Skip to main navigation menu Skip to main content Skip to site footer

Penciptaan Produk Eksklusif Melalui Aplikasi Material dan Tekstur Pada Karya Fotograf

Abstract

This research is an effort to synthesize, explore and experiment to formulate photographic products of applied art by combining aspects of photographic art and aspects of painting. Concretely, through this research, digital photo printing will be carried out on paper and canvas media which in the next stage will be applied with painting materials and techniques to get an exclusive impression. The physical consumption of photography is now increasingly focused on meeting domestic and artistic needs. The results of observations show that the texture in the painting has its own visual strength, which is not found in photographic works. The main question of this research is how to select, digitally print photos on certain media, and apply materials and painting techniques to produce unique, exclusive, and characteristic photo works through the application of materials and painting techniques. The innovation resulting from this research is a working model to increase the value of photo prints in society by adding textural elements resulting from the touch of a hand. The creative method for creating works refers to Graham Wallas in The Art of Thoughts which consists of stages: preparation, incubation, illumination and verification. The product will be analyzed by using Otto Ocvirk’s theory in Art Fundamentals Theory and Practice. He discusses that texture gives the illusion of a touch effect so that the surface character looks real. It is found that applying resin to photos printed on paper has a positive impact and corresponds to the illusory effect to be achieved. Keywords: texture, photograph, exclusive product
PDF Download (Bahasa Indonesia)

References

  1. Bulduk, B. (2011). A workshop of interpreting nature via photography related to training in terms of seeing. Procedia
  2. - Social and Behavioral Sciences, 15, 1350–1353. https://doi.org/10.1016/j. sbspro.2011.03.290
  3. Downes, M., & Lange, E. (2015). What You See Is Not Always What You Get: A Qualitative, Comparative Analysis of ex ante Visualizations With ex post Photography of Landscape and Architectural Projects. Landscape and Urban Planning, 142, 136–146. https://doi. org/10.1016/j.landurbplan.2014.06.002
  4. Graham, C. (1992). The Portrait in Photography. In Choice Reviews Online. London: Reaktion Books Ltd.
  5. Hammer, M. (2012). Francis Bacon: Painting after photography. Art History, 35(2), 354–371. https://doi.org/10.1111/j.1467- 8365.2011.00890.x
  6. Iskandar, A., Sobarna, C., Mulyana, D., & Yohana Risagarniwa Universitas Padjadjaran Jl Raya Bandung Sumedang Km, Y. (2014). Kajian Budaya Fotografi Potrait dalam Wacana Personalitas. Jurnal Panggung, 24(03).
  7. Johnson, H. (2005). Mastering Digital Printing.
  8. USA: Cengage Learning PTR.
  9. Karpov, D., & Kryuchkov, Y. (2015). Analytical Photography as a New Tool for the Representations of Reality. Procedia
  10. - Social and Behavioral Sciences, 166, 675–679. https://doi.org/10.1016/j. sbspro.2014.12.595
  11. KlopMart. (2020). Keunggulan dan Kegunaan dari Lem Fox. https://www.klopmart. com/article/detail/keunggulan-dan- kegunaan-dari-lem-fox
  12. Ocvirk, O. G., Stinson, R. E., Wigg, P. R.,
  13. Bone, R. O., & Cayton, D. L. (2013). Art Fundamentals Theory and Practice (12th ed.). New York: Mc-Graw Hill.
  14. Pehlivan, S., & Şener, D. K. (2014). Photography and Art History: The History of Art Born from Photography. Procedia - Social and Behavioral Sciences, 122, 210–214. https://doi.org/10.1016/j.sbspro.2014.01.1329 Peng, L.-H., & Chen, S.-H. (2016). Integrating
  15. Creative Photography Pedagogy in General Education. Procedia - Social and Behavioral Sciences, 217, 183–191. https:// doi.org/10.1016/j.sbspro.2016.02.060
  16. Soedjono, S. (2017). Book Review, Photography in Southeast Asia – A Survey. REKAM: Jurnal Fotografi, Televisi, Dan Animasi, 13(1), 13. https://doi.org/10.24821/ rekam.v13i1.1706
  17. Soekojo, M. (2007). Dasar Fotografi Digital. Jakarta: PT Info Sarana Media Kelompok Gramedia.
  18. Suryawan, Y., & Wibowo, T. (2020). Analisis Komposisi Foto Pada Landscape Photography. Conference on Business, Social Sciences and Innovation Technology, 1, 533–539. https://doi.org/http://dx.doi. org/10.23887/jjpsp.v6i2.8094
  19. Susanto, M., & Irwandi. (2020). Sejarah dan Makna Fotografi Karya Pelukis Istana, Dullah. Jurnal Rekam, 16(1), 1–14. https:// doi.org/ https:// doi.org/10.24821/ rekam.v16i1.3847
  20. Sutrisna, M., & Sabana, S. (2015). Representasi Foto Keluarga: Ekspresi Seni Kontemporer pada Abad ke-21. Jurnal Panggung, 25(3), 40132.
  21. Tandirli, E. (2012). Painting Education & Artistic Evolution. Procedia - Social and Behavioral Sciences, 46, 4493–
  22. https://doi.org/10.1016/j.
  23. sbspro.2012.06.283
  24. Tirtajaya, Y. (2012). Teknik Mixed Media dalam Fotografi Pernikahan. Yogyakarta: Indonesia Institute of Arts Yogyakarta. Wallas, G. (2015). The Art of Thought. Kent, England: Solis Press.
  25. Wikipedia. (n.d.). Resin. Retrieved March 3, 2022, from https://id.wikipedia.org/ wiki/Resin
  26. Zuromskis, C. (2010). Why Photography Matters as Art as Never Before: Michael Fried. Photography and Culture, 3(1), 91–94. https://doi.org/10.2752/17514511
  27. x12615814378397