KOMUNIKASI VISUAL KARTUN SOMPRET KARYA I WAYAN SADHA

Abstract

This paper was written to read visual signs and verbal marks
contained in the cartoon Sompret by I Wayan Sadha. I Wayan Sadha's
Sompret cartoon has its uniqueness as a work of visual communication.
The uniqueness is that the visual communication of this cartoon presents
illustrations, typography, and layouts with a deep appreciation of Balinese
culture. The illustration presents a Balinese wearing a headdress is a
representation of a Balinese in traditional culture. The illustration of a
Balinese without a headdress is a representation of a Balinese who is in the
modern culture. The typography used utilizes the display font to present
the conversation and clarify the description of the image. The letters are
used to explain the issue raised as Sadha's opinion and point of view on the
Bali issues. Sadha's Sompret Cartoons only use lines, no color, so his works
appeared as black and white cartoons. Sompret cartoons used the
symmetrical balance composition and hidden balance layout, the
perspective of human eye level, and the perspective of a bird's eye. This
research uses descriptive qualitative research method. Semiotic theory is
used in this research and focus on denotation and connotation meaning.
Denotationally, the Sompret cartoon of Sadha presents a narrative of
events based on the issue raised related to Balinese traditional culture and
the flow of globalization. The work is created in a one-panel cartoon. The
story of this cartoon sometimes with conversations of several characters
or only illustrations of the characters without any conversation. With the
narrative being built, the meaning of the connotation can be read. The
connotations meaning of Sompret cartoons as opinion cartoons is showing
the flow of globalization or modern culture in the middle of the strength of
the Balinese traditional culture. Connotatively this cartoon can be read as
a development of globalization in Bali