient site, namely the "Lianasari" Production House. This research aims to describe the development of batik at the "Lianasari" Production House and analyze the application of the Sangiran ancient site as a batik motif. The research method used is a qualitative descriptive research approach technique with data collection through observation, interviews, and documentation, as well as data analysis which includes data collection, data reduction, data presentation, drawing conclusions, and verification. The research results show that the development of batik at the "Lianasari" Production House reflects the cultural heritage of local craftsmen and the creativity of batik craftsmen in Kliwonan Village represents the rich history and natural surroundings. "Implementation of the Sangiran ancient site as a batik motif in the Production House" There are 4 Lianasari motifs, namely ancient ivory elephant motifs, ancient humans, ancient elephants and ancient tigers. Various innovations have been carried out in an effort to introduce Sangiran Batik to the wider community, such as marketing in various sectors and developing motifs into modern patterns.
POTRET TOKOH OTOMOTIF INDONESIA SEBAGAI INSPIRASI MELUKIS WATERCOLOR DI MEDIA KERTAS
Memperkenalkan tokoh otomotif kepada masyarakat luas bahwa di Indonesia sendiri memiliki beberapa tokoh penting yang dapat mendongkrak otomotif Indonesia hingga dapat dikenal di luar negeri dan dapat menjadi sumber penghasilan. Para tokoh berperan penting dalam otomotif Indonesia, baik sebagai youtuber, perancang kendaraan bermotor, pembalap, pengusaha otomotif, atau bahkan influencer. Media social menjadi pengaruh besar untuk penyebaran informasi yang cepat bagi para influencer dan pembisnis otomotif. Tujuan penelitian ini untuk menghasilkan karya seni watercolor yang mencerminkan tokoh-tokoh otomotif Indonesia sebagai cara untuk meningkatka wawasan masyarakat mengenai informasi otomotif. Pemilihan teknik watercolor atas dasar keahlian dan pengalaman, disamping itu lukisan watercolor memiliki keunikan tersendiri dalam proses pembuatan karya. Pewarnaan menggunakan lukisan cat air dimulai dari warna yang paling terang hingga warna yang lebih gelap. Hasil karya seni lukis cat air memiliki sifat yang sangat ekspresif ataupun sebaliknya, sangat impresif dan tergantung teknik yang akan digunakan. Hasil karya terkait potret tokoh otomotif yang berhasil menarik perhatian para pengunjung saat pameran karya sehingga menjadi dampak positif agar otomotif Indonesia semakin dikenal dan dapat memberkan pengetahuan tentang berbagai profesi tokoh yang diangkat. Karya yang ditampilkan sejumlah sepuluh karya. Penulisan dan penggambaran potret tokoh ini berdasarkan pengertian dan pendalaman materi dari berbagai sumber seperti social media youtube,instagram, website dan video yang terkait otomotif sehingga pengertian dan penggambaran yang dijelaskan dalam karya potret tokoh ini dapat divalidasi.
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MOTIF KERAJINAN TENUN TROSO SEBAGAI IDE PENCIPTAAN KARYA GAMBAR DEKORATIF DALAM PEMBELAJARAN SENI RUPA BAGI SISWA SMP NEGERI 2 PECANGAAN JEPARA
Jepara merupakan kabupaten di provinsi Jawa Tengah yang memiliki banyak potensi lokal salah satu adalah kerajinan tenun Troso. kain tenun Troso banyak dimanfaatkan dalam dunia busana, namun dalam dunia pendidikan kerajinan tenun Troso kurang menjadi perhatian dan kurang dimanfaatkan dalam pembelajaran di kelas. Hal ini menjadi latar belakang di lakukannya penelitian dengan memanfaatkan kerajinan tenun Troso sebagai ide dalam penciptaan karya gambar dekoratif dalam pendidikan seni rupa. Penelitian ini bertujuan; (1) mendeskripsikan jenis dan bentuk motif kerajinan tenun Troso yang tepat dijadikan sebagai ide penciptaan karya gambar dekoratif dalam pembelajaran seni rupa (2) menjelaskan proses pembelajaran berkarya gambar dekoratif dengan ide motif kerajinan tenun Troso (3) menyajikan hasil karya gambar dekoratif siswa dengan ide motif kerajinan tenun Troso di SMP Negeri 2 Pecangaan. penelitian ini menggunakan pendekatan deskriptif kualitatif yaitu prosedur penelitian yang memiliki data penelitian yang disajikan berupa kata-kata tertulis dari subjek penelitian dan objek penelitian. Teknik pengumpulan data menggunakan observasi, wawancara, dokumentasi dan angket. Data yang diperoleh dianalisis melalui tahapan reduksi data, penyajian data, dan verifikasi data. Hasil penelitian menunjukkan bahwa (1) motif yang tepat dijadikan sebagai ide berkarya gambar dekoratif dalam pembelajaran seni rupa adalah motif Lubeng, motif Saraswati, motif Blanket figuratif, dan motif Hujan Gerimis (2) proses pembelajaran dimulai dengan tahap perencanaan, pelaksanaan, dan evaluasi terhadap hasil belajar siswa dari segi aspek sikap, pengetahuan, dan keterampilan (3) hasil karya gambar dekoratif dengan ide motif kerajinan tenun Troso menunjukkan kemampuan siswa mencapai setiap aspek penilaian, baik dari aspek idealitas, aspek kreativitas, aspek estetika visual, dan aspek penguasaan teknik.
VIGNETTE ILLUSTRATION WORK ABOUT THE MEANING OF MACAPAT SONGS
Indonesia is a country rich in ethnic diversity, cultures, and customs. A large portion of its population is dominated by the Javanese ethnic group. However, many Javanese people today lack knowledge about their own customs, traditions, and cultural heritage, such as the traditional tembang macapat. This form of cultural expression should be preserved, as it contains a wealth of moral messages and noble values about human life. This paper aims to create vignette illustration works based on tembang macapat as a means of building public appreciation for Javanese culture and tradition through art exhibitions. In order to present visually appealing vignette illustrations of tembang macapat, the author followed several creative stages, including concept development and visualization, which involve sketching, outlining, adding details and accents, shading, and final touches. The author hopes that this vignette illustration work, which highlights the meaning behind tembang macapat, will be beneficial and serve as inspiration for many. In creating art, one should explore more with ideas/concepts, media, and techniques. It is also hoped that the outcomes of this work can contribute positively to the university, students, and art appreciators in the future.
STUDY OF THE PROCESS AND AESTHETICS OF LASEM BATIK MOTIFS IN THE “KIDANG MAS” BUSINESS UNIT, REMBANG REGENCY
Batik Lasem is a cultural heritage from Lasem District, Rembang Regency, Central Java, Indonesia. Its motifs are the result of cultural acculturation among Javanese, Chinese, and Dutch traditions, forming a distinctive aesthetic that remains relevant today. These aesthetic values are preserved through traditional and sustainable production methods, as practiced by the “Kidang Mas” business unit in Rembang. This study aims to: (1) understand and explain the process of making Lasem batik, (2) explore the diversity of its motifs, and (3) analyze the aesthetic characteristics of Lasem batik produced by “Kidang Mas.” The research employs a descriptive qualitative method, with data collected through observation, interviews, and documentation. Data analysis includes data reduction, data presentation, conclusion drawing, and verification. Findings show that the production process in “Kidang Mas” consists of pre-production, production, and post-production stages, with an added "ngrendem" stage to soften the fabric before dyeing. The motifs are categorized into geometric, naturalistic (flora, fauna, and natural elements), and symbolic designs, influenced by the surrounding culture. The aesthetic values of Batik Lasem are reflected in its contemplative nature, symbolism, philosophy, rhythm, balance, and the use of vibrant, characteristic colors, representing the cultural richness of Lasem.
THE HUMAN WITH A SHEEP’S HEAD AS A SOURCE OF INSPIRATION IN PAINTING FOR THE DEVELOPMENT OF LOCAL CULTURE IN GARUT REGENCY
This study project is a visualization of the various local cultures found in Garut Regency through surrealist-style painting. The artworks were created using the Scumbling technique. Surrealist painting is a style that emphasizes imagination and imagery drawn from the subconscious mind. In the process of creating this study project, the author produced ten artworks, each representing a different subject as a visual expression aimed at developing the local culture of Garut Regency. These works serve to provide clear and accessible cultural information. As such, the artworks are intended to be easily understood by the wider public, while also inviting appreciators and the broader community to see, feel, and comprehend the meaning and essence of each local cultural element of Garut. Through these paintings, the author hopes to inspire and motivate future generations to develop the potential of their local culture so that it may be accepted and recognized more broadly. The local cultural values visualized in these artworks can serve as valuable sources for character and moral education. Through painting, art can become a powerful learning tool that enhances creativity and imagination, and acts as a tangible example within both educational and life contexts.
LEARNING VISUAL ARTS CREATION FOR CHILDREN WITH AUTISM AT SLB NEGERI PATI, INDONESIA
This study discusses two-dimensional art learning for autistic children at SLB Negeri Pati. The objectives of this research are to describe the process of learning two-dimensional art creation for autistic children, describe the two-dimensional artworks created by autistic children through art learning at SLB Negeri Pati, and identify supporting and inhibiting factors in the implementation of two dimensional art learning for autistic children at SLB Negeri Pati. The research method used is descriptive with techniques of observation, interviews, and documentation. Data analysis was conducted through data reduction, data presentation, and drawing conclusions. The study shows that two-dimensional art learning is carried out through RPP (lesson plan) which includes planning, implementation, and assessment. The results include painting, collage, and graphic art with techniques such as plakat, collage, and stamping. Video media and demonstration techniques help children develop their skills in expressing imagination. Supporting factors include adequate facilities, student enthusiasm, and teacher support, while inhibiting factors stem from the difficulty autistic children face in controlling their mood, which leads to boredom and incomplete task completion.
LEGENDA BLEDHUG KUWU SEBAGAI INSPIRASI BERKARYA SENI ILUSTRASI DIGITAL
The creation of the digital illustration artwork using with digital imaging techniques have the purpose to increasing literacy and promotional media for the Bledhug Kuwu tourist attraction in Grobogan Regency to the wider community through designing this digital ilustration artwork, so the folklore can be enjoyed by the general public and it’s hoped it can be preserved by the next generation. The process for creating this digital illustration artwork is carried out through 4 stages, such us preliminary plan, pre production, production, and post production (placement media, pre-exhibitions, exhibitions). The designer of the illustration artwork "Legenda Bledug Kuwu" has answered the goal to be achieved, because the writer can design a work related to fine arts and successfully introduce it to the wider community
THE CHARACTER OF LENGGER MASK IN THE LOCAL WISDOM OF WONOSOBO DISTRICT CULTURE AS INSPIRATION FOR CREATING IMAGINATIVE ART DRAWINGS
The local culture of Topeng Lengger Dance in Wonosobo Regency, which has been rooted since ancient times, is becoming less known among the younger generation regarding the originality of the meanings and moral messages contained within each character portrayal. Through the performance of this Topeng Lengger dance, the elders convey teachings and moral messages about life. In order to preserve Topeng Lengger properly and correctly, the writer presents moral messages and the meanings of these Topeng Lengger characters in a different way, namely through an exhibition project that presents nine imaginative drawings using hatching techniques with pencils and charcoal powder on A2-sized paper media containing the meanings of the characters of Topeng Lengger Wonosobo. This artwork is created with the aim of introducing the local culture of Topeng Lengger Wonosobo to a wider audience; delivering different knowledge and education through visual artworks that are usually conveyed through dance performances; conveying to the younger generation, especially in Wonosobo, to preserve the originality of the culture of Topeng Lengger, which includes meanings, characters, and moral messages learned from each portrayal; and stimulating the competitive spirit of others to create artworks with Topeng Lengger themes.
IMPLEMENTASI PEMBELAJARAN SENI RUPA SECARA DARING BAGI SISWA KELAS XI DI SMA N 3 DEMAK
Pembelajaran seni rupa daring di SMA N 3 DEMAK menurut peneliti menarik untuk diteliti lebih lanjut, dengan rumusan masalah bagaimana pembelajaran daring berlangsung, bagaimana penerapan proses kreatif berkarya siswa, dan apa saja hambatan pembelajaran daring berlangsung. Penelitian ini dikaji dengan pendekatan diskriptif kuantitatif menggunakan data yang bersumber dari hasil observasi menggunakan pedoman observasi, wawancara menggunakan pedoman wawancara, dan dokumentasi menggunakan pedoman dokumen. Hasil penelitian ini didapatkan bahwa: (1)Materi mengacu pada KI, KD, dan kebutuhan siswa, pembelajaran menggunakan media pembelajaran daring menggunakan model pembelajaran ekspositorik dan eksperimen. Penugasan berupa praktek berkarya dan mengerjakan latihan seputar kesenirupaan. Evaluasi berupa pengumpulan karya seni rupa dan tes seperti UTS, UAS dan hasil karya siswa. Siswa sebelum berkarya membentuk rancangan seperti latar belakang, tujuan, sumber yang menginspirasi siswa, alat dan media apa yang mereka pilih, gagasan atau isi, maupun penyajian karya seni rupa. (2)Implementasi proses kreatif berkarya ditandai dengan siswa yang sudah mampu memahami pembelajaran seni rupa dan berkarya seni rupa. (3) Hambatan berupa sarana dan prasarana maupun disebabkan beberapa faktor. Hasil penelitian ini telah memuat tujuan penelitian diharapkan menjadi informasi serta masukan kepada pendidik dalam hal meningkatkan kualitas pembelajaran dan membantu pembelajaran daring kedepannya.
KAJIAN BENTUK DAN FUNGSI MOTIF BATIK MAGELANGAN DI RUMAH INDUSTRI IWING BATIK KEBONPOLO KOTA MAGELANG
The city of Magelang, as an area that does not have a cultural background in batik, is now developing both in terms of form and function with a diversity of motifs due to the influence of Yogyakarta, Solo and Pekalongan Batik to have batik products and motifs that follow the times (trends) with characteristics that are closely related to Magelang City. The visual beauty value of Magelang Batik was created from the idea of the potential advantages of various regions and then visualized in the form of batik motifs and colors as an effort to develop regional batik identity which is felt to be less widespread, so it needs to be of concern to the local community to be aware of the value of local cultural wisdom and understand more along with returning people's interest in batik artwork. The problems studied in this research are: (1) the form of Magelangan Batik motifs in the Iwing Batik Kebonpolo industrial house, and (2) the function of Magelangan Batik in the Iwing Batik Kebonpolo industrial house. The research location is in the Iwing Batik Kebonpolo industrial house which is located at Gg. Arum, Wates Tengah, RT.1/RW.2, Wates Village, North Magelang District, Magelang City, Central Java. This research uses descriptive qualitative research methods. Data collection techniques use observation, interviews and documentation studies. Data analysis was carried out through the stages of data reduction, data presentation, and verification/drawing conclusions. The results of the research show that several Magelang Batik motifs, including two-dimensional works of art, include geometric and organic shapes with a diversity of motif shapes, colors, arrangement patterns, and repetitive rhythms, which are able to create the impression of a balanced composition with its own charm, thus forming a unity in Magelang Batik. . Magelang Batik also has (1) a personal function as a means of communication, expressing oneself through ideas. (2) The social function provides a collective influence as a means of education, entertainment and appreciation to attract public interest, as well as to meet economic needs. (3) Practical physical functions in the form of clothing, fashion accessories, accessories and souvenirs (merchandise). The existence of Magelang Batik has experienced development in line with changes in the lifestyle of the surrounding community which continues to try to meet living needs and market interests which also continue to grow.
Hantu Jawa sebagai Inspirasi Perancangan Desain Karakter Karakter Video Game Tempa Atma
Folklore and literary works in Indonesia have the potential to be developed in new forms and expressions that can serve as engaging mediums for conveying messages to the younger generation. Beliefs regarding ghosts among Javanese society can serve as a source for creating works in the current digital era, such as designing character design for a video game. Combined with the study of Kakawin Sena, an ancient literary work from approximately the 16th to 18th centuries, which narrates the story of a knight who fearlessly confronts various challenges embodied in diverse ghosts to achieve his goals. The video game Tempa Atma attempts to utilize the richness of Javanese folklore, namely the belief in Javanese ghosts, and the ancient Indonesian literary work Kakawin Sena as the foundation for designing enemy character design. The method used is divided into two main phases: conceptual (idea generation, goal determination, target audience analysis, data collection, pre-production, production, and post-production) and visualization (sketching, creation of main objects along with coloring, shading, and finishing) carried out digitally. Each enemy character design is crafted by considering the original sources from literary studies, creatively developed while paying attention to the characteristics of the primary target audience, namely elementary school-aged children. It is hoped that the resulting works can compete on the global stage by bringing forth a strong local identity.
PROSES BERKARYA SENI MOZAIK ANAK TUNADAKSA DALAM KONTEKS PEMBELAJARAN DI YPAC SEMARANG
This research aims to (1) analyze and describe the process of creating mosaic art, (2) analyze and describe the obstacles faced when creating mosaic art (3) and analyze and describe the results of mosaic work for children with physical impairments at YPAC Semarang. This research use desciptive qualitative approach. Data collection was carried out through observations and interviews by visiting the school location at YPAC Semarang. Researchers carry out observation activities assisted by documentation in the form of photos and videos. Interviews were conducted with two sources, namely the school principal and class III SDLB-D teacher, supported by documents from the school. The subjects in this research were children with physical impairments and class teachers. Research shows the process of creating mosaic art for children with physical impairments in the learning context at YPAC Semarang. The teacher's planning in preparing the Learning Implementation Plan (RPP), in the form of supporting learning tools (learning media) and the process of students' mosaic art creation activities can be seen from theme indicators, preparing materials and media as well as execution in the students' work process. The only difference between the three students' creative process activities was the visualization part of the work, because the teacher prepared the theme, using the technique of sticking grains. The obstacles experienced by students with physical impairments in carrying out the creative process can be seen from the physical weaknesses of each student. The more severe the level of limitations of students with physical impairments, the teacher's role in the work process must be more extra assistance. The results of the mosaic work of children with physical impairments at YPAC Semarang, the theme of the mosaic drawing has been determined and provided by the teacher. The technique used by the three students is sticking, the choice of technique is adapted to the abilities of students who have motor limitations. The visual aesthetics of the work related to visual elements and design principles in the matter of choosing colors and light and dark can be seen from the placement of grain colors
PAKAIAN ADAT DALAM KARYA SENI BONEKA SEBAGAI MEDIA PENGENALAN BUSANA NUSANTARA BAGI ANAK
Proyek studi seni ini menciptakan boneka sebagai representasi figur dengan pakaian adat dari berbagai daerah di Indonesia. Meski detilnya disederhanakan, pembuatan boneka ini tetap mempertimbangkan aspek-aspek penting dari pakaian adat aslinya agar maknanya tidak hilang. Proses pembuatan melibatkan pemilihan media, teknik, dan proses berkarya, dengan menggunakan berbagai alat dan bahan seperti mesin jahit portabel, gunting, pensil, penggaris, jarum jahit, kuas, berbagai jenis kain, benang jahit, manik-manik, dakron, kertas karton, cat akrilik, dan benang woll. Proses berkarya dibagi menjadi empat langkah, yaitu perancangan, pembuatan karya boneka, penyajian karya, dan pameran. Penulis menciptakan 10 boneka dengan ukuran tinggi 50 cm dan lebar 15 cm, masing-masing mewakili pakaian adat dari Daerah Istimewa Yogyakarta “Mas & Mbak”, Nusa Tenggara Timur “To’o & Ti’I”, DKI Jakarta “Abang & None”, Bali “Bli & Gek, dan Jawa Timur “Cak & Bek”. Harapannya, proyek ini dapat membantu masyarakat, khususnya generasi muda, untuk lebih mengenal dan mengapresiasi pakaian adat Indonesia.
DAMPAK BROKEN HOME SEBAGAI IDE BERKARYA SENI ILUSTRASI
The process of educating in a family involves positive support in the form of harmony and security. However, it can't be ignored that there are many problems faced by some families. Various problems in the family that sacrifice the growth and development of children can have a negative impact on children's conditions, especially psychological disorders that cause broken home situations. The choice of theme for this project is based on the author's personal experience, where as a child victim of a broken home, he also felt a sense of emptiness, sadness, disappointment and anxiety due to being a victim of parental separation. The author chose digital illustration to express his ideas because of the potential aspects of being able to be capable of this work style, the practicality of the work process, and the ease of accessing the results. The work process in this study project includes pre-production, production and post-production activities.
AKTIVISTAS DI KAWASAN KOTA LAMA SEMARANG SEBAGAI SUBJEK BERKARYA SENI FOTOGRAFI HUMAN INTEREST
The Old Town area of Semarang (Central Java) is well regarded as one of the heritage assets in Indonesia and is a Dutch heritage known as Little Netherland by the general public. Now the old city has been restored and becomes a bustling tourism place, many people are active there. Therefore, the author wants to create a human interest photography work in the concept of black and white works to express and elevate the human values of human activities in the old city area apart from the tourism side. The activities that occur are divided into seven groups including trading activities, traveling or tourists, rickshaw riders, cycling, taking shelter, waiting for buyers, and scavengers. The author uses a Canon 60D DSLR camera with a Canon fixed 50mm f 1.8 lens and an 18 – 55mm lens and natural light from the sun and takes advantage of the lighting around the shoot. What needs to be considered in human interest photography is to pay attention to the point of interest in the work, namely by adjusting the composition of the photo, and finding the best angle from each angle of taking the object. In a study project entitled Activities in the Old City of Semarang as a Subject for Human Interst Photography with a Human Photo Approach, the author has succeeded in making twenty photographic works that are printed with a size of 40cm x 30cm which are laminated on matte and framed with simple and elegant frames. The photo works are hope to buy, take responsibility, bargain, perseverance, eccentric, persistent, sincere smile, commitment, posing, aromatic, deliver customers, waiting for customers, go home, cycling, raindrops, shade, waiting, sleep , tired of waiting and taking steps. The photographic work made in this study project as a whole uses a human photo approach.
GAMELAN SEBAGAI IDE PENCIPTAAN MOTIF BATIK TERAPAN DENGAN PEWARNA ALAM MANGROVE
This study project is entitled "Gamelan as the idea of creating applied Batik motifs with Mangrove natural dyes". The author chose batik as a means to preserve culture and develop batik design in order to strengthen the identity and excellence of Indonesia's creative industries by presenting Javanese Gamelan as an inspiration for batik motifs. According to the subject matter, the purpose of making this batik work is to produce applied batik work with Javanese Gamelan motif inspiration. In the process of creating this batik work, the author uses mangrove natural dyes as an effort to maintain health and minimize environmental pollution. Media to support the process of making batik, such as pencils, stoves, pans, canting, night or batik candles, large pots, and large tubs. The materials used are paper, primissima mori cloth, mangrove bark, quicklime, tunjung and soda ash. The process of creating works includes the visualization of ideas in the form of sketches and designs, then they are applied to the fabric. The technique used in the creation of this batik is a writing technique. The authors in this study project produced eight works. The works have titles, namely Nadindra, Pramudya, Adilawaga, Asirwada, Adicandra, Hardiyata, Ranjana, and Wagindra. The Motif presented is a form of stylization of Javanese Gamelan instruments with various approaches to the discovery of ideas in making motifs. Coloring in batik works that serve as clothing material becomes interesting because it uses natural mangrove bark dyes that are rarely used by batik craftsmen in general. The color tones produced from mangrove natural dyes are considered harmonious with the gamelan object stylization that has shades of tradition. In addition, the practical implementation of this mangrove natural dye, as an effort to make batik safe when used and blend in with nature.
ESTETIKA VISUAL DAN MAKNA TOPENG BABAKAN PANCA WANDA GAYA SLANGIT PRODUKSI HOME INDUSTRY WAS GALLERY CIREBON
Babakan Panca Wanda mask is one of the traditional arts used in Cirebon mask dance performances. Babakan Panca Wanda Mask as a work of traditional fine art has values and meanings implicit in its visual structure and aesthetic value. This research aims to explain the visual structure, aesthetic value and meaning contained in the Babakan Panca Wanda mask. The research uses descriptive qualitative methods with data collection techniques through observation, interviews and document study. The data obtained was then analyzed through the stages of data reduction, data presentation and drawing conclusions. The research results show that the Babakan Panca Wanda mask consists of five types of masks, namely Panji, Samba, Rumyang, Tumenggung and Kelana. Based on its visual structure, the Panji mask, Samba and Rumyang are classified as one type of wanda with a gentle and kind character, while the Tumenggung and Kelana masks have wanda with an authoritative and strong character. The visual structure is structured based on fine art principles and Javanese aesthetic values, such as the value of order, placement according to categories and the value of harmony.Babakan Panca Wanda mask has a connotative meaning related to cosmological values, symbolic classification and life value orientation, such as religious and family values. Apart from that, it also describes the character and stages of human life from birth to old age. It is hoped that this research can provide advice to mask craftsmen who can continue to preserve the art of the Babakan Panca Wanda mask by passing it on to the next generation.
SIGNIFIKANSI KURATORIAL DALAM PROSES EDUKASI APRESIASIPUBLIK PADA PAMERAN SAPUAN KUAS DAN KELALIMAN BENTUK
This paper discusses the concept, purpose and function of art education in the context of national education, with an emphasis on art appreciation. From a cultural perspective, art education is believed to contribute to the formation of creative capacity and cultural awareness of society. The aim of this research is to analyze the curatorial significance of the temporary exhibition "Sapuan Kuas dan Kelaliman Bentuk" as an explanation of public appreciation . This research uses a qualitative approach to explore in-depth understanding of art education governance, with a focus on curatorial-based art appreciation education patterns in temporary art exhibitions. From the results of the research, it is concluded that curatorial plays an important role in bridging appreciation between artists and appreciators. Curators are responsible for presenting visual explanations of artworks, facilitating dialog between the observer and the art object. Art exhibitions, such as "Sapuan Kuas dan Kelaliman Bentuk," become laboratories for creating aesthetic experiences and informal education for the public. Managerial approaches in the governance of art education are also discussed, focusing on planning, organizing, supervising, and evaluating. Galeri Semarang uses various strategies to promote and invite appreciators from different backgrounds, creating an experience of heterogeneity that enriches art appreciation. This study provides insights into the importance of art education in enriching people's cultural lives and offers a model of effective art education governance in the context of fine art exhibitions. Further research can explore the practical implications of these findings in improving art education and art appreciation in various formal and non-formal education contexts.
Pembelajaran Menggambar Potret Dengan Aplikasi Berbasis Vektor Bagi Siswa Jurusan DKV di SMKN 11 Semarang
Human identity cannot be separated from the shape of their faces, human faces are a creation of God which can provide differences between one human and another. One form of interpretation of the human face in this fine art is a face/portrait image. Currently, portrait images can be created using various tools, media and techniques in the work, one of which is vector-based images assisted by Adobe Illustrator software, CorelDraw. , and ibis paint. This is interesting to study and find out about the process of implementing artistic creation in learning at school. This research aims to explain the preparation, implementation process and analyze the results of work in learning to draw portraits using vector-based applications at SMKN 11 Semarang. This research uses Qualitative Research. Data collection techniques in this type of research use observation, interviews and document tracing. The data obtained was then analyzed through several stages, namely data reduction, data presentation and data verification. The results of the research show that (1) in preparation for learning, teachers, schools and students have prepared various things before starting the learning process, such as school facilities and equipment, applications used in work, and learning tools that must be prepared by teachers before learning begins. . (2) The process of learning to draw portraits using vector-based applications carried out by class (3) The results of the learning process provide information that class
PEMBELAJARAN SENI RUPA ANAK USIA DINI“Metode Pembelajaran teori Mona Brookes”
Mona Brooks, pendiri Sekolah Menggambar Monart dan penulis Drawing with Children, menjelaskan pekerjaannya dalam melatih guru menggunakan metodenya. Tujuan dari penelitian ini adalah untuk mengetahui penerapan Metode Pembelajaran seni rupa anak usia dini menurut teori Mona Brookes. Salah satu pendekatan yang dapat digunakan adalah metode pembelajaran teori Mona Brookes. Dalam penelitian ini penggunaan metode tersebut dalam konteks pembelajaran seni rupa pada anak usia dini secara kualitatif. Hasil dari penelitian ini adalah Penilaian Pembelajaran Seni Rupa, terdapat empat penilaian pembelajaran yang meliputi penilaian formatif, penilaian sumatif, penilaian reflektif dan penilaian gabungan pelaksanaan. Walaupun estimasi yang digunakan adalah estimasi non trial. Keywords: Pembelajaran, Seni rupa, Anak Usia dini
Utilization of Tissue and Food Coloring in Batik Learning for Early Childhood Education (PAUD) Students
Early Childhood Education (PAUD) is a level of education preceding primary education, aimed at nurturing children from birth up to six years old. One method of learning batik motifs is through the use of tissue paper and food coloring, which aligns with young children's ability to create artwork. Using a qualitative descriptive approach, this study aims to examine the treatment given to early childhood students to foster their creative potential. The research findings indicate that students show an interest in artistic creation and have the potential for further development, as reflected in their enthusiasm and curiosity through questioning. The learning objectives are achieved when students actively participate in the lessons and produce batik artwork based on their creativity and color preferences. PAUD prioritizes learning through play to support children's creativity and motor skill development in artistic expression, rather than solely focusing on artistic creation itself. Additionally, students can learn about the diversity of batik patterns, predominantly featuring dot motifs, with the aid of tissue paper and food coloring.