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.
THE DYNAMICS OF CREATIVITY, MOTIF AESTHETICS, AND FUNCTIONAL TRANSFORMATION IN JEPARA'S RAMAYANA WOOD CARVING RELIEFS
Jepara wood carving, as a world intangible cultural heritage, currently faces serious challenges regarding craftsman regeneration and the necessity to adapt to global market demands without losing its distinctive identity. This research aims to identify craftsman creativity patterns, examine the aesthetic depth of motifs, and analyze functional transformations in Ramayana reliefs in Tigajuru. The findings are expected to provide strategic recommendations for the future preservation of the carving industry. The method employed is a qualitative-descriptive approach with a case study design using observation, in-depth interviews, and documentation. Data analysis was conducted interactively using the Miles, Huberman, and Saldana model. The results indicate that craftsman creativity is manifested in the mastery of flexible carving techniques, despite technical quality inconsistencies serving as a form of non-linear expression. The aesthetic value of these motifs stems from the blend of Ramayana figurative icons with stylized flora and fauna, creating a harmonious visual narrative. Furthermore, a significant functional transformation was found, shifting from decorative door elements into visual media communicating moral values and deep cultural identity. In conclusion, these skill dynamics and shifts in utility prove that relief carvings serve not only as physical artifacts (artifact) but also as carriers of philosophical symbolism (mentifact) relevant to the contemporary cultural context.
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THE AESTHETICS OF CARVING MOTIFS IN WOOD DECORATIVE WORKS AS A MEDIUM OF EXPRESSION BY CRAFTSMEN IN JEPARA
The art of Jepara wood carving is part of the cultural wealth of the archipelago that has aesthetic value, symbolic meaning, and history. This art is also important in shaping the cultural identity of the Jepara people. With the development of globalization and the creative industry, there is a change in the way artisans make carving art, especially in terms of creativity, production methods, and the role of art itself. This research aims to analyze the creativity of artisans, study the art of carving in the context of the creative industry, as well as understand the changes in the function of the art of carving in Mulyoharjo Village, Jepara Regency. This research uses a qualitative method with a case study approach. Data was collected through observation, in-depth interviews, and work documentation, then analyzed with the Miles and Huberman models. Research results show that the creativity of artisans can be seen from the development of motifs, shape variations, and the combination of traditional elements and modern design. The art of Jepara carving continues to grow as part of the creative industry that leads to the market, but still maintains the local cultural heritage. The change in the function of carving can be seen from the shift in the role of the work, from symbolic objects to decorative products and economic goods that help the survival of artisans
PROCESS AND STRATEGY ANALYSIS IN LEARNING TO DRAW MOUNTAINS IN THE SBDP SUBJECT FOR GRADE 4 AT SD 2 KARANGMALANG
Art education in elementary schools, particularly drawing mountains in the Arts, Culture, and Crafts (SBDP) subject, serves as a means to develop students' creativity, motor skills, and self-expression. This study aims to analyze the process of students drawing mountains and the learning strategies of teachers in grade 4 at SD Negeri 2 Karangmalang, with a focus on enhancing creativity through a holistic approach. Using a qualitative descriptive method, data were collected through observation, interviews, and documentation from teachers and students. The results show that the students' process includes the stages of observing objects, creative imagination, and applying elements of fine arts such as lines, planes, shapes, and rhythmic patterns, supported by fine motor skills. Meanwhile, the teachers' strategies included object introduction, step-by-step modeling, exploration media, and reflective evaluation, which were effective in building confidence and producing realistic and aesthetic drawings. The conclusion of the study confirmed that this approach not only enhanced students' creativity but also supported holistic development, with recommendations for the integration of technology in art education to enrich future experiences.
AESTHETIC ANALYSIS OF CARVING THE ATMOSPHERE OF RURAL MARKETS IN THE MIDST OF THE DEGRADATION OF YOUTH INTEREST IN SENENAN VILLAGE
Jepara is known as the "City of Carving" and has been globally recognized since the 1990s. The people of Jepara primarily work as carving artisans, which is a local cultural identity that is globally competitive. This research is a case study type of research with a qualitative approach. The data collection techniques used are: observation, interviews, and documentation to gather data regarding the "Rural Market Atmosphere" carving. Observation was conducted at the location of the Yohanes Shefta Adinata carving art gallery, Senenan Village, RT.04 RW.02 on October 2, 2025. The interview was conducted by asking questions to Yohannes as the resource person. Meanwhile, documentation was done by taking photos with the resource person as support for the research. Data analysis techniques are carried out thru data reduction, data presentation, data verification, or drawing conclusions. The research results show: (1) The process of making wood carvings starts from the preparation stage, thru the creation stage, and ends with the finishing stage. (2) The aesthetic elements of lines, shapes, texture, space, color, and light and shadow are present in the wood carving "Rural Market Atmosphere". (3) There is interest among the younger generation in wood carving in Senenan village. The purpose of this research is to understand the wood carving process, identify the aesthetic elements in the "Rural Market Atmosphere" carving, and understand the interest of the younger generation in wood carving in Senenan village.
THE AESTHETICS OF JEPARA CARVING ON TEAK WOOD CHAIRS AS A FORM OF CREATIVITY AND SKILL OF LOCAL CRAFTSMEN
Jepara carvings on teak chairs are an Indonesian cultural heritage known internationally for their beauty and quality craftsmanship. This study aims to analyze the aesthetics of Jepara carvings on teak chairs and identify the creativity and skills of local craftsmen in developing carving motifs. The study used a qualitative method with a case study approach conducted in Jepara Regency, Central Java. Data collection was conducted through observation, interviews with craftsmen, and documentation. Data analysis used the Miles and Huberman model, which includes data collection, data reduction, data presentation, and drawing conclusions. The results show that the aesthetics of Jepara carvings are evident in the beauty of intricate and detailed motifs, inspired by flora and fauna, with harmonious proportions and compositions. Motifs such as lung-lungan, patran, and truntum not only function as decorative elements but also contain philosophical meanings that reflect the culture and spirituality of the Javanese people. The craftsmen's creativity is reflected in their ability to innovate and create new motifs without losing their traditional identity. The craftsmen's skills are formed through a long learning process passed down from generation to generation, requiring years of dedication. Despite facing the challenges of modernization, Jepara craftsmen maintain the aesthetic quality and traditional values in each of their works.
THE CREATIVE PROCESS OF THE PINKY PROMISE PAINTING AS A REPRESENTATION OF CHILDHOOD TRAUMA
The painting Pinky Promise (Kayla Amara Putri, 2024), a mixed-media artwork measuring 80x80 cm, represents childhood trauma through the symbolism of a broken pinky promise, originating from the artist's personal betrayal at home. Created via a systematic four- stage process preparation (introspective reflection on nonverbal memories), planning (conceptual s Visual elements, including the dangling pinky ribbon (shattered trust), crying eyes (suppressed grief), and chromatic love-pain duality, are analyzed through Agus TBR (2022) semiotics, MC Joseph (2018) color therapy, and Kurnia (2021) psychological abstraction, philosophizing innocence's fragility. The work conveys an ethical message: honor promises to avert long-term harm and promote openness about abuses, offering therapeutic insights for artists and trauma survivors. ketching of symbols like frayed ribbons and weeping eyes), realization (layered execution with pink-red gradients and erratic strokes), and presentation (gallery exhibition) it aligns with Van der Kolk's (2015) somatic trauma theory and Antonia's (2023) sublimation model.
BOYO KALI COMAL DANCE AS AN INSPIRATION FOR ILLUSTRATIVE ARTWORKS IN A SUREALISTIC REPRESENTATIVE APPROACH
This writing raises the theme of the legendary story of the Boyo Kali Comal dance which is realized in an illustration work with a surrealistic representative approach. The purpose of creating this work is to explain the movements, values, and stories contained in the Boyo Kali Comal Dance through surrealistic illustrations. This work aims to reintroduce the richness of local culture to the community with a visual approach. The creation of this work is divided into three stages, namely pre-production, production, and post-production. The resulting work consists of two works. In the analysis of the work, Roland Barthes' semiotic approach is used to interpret the meaning and messages implied in each visual element. The first work entitled "Relying on Togetherness" this work emphasizes the value of harmony, a sense of mutual assistance between living things. The second work entitled "Resonance Boyo Comal" this work is a medium for inheriting the cultural values, beliefs, and spirituality of the local community that continue to live in the Boyo Kali Comal Dance tradition. Thus, this work not only presents visual beauty, but also functions as a medium for inheriting the cultural values, beliefs, and spirituality of the local community.
APPLICATION OF FINGER PAINTING TECHNIQUES IN FINE ARTS LEARNING FOR GRADE IV STUDENTS OF STATE ELEMENTARY SCHOOL KEBONMANIS 01 CILACAP
This study aims to describe the application of finger painting techniques in fine arts learning for fourth-grade students of Kebonmanis 01 Cilacap Elementary School. The approach used is descriptive qualitative, with data collection techniques through observation, interviews, documentation, and analysis of students' artwork. The research findings show that the application of finger painting techniques provides a positive contribution to the development of aesthetic abilities, fine motor skills, and creative expression of students. The learning process is carried out in three main stages: project planning, project implementation, and project evaluation. Assessment is carried out using authentic assessment principles according to the Independent Curriculum, which focuses on students' understanding of the elements of art, courage in experimenting, and originality of ideas. The results of the study show that this method successfully encourages most students to show positive development. A total of 47% of students are in the Very Well Developed (BSB) category, 33% are Developing According to Expectations (BSH), and the rest are Starting to Develop (MB). Students are able to produce two-dimensional works of art that are not only visually attractive, but also reflect an understanding of themes, color composition, and courage in expression. These results show that the finger painting technique is an effective and fun alternative in improving the visual potential of students at the elementary school level.
THE CULTURE OF COMMUNITY DRAWING AS A SOURCE OF IDEAS IN DIGITAL ILLUSTRATION WORKS
The Rerajahan culture in traditional Islamic society is part of a spiritual practice that contains visual symbols with powerful religious, medicinal, and cultural meanings. The creation of this work aims to explore and re-visualize the symbolic richness of the Rajah tradition as a source of ideas for digital illustration works that are able to re-represent these spiritual and cultural values in the context of contemporary art. The methods used include literature studies on Islamic medical books, interviews with Rajah practitioners, and creative exploration through stylistic and symbolic approaches in the creation process. Bitmap-based digital drawing techniques with an emphasis on lines, pointillist, and black and white are used to strengthen the spiritual and emotional nuances of the visualized symbols. The results of the creation are three two-dimensional digital illustration works. This work demonstrates that digital illustration is not only effective as a medium for visual expression, but also as a space for spiritual education and cultural preservation. The creation of this work contributes to reviving traditional symbols into the realm of modern art that is more open, contextual, and relevant for today's generation, while bridging religious teachings and contemporary visual narratives.
VISUAL EXPLORATION OF HISTORIC BUILDINGS IN SEMARANG'S OLD TOWN IN WATERCOLOR DIGITAL ILLUSTRATION ART
Semarang, the capital of Central Java Province, boasts a rich history embodied in its cultural heritage dating back to the colonial era. The Old Town area, home to numerous historic buildings, served as inspiration for this creation, exploring the historical value of its aesthetic architecture. Besides attracting tourists, this area holds profound meanings that deserve appreciation. Using digital watercolor illustration techniques, this design seeks to revive the community's collective memories and strengthen appreciation for their cultural heritage. Through an emotional and illustrative approach, this artwork serves as both a visual representation and an educational medium, raising awareness of the preservation of historic buildings amidst the tide of modernization. The required tools are an iPad Pro 11, Apple Pencil, and Procreate software. The materials used are ivory paper. The techniques used involve digital media; the process of creating, coloring, and arranging images is carried out using digital devices and applications such as the iPad and Procreate. The creative process for this study project included pre-production, production, and post-production. The resulting design is a digital illustration artwork featuring the Blenduk Church and the Marba Building. This work demonstrates that digital illustration can be an effective tool for preserving local historical and cultural values.
TROSO FABRIC MOTIFS OF TARO LEAVES AND PEACOCKS AS OBJECTS OF BATIK WORK
This research focuses on the decline of hand-written batik practices in Troso Village, Jepara, which is better known as the center of ikat weaving. The lack of successors of batik artisans and mastery of weaving has made local handmade batik almost disappear. Troso Village actually has tremendous potential in traditional motifs such as the taro leaf (lompong) and the meaningful image of the peacock. This study aims to explore the visual and philosophical strengths of Troso's weaving patterns and peacocks, and to produce mixed-media batik works based on local motifs as a cultural revitalization effort. The approach applied is descriptive qualitative, with data collection techniques through field observation, interviews, and document analysis. The motifs of taro leaves and peacocks were chosen because they have strong visual appeal and symbolic values that symbolize survival and cultural beauty. Both are combined in batik tulis with a visual arrangement that emphasizes the balance between geometric and figurative patterns. The research findings indicate that the use of local motifs combined with attractive media in written batik can revive people's interest in batik art and strengthen the visual identity of the village. This work plays a role not only in cultural preservation, but also creates opportunities for local creative economic development through batik products that have aesthetic and contextual value.
IMAGINATIVE ANIMALS AS INSPIRATION IN THE CREATION OF DARK ART STYLE DIGITAL DRAWINGS
Traumatic experiences often leave a profound psychological impact due to shocking, frightening, or dangerous events that cause emotional distress in individuals. This work is a visual exploration in the form of dark art-style digital images, inspired by the personal experience of losing a father and the stories of others who have experienced similar mental suffering. The dark art style was chosen because it can emotionally represent trauma and raise awareness of mental health issues in the context of contemporary art. The resulting work is a 60 × 60 cm digital image printed on luster paper, featuring an imaginative animal in a gloomy landscape as the main subject. The visuals are developed symbolically and surrealistically through grotesque forms, anatomical deformations, and a dark, emotional atmosphere. Elements such as glowing red eyes, skulls, ruins, and spider webs were processed using an iPad, Apple Pencil, and the Procreate application. The creative process includes pre-production (research and sketching), production (digital drawing), and post-production (refining and printing). The imaginative animal in this work represents the deepest fears, lasting memories, and unseen forces in the human psyche, while the damaged setting serves as a metaphor for the abandoned psychological space. This work serves as an emotional expression and cultural reflection on trauma, as well as a critique of the lack of social empathy for psychological suffering.
INDONESIAN LANDSCAPE PAINTING BASED ON ARTIFICIAL INTELLIGENCE (AI) VIEWPOINTS
A landscape is a visual representation of an area that encompasses both natural and man-made elements. In the context of fine art, particularly painting, a landscape not only displays natural beauty but also implies aesthetic, cultural, and emotional values. The development of digital technology such as artificial intelligence has opened up new opportunities in the creation of paintings. This study project aims to produce an Indonesian landscape painting that presents visual freshness through an AI perspective. The methods used in the creation process include three main approaches: experiential AI, local aesthetics, and a naturalistic approach. The creation process is divided into three stages: pre-creation, creation, and post-creation. The resulting work is entitled "Encoded Gaze." The work depicts a rural Indonesian landscape. Cultural and natural elements are combined with digital surveillance symbols in the form of CCTV cameras. Formally, this work combines elements of line, color, and texture, as well as ideas that produce a composition within the context of local culture. This study project produces a beautiful painting through the integration of AI and modern art aesthetics. The painting, besides being beautiful, is also aesthetically meaningful in context. This beauty maintains the prompts designed through a reflective and valuable aesthetic process.
DESIGN OF A LEARNING VIDEO ON DECORATIVE WORKS USING STILLATION TECHNIQUES FOR GRADE VIII F STUDENTS AT STATE MIDDLE SCHOOL 24, SEMARANG CITY
This study aims to develop a learning video media as an aid in delivering decorative work material using stylization techniques for eighth-grade students at SMP Negeri 24 Semarang City, as well as to test the feasibility of the developed media. The design of this media is motivated by the unavailability of learning media that supports learning to create decorative work using stylization techniques in stages and contextually, so that students tend to have difficulties when practicing the work. The design procedure was carried out using the Design Thinking approach, through the stages of empathize, define, ideate, prototype, and test. The final result of the media produced is a 34-minute learning video consisting of four main parts including the opening, presentation of the core material, demonstration of work, and closing. The objects used as inspiration for the work are objects from the surrounding environment and also the local potential of Semarang City. Based on the results of the feasibility test, a percentage score of 98 was obtained from material experts, and a score of 92 from media experts. Overall, the media developed in this study was declared "Very suitable" to be used as a learning medium.
VIGNETTE ILLUSTRATION ARTWORKS WITH THE SUBJECT MATTER OF MYTHOLOGICAL ANIMALS FROM JAVA AND BALI
The purpose of this study project is to create vignette illustrations with the theme of mythological animals from Java and Bali as an educational medium that is able to convey local cultural, historical, and philosophical values. In this work, the author intends to create two artworks with a total of five Javanese Balinese mythological animals namely Naga Antaboga, Naga Basuki, and Naga Taksaka, Bedawang Nala, and Garuda. This work shows that a visual approach based on fine arts can be an effective means of conveying local cultural values creatively and communicatively, while showing the historical and cultural links between the two regions. It is hoped that this work can inspire other artists to explore local culture as a source of creative ideas, and become part of the effort to preserve cultural heritage through a fresher, more imaginative and relevant approach. This project is expected to be useful in enriching the diversity of contemporary art, building cultural awareness in the younger generation, and becoming an alternative learning media that fosters appreciation for the richness of Indonesian mythology.
MELANCHOLIA: SELF-REPRESENTATION IN CYBERCULTURE THROUGH DIGITAL ILLUSTRATION
This article examines the relationship between Generation Z, cyberculture, and the expression of melancholia in the context of digital illustration art. As a member of Generation Z, the researcher experiences the dynamics of identity between the real world and the virtual world, both reflecting contrasting aspects of personality. Using a practice-based research approach, this article explores two digital illustrations that represent melancholy: one depicts the positive and reflective side of the real world, while the other depicts the dark and distorted side of cyberspace. The analysis is conducted through an aesthetic and visual content approach, drawing on color theory, visual semiotics, and the context of cyberculture. The results of the creation and analysis demonstrate that digital illustration functions not only as a medium for visual expression but also as a contemplative space for addressing the psychological and existential realities of Generation Z. This article also emphasizes the importance of understanding the virtual world as an integral part of the identity formation of the digital generation.
SEMIOTIC ANALYSIS BY CHARLES SANDERS PEIRCE ON THE LUMINTU BATIK MOTIF IN THE TRADITIONAL CLOTHING IN GAGRAK SEMARANG REGENCY
Semarang Regency is located between the mountains and the coast, so it has a variety of potentials that become the strength of the region. Starting from the natural potential of plantations and agriculture to its culture. One of the unique cultural heritages in Semarang Regency is Lumintu Batik with its motifs depicting the potential of the region. The main motifs, namely the New Klinting Snake and Gedongsongo Temple, are also motifs from regional plantation products. Lumintu Batik is a work of art that reflects the identity of Semarang Regency. This research aims to identify and analyze the semiotic meaning of Lumintu Batik motifs in Semarang Regency Gagrak traditional clothing based on Charles Sanders Peirce's semiotic theory. This research is a descriptive qualitative research. The data in this study were obtained from direct observation at Batik Adisty Gallery, interviews with Batik Lumintu craftsmen, literature review, and documentation. The results of this research describe each form of Batik Lumintu motif and explain the semiotic analysis contained in the motif as an effort to preserve local potential and maintain batik as the original cultural heritage of Semarang Regency. Each batik motif is a sign and has a special meaning in it. This research contributes to readers in understanding the cultural values in batik motifs in the clothes they wear, reminding people of the importance of protecting the environment so that it remains sustainable and continues to develop, and being proud of regional culture.
Batik Lumintu, local potential, preservation, semiotics, cultural heritage
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.
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.