{"title":"Problematika Diri Sebagai Rangsang Cipta Karya Seni Lukis Abstrak","authors":"Muhammad Hidayat, S. Suryanti, Hamzah Hamzah","doi":"10.26887/vartjofa.v2i2.2772","DOIUrl":"https://doi.org/10.26887/vartjofa.v2i2.2772","url":null,"abstract":"Problematics are obstacles or problems that must be solved; in other words, the problem is the gap between reality and something expected to work well to achieve maximum results. In everyday life, a person is never separated from various problems, one of which is the problems experienced while attending lectures. Problems arise from one's own negligence, resulting in self-defeating consequences. This is the basis for the creation of paintings. The form of the work presented is a two-dimensional work with an abstract style approach, emphasizing expressive and spontaneous lines using acrylic paint on canvas. The creation methods are preparation, observation, design, embodiment, and presentation. The creation of this painting has succeeded in producing five works entitled \"Turbulence of problematic,\" \"Red problematic,\" \"Problematic attack,\" \"Blue problematic,\" and \"Wave control.\"","PeriodicalId":190724,"journal":{"name":"V-art: Journal of Fine Art","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128469477","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Lumbung Padi Kerinci Sebagai Objek Penciptaan Karya Seni Grafis Gaya Surealis","authors":"Jeki Aprisela H, Rajudin Rajudin","doi":"10.26887/vartjofa.v2i2.3224","DOIUrl":"https://doi.org/10.26887/vartjofa.v2i2.3224","url":null,"abstract":"The Kerinci Rice Barn is the object of this printmaking. The Kerinci rice barn was chosen as the object of creation because its existence is already threatened with extinction. In fact, the philosophical value of the Kerinci rice barn is very noble and profound. This printmaking is made in a surreal style. The concept of distortion is used to make the work more surreal. The idea behind this work is to use the Kerinci rice barn as an idiom to express oneself through art. The stages of the method in this creation are: contemplation, prototype, and forming. This printmaking work combines the hardboard cut technique with the stencil technique. The media used are acrylic paints and oil-based printing inks on canvas. The creation of this work has resulted in a work entitled \"Menabung\". This work measures 100 cm x 100 cm.","PeriodicalId":190724,"journal":{"name":"V-art: Journal of Fine Art","volume":"97 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127075507","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Teman Sebagai Objek Penciptaan Karya Seni Lukis","authors":"Jefri Rahmat, Rajudin Rajudin, Ibrahim Ibrahim","doi":"10.26887/v-art.v2i1.2331","DOIUrl":"https://doi.org/10.26887/v-art.v2i1.2331","url":null,"abstract":"Teman adalah istilah yang menggambarkan perilaku kerjasama dan saling mendukung. Teman memegang peranan penting dalam kehidupan sehari-hari, pada ruang lingkup pertemanan terkadang tidak berjalan baik dengan semestinya, pada semua pertemanan pasti memiliki permasalahan didalamnya seperti penghianatan, perundungan dan penghinaan. Hal tersebeut menjadi landasan dalam penciptaan karya seni lukis. Bentuk karya yang dihadirkan adalah karya dua dimensi dengan pendekatan gaya abstrak, dengan mengkombinasikan abstraksi bentuk di dalamnya menggunakan cat akrilik dan kombinasi arang pada kanvas. Metode penciptaan dilakukan adalah persiapan, tahap ini melakukan observasi di lingkungan pertemanan pengkarya dan pencarian referensi yang berkaitan dengan tema yang diangkat, selanjutnya tahapan perancangan dilakukan rancangan atau strategi visual, teknik yang digunakan adalah teknik plakat dan aquarel kemudian tahap perwujudan adalah tahap penggarapan dan eksplorasi teknik pada karya hingga selesai, setelah melakukan semua tahap, masuk ketahap penyajian, dimana pada tahapan ini dilakukannya pameran. Perwujudan karya seni lukis ini berhasil menghasilkan tiga buah karya yang berjudul “Toxic”, “Cemooh”, dan “Penghasut”.","PeriodicalId":190724,"journal":{"name":"V-art: Journal of Fine Art","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125365141","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Kumbang Koksi Sebagai Ide Penciptaan Karya Seni Lukis","authors":"Nadiya Syalimah, Hamzah Hamzah, Jufrinaldi Jufrinaldi","doi":"10.26887/v-art.v2i1.2329","DOIUrl":"https://doi.org/10.26887/v-art.v2i1.2329","url":null,"abstract":"Kumbang koksi merupakan salah satu satwa liar bangsa serangga yang memiliki keindahan warna dan bentuk corak pada badannya yang membuat mereka mudah dikenali karena penampilannya yang cukup khas, sehingga bisa dibedakan dari serangga lainnya. Bentuk fisik dari kumbang koksi sangat berkesan akan keindahannya, yang saat ini sudah jarang dijumpai. Karya ini mengangkat tentang kekaguman terhadap keindahan kumbang koksi, ke dalam bentuk karya seni lukis dalam bentuk representasional, yang menggunakan konsep distorsi, deformasi, stilisasi yang direpresentasi menggunakan gaya dekoratif. Metode penciptaan yang digunakan terdiri dari persiapan mencari informasi, perancangan dengan menuangkan ide dari hasil data yang didapatkan, perwujudan menghadirkan proses konsep yang dari awal dirancang dan penyajian setelah proses perwujudan selesai dilakukan proses finishing yaitu pembingkaian karya. Karya dalam bentuk dua dimensi berupa karya lukisan, masing-masing karya memiliki perbedaan baik dari bentuk visual yang diwujudkan maupun perasaan yang ingin disampaikan terkait kumbang koksi, yang terdiri dari delapan buah karya dengan judul Plural, Home, Tarian Kumbang Koksi, Bingung, Bingung #2, Queen, Atraktif, dan Kerumunan.","PeriodicalId":190724,"journal":{"name":"V-art: Journal of Fine Art","volume":"156 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115926015","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Trauma Masa Kecil Sebagai Rangsang Cipta Dalam Karya Seni Lukis","authors":"Reno Masril, S. Suryanti, Miswar Miswar","doi":"10.26887/v-art.v2i1.2352","DOIUrl":"https://doi.org/10.26887/v-art.v2i1.2352","url":null,"abstract":"Trauma pada masa kecil yang dihadirkan dalam karya ini diciptakan dari pengalaman masa kecil pengkarya yang sering dibuli, disakiti baik secara fisik ataupun mental. Dalam penciptaan karya seni lukis ini menghadirkan perasaan sedih dan pilu karena pernah mengalami buli tersebut dan menyebabkan trauma tersendiri pada pengkarya. Bentuk karya yang akan diciptakan adalah dengan bentuk representasional dengan penggunaan bentuk distorsi dan konsep disformasi dengan gaya pop surealis. Metode penciptaan yang dilakukan adalah persiapan dimana dalam tahap ini melakukan perenungan dan ingatan-ingatan masa lalu yang mengganggu kemudian dilanjutkan pada pembuatan sketsa alternatif pada tahap perancangan, proses pembuatan karya dilanjutkan pada tahap perwujudan dimulai dari proses penyediaan bahan, proses pemasangan kain kanvas, pendasaran kanvas, proses pemindahan sketsa pada kanvas, proses melukis sampai finishing dan setelah melakukan semua tahapan tersebut dilakukan pameran pada tahap penyajian. Hasil karya menggunakan mixed media, teknik plakat dan aquarel, penciptaan karya ini telah menghasilkan lima karya lukis yang berjudul Leave Me Alone, Gold Fish, Fight Back, dan Refrain.","PeriodicalId":190724,"journal":{"name":"V-art: Journal of Fine Art","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130992443","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Bunga Edelweis Sebagai Objek penciptaan","authors":"Yori Oktaviani, Hamzah Hamzah, Maulid Hariri Gani","doi":"10.26887/v-art.v2i1.2322","DOIUrl":"https://doi.org/10.26887/v-art.v2i1.2322","url":null,"abstract":"Penciptaan karya Tugas Akhir ini didasari karena pengkarya ingin meluapkan rasa prihatin dan sedih terhadap kondisi dan keadaan dari populasi dan habitat asli bunga edelweis pada saat ini. Rasa yang dihadirkan pada karya seni lukis bunga edelweis ini disampaikan dengan karya bergaya dekoratif, yang bertujuan supaya rasa prihatin dan dan sedih itu dapat tersampaikan, dengan berusaha menampilkan visual objek dengan hiasan. Metode penciptaan yang dilakukan terdiri dari persiapan yang mengumpulkan data, perancangan dengan menuangkan ide dari hasil yang didapatkan. Perwujudan menghadirkan proses konsep dari awal rancangan penyajian karya setelah diproses. Proses perwujudan selesai dilakukan proses finishing yaitu pembingkaian karya. Dalam penciptaan karya seni lukis, bentuk visual utama yang dihadirkan yaitu bunga edelweis, dan objek pendukung lainnya, serta di hias dengan titik-titik dan kontur pada bagian background. Masing- masing karya memiliki perbedaan baik bentuk tata letak visual dll, sebagai media untuk mengungkapkan ekspresi dari rasa prihatin dan sedih dari diri pengkarya sendiri terhadap kondisi dan keadaan dari populasi dan habitat asli dari bunga edelweis.","PeriodicalId":190724,"journal":{"name":"V-art: Journal of Fine Art","volume":"110 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125239197","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Unggah-ungguh sebagai ide penciptaan karya seni lukis","authors":"Helni Yuliana, Miswar Miswar, Rica Rian","doi":"10.26887/v-art.v2i1.2327","DOIUrl":"https://doi.org/10.26887/v-art.v2i1.2327","url":null,"abstract":"Penciptaan karya Tugas Akhir dengan judul “Unggah-ungguh sebagai ide penciptaan karya seni lukis”, didasari dari ketertarikan pengkarya terhadap fenomena unggah-ungguh dalam budaya Jawa yang merupakan etika, sopan santun dan tata krama, yang berada di Blok B Sitiung II, Kecamatan Koto Salak, Kabupaten Dharmasraya, Sumatera Barat. Pengkarya menghadirkan karya seni lukis ini menjadi pengetahuan akan penerapan unggah-ungguh agar tidak hilang jati diri pengkarya pada budaya Jawa, karena mengalami penurunan penerapan yang disebabkan oleh beberapa faktor. Metode penciptaan yang dilakukan terdiri dari persiapan meliputi pengumpulan data, eksperimen dengan menuangkan ide dari hasil data yang didapatkan, perwujudan dari proses konsep awal dengan sketsa, pemindahan sketsa, proses melukis hingga finishing dan penyajian dengan pembingkaian pada karya serta pameran. Karya dalam bentuk dua dimensi menggunakan gaya dekoratif dengan karakter bentuk wayang dan motif batik sebagai hiasannya dengan teknik transparan. Masing-masing karya memiliki perbedaan dari segi bentuk visual yang mengungkapkan perasaan pengkarya terhadap unggah-ungguh dalam kehidupan pengkarya, yang terdiri dari judul Kulo Puron Nedi?, Ngrembuk, dan Wejangan.","PeriodicalId":190724,"journal":{"name":"V-art: Journal of Fine Art","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123808047","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Estetika Karya Seni Lukis Kaligrafi Zulhelman","authors":"Azizul Ardhi, S. Suryanti, Hamdan Akromullah","doi":"10.26887/v-art.v2i1.2328","DOIUrl":"https://doi.org/10.26887/v-art.v2i1.2328","url":null,"abstract":"Zulhelman adalah seniman Sumatera Barat yang cukup terkenal dengan karya lukis kaligrafinya. Penelitian ini membahas tentang bagaimana memahami estetika karya lukis kaligrafi Zulhelman dengan menggunakan teori Djelantik. Penelitian ini menggunakan metode kualitatif yang mana meliputi observasi, wawancara, dan studi pustaka serta penelitian dilakukan di kota Padang dan Padang Panjang, Sumatera Barat. Dilanjutkan dengan pembahasan tentang perjalanan berkesenian Zulhelman. Pembahasan tentang visual karya lukis Zulhelman untuk memahami estetika karya kaligrafi Zulhelman dengan menggunakan teori estetika A.A.M Djelantik. Berdasarkan hasil penelitian tentang estetika seni lukis kaligrafi Zulhelman, penggunaan garis yang tajam mendominasi setiap karya seni lukis kaligrafinya. Penggunaan huruf atau khat dalam kaligrafi Zulhelman berbeda dengan penulisan khat baku yang terlihat pada bentuk penulisan ayat. Hampir setiap kaligrafi Zulhelman memiliki tekstur. Nilai-nilai yang terkandung di dalam karya Zulhelman berupa nilai ketauhitan.","PeriodicalId":190724,"journal":{"name":"V-art: Journal of Fine Art","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114412450","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Monumen Perjuangan Masyarakat Cupak Ditinjau Dari Segi Bentuk, Fungsi Dan Tata Letak","authors":"Dinda Fitria, Maulid Hariri Gani, Rica Rian","doi":"10.26887/vartjofa.v1i1.2131","DOIUrl":"https://doi.org/10.26887/vartjofa.v1i1.2131","url":null,"abstract":"This study discusses the Cupak Community Struggle Monument in Solok Regency in terms of form, function, and layout. In addition, we briefly discuss the brief history behind the monument's establishment. This study uses a qualitative approach which includes observations, interviews, literature studies, and research is carried out directly to the field, namely to the Cupak area in Solok Regency, West Sumatra. Based on the results of the research conducted, it is known that the construction of the Cupak Community Struggle Monument aims to commemorate the period of the Cupak people's struggle against the Japanese army, and the shape of the monument is a visual representation of 3 warriors including statues consisting of figures dressed in Indonesian soldiers, Japanese soldiers, and community warrior. The layout of the Cupak Community Struggle Monument is closely related to the function of the monument itself, a monument that has a social function and a physical function, namely a monument which, if created and viewed on a public scale, means that it can reach the wider community.","PeriodicalId":190724,"journal":{"name":"V-art: Journal of Fine Art","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121953195","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Representasi Rumah Gadang Pada Karya Lukis Hamzah","authors":"Mukhtia Resfa, S. Suryanti, Rica Rian","doi":"10.26887/vartjofa.v1i1.2134","DOIUrl":"https://doi.org/10.26887/vartjofa.v1i1.2134","url":null,"abstract":"This study discusses the representation of the rumah gadang presented by Hamzah in his paintings, viewed from an aesthetic point of view. This research will explain how the form of representation presented by Hamzah. In this study, qualitative methods used include observation, interviews, and literature study. In this study, we will review Hamzah's paintings based on the period from 2010-2020, so eight Hamzah paintings will be studied. Hamzah's paintings illustrate how the social life of the Minangkabau community has changed due to the changing times. Physical changes from the results of Minangkabau culture are changes that occur in the form of the rumah gadang. The visual of the rumah gadang is expressed in the forms of the rumah gadang that has been damaged, weathered, and even collapsed. Hamzah does not emphasize the forms of rumah gadang in one type only but symbolizes the symbolic rumah gadang. The representation of rumah gadang in Hamzah's painting can be analyzed that there are 3 visual types of rumah gadang in this study, namely the type of rumah gadang Gajah Maharam, Lipek Pandan and Balah Bubuang.","PeriodicalId":190724,"journal":{"name":"V-art: Journal of Fine Art","volume":"60 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116250340","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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