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Perancangan Komik Wayang Gatotkaca Putra Pandawa

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perpustakaan.uns.ac.id digilib.uns.ac.id PENGANTAR KARYA TUGAS AKHIR PERANCANGAN KOMIK WAYANG GATOTKACA PUTRA PANDAWA Diajukan Guna Mencapai Gelar Ahli Madya Diploma III Desain Komunikasi Visual Jurusan Seni Rupa Oleh : ANGGA PRASETYAWAN C9507075 PROGRAM STUDI DIPLOMA III DESAIN KOMUNIKASI VISUAL FAKULTAS SASTRA DAN SENI RUPA UNIVERSITAS SEBELAS MARET SURAKARTA 2011 commit to user i perpustakaan.uns.ac.id digilib.uns.ac.id PERSETUJUAN Konsep Karya Tugas Akhir dengan Judul PERANCANGAN KOMIK WAYANG GATOTKACA PUTRA PANDAWA Disetujui untuk dipertahankan dihadapan Dewan Penguji Pembimbing Tugas Akhir I Pembimbing Tugas Akhir II Jazuli Abdin Munib, S.Sn Anugrah Irfan Ismail, S.Sn NIP. 19750516 200212 1 101 NIP. 19830702 200812 1 003 Mengetahui Koordinator Tugas Akhir Arif Iman Santoso, S.Sn NIP. 19790327 200501 1 002 commit to user ii perpustakaan.uns.ac.id digilib.uns.ac.id PENGESAHAN Pengantar Karya Tugas Akhir Telah diterima dan disetujui oleh Panitia Tugas Akhir Pada tanggal, …… Panitia Penguji Ketua Sidang Tugas Akhir Hermansyah Muttaqin, S.Sn. (…………………….) NIP. 19711115 200604 1 001 Sekretaris Sidang Tugas Akhir Esty Wulandari, S.Sos, M.Si (…………………….) NIP. 19790327 200501 1002 Pembimbing Tugas Akhir I Jazuli Abdin Munib, S.Sn (…………………….) NIP. 19750516 200212 1 101 Pembimbing Tugas Akhir II Anugrah Irfan Ismail, S.Sn (…………………….) NIP. 19830702 200812 1 003 Mengetahui, Dekan Ketua Program Fakultas Sastra dan Seni Rupa D3 Desain Komunikasi Visual Drs. Riyadi Santosa, M.Ed., Ph.D Drs. Ahmad Adib, M.Hum, Ph.D NIP. 19600328 198601 1 001 NIP. 19581111 198903 1 001 commit to user iii perpustakaan.uns.ac.id digilib.uns.ac.id MOTTO ”Cobalah untuk berpikir berbeda!” commit to user iv perpustakaan.uns.ac.id digilib.uns.ac.id PERSEMBAHAN Keluargaku tercinta dan semua teman yang mendukungku. commit to user v perpustakaan.uns.ac.id digilib.uns.ac.id KATA PENGANTAR Alhamdulillah. Puji syukur kehadirat Allah SWT yang telah melimpahkan rahmat dan hidayah-Nya serta segala karunia-Nya, sehingga penulis dapat menyelesaikan Tugas Akhir dengan baik dan lancar. Adapun Tugas Akhir yang berjudul “PERANCANGAN KOMIK WAYANG GATOTKACA PUTRA PANDAWA” ini disusun guna meraih gelar Ahli Madya program D3 Desain Komunikasi Visual. Fakultas Sastra dan Seni Rupa Universitas Sebelas Maret Surakarta. Pembuatan Tugas Akhir ini tentunya tidak lepas dari bantuan, bimbingan, dan juga motivasi dari berbagai pihak. Pada kesempatan ini penulis ingin mengucapkan terima kasih kepada semua pihak yang telah membantu, baik secara langsung maupun tidak langsung. Maka ungkapan rasa terima kasih dan penghargaan yang tinggi pantas penulis sampaikan kepada: 1. Drs. Riyadi Santosa, M.Ed, Ph.D selaku Dekan Fakultas Sastra dan Seni Rupa Universitas Sebelas Maret beserta staff. 2. Drs. Ahmad Adib, M.Hum, Ph.D selaku Ketua Program D3 Desain Komunikasi Visual 3. Jazuli Abdin Munib, S.Sn, selaku Pembimbing I, terima kasih atas bimbingannya sehingga Tugas Akhir ini dapat terselesaikan. 4. Anugrah Irfan Ismail, S.Sn selaku Pembimbing II, terima kasih atas bimbingannya sehingga Tugas Akhir ini dapat terselesaikan. commit to user vi perpustakaan.uns.ac.id digilib.uns.ac.id 5. Arief Iman Santoso, S.Sn selaku pembimbing Akademik. 6. Hermansyah Muttaqin, S.Sn selaku ketua sidang Tugas Akhir. 7. Esty Wulandari,S.Sos, M.Si selaku sekretaris sidang Tugas Akhir. 8. Laksono dan Joko beserta Staff Tata Usaha Fakultas Sastra dan Seni Rupa Universitas Sebelas Maret Surakarta. 9. Semua pihak yang tidak bisa disebutkan satu persatu oleh penulis. Disadari sepenuhnya bahwa karya Tugas Akhir ini jauh dari sempurna, maka dari itu penulis sangat mengharapkan kritik dan saran yang membangun dari pembacanya. Surakarta, Juni 2011 Penulis commit to user vii perpustakaan.uns.ac.id digilib.uns.ac.id DAFTAR ISI HALAMAN JUDUL .............................................................................................. i HALAMAN PENGESAHAN .............................................................................. ii HALAMAN MOTTO ......................................................................................... iii HALAMAN PERSEMBAHAN .......................................................................... iv KATA PENGANTAR ......................................................................................... vi DAFTAR ISI ....................................................................................................... viii BAB I PENDAHULUAN ...................................................................................... 1 A. Latar Belakang Masalah ......................................................................... 1 B. Rumusan Masalah .................................................................................. 3 C. Tujuan Perancangan ............................................................................... 3 BAB II IDENTIFIKASI DATA .......................................................................... 4 A. Data Produk ........................................................................................... 4 B. Target Market dan Target Audience ................................................... 29 C. Komparasi ........................................................................................... 30 commit to user viii perpustakaan.uns.ac.id digilib.uns.ac.id BAB III KONSEP PERANCANGAN ............................................................... 35 A. Konsep Karya ...................................................................................... 35 B. Konsep Perancangan ........................................................................... 37 C. Teknik Pelaksanaan ............................................................................. 93 BAB IV VISUALISASI ...................................................................................... 99 A. Sket Kasar (Thumbnail) ...................................................................... 99 B. Rekomendasi Desain ......................................................................... 100 C. Desain Jadi ........................................................................................ 101 BAB V PENUTUP ............................................................................................. 113 A. Kesimpulan........................................................................................ 113 B. Saran .................................................................................................. 114 DAFTAR PUSTAKA LAMPIRAN commit to user ix perpustakaan.uns.ac.id digilib.uns.ac.id BAB I PENDAHULUAN A. Latar Belakang masalah Komik merupakan salah satu penyampaian ide-ide kreatif melalui bentuk gambar dan tulisan yang ada di dalamnya. Komik juga merupakan wujud komunikasi, khususnya media cetak yang sudah berkembang sejak dahulu dan diminati masyarakat. Didalam komik terdapat ide-ide kreatif tentang penggambaran karakter tokoh, jalur cerita, lay out dan pengembangan lainnya yang hendak disampaikan kepada pembaca. Gaya visual yang dipakai sangatlah beragam, namun yang sangat mendominasi saat ini adalah gaya visual manga dan gaya visual superhero Amerika. Komik adalah bacaan umum di Indonesia, dimana komik sudah tidak lagi menjadi konsumsi anak-anak, namun juga dikonsumsi oleh kalangan remaja bahkan orang dewasa. Komik import yang biasanya buatan Jepang lebih digemari daripada komik buatan lokal. Komik Indonesia biasanya bersifat konvensional, walaupun begitu sekarang sudah banyak para komikus Indonesia yang menawarkan ide dan cerita yang lebih bervariasi walaupun masih dikekang cukup erat dan dibatasi oleh pakem “kebudayaan Indonesia” yang masih menganggap komik untuk anak-anak. Cerita pewayangan adalah salah satu kebudayaan Indonesia yang patut dibanggakan. Wayang adalah suatu warisan budaya yang tak ternilai harganya. Sekarang mulai terasa transparant keberadaannya. Saat ini komik yang mengangkat tema cerita pewayangan sudah cukup banyak jumlahnya, namun commit to user 1 2 perpustakaan.uns.ac.id digilib.uns.ac.id ironis nya komik dengan tema pewayangan masih belum diminati oleh kaum muda, dibandingkan komik asing, karena dianggap ketinggalan jaman. Dalam pengerjaan karya tugas akhir ini, tokoh pewayangan yang dipilih untuk dikomikkan adalah Gatotkaca dengan judul Gatotkaca Putra Pandawa. Gatotkaca adalah seorang tokoh dalam wiracarita Mahabharata. Di Indonesia, Gatotkaca menjadi tokoh pewayangan yang sangat populer. Dalam pewayangan Jawa, Ia dikisahkan memiliki kekuatan luar biasa, antara lain mampu terbang di angkasa tanpa menggunakan sayap, serta terkenal dengan julukan "otot kawat tulang besi". Cerita yang mengambil judul komik Gatotkaca sengaja penulis angkat untuk dibuku komikkan, dengan mengambil kisah Gatotkaca dalam cerita wayang Mahabarata yang diceritakan dengan gaya baru dan sedikit dramatisasi sehingga lebih menarik. Penulis mencoba membuat visualisasi gambar yang lebih menarik dan lebih modern dengan setting cerita perpaduan antara masa depan dan masa lampau. Dimaksudkan agar pembaca tidak berasumsi bahwa komik wayang itu kuno dan kurang menarik setelah melihat dari komik yang bertema wayang yang telah ada. Cerita ini diharapkan dapat menarik perhatian para pembaca komik di tanah air, karena masih kurangnya minat masyarakat terhadap komik yang bertema cerita wayang. Dengan media sederhana komik, yang merupakan salah satu media komunikasi visual, penulis berusaha menjembatani kepedulian kaum muda Indonesia untuk lebih peduli akan budaya tradisional wayang. Selain itu, dalam commit to user 3 perpustakaan.uns.ac.id digilib.uns.ac.id pembuatan karya Tugas Akhir
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    Abstracts of the 39 th WORLD CONFERENCE of the International Council for Traditional Music 4-11 July 2007 Vienna / Austria Abst4-racts of teditededhe 39 th WORLD CONFERENCE of the July 2007 Vienna/Austria ICTM 2007 – Vienna Book of abstracts 3 Contents Themes of the conference 4 Alphabetical listing of abstracts by presenter’s family name 5 Panels and abstracts listed by numerical order of the session 151 4 Book of abstracts ICTM 2007 – Vienna Themes of the conference 1. Cosmologies and their relation to music and dance Cosmologies and music/dance structures are related to each other. In particular we would like to know how music and dance articulate cosmologies; cosmologies are shaped by performances, and we would like to understand the different interpretations that come to life through performances. Further, how are worldviews related to gender-specific musics and dances? Can we perceive the communication process in some performance of cosmologies in gender terms as having distinct male and/or female characteristics? 2. National and regional traditions of ethnomusicology and ethnochoreology There have been many different approaches to the study of music and dance in departments of music, in departments of anthropology and in conservatories all over the world. In some traditions the studies have been object-oriented, and in other ones more process-oriented. What is the role of documentation and preservation in these different traditions? How do they deal with the music and dance memory of the world? We also invite contributions that reflect on the role of fieldwork, the integrity of scholarship and the ethical practices in the different traditions.
  • Convention for the Safeguarding of the Intangible

    Convention for the Safeguarding of the Intangible

    Intangible Cultural Heritage Dr. Jordi TRESSERRAS JUAN [email protected] Director at LABPATC – Lab of Heritage, Creativity and Cultural Tourism at Universitat de Barcelona/IBERTUR Member of the UNESCO Chair Culture, Tourism, Development and its UNITWIN Network coordinated by IREST – Université Paris 1 Panthéon-Sorbonne Main activities • Developing the ‘Policy Learning Guidelines on Intangible Cultural Heritage Tourism’ (in process, expected for the end of January 2018) • Present relevant inputs at a Joint Partners Meeting organized in Granada, Spain, January 2018 • Contribute to the Action Plan Guidelines regarding ‘Intangible Cultural Heritage Tourism’ (workshop Wednesday 24) Policy Learning Guidelines on Intangible Cultural Heritage Tourism Preliminary draft with the last points to add in order to finish: • Current policies and plans concerning immaterial cultural heritage and sustainable tourism from European Commission (including European Year of Cultural Heritage), Council of Europe and UNESCO for Europe (in process) • Selected National EU policies benchmark on ICH and ST (in process) • Key stakeholders interviews (see list in the next slide) • Top 10 Best Practices (see list in the next slide) • EU ICH in the lists of the the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage (2003) (see list in the next slide) Policy Learning Guidelines on Intangible Cultural Heritage Tourism Key stakeholders interviews • Peter De Wilde, President of the European Travel Commission, Brussels, Belgium • Peter DeBrine, Coordinator