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SPACE AND TIME: ANALYZING COMIC PANELS ON KOMIKALISASI HUJAN BULAN JUNI Faisal, Dini; Pramesti, Utami Dewi; Rasyid, yulianti
Humanus Vol 17, No 2 (2018)
Publisher : Pusat Kajian Humaniora FBS Universitas Negeri Padang

Hujan Bulan Juni is a short comic illustrated by Mansjur Darman. It is a modified form of literary works from poetry text into comic. Converting the written language into a visual language can provide different understanding and reading experience because the visual language uses its own distinct and interesting "language system" which appealing to study. For example, the use of comic element such as panel that communicate ideas or stories. The panel is a space-time element which described the dimension of space and time as the actual concept that we know of. The panel also creates the illusion of invisible elements such as sounds. This paper examines 1) the use of visual language, especially panel representation on time and space on Hujan Bulan Juni short comic; 2) the aesthetic and atmosphere created by comic panels. This paper use qualitative descriptive approach by conducting literature study with the help of data analyses table. Findings indicate the overall use of panels on comic Hujan Bulan Juni depicted monotonously so that the space and time that the reader perceived of the story happened in one place and on the same time. In addition, the panels used in the comic produce a calm and gentle atmosphere. This is evident from the constant use of panels with no variation as well as time and timing impression of slow paced storytelling.Keyword: Hujan bulan juni, visual language, comic panels, atmosphereMEMBACA RUANG-WAKTU (SPACE-TIME) PANEL KOMIKALISASI PUISI HUJAN BULAN JUNIAbstrakKomik Hujan Bulan Juni yang diilustrasikan oleh Mansjur Darman merupakan pengubahbentukan karya sastra berupa teks ke dalam media komik. Pengubahbentukan dari bahasa tulisan menjadi bahasa visual dapat memberikan pemahaman dan pengalaman membaca yang berbeda karena bahasa visual menggunakan â€œsistem bahasaâ€ tersendiri yang kompleks dan menarik untuk diteliti. Sistem bahasa dalam komik dapat ditelusuri dari penggambaran panel dan imaji yang merupakan representasi ruang-waktu (space-time). Adapun tujuan penelitian adalah untuk 1) melihat bagaimana penggambaran bahasa visual komik (ruang dan waktu) pada panel komikalisasi Hujan Bulan Juni; 2) serta pengalaman estetis (atmosfer dan emosi) yang muncul dari penggunaan panel tersebut. Penelitian ini menggunakan penelitian kualitatif deskriptif dengan melakukan studi pustaka dengan bantuan tabel analisis data. Temuan dari penelitian ini yaitu secara keseluruhan penggunaan panel pada komikalisasi puisi â€œHujan Bulan Juniâ€ karya Sapardi Djokodamono yang diubah bentuk oleh komikus Mansjur Darman digambarkan secara monoton sehingga ruang dan waktu yang dipersepsi pembaca yaitu cerita terjadi pada satu tempat dan satu waktu yang sama. Selain itu, penggunaan panel komik menghasilkan atmosfer tenang dan lembut. Hal ini terlihat dari penggunaan panel yang konstan, tidak variatif, serta penggambaran waktu (time) dan timing yang berkesan lambat dan tidak tergesa-gesa.Kata kunci: komik hujan bulan juni, bahasa visual, panel komik, atmosfer

Dissecting Fourth Person Point of View in Game Design Faisal, Dini; Ahdi, San; Afriwan, Hendra
ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia Vol. 5 No. 01 (2019): February 2019
Publisher : Dian Nuswantoro University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33633/andharupa.v5i01.2165

AbstrakPoint of view dalam desain game erat kaitannya dengan karakter, visualisasi, dan kamera. Seperti first person point of view dimana pemain menjadi karakter dalam game dengan penggunaan kamera yang memperlihatkan perspektif dari karakter game yang dimainkan. Third person point of view yaitu pemain mengontrol karakter sehingga penggunaan kamera memperlihatkan karakter yang dikontrol dan interaksinya dengan environment game. Dua point of view itu adalah point of view yang dikenal dalam desain game. Jika pemain bisa menjadi dan mengontrol karakter, bagaimana jika pemain tidak bisa menjadi maupun mengontrol karakter?. Karakteristik ini disebut sebagai fourth person point of view, istilah yang pertama kali digunakan oleh game Pavilion dalam materi promosinya. Adapun tujuan dari penelitian ini adalah untuk membahas karakteristik permainan fourth person point of view, dan perbandingannya dengan point of view lainnya. Penelitian ini merupakan penelitian studi kasus yang membahas mengenai game Pavilion dengan teknik pengumpulan data berupa play-testing game, wawancara dan studi pustaka. Hasil penelitian menunjukkan bahwa point of view dalam game memiliki kaitan dengan genre dan style game. Pada studi kasus game Pavilion karakteristik fourth person point of view dapat digunakan karena game tidak berfokus pada eksplorasi cerita dan karakter.Â Kata kunci: fourth person point of view, game design, game PavilionÂ Â AbstractPoint of view in game design is closely related to character, visualization, and use of in-game cameras. First person point of view means that the player becomes the character in the game, and the camera only shows the perspective from the characterâ€™s eyes. The meaning of the third person point of view is the player controls the character, the camera shows the character entirely so the player can see how the character interacts within the environment. These two points of view are basically known in game design. If a player can become and control a character, what if the player cannot become or control the character? This characteristic is called as the fourth person point of view, the term that was first used by game Pavilion in its promotional material. The purpose of this research is to discuss the characteristics of the fourth person point of view, and the comparison with another point of view. This is a case study research that discusses the Pavilion game with data collection techniques through play-testing the game, interviews, and literature studies. The result of the study shows that the point of view in the game has to do with genre and game style. Moreover, the case study of game Pavilion shows that its characteristic of fourth person point of view is appropriate because the game does not focus on the exploration of story and character.Â Keywords: fourth person point of view, game design, game Pavilion

Kedinamisan dalam Kearifan Lokal: Perancangan Identitas Visual Galeri Sulam Pinjaik Patah Masdupi, Erni; Kurniawati, Tri; Fitra, Halkadri; Faisal, Dini
ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia Vol. 7 No. 02 (2021): August 2021
Publisher : Dian Nuswantoro University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33633/andharupa.v7i2.4097

AbstrakGaleri Sulam Pinjaik Patah sebagai usaha kolektif warga Nagari Panampuang memiliki potensi menjadi salah satu ikon produk sulam di Sumatra Barat. Namun, dari sisi desain grafisnya belum memiliki solusi desain yang baik. Logo yang dimiliki belum dapat memperkenalkan karakter, kepribadian, dan ciri khas Sulam Pinjaik Patah. Identitas visual merupakan jawaban bagi permasalahan Galeri Sulam Pinjaik Patah karena penggunaan identitas visual yang sistematis, terstruktur dan konsisten akan mampu membangun brand awareness. Identitas visual dirancang dengan menggunakan metode research and development (R&D) yang terdiri dari tahapan mengenali potensi dan masalah, merancang desain produk, validasi dan uji coba. Hasil rancangan identitas visual memiliki elemen yang dinamis, aplikasi yang fleksibel sehingga memberi ruang bagi entitas untuk mengembangkan elemen dari identitas visual. Kata kunci: galeri sulam, identitas visual, kearifan lokal, pinjaik patah AbstractGaleri Sulam Pinjaik Patah has the potential of becoming one of the icons of embroidery products in West Sumatra. However, the gallery does not have a better graphic design solution. Its current logo does not introduce the character, personality, and characteristics of the origin of the name Pinjaik Patah embroidery. The problem is gallery needs more recognition to create brand awareness. It demands a systematic and consistent use of visual identity, not just a logo. The research and development (R&D) method is used to design the visual identity. The stages are identifying potentials and problems, designing product designs, validating, and testing. The final design of Galeri Sulam Pinjaik Patah’s visual identity has dynamic elements and flexible applications that allowed the gallery to improve and develop its visual identity. Keywords: embroidery gallery, local wisdom, pinjaik patah, visual identity

Desain Motif sebagai Brand Strategy Pengembangan Galeri Sulam Pinjaik Patah Kabupaten Agam Sumatra Barat Masdupi, Erni; Kurniawati, Tri; Fitra, Halkadri; Faisal, Dini
ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia Vol. 8 No. 02 (2022): June 2022
Publisher : Dian Nuswantoro University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33633/andharupa.v8i02.5443

Abstrak Pinjaik patah atau jarum jahit yang dipatahkan merupakan brand yang cukup dikenal untuk persoalan produk sulaman terawang di Sumatra Barat, khususnya di kabupaten Agam, Nagari Panampuang. Sayangnya, pengembangan motif yang dilakukan masih minim sehingga diversifikasi produk, pembeda produk hasil sulaman pinjaik patah dan hasil produk kompetitor tidak dapat dibedakan. Perlu dirancang sebuah desain motif baru yang berangkat dari picture mark logo galeri sulam pinjaik patah dengan tujuan untuk menciptakan diversifikasi produk dan brand awareness sulaman pinjaik patah. Metode yang digunakan adalah research and development dengan tahapan 1) Potensi dan Masalah; 2) Pengumpulan informasi; 3) Pengembangan model; 4) Validasi model; 5) Uji coba model. Hasil yang didapatkan yaitu perajin sulaman dapat mengaplikasikan desain motif dalam jenis sulaman terawang dan sulaman menggunakan bordir, hanya saja masih diperlukan revisi dan latihan dari perajin sulaman agar dapat menghasilkan motif yang harmonis. Pengembangan desain dan produk sebaiknya difokuskan pada sulaman terawang yang menjadi unggulan sulam pinjaik patah. Kata kunci: brand awareness, desain motif, pinjaik patah, sulaman AbstractPinjaik patah or a broken sewing needle is a well-known brand for embroidery products in West Sumatra, especially in Agam district, Nagari Panampuang. Unfortunately, the development of the motifs is still minimal so that product diversification, the difference between the product of pinjaik patah embroidery and the product of competitors cannot be distinguished. It is necessary to design a new motif design that departs from the picture mark of the Pinjaik Patah embroidery gallery logo with the aim of creating product diversification and brand awareness of Pinjaik Patah embroidery. The method used is research and development which includes five steps like 1) potentials and problems; 2) gathering information; 3) designing; 4) validation and; 5) design testing. The results obtained are that the embroiderer can apply the motif design in the type of overlay embroidery and embroidery using embroidery, it's just that revision and practice from the embroiderer is still needed in order to produce a harmonious motif. Design and product development should be focused on terawang embroidery which is the flagship of pinjaik patah embroidery. Keywords: brand awareness, embroidery, motif design, pinjaik patah

Pelatihan Kaligrafi Jepang sebagai Produk Seni dan Sarana Pengembangan Keterampilan Menulis Kana bagi Siswa SMK Kartika 1-2 Padang Putri, Meira Anggia; Faisal, Dini; Oktoviandry, Rifki; Wikarya, Rahmi Oktayory
ABDI HUMANIORA: Jurnal Pengabdian Masyarakat Bidang Humaniora Vol 7, No 1 (2025)
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/abdihumaniora.v7i1.135817

The purpose of this community service activity was improving students understanding and mastery in Japanese calligraphy (shodō) as the medium to develop kana writing skill. The programme was implemented at SMK Kartika 1-2 Padang involving the 23 students. The training was developed with an educational and innovative focus, structuring it with lectures, discussion, demonstration, and guided practice. Two kinds of features were focused: (1) The knowledge on Japanese calligraphy and the ways of writing kana and (2) Practical skills for making Japanese calligraphy works. The results of the pretest showed that most students’ knowledge of Japanese calligraphy was still at a low level, with an average score of 56.1. After the training, the posttest results demonstrated significant improvement, with the average score rising to 85.5. More than half of the students (52.17%) reached the “very good” category. From the practical perspective, each student successfully produced one piece of Japanese calligraphy artwork, showing progress in accuracy, neatness, and creativity. In conclusion, the integration of Japanese calligraphy into learning activities proved effective in improving both knowledge and practical skills. This method not only supports students’ language learning outcomes but also fosters cultural appreciation, creativity, and active engagement in the learning process.

Pelatihan Kerajinan Tangan Kimekomi sebagai Implementasi Seni dan Budaya Tradisional Jepang bagi Siswa SMKN 9 Padang Putri, Meira Anggia; Faisal, Dini; Fitriyona, Nessya
ABDI HUMANIORA: Jurnal Pengabdian Masyarakat Bidang Humaniora Vol 7, No 1 (2025)
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/abdihumaniora.v7i1.135820

This community service program was carried out to introduce and train students in kimekomi, a traditional Japanese handicraft, as part of the integration of language, art, and culture in learning Japanese. The activity was conducted at SMKN 9 Padang and involved 27 students. The training employed an educational and creative approach through lectures, discussions, demonstrations, and guided as well as independent practice. Two main aspects were emphasized: (1) students’ knowledge of kimekomi as a traditional Japanese cultural art, and (2) students’ skills in producing kimekomi handicrafts. The results showed a significant improvement in students’ knowledge. The average score increased from 52.3 (pretest) to 87.3 (posttest), with the mode shifting from 50 to 80, and the median rising from 50 to 90. The standard deviation decreased from 21.59 to 9.6, indicating that students’ achievements became more evenly distributed. In terms of skills, all participants successfully completed their kimekomi works according to the given patterns and demonstrated adequate craftsmanship through guided and independent practice. In conclusion, the kimekomi training program proved effective in improving both cognitive and practical aspects of students’ learning. It not only enhanced their understanding of Japanese cultural heritage but also fostered creativity and productivity through hands-on artistic activities.

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