CandraRupa : Journal of Art, Design, and Media

STRATEGI VISUAL INTERAKTIF, PEMBELAJARAN MENDALAM, DAN PROJECT-BASED LEARNING DALAM PEMBELAJARAN SEJARAH SENI RUPA DI SEKOLAH

2026-02-02T16:07:25+07:00

Art history learning in schools is often limited to textual explanations, chronological memorization, and teacher-centered lectures, resulting in low conceptual understanding, weak visual literacy, and minimal student engagement. In the era of digital transformation and the 2025 Deep Learning Curriculum, these traditional approaches are no longer adequate for developing higher-order thinking, reflective analysis, creativity, and cultural understanding. This literature study examines the integration of interactive visual strategies, deep learning, and Project-Based Learning (PjBL) as an innovative framework for teaching art history. The review synthesizes findings from national and international studies on multimedia-based art learning, virtual museums, digital timelines, reflective pedagogy, and project-based creative production. Results indicate that interactive visual media enhance student motivation and expand access to artworks, while deep learning encourages critical interpretation, contextual analysis, and reflective understanding. PjBL facilitates the transformation of historical knowledge into creative outcomes through collaborative projects, digital exhibitions, and artwork production. The study identifies key gaps in existing research: limited integration of visual technology with deep learning; minimal use of PjBL in art history contexts; and insufficient empirical models tailored to the Indonesian curriculum. Based on these gaps, an integrative three-stage model is proposed: visual exploration, deep learning analysis, and PjBL-based creative project development. This model aligns with the 2025 curriculum and supports the development of visual literacy, critical thinking, creativity, and cultural awareness. Recommendations highlight the need for teacher training in digital arts pedagogy, improved school technological infrastructure, and future empirical studies to validate the model’s effectiveness.

MELAMPAUI ZONA NYAMAN: REPRESENTASI DISCONNECTED SEBAGAI UPAYA PEMBEBASAN DIRI DALAM KARYA SENI LUKIS

2026-02-04T15:16:24+07:00

This article examines the painting ‘Disconnected’ by Irsyad Kahirullah. In the context of art, emotional disconnection becomes a reflective strategy that enables self-transformation through distancing oneself from oppressive emotional experiences, which stem from the human drive to seek meaning and freedom. This study aims to explore how the representation of emotional disconnection in paintings can be understood as a strategy for moving beyond one's comfort zone towards a process of self-transformation and personal liberation. To create a framework for interpreting visual representations in paintings, this study uses a qualitative approach based on comparative literature. This study shows that the conceptual basis for understanding the expression of self-liberation represented in paintings can originate from the urge to step out of one's comfort zone, the process of self-transformation through spiritual awareness, and the practice of emotional disconnection as a reflective mechanism. In short, the conceptual basis that enables paintings to depict efforts at self- liberation visually and meaningfully is emotional disconnection, which is considered a reflective mechanism, as well as the desire to escape the comfort zone and the process of spiritual transformation. This research aims to create a new theoretical framework that connects the ideas of comfort zone, spiritual transformation, and emotional detachment as a foundation for interpreting paintings as expressions of self-liberation.

PERANCANGAN PRODUK JEWELRY BOX DENGAN PENDEKATAN KOMBINASI MATERIAL KAYU JATI LAWASAN DAN ORNAMEN PAPER QUILLING

2026-02-04T11:41:08+07:00

This study focuses on the design of jewelry boxes using waste teak wood produced by PT Dekorasi Cipta Indonesia, combining paper materials through the implementation of paper quilling techniques to create ornaments on the products. The company's wood waste has not been optimized and has the potential to be used in the creation of innovative, sustainable craft products. This study uses a descriptive qualitative method through several stages, namely observation, interviews, literature study, material exploration, design, prototyping, and evaluation. Thus, the researcher designed a jewelry box to integrate old teak wood waste and paper quilling into a functional product based on the concept of sustainability and, through the cultural values of Jakarta, can certainly increase economic and visual value.

TEKNIK EDITING FLASHING LIGHT PADA ADEGAN AKHIR FILM PENGABDI SETAN 2: COMMUNION (2022) KARYA JOKO ANWAR

2026-02-04T12:04:29+07:00

Horror films are widely known for their ability to create fear through darkness, suspenseful sound, and visual shocks. One common technique is the use of limited lighting, such as flashing lights, combined with editing strategies. This study examines the final scene in Pengabdi Setan 2: Communion (2022), which employs flashing light as the central element to intensify the horror effect. The focus of this research is on how editing through cutting rhythm, shot duration, and cut to black, organizes the flashing light to produce tension and surprise for the audience. Using film textual analysis and Eisenstein’s montage theory, this study explores how editing patterns synchronized with pulsating light intervals create visual disorientation and distinctive shock effects. The findings show that rapid editing, dominated by medium to close-up shots combined with flashing light, successfully produces a claustrophobic atmosphere and layered tension. This technique also strengthens the visual narrative by presenting horror through the “uncertainty of vision,” making it difficult for viewers to predict what will appear next. Thus, flashing light is not merely a diegetic light source in the story but becomes an essential part of the editing technique that constructs immersive horror. This study concludes that Joko Anwar enriches Indonesian horror aesthetics by merging light and editing into a unified visual style.

DESAIN TAS UNTUK GEN Z

2026-03-16T14:05:54+07:00

Generation Z is a highly mobile group that moves between academic activities, work, and social interactions within a single day, requiring a bag that is not only capable of carrying numerous items but also flexible, comfortable, and aligned with their aesthetic preferences. The problem arises because many existing bags fail to meet these needs, particularly in terms of configuration flexibility, load comfort, and adaptive internal organization. This study aims to design a flexible bag concept that can accommodate various daily contexts of use for Generation Z. A qualitative research method was employed through literature review, observation of carrying behavior, and analysis of existing products to identify the functional, ergonomic, and aesthetic requirements of users. The findings show that Generation Z prioritizes modular systems, compartments that can be removed or rearranged, quick access to essential items, and internal structures that can store digital devices and personal belongings in an organized manner. Load comfort also plays a crucial role, indicating the need for a design that distributes weight proportionally and provides adequate support for the shoulders and back. The conclusion of this study is that the ideal flexible bag for Generation Z should integrate modularity, ergonomic comfort, and modern minimalist aesthetics to support high mobility and fulfill both functional and stylistic needs in daily activities

ANALISIS SEMIOTIKA ROLAND BARTHES PADA VISUAL TENUN BADUY SEBAGAI IDENTITAS DESAIN ETNIK KONTEMPORER

2026-02-04T15:39:32+07:00

The Baduy Woven Cloth is a cultural artifact containing a pure visual communication system from the Kanekes tribe. As a product of tangible culture, Baduy weaving contains cultural values that can be internalized in contemporary life. Refers to that, this research aims to decode the visual meaning (motifs and colors) of the Baduy Dalam and Baduy Luar Woven Cloth as a design identity that can be transformed into a contemporary ethnic design identity. Using a qualitative method, this study combines two approaches: Roland Barthes' Semiotics to analyze the Denotation and Connotation of colors (White, Black, Dark Blue) and Jakob Sumardjo's Paradoxical Aesthetics to examine the construction of linear motifs. The analysis reveals that the Baduy Woven Cloth contains an essential spatial duality structure, aligned with the Triple Pattern concept found in the Javanese Wayang Gunungan. This visual represents the vertical (heavenly) and horizontal (worldly) concepts unified by a transitional space or inner space (pembatinan), which collectively articulates a narrative of harmony and cultural obedience (Pikukuh). This result offers a framework for Visual Communication Design (VCD) to interpret the philosophical richness of the Baduy into Slow Design concepts and authentic visual branding for the younger generation. The findings of this study will then become the initiation for designing relevant visual communication media to recontextualize the values and philosophical meaning of Baduy woven cloth.

VISUALISASI FENOMENA MICROTREND DAN FEAR OF MISSING OUT (FOMO) GENERASI Z DALAM KARYA SENI DIGITAL

2026-01-28T10:23:15+07:00

The background of the creation of this work is based on the microtrend phenomenon and Fear of Missing Out (FOMO). Especially in generation Z from the acceleration of information flow on social media. This triggers an identity crisis and social anxiety. Through artwork as a visual medium using digital art technology. The purpose of this creation is to present a visual interpretation through digital art. The approach method used is the method of creating craft/fine art by S.P. Gustami. There are three stages, namely: (1) exploration (excavating sources of ideas from social media phenomena and literature studies), (2) design (visualization of ideas in the form of digital sketches by considering composition and distortion of form), and (3) embodiment (final execution using graphic software). The results of digital art are able to represent the abstract concept of anxiety into a concrete visual symbol through stylization, layering, and color techniques. This work becomes a social critique as well as a medium of contemplation for audiences in the era of screen culture.

EKSPLORASI ESTETIKA GARIS, WARNA, DAN DISTORSI VISUAL DALAM PING PONG THE ANIMATION DENGAN PENDEKATAN GAYA VISUAL GREAT PRETENDER

2026-04-01T18:21:00+07:00

The Japanese animated film Ping Pong The Animation presents a non-conventional visual approach through the exploration of rough line work, expressive coloring, and formal distortion that challenges mainstream animation aesthetics. This visual style functions not only as an artistic identity but also as a narrative medium for representing the psychological dynamics, emotions, and inner conflicts of its characters. This study aims to analyze the aesthetics of line, color, and visual distortion in Ping Pong The Animation by employing the visual style of Great Pretender (2020) as a comparative framework. Great Pretender is selected due to its similar visual tendencies that emphasize extreme stylization, symbolic color palettes, and visual deformation as strategies for strengthening narrative and characterization. This research adopts a qualitative descriptive method with a visual analysis and animation stylistics approach. The data are collected through close observation of key scenes that represent the use of line, color, and visual distortion in both works. The analysis examines the relationship between these visual elements and their narrative functions, emotional atmosphere, and the construction of symbolic meaning. The theoretical framework is grounded in visual aesthetics theory, animation film stylistics, and visual semiotics. The findings indicate that Ping Pong The Animation employs dynamic and unstable line work to reflect the intensity of competition and the psychological states of the characters, while color is used selectively to emphasize specific emotional atmospheres. Visual distortion functions as an aesthetic strategy to express inner pressure, subjectivity, and character transformation. The visual style approach of Great Pretender demonstrates how similar stylization can produce different narrative effects through the use of more contrasting colors and theatrical visual compositions. This study concludes that the visual exploration in Ping Pong The Animation constitutes an effective cinematic language of animation that expands the possibilities of narrative expression through non-realistic aesthetics.