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All Journal ANDHARUPA Panggung Proceeding of International Conference on Art, Language, and Culture Visualita : Jurnal Online Desain Komunikasi Visual Texture : Art and Culture Journal Abdi Seni Acintya Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Capture : Jurnal Seni Media Rekam Wayang Nusantara: Journal of Puppetry Visual Heritage: Jurnal Kreasi Seni dan Budaya ARTISTIC : International Journal of Creation and Innovation Jurnal Dimensi Seni Rupa dan Desain Bali-Dwipantara Waskita: Seminar Nasional Republik Seni Nusantara
sigit purnomo adi
Fakultas Seni Rupa Dan Desain Universitas Sebelas Maret Surakarta
Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences

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Kaca Aklirik (Plexiglas) sebagai Medium Alternatif Lukis Kaca Bahari, Nooryan; Kurniawati, Dyah Yuni; Adi, Sigit Purnomo
Visualita Jurnal Online Desain Komunikasi Visual Vol 8 No 1 (2019): Agustus
Publisher : Universitas Komputer Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (420.771 KB) | DOI: 10.33375/vslt.v8i1.1235

Abstract

Tujuan penelitian penciptaan dan penyajian seni adalah untuk merevitalisasi lukisan kaca tradisional di Indonesia dengan memanfaatkan kelenturan plexiglass sebagai media dalam karya seni rupa. Hal ini disebabkan penggunaan medium kaca sangat berat dan mudah pecah ketika dipindahkan atau dibawa untuk dipamerkan. Metode penelitian yang digunakan dalam penciptaan seni memakai metode eksperimen dengan urutan tahap eksplorasi, tahap perancangan, dan tahap perwujudan. Tahap Eksplorasi merupakan aktivitas penjelajahan menggali sumber ide, termasuk mengeksplorasi bahan pleksiglas dengan menggunakan berbagai jenis cat berbasis air dan berbasis minyak, serta teknik gravur dan grinder untuk mengikis permukaannya. Berikutnya pengumpulan data dan referensi, serta pengolahan dan analisa data yang hasilnya dijadikan dasar untuk membuat desain. Tahap Perancangan memvisualisasikan hasil penjelajahan kedalam berbagai alternatif desain yang kemudian dipilih terbaik dan dijadikan acuan dalam pembuatan karya. Tahap perwujudan merupakan proses mewujudan rancangan terpilih menjadi karya sesungguhnya. Hasil penelitian menunjukkan bahwa penggunaan bahan plexiglass sebagai media lukisan kaca tradisional memiliki hasil yang sangat baik, dan plexiglass dapat sepenuhnya menggantikan kaca dalam menerima berbagai jenis cat, bahkan plexiglass memiliki keunggulan dibandingkan kaca biasa yaitu cat akrilik berbasis air dapat diaplikasikan lebih baik karena dapat menyatu (senyawa). Eksplorasi dengan cat berbahan dasar minyak memiliki hasil yang sangat bagus seperti diaplikasikan pada kaca biasa. Eksplorasi visualisasi karya hasilnya sangat baik, beberapa karya masih menggunakan motif dan simbol tradisional yang dipadukan dengan motif dan simbol modern dengan gaya ilustratif, ekspresionis dan pop art.
Karakter Bima Sebagai Sumber Inspirasi dalam Karya Seni Grafis Bagaskoro Ardhi; Nooryan Bahari; Sigit Purnomo Adi1
Wayang Nusantara: Journal of Puppetry Vol 2, No 1 (2018): Maret 2018
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/wayang.v2i1.2999

Abstract

The resulting graphic artwork was inspired by the Bima puppet figure who was dashing, muscular, athletic, honest, brave, never giving up, warlord, and accomplished knight. Bima’s characters and attributes are then poured in this graphic art. This work was created using a high-speed/print technique that has a unique shading effect, such as a texture effect because it goes through the printing process many times. The basic principles of art include unity, balance, harmony, proportion (proportion), and emphasis (domination) used as a theoretical framework. The author utilizes reproductive works in the form of photos of print media and from the internet to be explored. There are 14 works produced from the exploration. Karya seni grafis yang dihasilkan terinspirasi dari tokoh wayang Bima yang gagah, kekar, atletis, jujur, pemberani, pantang menyerah, panglima perang, dan ksatria ulung. Karakter dan atribut Bima itulah yang kemudian dituangkan dalam karya seni grafis ini. Karya ini diciptakan dengan menggunakan teknik cukil tinggi/relief print yang memiliki efek cukilan yang unik, seperti efek tekstur karena melalui proses cetak berkali-kali. Prinsip dasar seni rupa antara lain kesatuan (unity), keseimbangan (balance), keselarasan (ritme), perbandingan (proportion), dan penekanan (domination) dipakai sebagai kerangka teori. Penulis memanfaatkan karya reproduksi berupa foto media cetak maupun dari internet untuk dieksplorasi. Ada 14 karya yang dihasilkan dari eksplorasi tersebut.
WAYANG GODHONG SEBAGAI MEDIA EDUKASI CINTA BUDAYA DAN ALAM SEJAK USIA DINI Agus Purwanto; Ercilia Rini Octavia; Sigit Purnomo Adi
ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia Vol 7, No 01 (2021): February 2021
Publisher : Dian Nuswantoro University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33633/andharupa.v7i01.4081

Abstract

AbstrakSeiring dengan perkembangan zaman, pertunjukan wayang berfungsi menjadi media pembelajaran. Demikian halnya dengan Wayang Godhong.  Wayang kontemporer yang berasal dari godhong (daun) jati, cengkeh, dan kopi ini mencoba menjadikan pertunjukan wayangnya sebagai media edukasi cinta budaya dan alam sejak usia dini di Kabupaten Magelang. Artikel yang disusun melalui metode penelitian kualitatif deskriptif ini, berhasil menemukan visualisasi figur/karakter Wayang Godhong yang representatif untuk anak usia dini dengan pendekatan visual yang ramah dan lucu. Kemudian proses penyampaian dalang Wayang Godhong saat pentas yang harus menggunakan mimik jelas (karena dalang di depan anak-anak, tidak di balik layar), sehingga bahasa yang digunakan pun harus bahasa yang mudah dipahami anak-anak dengan penyampaian humorisme.  Setelah melihat pementasan, anak-anak pun berkeinginan melakukan seperti yang dipesankan dalam pementasan yakni menanam pohon sebagai upaya melestarikan alam ini serta menjadi suka/cinta akan wayang. Dengan demikian Wayang Godhong dianggap mampu menjadi media edukasi cinta wayang sebagai hasil dari budaya Indonesia dan cinta alam dengan menanam/merawat pohon sejak usia dini. Kata Kunci: budaya dan alam, media edukasi, anak usia dini, Wayang Godhong AbstractAlong with the times, puppet shows function as learning media. Like wise with Wayang Godhong. Wayang Godhong, a form of contemporary wayang made from leaves of teak, cloves, and coffee, attempts to become a medium for children to foster a sense of love for nature and culture, especially in the Magelang Regency. This article, compiled through descriptive qualitative research methods, has succeeded in finding the visualization of the representative Wayang Godhong figures/characters for early childhood with a friendly and funny visual approach. The performance process of storytelling by the puppeteer must be used a clear facial expression (because the puppeteer stays in front of the children, not behind the scenes), the language must be easy to understand by the children by conveying humorism. After seeing the performance, the children wanted to do as instructed in the wayang performance, such as planting trees as an effort to preserve nature and became interested in wayang. Thereby, Wayang Godhong is considered capable of being a love for wayang educational media as a result of Indonesian culture and love for nature by planting/caring for trees from an early age. Keywords: children, culture and nature, education media, Godhong puppet
WATER, FIRE, WIND, AND SOIL AS THE IDEAS OF CREATION OF GRAPHIC ART WORK sigit purnomo adi; Pande Made Sukerta; M. Dwi Marianto; Sri Hadi
ARTISTIC : International Journal of Creation and Innovation Vol 1, No 2 (2020)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (265.76 KB) | DOI: 10.33153/artistic.v1i2.3200

Abstract

The creation of this graphic work considers the reciprocal relationship between art and the environment as well as its preservation with an Eco Art perspective. The creation of this Eco-Graphic work uses the Artistic Creation approach which includes experimentation, reflection, and formation (art structure). This Eco Graphic work is inspired by the stimulation of creating water, fire, wind and soil in Javanese philosophy which is then processed in such a way that it becomes a graphic art work in an eco art perspective. Through inner research or inner wandering, the creator is able to visualize the work of Eco Graphic after discovering triangles, circles and lines as the main motive with the abstract expressionism model.
MINIPRINT ARTWORK CREATION WITH SATO KEWAN OBJECT Sigit Purnomo Adi, S.Sn, M.Sn; Mohammad Khizal Mohamed Saat; I Gusti Ngurah Tri Marutama
ARTISTIC : International Journal of Creation and Innovation Vol 2, No 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2331.448 KB) | DOI: 10.33153/artistic.v2i1.3989

Abstract

Animals have provided humans with everything from meat to eggs to pleasure. Thus, animals, including chameleons, must be rescued from extinction. The chameleon's uniqueness makes it an intriguing subject for artistic creation. The purpose of this artwork is to visualize the concept of personal expression through miniprint works using Sato Kewan (variety of animals) object, specifically the chameleon. The creation of this printmaking work is part of artistic research, more specifically research into art practice, which is conducted using plywood as a medium, an abstract expressionism style, and the concept of art as personal expression. The stages of creation include experimentation, contemplation, and formation. A chameleon miniprint reflecting personal expression is created as a result of the creation process. Hence, visualization of chameleon miniprints using advanced printing techniques can result in abstract expressionism-inspired printmaking works. The creation, which incorporates traditional and contemporary art elements, is expected to be competitive nationally and internationally.
EARTH'S CREATION STIMULUS: CREATION OF GRAPHIC ARTS WITH USED PLYWOOD MEDIA Sigit Purnomo Adi; Pande Made Sukerta; M. Dwi Marianto; Sri Hadi
ARTISTIC : International Journal of Creation and Innovation Vol 2, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (314.355 KB) | DOI: 10.33153/artistic.v2i1.3634

Abstract

 Natural phenomena, especially climate change, are increasingly worrying lately. Graphic art can be used to express concern for the environment in response to climate change. The creation of this graphic art work uses the concept of the earth's creation stimulus. The creative methods used include: experimentation, contemplation, and formation. Abstract Expressionism was chosen as the style of personal expression in the creation of this work. The creative technique used is high printing technique with used plywood media. The results of the creation process show that the visualization of the concept of the earth's creative stimulus produces the forms of circles and lines. These forms are the main motif in the creation of graphic art with the stimulation of this earth's creativity 
Poster dengan Teknik Cetak Tinggi sebagai Bentuk Kritik Ekologis Sigit Purnomo Adi; I Gusti Ngurah Tri Marutama; Seviana Rinawati; M. Khizal Mohamed Saat
Visual Heritage: Jurnal Kreasi Seni dan Budaya Vol 4, No 2 (2022): Visual Heritage: Jurnal Kreasi Seni dan Budaya
Publisher : Universitas Indraprasta PGRI

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30998/vh.v4i2.4018

Abstract

Tujuan penelitian ini adalah ingin memahami persoalan yang muncul dalam eksistensi poster dengan teknik cetak tinggi pada karya seniman-seniman di Indonesia dalam menyingkapi fenomena ekologis. Pertanyaan yang diajukan (1) apakah poster dengan teknik cetak tinggi mampu menghadirkan dimensi estetik yang kritis; (2) bagaimana pengaruh lingkungan membentuk kesadaran seniman dalam praktik poster dengan teknik cetak tinggi. Keberadaan praktik poster dengan teknik cetak tinggi terhadap perkembangan seni rupa kontemporer dengan teknik dan medium baru, serta dengan paradigma, konsep dan keyakinan dasar  seniman yang lebih memiliki kepekaan ekologis. Dalam proses kreatif penciptaan poster dengan teknik cetak tinggi mampu menghadirkan sesuatu yang dipandang kritis terhadap berbagai fenomena ekologis. Beberapa seniman yang bermukim di Indonesia memanfaatkan ruang publik sebagai tempat untuk mempresentasikan karya sebagai bentuk penyadaran publik tentang berbagai hal, khususnya tentang kerusakan lingkungan alam. Hasil penelitian ini menunjukkan bahwa praktik poster dengan teknik cetak tinggi ternyata mampu menghadirkan dimensi pendidikan kritis. Sebagai bentuk tanggungjawab sosial seniman, seni bukan hanya urusan estetik dan galeri, seni yang baik adalah seni yang mampu memberikan kontribusi bagi kehidupan yang lebih baik sebagai bentuk pemuliaan terhadap nilai-nilai hidup dan menghidupi.
DEVELOPMENT OF LEATHER CALLIGRAPHY CRAFTS THROUGH INNOVATION OF DESIGN AND COLORING TECHNIQUE Adam Wahida; Sigit Purnomo Adi
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Publisher : Universitas Sebelas Maret

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1019.284 KB)

Abstract

This article is the result of community service program to develop micro business of leather calligraphy crafts in Sonorejo Village Sukoharjo District. So far the product of leather calligraphy, made using a single color screen printing technique with a monotonous visual form without variations of decoration. In general, craftsmen tend to be passive in developing new designs because they feel enough to produce calligraphy from the order designs carried by middlemen. Dependence on the middleman, causing the weak bargaining position of craftsmen in determining the price of the product. Meanwhile, craftsmen have production experience as a basis to develop their creativity in creating design innovations that are likely to expand the marketing area. In view of these conditions, the program is implemented to develop creativity and craftsman skills in: 1) create more varied designs of calligraphy, 2) create decorative patterns, 3) apply techniques of color screen printing on leather calligraphy crafts products. This community service program uses a participatory approach with a buttom up method; where the participation of craftsmen during the activity is expected to be able to answer their needs in a participative manner. Its activities are focused on training on the development of shape design, decorative pattern, and application of color screen printing technique. Through this program, there has been an increase in the ability of craftsmen in terms of: 1) creating new and more varied calligraphic designs using coreldraw software. 2) composing calligraphy style, decorative pattern, and background in harmony and artistic, 3) creating product according to design by applying color screen printing technique.
ANALISIS TEKNIK CETAK TINGGI SEBAGAI MEDIA DUPLIKASI PADA POSTER KRITIK LINGKUNGAN sigit purnomo adi
Texture:Art and Culture Journal Vol 4, No 2 (2021)
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (668.388 KB) | DOI: 10.33153/texture.v4i2.4222

Abstract

In this research the author emphasizes how relief print techniques as a medium for duplication in propaganda poster works are able to present artistic beauty that has distinctive characteristics and is also able to provide awareness to those who see it. The reason the writer is interested in relief print techniques as a means of duplicating propaganda posters is because if you look at the history of relief print, its role wasvery important during the struggle, especially as a medium for duplicating posters of the struggle. Until now, relief print has also been used as a media for duplicating environmental criticism posters to awaken and as a means of education about the importance of protecting this environment. This writing aims to explore further about high printing techniques as a medium for duplication of environmental criticismpropaganda posters as a form of awareness and education about the environment, it turns out that graphic art is not only a form of art that has aesthetic value, but can also be a medium for duplication. The results of this paper are expected to be able to provide benefits in order to enrich the repertoire of graphic arts, especially relief print techniques.
PELATIHAN PEMBUATAN MINIPRINT DENGAN MENGGUNAKAN MEDIA TRIPLEK DI KOMUNITAS MAKMOER ART PROJECT SUKOHARJO sigit purnomo adi
Abdi Seni Vol 12, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/abdiseni.v12i1.3748

Abstract

Abstract Miniprint is one of the print size formats in graphic arts that is not yet very popular in Indonesia. Miniprint format prints in small sizes both matrix and paper. Printing in small sizes is fun. Small format requires patience and technical skill in visualizing the artist's ideas and ideas. Considering that miniprints have many features apart from a small format, they can also be carried everywhere and can also be used as an aesthetic element or room decorator and have good selling power, encouraging the author to hold a workshop or training on making miniprints in the Makmoer Art Project Sukoharjo community. The selection of the training venue in the Makmoer Art Project Community is because this community is indeed engaged in the arts and humanity. A community that always provides free workshops to people in need. Community service methods, problem identification, training and mentoring, evaluation. The works produced in this training after completion are then framed in a minimalist way. The miniprints produced are small-sized works of graphic art, using a matrix of plywood. These works are used as aesthetic elements of the house or as room decoration. Works for the aesthetic element of the house are currently popular among the public so that they have a selling value and can be used as an alternative in entrepreneurship. 
Co-Authors Adam Wahida Agustinus Sumargo Agustinus Sumargo, Agustinus Ali Djamhuri Ariesa Pandanwangi Arleti Mochtar Apin Bagaskoro Ardhi Bahari, Nooryan Dyah Yuni Kurniawati, Dyah Yuni Ercilia Rini Octavia I Gusti Ngurah Tri Marutama I Gusti Ngurah Tri Marutama I Gusti Ngurah Tri Marutama I Gusti Ngurah Tri Marutama M. Dwi Marianto M. Khizal Mohamed Saat Martinus Dwi Marianto Martinus Dwi Marianto Mohammad Khizal Mohamed Saat Mohammad Khizal Mohamed Saat Nadia Sigi Prameswari Narsen Afatara Nooryan Bahari Nuning Damayanti Pande Made Sukerta Pande Made Sukerta Pande Made Sukerta Pande Made Sukerta Pande Made Sukerta Sayid Mataram Seviana Rinawati Sigied Himawan Yudhanto Sri Hadi Sri Hadi Sri Hadi Sri Hadi Sri Hadi Widy Dwi Ajimahendra