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Abstract

This article examines the relief painting practice of one low-vision artist at Yayasan Teratai Bali as the basis for an initial formulation of a tactile-oriented visual art creation method. It addresses a methodological gap in inclusive art education and disability art studies, where blind and low-vision individuals are often discussed as learners, participants, or audiences, while their own procedures for making artworks receive less attention. Using an instrumental case study with a descriptive-interpretive orientation, data were collected through repeated observation, informal conversational interviews, artwork and process documentation, close observation of textural details, and contextual workshop documentation. Recurring actions and statements were reviewed, grouped into categories of work sequence, material use, assistance, evaluation, and tactile encounter, and translated into methodological components. The study proposes the Taktil-Raba Cipta Method as a preliminary and contextual framework, not as a broadly validated model for all blind and low-vision artists. The formulation consists of five core creation stages: concept formation from memory and experience, tactile-guided form planning, relief construction and material layering, assisted color access, and haptic evaluation and revision. Shared tactile encounter is positioned as an accessibility and appreciation orientation, not as a core production stage. The findings show that touch functions as a basis for artistic decision-making, the artist's authority remains central, and assistance should support access rather than direct the artwork. The article contributes a practice-derived framework for inclusive visual art education while emphasizing the need for further testing, adaptation, and participatory validation.

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534

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