Implementasi Prinsip Animasi dalam Gerak Personifikasi Tokoh di Film Animasi Lakontara

Authors

  • Raden Raihan Pradipta Andrika Putra Institut Seni Indonesia Surakarta
  • Asmoro Nurhadi Panindias Institut Seni Indonesia Surakarta

DOI:

https://doi.org/10.33153/citrawira.v4i1.5095

Keywords:

12 Principles of Animation, Animation, Personification Character

Abstract

GEMASTIK is a competition among college students from all over Indonesia that is based on the utilization of Information and Communication Technology. Animation is one of the competition categories in GEMASTIK. Lakontara Animation participated in this competition by showcasing the story of Ketoprak art through personified characters to convey information. The values and impressions portrayed in each scene will create communication with the audience. The personified characters in this animation are objects that have to be visually presented as humans, even though they are not physically human. This is achieved by implementing animation principles in the movements of the characters in each scene. The movements of their bodies and facial expressions will represent the characters' nature and personality. The implementation of these principles has been successfully carried out in the Lakontara Animation, resulting in a significant impact on the movements of the personified characters, such as the gamelan, stage properties, and tablets as messengers to the audience, making the scenes come to life and conveying the values and impressions effectively

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References

Buku:

A. Sugihartono, Ranang, Basnendar Herryprilosadoso, and Asmoro N. Panindias. 2010. Animasi Kartun: Dari Dialog Sampai Digital. Jakarta: Indeks.

Jurnal:

Adzani, Fachrina, and Wegig Murwonugroho. 2021. “PENTINGNYA KESESUAIAN VISUAL KARAKTER TOKOH DALAM FILM ANIMASI ‘ MY LITTLE PONY : THE MOVIE ’ THE IMPORTANCE OF VISUAL FITNESS OF CHARACTERS IN ANIMATED FILM " MY LITTLE PONY : THE MOVIE "” 6 (1): 68–84.

Fathoni, A F Choiril Anam, Rina Kartika, and Sulaiman Hakim Lubis. 2018. “PENERAPAN PHYSIOGNOMY KARAKTER PADA ANIMASI.” Jurnal Dimensi DKV 3 (1): 31–42.

Permatasari, Ajeng Febriyan, Judhi Hari Wibowo, and Irmashani Danadharta. 2021. “Analisis Komunikasi Nonverbal Dalam Serial Animasi Shaun The Sheep Episode Bitzer From The Black Lagoon.” Jurnal Representamen 7 (02).

Rahmi, Anis. 2021. “12 PRINSIP ANIMASI PADA GERAK KARAKTER SKELETAL ANIMATION ‘ ACHOO ’” 4 (2): 12–18.

Santo. 2019. “STRATEGI VISUAL ANIMASI INTERAKTIF ‘KELILING JAWA.’” Jurnal Dimensi DKV Seni Rupa Dan Desain 4 (2): 109–24.

Sari, Intan Permata. 2019. “Perancangan Video Edukasi Animasi 2 Dimensi Berbasis Motion Graphic Mengenai Bahaya Zat Adiktif Untuk Remaja.” Jurnal Pendidikan Multimedia 1 (1): 43–52.

Waluyo, Vinsensa Audrey Roseline, and Asidigisianti Surya Patria. 2022. “Analisis Semiotika Desain Karakter Silverash Pada Game Arknights.” Jurnal Barik 3 (2): 78–88.

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Online :

Dadang ITS, 2006, “Animasi Harus Punya Pesan, https://www.its.ac.id/news/2006/01/06/animasi-harus-punya-pesan/ (Diakses 3 Mei 2023)

Pusat Prestasi Nasional, 2022, “Pengumuman Finalis Gemastik 2022” https://pusatprestasinasional.kemdikbud.go.id/pengumuman (Diakses 3 Mei)

Rifda Arum, Gramedia, “12 Prinsip Animasi dan Sejarah Perkembangan Animasi di Dunia”, https://www.gramedia.com/literasi/12-prinsip-animasi/ (Diakses 3 Mei 2023)

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Published

2023-06-08

Issue

Section

Articles