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âDiam yang Menggeliatâ dalam Karya Fotografi Ekspresi Harthoko, Tanto
Journal of Urban Societys Arts Vol 12, No 1 (2012): April 2012
Publisher : Institut Seni Indonesia Yogyakarta

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âDiam yang Menggeliatâ menunjukkan adanya suatu pertentangan yang sedangterjadi. Diam yang menggeliat perlu dimaknai secara lebih mendalam atau dikembangkandalam arti kiasan. Sesuai dengan imajinasi, persepsi, dan pengalamanbatin penulis, karya ini dimaknai sebagai bentuk proses sebuah perjalanan kehidupanmanusia yang divisualkan secara simbolis dengan subjek tumbuh-tumbuhanatau tanaman. Proses hidup tanaman sama dengan perjalanan hidup manusia, dariawal tumbuh hingga dewasa, sampai menuju masa akhirnya, yaitu menguning,layu, kemudian mengering atau mati. Perwujudan karya ini menggunakan teknikpemotrean close-up agar dapat menangkap detail yang membentuk gambaran fisiksesuatu yang menggeliat. Sebagai ujungnya, dalam pengekspresiaan penciptaankarya ini berorientasi padaÂ âSquirming Silenceâ In the Art Work of Photographic Expression. Silence is mute,still, or not moving, while squirm means starting a movement no matter how slow it is.âSquirming Silenceâ indicates the existence of an ongoing dispute. If simply defined asit is, it would become impossible or would be a questionable truth. A possible solutionfor the phrase of squirming silence is that it needs to be interpreted deeper or developedin the sense of metaphor. In accordance with my imagination, perception, and innerexperience, âSquirming Silenceâ could be interpreted as a form of process of a humanlife journey which is symbolically visualized with the subject of greenery or plants. Thereason is that the process of a plantâs life is almost similar with the journey of humanlife, growing at the beginning until reaches adulthood, towards the end of life, turningyellow, wilting, and finally drying out or passing away. Using the technique of closeupphotography, to capture the details may shape the physical description of somethingsquirming. At the end, in expressing this art work, an orientation on the enlightmentvalues is highly needed to define the meaning of life which is in harmony with thenature.

Penciptaan Film Animasi 2D Diadaptasi Dari Puisi “Engkau” Muhamad Hadi Hibatullah; Tanto Harthoko; Agnes Karina Pritha Atmani
Journal of Animation and Games Studies Vol 3, No 1 (2017): April 2017
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jags.v3i1.1718

Abstract Literary works adapted to the film are familiar to the general public. In response to the problem, the animated film "Engkau" is made with the intention to make it easier for a poet to deliver the message of his poems in audiovisual form to the reader in an interesting and unique way through the animated film which is one of the popular media as a medium of delivery. The animated film " Engkau " is a film adapted from a poem entitled "Engkau" in a collection of poems "Aku Ingin Mencumbu Waktu" with 2D animation techniques.The poem entitled " Engkau " from the collection of poems "Aku Ingin Mencumbu Waktu " tells a feeling of someone who admires and loves someone deeply, no matter how long it can prevent and keep him from loving. The poem " Engkau " in each verse will later be adapted into a 2D animated film, making this animation different from the others. Keywords: poetry, adaptation of literary works, poetry animation, poem "engkau"Abstrak Karya sastra yang diadaptasi ke film sudah tidak asing lagi bagi masyarakat umumnya. Menyikapi masalah tersebut, film animasi “Engkau” dibuat dengan maksud untuk mempermudah seorang penyair menyampaikan pesan dari puisinya dalam bentuk audiovisual kepada pembaca secara menarik dan unik melalui film animasi yang merupakan salah satu media yang populer sebagai media penyampaian. Film animasi “Engkau” merupakan film yang diadaptasi dari puisi yang berjudul sama “Engkau” dalam kumpulan puisi “Aku Ingin Mencumbu Waktu” dengan teknik animasi 2D.Puisi yang berjudul “Engkau” dari kumpulan puisi “Aku Ingin Mencumbu Waktu” menceritakan sebuah perasaan seseorang yang mengagumi dan mencintai seseorang secara mendalam, tidak memperdulikan waktu dapat mencegah dan menghambatnya untuk tetap mencintai. Puisi “Engkau” dalam setiap baitnya nanti akan adaptasi menjadi sebuah film animasi 2D, menjadikan animasi ini berbeda dengan yang lain. Kata kunci: puisi, adaptasi karya sastra, animasi puisi, puisi “engkau”

Produksi Film Animasi 2D Pool Meidiana Safitri; Tanto Harthoko; Andri Nur Patrio
Journal of Animation and Games Studies Vol 6, No 2 (2020): Oktober 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jags.v6i2.4405

The story of a boy named Boy who is trying to overcome his trauma to a swimming pool. Trauma is the result of a terrible experience that has occurred during life. With a long recovery time, a trauma sufferer always imagines bad events and some traumatic symptoms that is difficult to overcome. Therefore, the character needs the support of the closest people to recover slowly. The creation of 2D animated film "Pool" using direct frame by frame technique in animation creation software. All manufacturing processes from production to post-production use digital media and produce an animated film with duration of 2 minutes.

TEKNIK MONOLOG INTERNAL DALAM FILM ANIMASI 2D “BAD HAIR DAY” Dionisius Miki Pratama; Harthoko Tanto; Agnes Karina Pritha Atmani
Journal of Animation and Games Studies Vol 5, No 2 (2019): Oktober 2019
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jags.v5i2.3126

The animated film Bad Hair Day tells the story of a girl who became a victim of bullying because she has a different physical form than her other friends. Bullying is an act of violence, oppression, or intimidation. In this film, Jane who has long, messy hair like a bush becomes a bully victim by her friends, so she feels depressed and sad. The turning point in this film is shown in a moment where the character Jane rediscovers something that has long been lost from her life: friendship. The intangible interconnected friendship that motivates him in the face of abuse carried out by his friends. The storytelling technique chosen is an internal monologue technique. Internal monologue is the technique of delivering stories whose source of sound comes from the thoughts or feelings of the character Jane in the film. Internal monologue technique will help the audience to better understand the feelings experienced by the main character in this film.

Pemberdayaan Masyarakat Wukirsari, Imogiri, Bantul Melalui Potensi Wisata Seni dan Penangkaran Burung Lutse Lambert Daniel Morin; Tanto Harthoko
Jurnal Pengabdian Seni Vol 1, No 1 (2020): MEI 2020
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jas.v1i1.4709

Desa Wukirsari adalah salah satu desa di Kecamatan Imogiri, Kabupaten Bantul, Provinsi Daerah Istimewa Yogyakarta. Selain wayang, karawitan, kerajinan bambu, dan batik tulis, Wukirsari juga dikenal sebagai desa yang mata pencaharian mayoritas warganya adalah berjualan burung. Tujuan pengembangan dan pemberdayaan melalui P3Wilsen di Desa Wukirsari selama satu bulan adalah untuk meningkatkan jenis dan desain kerajinan bambu, mengembangkan keseniian yang sudah ada agar lebih menarik dan menghasilkan kesenian baru, serta membantu masyarakat dalam pembuatan desain lanscape taman burung. Metode yang diambil untuk mengatasi persoalan dengan kegiatan-kegiatan: (1) pendampingan pengembangan desain landscape meliputi: sign system, mural, perancangan taman, dan pembuatan profil; (2) pelatihan kerajinan bambu dan tatah sungging misalnya pengembangan desain dan bentuk dangkar burung yang akan menunjang suvenir Desa Wisata Wukirsari; dan (3) pelatihan tari dan karawitan untuk anak-anak yang nantinya akan menunjang atraksi desa wisata. Kegiatan P3Wilsen ini telah mencapai hasil berupa: (1) meningkatnya minat dan kemampuan berkesenian masyarakat Wukirsari, (2) meningkatnya kemampuan masyarakat dalam mendesain papan-papan nama dan petunjuk arah yang akan digunakan dalam pembuatan taman penangkaran burung, (3) adanya video yang menunjukkan side plane dan short film dokumenter sebagai sarana promosi, dan (4) meningkatnya ilmu manajemen dalam organisasi atau kelompok penangkar burung dan pengrajin di Wukirsari. Wukirsari village is located at Imogiri Area, Bantul Distrcit, Yogyakarta Specially Designated-Area Province. Aside from wayang (Javenese shadow puppet), karawitan (Javanese traditional instruments), bamboo arts, and handmade batik, Wukirsari is also known as a village in which the residents peddle birds as their main trade. The aim of community development and empowerment thru P3Wilsen at Wukirsari village for a month is to increase the type and design of bamboo arts, improve the existing arts to be more appealing thus generating new arts, and also to help the people in designing bird park landscape. The methods used to tackle the issues are: (1) development assistance in landscaping: sign, system, mural, park planning, and profil making; (2) the training for bamboo arts and carvings, e.g. to develop design and to shape a kind of birdcage as a unique souvenir from Wukirsari Tourist Village; and (3) dance and karawitan for children practices that eventualy support the tourism in the village. The P3Wilsen agenda has gained results such as: (1) Wukirsari villagers’ increasing interest and better ability in arts, (2) the increase of capability for the community to design signboards that will be used in the bird sanctuary development, (3) the creation of a video to show the side plane and as a short documenter film for promotion purposes, and (4) the growth in managing skill within organization or community of the bird breeders and handcrafters in Wukirsari.

SAMPAH POLA KONSUMTIF DALAM KARYA FOTOGRAFI STILL LIFE Arief Pristianto; Tanto Harthoko; Arti Wulandari
Specta: Journal of Photography, Arts, and Media Vol 2, No 1 (2018)
Publisher : Institut Seni Indonesia Yogyakarta

AbstrakSampah menjadi persoalan yang tidak pernah selesai, dari zaman purba hingga sekarang, keberadaannya semakin banyak dan mulai tidak terkendali. Berbagai berita baik di media cetak maupun elektronik selalu menawarkan bermacam-macam produk yang menggiurkan masyarakat untuk melakukan peran konsumtif, dan akan berbahaya jika masyarakat tidak menyadari bahwa dari sisa konsumtif akan terjadi sampah. Penciptaan karya fotografi ini bertujuan untuk memunculkan foto-foto tentang sampah pola konsumtif dari penulis. Berdasarkan atas pola konsumtif tersebut diperoleh data otentik tentang perilaku konsumsi diri sendiri yang kemudian dikonstruksi menjadi rancangan untuk pemotretan. Foto yang dihasilkan merupakan karya seni fotografi still life dalam ranah fotografi kontemporer. Karya-karya yang dihasilkan menunjukkan bahwa kamera bukan hanya merepresentasikan ide dan perilaku kelompok manusia, melainkan juga dapat merepresentasikan pola tindakan biologis manusia.Kata kunci: sampah, pola konsumtif, still life, fotografi seni AbstractWaste of Consumptive Behavior in Still Life Photography. Waste becomes a never ending issues, from the ancient times to the present, it is getting more and more and even it is getting out of hand. Various news either in printed and electronic media has always offered a variety of tantalizing products to perform the role of the consumer society, and it will be dangerous if people are not aware that the residual consumption will end up as wastes.The creation of this photography work aims to bring photographs of waste as a result of author’s consumptive behavior.Based on the mentioned consumptive behavior, a set of authentic data about own consumptive behavior was collected and constructed as master plan for the photography creation. Resulting photographs show thay thay belong to the genre of still life photography in the domain of contemporary photography. The photographs proved that camera was not only able to represent ideas and the habit of certain people, but also to represent the pattern of human’s biological life. Keywords: waste, consumptive behavior, still life, fine art photography

SELF PORTRAIT TENTANG KEHILANGAN DALAM FOTOGRAFI EKSPRESI Prasetya Yudha Dwi Sambodo; Kusrini Kusrini; Tanto Harthoko
Specta: Journal of Photography, Arts, and Media Vol 2, No 2 (2018)
Publisher : Institut Seni Indonesia Yogyakarta

AbstrakMelalui foto, seseorang tidak hanya merekam secara mekanis, melainkan masih mempunyai ruang untuk menciptakan ungkapan personalnya. Penciptaan karya seni ini mengungkapkan realitas personal akan nilai di balik peristiwa kehilangan yang dialami. Self portrait (potret diri) di sini hadir sebagai pengantar atas narasi dari hal yang tersirat dalam sebuah peristiwa kehilangan yang sifatnya lebih ke non-fisik, seperti kehilangan peran, waktu, keseimbangan, dan lainnya. Usaha memvisualisasikan narasi tentang kehilangan melalui self portrait yang artistik tidak terlepas dari pemanfaatan teknik fotografi yang digunakan. Selain eksplorasi tubuh dan benda yang menjadi penanda utama, efek yang dihasilkan dari teknik fotografi seperti slow shutter speed, double exposure, open flash, zoom, reflection, flare, dan lainnya juga dimanfaatkan menjadi penanda dalam keseluruhan narasi visual tentang kehilangan yang dibangun. Hasil penciptaan karya seni ini memanfaatkan perbendaharaan bahasa foto dengan menciptakan suatu hubungan logis dari objek-objek foto yang masing-masing sudah dikaitkan dengan ide atau makna tertentu. Makna tidak hanya dihasilkan lewat pose, melainkan juga benda dan teknik yang digunakan. Beberapa teknik yang biasanya dihindari dalam pemotretan seperti overexposed, blur, shaking, dan out of focus digunakan untuk menciptakan bahasa foto yang unik dan segar. Kata kunci: self portrait, kehilangan, fotografi ekspresi AbstractSelf Portrait about Loss in Fine Art Photography. Through a photo, someone is not only recorded mechanically, but also still has space or room to create their personal expression. The result of creating this art revealed the value of personal reality behind the suffer from a loss occurence. Self portrait in this context comes as an introduction for narratives of thing that is implicit in an occurrence of loss which has non physical character, such as losing role, time, the balances, and so on. Visualizing the narratives of losing through artistic self portrait could not be separated from the use of techniques in photography. Beside the exploration of the body and the things that became a major marker, the resulting effect of the techniques of photography such as slow shutter speed, double exposure, open flash, zoom, reflection, and flare could also be used as a maker in overall visual narrative about losing that was summed up. The creation of this art applied the ‘language’ of photo by creating a logical relationship from each photo object of which was associated with certain idea or meaning. The meaning was not only generated through the pose, but also through the objects and techniques which were used. Some techniques in photography were avoided to be used such as overexposed, blur, shaking, and out of focus to create the language of photo which was unique and fresh. Keywords: self portrait, loss, fine art photography

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