https://jurnal2.isi-dps.ac.id/index.php/citrakara/issue/feed CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 2024-08-28T02:29:48+00:00 Dr. I Wayan Sujana, S.Sn., M.Sn citakara@isi-dps.ac.id Open Journal Systems <p>Nama Jurnal : Cita Kara: Jurnal Penciptaan dan Pengkajian Seni Murni<br />Frekuensi : Terbit 2 kali dalam setahun <br />Online ISSN : <a href="https://issn.brin.go.id/terbit/detail/20220106481291404" target="_blank" rel="noopener">2829-0879</a><br />Chief Editor : Luh Budiaprilliana<span style="font-family: 'Noto Sans', 'Noto Kufi Arabic', -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen-Sans, Ubuntu, Cantarell, 'Helvetica Neue', sans-serif;"><br /></span>Penerbit : Pusat Penerbitan LP2MPP, Institut Seni Indonesia Denpasar<br />Indexing : Google Scholar | Garuda<span style="font-family: 'Noto Sans', 'Noto Kufi Arabic', -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen-Sans, Ubuntu, Cantarell, 'Helvetica Neue', sans-serif;"><br /></span>Lisensi : <a href="https://creativecommons.org/licenses/by/4.0/" target="_blank" rel="noopener">CC-BY 4.0</a><span style="font-family: 'Noto Sans', 'Noto Kufi Arabic', -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, Oxygen-Sans, Ubuntu, Cantarell, 'Helvetica Neue', sans-serif;"><br /></span>Archiving : <a href="https://jurnal2.isi-dps.ac.id/index.php/citrakara/gateway/clockss" target="_blank" rel="noopener">CLOCKSS</a>, <a href="https://jurnal2.isi-dps.ac.id/index.php/citrakara/gateway/lockss" target="_blank" rel="noopener">LOCKSS</a></p> https://jurnal2.isi-dps.ac.id/index.php/citrakara/article/view/3383 Calonarang Mythology 2024-08-27T10:52:34+00:00 I Putu Deva Maha Putra tudeva902@gmail.com I Made Jodog tudeva902@gmail.com I Wayan Mudana tudeva902@gmail.com <p><em>Calonarang mythology depicts the story of Queen Nata Ing Girah (ruler in the village of Girah) which is considered scary because it has magical powers and supernatural. Various mythical stories and magical rituals always color the trail Airlangga in Kahuripan, East Java during the 11th century Javanese Hindu period. Research This aims to create and analyze Calonarang's mythological themes in the work art painting. Therefore, the author raised this story into the form of a work of art painting in this Final Project in partnership with Sanggar Wasundari Kamasan Klungkung Bali. Calonarang Mythology research problems in creation. This is the concept of painting that depicts the Calonarang Mythology, what is the process of creating a work of painting depicting mythology Calonarang, and how Calonarang Mythology paintings look like. Method The research used in this writing is text analysis and study literature. The results of this research are works of art with a mythology theme Calonarang with an explanation of the concept, origins of Calonarang mythology, characteristics main characters, and important events in the story are realized in paintings.</em></p> 2024-08-28T00:00:00+00:00 Copyright (c) 2024 I Putu Deva Maha Putra, I Made Jodog, I Wayan Mudana https://jurnal2.isi-dps.ac.id/index.php/citrakara/article/view/3487 Visualization of the Impact of the Development of the Industrial Revolution in Digital Painting 2024-08-27T10:50:48+00:00 Komang Yudana komang232322@gmail.com I Wayan Mudana komang232322@gmail.com Luh Budiaprilliana komang232322@gmail.com <p>Revolusi industri adalah transformasi besar perkembangan teknologi dan pengetahuan pada manufaktur dengan mengubah sistem produksi dari cara tradisional menjadi lebih efktif, efisien, dan ekonomis. Perkembangan Revolusi Industri sudah terjadi sebanyak empat kali dimulai dari abad ke-18 sampai abad ke-21, mengalami dampak yang sangat pesat yang berdampak pada proses produksi dan reproduksi.&nbsp; Revolusi industri memiliki dampak positif yaitu membantu manusia menjalani kehidupan dengan teknologi yang baru dan juga ada dampak negatif yaitu manusia akan kehilangan lapangan pekerjaan karena sudah digantikan oleh teknologi dan robot yang dipekerjakan. Maka dari itu, fenomena ini sangat menarik saya untuk mengambil judul “Visualisasi Dampak Perkembangan Revolusi Industri Dalam Seni Lukis Digital” bertujuan agar dapat membuat karya seni lukis digital dari dampak revolusi industri, metode yang digunakan adalah metode penciptaan yang bersifat kualitatif di uraikan secara deskriftiv. Hasil dari pembahasan dampak revolus industri yang divisualisasikan menjadi seni lukis digital membahas tentang satu konsep, dua penciptaan karya, dan tiga deskripsi karya, empat estetika karya, dan kelima keotentikan karya. Penciptaan karya ini dilakukan distudio Antara Putra dari bulan Agutus sampai Maret menghasilkan enam karya seni digital yang berjudul karya 1 Revolusi 1.0, karya 2 Takterkendali, karya 3 Manusia dan teknologi, karya 4 Bali revolusi 55.0, karya 5 Serangan saiber, dan karya 6 AI.</p> 2024-08-28T00:00:00+00:00 Copyright (c) 2024 Komang Yudana, I Wayan Mudana, Luh Budiaprilliana https://jurnal2.isi-dps.ac.id/index.php/citrakara/article/view/718 Angelo's Peacock Dance is a Source of Inspiration for Creating Painting Works 2024-08-27T10:55:21+00:00 I Komang Ardiana lolakardiana@gmail.com I Made Ruta lolakardiana@gmail.com I Gusti Ngurah Putra lolakardiana@gmail.com <p>Tari Merak Angelo merupakan salah satu seni tari kreasi baru yang termasuk ke dalam jenis tari <em>Balih-balihan</em> yakni tari yang berfungsi sebagai tari hiburan. Tari ini diciptakan oleh I Ketut Rena, S.ST, M.Si pada tahun 2008, memiliki gerak tari yang dinamis, mengisahkan tentang gerak-gerik seekor merak jantan dalam musim kawin yang menari serta meliuk-liukan keindahan bulu ekornya untuk menarik perhatian betina. Ketertarikan penulis pada tari ini muncul setelah menonton pementasanya, sehingga muncul pengalaman estetis penulis pribadi terhadap pementasan tarian ini dan menginspirasi untuk memvisualkannya dalam karya seni lukis. Metode penelitian kualitatif digunakan dalam pengamatan dilapangan untuk mengetahui informasi tentang Tari Merak Angelo. Untuk melandasi ide karya lukis, digunakan teori estetika A.A.M Djelantik. Berdasarkan hasil pengamatan, proses eksplorasi, dan eksperime perwujudan kaya senilukis yang berjudul (1) Ngagem Ngegol, (2) Ngelo, (3) Terbang, (4) Mengibaskan Ekor, (5) Memadu Kasih, (6) Ceria. Melalui karya seni ini diharapkan dapat bermanfaat bagi pengamat karya seni, pencinta karya seni sehingga karya seni lukis yang penulis ciptakan dapat menginspirasi masyarakat luas.</p> 2024-08-28T00:00:00+00:00 Copyright (c) 2024 I Komang Ardiana, I Made Ruta, I Gusti Ngurah Putra https://jurnal2.isi-dps.ac.id/index.php/citrakara/article/view/717 The Routine of Arak Farmers in Karangasem Bali as an Idea for Creating Naturalist Sculpture Artwork 2024-08-27T10:54:18+00:00 Si Ngurah Suarsa ngurahsuarsa312@gmail.com I Ketut Mustika ngurahsuarsa31@gmail.com I Wayan Sukarya ngurahsuarsa31@gmail.com <p><em>The routine of arak farmers in Karangasem Bali is very interesting to be made an object of research on the creation of fine art (statues) with the title "Routines of Arak Farmers in Karangasem Bali as an Idea for Creating Naturalist Sculpture Art". To find out the problems of creation above, research steps, creation and presentation of art were carried out using the approach of art theory, aesthetics, construction and semiotics. The research approach uses a qualitative approach using the method of collecting observation data, interviews, documentation and literature studies. Results of the discussion: (1) the form of the statue from the representation of the routine of arak farmers in Karangasem Bali: (a) nadah tuak, (b) harvest tuak, (c) mulangin tuak, (d) ngedig lau, (e) nginum arak. (2) the technique used is the technique of adding and reducing materials. (3) the author displays the visual form of arak farmers who are carrying out daily activities or routines of the arak farmers, with a naturalistic style in each form of work emphasizing naturalness and beautifying without significantly changing the shape of the object. From this concept, 5 works were created that can be reviewed from the ideoplastic aspect and the physioplastic aspect. The output of this research is in the form of a thesis, five pieces of sculpture.</em></p> 2024-08-28T00:00:00+00:00 Copyright (c) 2024 Si Ngurah Suarsa, I Ketut Mustika, I Wayan Sukarya https://jurnal2.isi-dps.ac.id/index.php/citrakara/article/view/715 Self-Portrait Facial Expressions as a Source of Ideas for Creating Painting Art 2024-08-27T10:56:05+00:00 I Made Ariawan Mahendra Artayasa dekta.mahendra@gmail.com Dewa Putu Gede Budiarta dekta.mahendra@gmail.com A.A Gde Yugus dekta.mahendra@gmail.com <p>The face is a representation and the identity of a person's individual. Facial expressions in social life serve as one of the mediums of communication. Various facial expressions of mutual significance can be listed as signs. Visualizing the face with its expressions (signs) into the art of painting is interesting. Real facial expressions are expressive while facial expressions in painting can contain a metaphor that can mean more than can be seen. The realization of ideas to the art of painting constitutes a phenomenon that occurs in people's lives and personal lives, while it conveys a message asa critical power that one hopes to grasp its meaning through the process of aesthetic and practical experience many benefits obtained for future reference and basis</p> <p>Alluding to the theme raised, it will be describred word by word with several studies of sources to avoid confusion</p> <p>about the meaning contained in the meanin of the title that the author has adopted so that works such as Just</p> <p>Fanny”, Reflecting”, Focus”, Upset”, Shame”, and Scared”. In the embodiment of the work, the sepia color is more prominent. By combining contrasting colors to produce works that become the identitiy of the ceator. In the end, the work related to the title that was appointed, namely Self-Potrait Facial Ekspressions as a Source of Painting Creator Ideas” is expected to be useful and become a shared learning.</p> 2024-08-28T00:00:00+00:00 Copyright (c) 2024 I Made Ariawan Mahendra Artayasa, Dewa Putu Gede Budiarta, A.A Gde Yugus https://jurnal2.isi-dps.ac.id/index.php/citrakara/article/view/3294 Visualization Of The Barong Landung Of The Abiantuwung Tabanan Village In Paintings 2024-08-23T08:52:52+00:00 I Putu Budiana putubudiana05@gmail.com I Wayan Karja putubudiana05@gmail.com Luh Budiaprilliana putubudiana05@gmail.com <p><em>Bali has many types of dances. In Bali you can find many types of dance, such as the barong dance. One of them is Barong Landung, which is the embodiment of a human or giant. With the presence of barong landung, Balinese people interpret it as a force that is believed to provide safety. The research problem focuses on the form of barong landung in the Abiantuwung Traditional Village, Barong Landung has a symbol of connection with Pura Dalem Balingkang. The research uses qualitative methods with analysis of interview and observation data. From the research results, it was found that the Barong Landung in the Abiantuwung Traditional Village is different from the barong landung in general in Bali. Barong landung is the embodiment of the Almighty Creator himself, which undagi in the past was certainly created in accordance with the conditions of the time at that time, namely when intercultural marriage between China and Bali was hot. The charm of this dance can generally only be enjoyed at special moments such as religious holidays in Bali which are usually called Piodalan which are held at certain temples. However, the barong landung in the Abiantuwung Traditional Village is only performed on certain days, such as at certain sasihs where the barong landung goes around at night without lights.</em></p> 2024-08-28T00:00:00+00:00 Copyright (c) 2024 I Putu Budiana, I Wayan Karja, Luh Budiaprilliana https://jurnal2.isi-dps.ac.id/index.php/citrakara/article/view/3297 Product Development Start Up Roumy (Shoes Blend Painting And Patchwork) 2024-08-23T08:57:31+00:00 Ni Gusti Ayu Arum Abdini ayuarum9677@gmail.com I Wayan Gulendra ayuarum9677@gmail.com I Dewa Putu Gede Budiarta ayuarum9677@gmail.com <p><em>Implementation of MBKM Entrepreneurship Final Project with Mitra Agung Bali Collection which is engaged in the fashion industry on the development of weaving designs for weaving feed or endek fabrics with characteristics of air brus technique and surface design. In the development of surface design, Agung Bali Collection prioritizes creativity and innovation as well as artistic skills in gold, silver, pearl and glitter colors with massage canting techniques. During the MBKM process of the Entrepreneurship Final Project, the author developed a painting shoe product with a combination of patchwork. Different old and new product stitching techniques are intended to create an impression of different aesthetic values in the shoes chosen as a medium. The marketing that the author does is based offline and online, with promotions through whatsapp, Instagram, and shopee. The types of research methods used are included in quantitative research and observation as data collection methods. The results obtained were 9 shoe products combining patchwork endek with the titles Roro, Water Waves, Ginkgo Leaves, Viewpoint, Whale, Galaxy, My Cat, Koi Place and Ladybug.</em></p> 2024-08-28T00:00:00+00:00 Copyright (c) 2024 Ni Gusti Ayu Arum Abdini, I Wayan Gulendra, I Dewa Putu Gede Budiarta https://jurnal2.isi-dps.ac.id/index.php/citrakara/article/view/3371 Farmer Activities In Mekar Jaya Village As An Idea In The Creation Of Painting 2024-08-27T12:42:27+00:00 I Gusti Nyoman Raharja gustiraharja8@gmail.com I Wayan Karja gustiraharja8@gmail.com I Made Ruta gustiraharja8@gmail.com <p><em>This Independent project study report raises the theme of farmer activities as an idea for creating paintings. Starting from personal experience who was born and raised in a farming family. By combining certain techniques, materials and references to achieve the desired goals and meaning. The problem faced is how to translate the visuals of farmers' activities into painting to support ideas so that the work looks attractive. The aims and benefits are to provide a reflection of farmers who carry out activities in the fields. To answer what is the aim of this work, the creation method involves exploration, experimentation, preparation and formation. By compiling elements of fine art through the stages of exploration, experimentation, preparation, and formation stages and combining them with ideas, 6 works were created entitled "Plowing Rice Fields, Numbeg, Nyemai Padi, Nyabut Bulih, Planting Rice, and Harvesting." In realizing the work the author will use technical references from other artists. By combining melting techniques, wet techniques and combining contour lines. It is hoped that it can produce quality work and become the identity of creation.</em></p> 2024-08-28T00:00:00+00:00 Copyright (c) 2024 I Gusti Nyoman Raharja, I Wayan Karja, I Made Ruta https://jurnal2.isi-dps.ac.id/index.php/citrakara/article/view/3372 Anatomy Of The Human Body As an Expression Of Painting Creation 2024-08-27T12:40:05+00:00 Kadek Win Mahesa Putra winmahesa07@gmail.com I Made Ruta winmahesa07@gmail.com I Gede Yosef Tjokropramono winmahesa07@gmail.com <p><em>In this Independent Project MBKM TA report, the author raises the title “Anatomy Of The Human Body As an Expression Of Painting Creation” which originated from the author’s daily activities when looking in the mirror in front of glass cabinet of the room which finally sparked the author’s idea to create works of painting. The problem is how to visualize the anatomical form of the human body in each work. In realizingit, the author uses methods and techniques obtained during the MBKM process. The purpose and benefits are to develop the author’s creativity in expressing expressive and semi-realist forms in the process of creating works. As well as using a method of creation that includes several stages, namely, contemplation, exploration, improvisation, realization/formation. From this process the author produced six works entitled : 1) “Walking”, 2) “Behind”, 3) “Grasping”, 4) “Leaning”, 5) “Hearing”, 6) “ Trail II”. It can be concluded that the author created the work based on his interest in the anatomical form of the human body, with ideas that come from the author’s daily experience through direct observation and digital media sources. In the realization stage, the author combines techniques from the results of MBKM and teaching obtained on campus, to be realized in the form of two dimensional works. From all processes, the author tries to get characteristics in painting.</em></p> 2024-08-28T00:00:00+00:00 Copyright (c) 2024 Kadek Win Mahesa Putra, I Made Ruta, I Gede Yosef Tjokropramono https://jurnal2.isi-dps.ac.id/index.php/citrakara/article/view/3375 Self-Introspection as an Idea in Creating Paintings 2024-08-27T14:13:38+00:00 Gede Agung Nugraha Arya Kepakisan akepakisan754@gmail.com I Made Bendi Yudha akepakisan754@gmail.com I Wayan Kondra akepakisan754@gmail.com <p style="font-weight: 400;">This thesis contains a description of the creation of works of painting with the theme "Self-Introspection as an Idea in Creating Works of Painting". This thesis discusses the significance of introspecting oneself on past mistakes in order to achieve a more positive impact in the future. Self-examination enables learning from mistakes, personal improvement, self-development, improved social relationships, and increased mental well-being. In conclusion, self-introspection is an important step on the journey towards better personal development and achieving a more positive impact in the future. The results of the application of the past are felt through the five senses, reason and true feelings which combine harmoniously and the more aware you are, the more you understand the life scenario. This is the grand design to bring us to continue evolving towards perfection.</p> 2024-08-28T00:00:00+00:00 Copyright (c) 2024 Gede Agung Nugraha Arya Kepakisan, I Made Bendi Yudha, I Wayan Kondra https://jurnal2.isi-dps.ac.id/index.php/citrakara/article/view/1061 Interpretation Of Characteristics Of Lord Shiva As Inspiration Of Painting Art 2024-08-28T02:29:48+00:00 Kadek Ian Gangga Sadewa sadewa.gangga@gmail.com I Wayan Adnyana sadewa.gangga@gmail.com I Made Bendi Yudha sadewa.gangga@gmail.com <p><span class="s20">This</span> <span class="s20">thesis</span> <span class="s20">contains</span><span class="s20"> a </span><span class="s20">description</span> <span class="s20">of</span> <span class="s20">the</span> <span class="s20">creation</span> <span class="s20">of</span> <span class="s20">painting</span> <span class="s20">with</span> <span class="s20">the</span> <span class="s20">theme</span><span class="s20"> "</span><span class="s20">Interpretation</span> <span class="s20">of</span> <span class="s20">the</span> <span class="s20">Characteristics</span> <span class="s20">of</span><span class="s20">Lord</span><span class="s20"> Shiva as </span><span class="s20">the</span> <span class="s20">Inspiration</span> <span class="s20">for</span> <span class="s20">Painting</span><span class="s20">". The </span><span class="s20">discussion</span> <span class="s20">of</span> <span class="s20">this</span> <span class="s20">theme</span> <span class="s20">is</span> <span class="s20">based</span> <span class="s20">on</span> <span class="s20">the</span> <span class="s20">symbolic</span> <span class="s20">form</span> <span class="s20">of</span> <span class="s20">Lord</span><span class="s20"> Shiva </span><span class="s20">who</span><span class="s20"> has a </span><span class="s20">background</span> <span class="s20">story</span> <span class="s20">and</span> <span class="s20">deep</span><span class="s20"> spiritual </span><span class="s20">meaning</span><span class="s20">, </span><span class="s20">feels</span> <span class="s20">very</span> <span class="s20">relevant</span> <span class="s20">to</span> <span class="s20">be</span> <span class="s20">implemented</span> <span class="s20">regarding</span> <span class="s20">the</span><span class="s20">phenomenon</span> <span class="s20">of</span> <span class="s20">social</span> <span class="s20">life</span><span class="s20"> in </span><span class="s20">the</span><span class="s20"> modern era </span><span class="s20">like</span> <span class="s20">today</span><span class="s20">. The </span><span class="s20">results</span><span class="s20"> are </span><span class="s20">manifested</span><span class="s20"> in </span><span class="s20">paintings</span> <span class="s20">using</span> <span class="s20">the</span> <span class="s20">creation</span><span class="s20">method</span> <span class="s20">of</span><span class="s20"> Graham </span><span class="s20">Wallas</span><span class="s20">. The </span><span class="s20">creation</span> <span class="s20">method</span> <span class="s20">includes</span> <span class="s20">the</span> <span class="s20">stages</span> <span class="s20">of</span> <span class="s20">preparation</span><span class="s20">, </span><span class="s20">incubation</span><span class="s20">, </span><span class="s20">getting</span> <span class="s20">inspiration</span><span class="s20">, </span><span class="s20">to</span><span class="s20">testing. At </span><span class="s20">the</span> <span class="s20">preparation</span> <span class="s20">stage</span><span class="s20">, </span><span class="s20">knowledge</span><span class="s20">, </span><span class="s20">insight</span><span class="s20">, </span><span class="s20">and</span> <span class="s20">framework</span> <span class="s20">of</span> <span class="s20">thinking</span><span class="s20"> are </span><span class="s20">processed</span><span class="s20"> as </span><span class="s20">instruments</span><span class="s20"> in </span><span class="s20">finding</span><span class="s20">problems</span> <span class="s20">and</span> <span class="s20">solving</span> <span class="s20">problems</span><span class="s20">, </span><span class="s20">including</span> <span class="s20">the</span> <span class="s20">preparation</span> <span class="s20">of</span> <span class="s20">mind</span> <span class="s20">mapping</span><span class="s20">. </span><span class="s20">Towards</span> <span class="s20">the</span> <span class="s20">incubation</span> <span class="s20">stage</span><span class="s20">, </span><span class="s20">the</span><span class="s20">subconscious</span><span class="s20">/</span><span class="s20">preconscious</span> <span class="s20">takes</span><span class="s20"> over </span><span class="s20">the</span> <span class="s20">process</span> <span class="s20">of</span> <span class="s20">searching</span> <span class="s20">and</span> <span class="s20">solving</span> <span class="s20">problems</span><span class="s20">. At </span><span class="s20">the</span> <span class="s20">stage</span> <span class="s20">of</span> <span class="s20">getting</span> <span class="s20">inspiration</span><span class="s20">, </span><span class="s20">the</span> <span class="s20">conscious</span> <span class="s20">and</span> <span class="s20">logic</span> <span class="s20">take</span> <span class="s20">back</span> <span class="s20">control</span> <span class="s20">to</span> <span class="s20">be</span> <span class="s20">able</span> <span class="s20">to</span> <span class="s20">elaborate</span> <span class="s20">on</span><span class="s20"> data </span><span class="s20">or</span> <span class="s20">even</span> <span class="s20">ideas</span> <span class="s20">obtained</span> <span class="s20">previously</span> <span class="s20">to</span> <span class="s20">then</span> <span class="s20">be</span><span class="s20">formulated</span><span class="s20"> as a </span><span class="s20">concept</span><span class="s20">. </span><span class="s20">This</span> <span class="s20">stage</span> <span class="s20">is</span> <span class="s20">carried</span> <span class="s20">out</span> <span class="s20">by</span><span class="s20"> making a </span><span class="s20">sketch</span><span class="s20"> as a </span><span class="s20">record</span> <span class="s20">of</span> <span class="s20">the</span> <span class="s20">idea</span> <span class="s20">so</span> <span class="s20">that</span> <span class="s20">it</span> <span class="s20">is</span><span class="s20"> not </span><span class="s20">biased</span> <span class="s20">and</span><span class="s20">spread</span> <span class="s20">everywhere</span><span class="s20">. The </span><span class="s20">last</span> <span class="s20">is</span> <span class="s20">the</span><span class="s20"> testing </span><span class="s20">stage</span> <span class="s20">which</span> <span class="s20">is</span> <span class="s20">carried</span> <span class="s20">out</span> <span class="s20">simultaneously</span> <span class="s20">with</span> <span class="s20">the</span> <span class="s20">formation</span> <span class="s20">or</span> <span class="s20">manifestation</span><span class="s20">of</span> <span class="s20">the</span> <span class="s20">work</span><span class="s20">. The </span><span class="s20">results</span> <span class="s20">of</span> <span class="s20">this</span> <span class="s20">research</span> <span class="s20">and</span> <span class="s20">creation</span><span class="s20"> are in </span><span class="s20">the</span> <span class="s20">form</span> <span class="s20">of</span> <span class="s20">six</span> <span class="s20">paintings</span> <span class="s20">about</span> <span class="s20">the</span> <span class="s20">characteristics</span> <span class="s20">of</span> <span class="s20">Lord</span><span class="s20">Shiva </span><span class="s20">with</span> <span class="s20">the</span> <span class="s20">titles</span><span class="s20"> (1) Shiva </span><span class="s20">Nilakantha</span><span class="s20">, (2) Shiva </span><span class="s20">Trinetra</span><span class="s20">, (3) Shiva </span><span class="s20">Nataraja</span><span class="s20">, (4) Lingga Yoni, (5) Trisula, (6) </span><span class="s20">Nandhi</span><span class="s20">. The </span><span class="s20">meaning</span> <span class="s20">of</span> <span class="s20">the</span> <span class="s20">characteristics</span> <span class="s20">of</span> <span class="s20">Lord</span><span class="s20"> Shiva </span><span class="s20">is</span> <span class="s20">poured</span> <span class="s20">into</span> <span class="s20">metaphorical</span><span class="s20"> visual </span><span class="s20">symbols</span><span class="s20">, </span><span class="s20">with</span> <span class="s20">relevant</span><span class="s20">assumptions</span><span class="s20">, </span><span class="s20">so</span><span class="s20"> as </span><span class="s20">to</span> <span class="s20">achieve</span><span class="s20"> a </span><span class="s20">narrative</span> <span class="s20">that</span> <span class="s20">is</span> <span class="s20">intended</span> <span class="s20">to</span> <span class="s20">be</span> <span class="s20">conveyed</span><span class="s20">. The </span><span class="s20">concept</span> <span class="s20">of</span> <span class="s20">the</span> <span class="s20">painting</span> <span class="s20">is</span> <span class="s20">adjusted</span> <span class="s20">to</span> <span class="s20">the</span><span class="s20">style</span> <span class="s20">of</span> <span class="s20">surrealism</span> <span class="s20">and</span> <span class="s20">symbolism</span><span class="s20">, </span><span class="s20">namely</span> <span class="s20">the</span> <span class="s20">expression</span> <span class="s20">of</span> <span class="s20">concepts</span> <span class="s20">through</span> <span class="s20">forms</span> <span class="s20">that</span> <span class="s20">go</span> <span class="s20">beyond</span> <span class="s20">reality</span><span class="s20">, </span><span class="s20">and</span> <span class="s20">by</span><span class="s20">using</span> <span class="s20">symbols</span><span class="s20"> as </span><span class="s20">its</span> <span class="s20">strength</span><span class="s20">.</span></p> 2024-08-28T00:00:00+00:00 Copyright (c) 2024 Kadek Ian Gangga Sadewa, I Wayan Adnyana, I Made Bendi Yudha https://jurnal2.isi-dps.ac.id/index.php/citrakara/article/view/4252 Visual Exploration of Palembang Folklore: The Legend of Kemaro Island in Digital Art 2024-08-23T03:18:12+00:00 Putri Gracia Simatupang Putrigraciasimatupang2003@gmail.com Luh Budiaprilliana putrigraciasimatupang2003@gmail.com I Made Ruta putrigraciasimatupang2003@gmail.com <p><span class="s26">The report on the creation of the work entitled "Visual Exploration of Palembang Folklore, Legend of </span><span class="s26">Kemaro</span><span class="s26"> Island" in Digital Art Works aims to introduce Palembang folklore so that it can be known by the wider community and encourage people to love the culture of their respective regions more. The process of creating digital works uses the Hawkins method, which includes exploration, experimentation and formation, and is equipped with a presentation method to display the results of the work. In the process of creating works, fine art elements such as points, lines, planes, shapes, spaces, colors, textures and light and darkness are applied and combined to create interesting visuals. This work is realized through non-proportional anatomical objects in the shape of children with fat and cute faces, inspired by the shape of </span><span class="s26">bakpau</span><span class="s26">. The choice of this shape provides visual uniqueness and an attractive impression. The results of the creation of this work are 16 (sixteen) digital works that visualize Palembang folklore, the Legend of </span><span class="s26">Kemaro</span><span class="s26"> Island. These works were then presented as an interactive art installation with the title "A Story." Through this work, it is hoped that Palembang folklore can be better known and appreciated by the wider community, as well as encouraging a love of local culture. Thus, this work contributes to the preservation and introduction of regional culture to a wider generation, emphasizes telling stories that are rich in cultural values, and provides new experiences for art lovers.</span></p> 2024-08-28T00:00:00+00:00 Copyright (c) 2024 Putri Gracia Simatupang, Luh Budiaprilliana, I Made Ruta https://jurnal2.isi-dps.ac.id/index.php/citrakara/article/view/3500 Pujawali Pura Dalem Tungkub as Inspiration for Creating Paintings 2024-02-02T03:43:48+00:00 I Made Adi Putra Prayoga putraprayoga153@gmail.com I Wayan Setem putraprayoga153@gmail.com I Made Bendi Yudha putraprayoga153@gmail.com <p>Pujawali is a day to celebrated by Hindus as a form of gratitude to God. Furthermore, the pujawali at Dalem Tungkub Mengwitani temple includes several processions, including the process of ngias sumpang, going to the purification, give the blabaran, mamendet, murwa daksina, joint prayer, napak pertiwi, and nyineb. The aim of creating this work and writing is to find the author's unique painting style inspired by pujawali activities using expressionist techniques. The method used in the process of creating this work of painting is the writing method by Hawkins, including the stages of exploration, improvisation and formation. The results of this activity correspond to the stages carried out, namely (1) in the exploration stage relevant ideas and studies related to the work created are produced; (2) the improvisation stage produces sketches in a sketchbook; and (3) the formation stage produced six works of painting according to the pujawali plot at Pura Dalem Tungkub Mengwitani.</p> 2024-08-28T00:00:00+00:00 Copyright (c) 2024 I Made Adi Putra Prayoga, I Wayan Setem, I Made Bendi Yudha https://jurnal2.isi-dps.ac.id/index.php/citrakara/article/view/3301 Newcomers Self-Adjusment And Interpersonal Communication As An Idea For Digital Painting Art Creation 2024-08-28T02:26:47+00:00 Intan Saraswati kartikalila38@gmail.com Ni Made Purnami Utami kartikalila38@gmail.com Tjokorda Udiana Nindhia Pemayun kartikalila38@gmail.com <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The purpose of this writing is to describe the visualization process which includes: concepts, themes, techniques and forms of painting works with the title <em>Self-Adjustment and Interpersonal Communication for Newcomers as Ideas for Creating Digital Painting Art.</em> The methods used in creating digital painting works of art are exploration, experimentation and execution. Exploration in creating digital works of art includes research, theme exploration and model exploration, namely combining themes and concepts and determining the poses of female figures by means of observation. The experimental method was carried out to discover new things such as the use of effects in the Adobe Photoshop application and to apply ideas and notions to the creation of digital works of art by applying filters to the photo images that will be used, then continuing with experiments on combining the drawn figures. with photo images that have been edited in the Adobe Photoshop application. The execution stage is carried out by moving the sketch to a new layer. After the discussion and creative process, it can be concluded: 1.) The concept in creating digital painting works of art is to express thoughts and feelings into digital works of art by using female figures as the main objects as symbols of feelings that have meaning regarding each event that occurs. experienced by the author related to the phenomenon of adapting to a new environment and visualized with a surrealistic approach. 2.) The concept in creating digital painting works of art is to express experiences or phenomena related to interpersonal communication and self-adjustment experienced by artists in their lives. 3.) The manufacturing technique uses the Adobe Photoshop application and the IbisPaint digital drawing application and later combines photo images and figure drawings drawn manually. 4.) The form in the painting visualization displays a self-portrait painting with a surrealistic style and is inspired by the Art Nouveau art style which depicts female figures and other objects as symbols arranged by adjusting the composition so that it looks harmonious.</p> 2024-08-28T00:00:00+00:00 Copyright (c) 2024 Intan Saraswati, Ni Made Purnami Utami, Tjokorda Udiana Nindhia Pemayun