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PT. X is a textile company that produces greige fabric. One of the crucial stages in the greige fabric production process is inspection. Currently, the facility layout of the inspection area at PT X is still suboptimal. This results in longer fabric movement distances and increased time, leading to delivery delays and higher material handling costs. This study aims to design an optimal facility layout in the inspection area using the Activity Relationship Chart (ARC) method and to determine the distances, times, and costs for the proposed layout. In the initial production layout, the fabric movement distance reached 26,130 meters in one working day, and the fabric movement time was 936 minutes. Furthermore, the initial production layout generated a relatively high OMH of Rp 13,742,980 per month. After designing the facility layout using the Activity Relationship Chart (ARC) and Blockplan methods, the proposed layout was arranged according to the production process sequence, resulting in a smoother material flow. The proposed layout yields 16,830 meters of fabric movement per workday, 660 minutes of required time, and a monthly OMH of Rp 7,945,622, with an efficiency of 39.32%.

This study aims to analyze the transformation of Don’s character in the film Jumbo using K.M. Weiland’s character arc framework. The research employs a qualitative method with a descriptive-interpretative approach. Data were collected through repeated viewing of selected scenes that represent character development, and analyzed based on narrative structure, including exposition, inciting incident, rising conflict, climax, and resolution, as well as supported by visual elements such as facial expressions, gestures, and cinematic composition. The findings reveal that Don’s character undergoes a dynamic and gradual transformation. Initially, he is driven by a strong need for social validation, which develops into a negative change arc as he reinforces false beliefs and exhibits increasingly egoistic behavior. At the climax, Don reaches a critical turning point that triggers self-reflection. Ultimately, he transitions into a positive change arc, demonstrated through empathy, responsibility, and concern for others. This study highlights that character development in film is constructed through the interplay of conflict, social relationships, and a structured narrative process.

The phenomenon of emotional healing has become increasingly prominent in popular culture as the younger generation experiences increasing loss, emotional exhaustion, and numbness. Popular music serves as a medium of expression, representing these emotional dynamics through poetic language and symbolic structures. This study aims to analyze the emotional representation of healing in Umay Shahab's song "Perayaan Mati Rasa" using Roland Barthes's semiotic approach. The research method used is descriptive qualitative, analyzing three layers of meaning: denotation, connotation, and myth, through breaking down the lyrics into several lexicons and reading signs. The results show that (1) denotatively, the lyrics construct an emotional arc from inner tension to self-contemplation; (2) connotatively, the use of diction and imagery represents vulnerability, resilience, and emotional reflection; and (3) at the mythical level, the song constructs release as a form of emotional maturity and loss as a process of identity formation. Thus, this song functions as a cultural representation in interpreting the process of emotional healing in popular culture.

The development of MSMEs in the traditional food sector requires business actors to increase production capacity. MSME Gethuk Lindri Niki Eco plans to build a larger facility to meet increasing demand. However, the layout planning is still based on rough drawings and experience, which can lead to inefficient material movement. This study aims to provide an overview of recommendations for a more efficient production facility layout using the CRAFT method. The research method involves collecting data on production processes, departmental areas, and material movement frequency. Moreover, an Activity Relationship Chart (ARC) is compiled to identify the close relationships among departments. The results of the analysis are visualized with a Block Plan. Furthermore, the layout is optimized using the CRAFT method. The results show that the recommended layout reduces the total material movement distance from 60.96 meters to 58.19 meters or a reduction of 4.53%. In addition, material handling costs also decreased from Rp. 780.64 to Rp. 766.19 or a savings of 1.85%. Thus, the application of the CRAFT method resulted in a more efficient production layout at the Gethuk Lindri Niki Eco MSME.

There are various characters that can be drawn from the One Piece animation that need to be studied and explored further so that the large number of fans can emulate the relevance of Quranic characters in their favorite animation. This research stems from the phenomenon of discovering the representation of character relevance to the teachings of the Qur'an in an animation called One Piece, focusing on the research to determine how the Quranic character traits are depicted in the One Piece Arabasta Arc, and how the visualizations of these Quranic characters are presented in the One Piece Arabasta Arc. This research uses a qualitative approach. The research results illustrate that there are 18 findings in episodes 97, 99, 103, and 108 that indicate values in line with the character traits or moral teachings of the Qur'an. In episode 97, there are 4 character values: stop complaining, avoid greed and wastefulness, don't lie, and help others. In episode 99, there are 6 character values: love for the homeland, helping others, fighting for a cause, feeding the hungry, and consulting others. Meanwhile, in episode 103, there are 4 character values: obedience, fighting for a cause, friendliness, and avoiding bad assumptions. Additionally, in episode 108, there are 4 character values: helping others, fighting for a cause, and avoiding bad assumptions. Furthermore, the visualization of Quranic characters in the One Piece animation can be seen through the elements of film production, using narrative elements by observing the characters and the message of the story.