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All Journal Jurnal Dimensi Seni Rupa dan Desain Jeskovsia (Jurnal Desain Komunikasi Visual Asia)
Hendrawan, Faldi
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Arts Humanities

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Ilustrasi Sebagai Media Representasi Self-Cherishing Dan Self-Acceptance Dalam Perspektif Visual Studi Fenomenologis Wardani, Lely Surya; Hendrawan, Faldi
Jurnal Desain Komunikasi Visual Asia Vol 9 No 1 (2025): Jeskovsia 9.1
Publisher : Lembaga Penelitian Pengembangan dan Pengabdian Kepada Masyarakat STMIK Asia Malang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.32815/jeskovsia.v9i1.1076

Abstract

Illustration as a medium that can be used to understand and spread self-love because it can be used to convey messages visually and emotionally. This study examines 2 components of self-love, namely self-cherishing and self-acceptance. The problems faced by students are related to the pressure to achieve, adapt to new environments, and demands to build self-identity often cause stress that has an impact on psychology. This research aims to explore how illustration can be an effective medium to represent 2 components of self-love from a visual perspective through a phenomenological approach. In addition, it is also to find out how many students are able to appreciate, accept, and appreciate as a form of loving themselves through visual works, which reflect the essence of emotion and meaning behind the visual experience. The results of this research are that students who draw themselves can be stated to have a higher understanding of the aspect of self-love than those who draw others. Through the observed phenomena, students' awareness in understanding the components of self-love can be said to be good visually through the results of the illustrations. However, in everyday life, the level of students' self-love can still be said to be sufficient to tend to be lacking in accepting, appreciating, respecting and considering themselves more important than others.
“DARI LUCU MENUJU KOMERSIAL” SEBUAH TINJAUAN SEMIOTIKA VISUAL KOMIK IKLAN TAHI LALATS Hendrawan, Faldi
Jurnal Dimensi Seni Rupa dan Desain Vol. 19 No. 2 (2023): Jurnal Dimensi Seni Rupa dan Desain
Publisher : Fakultas Seni Rupa dan Desain, Universitas Trisakti

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25105/dim.v19i2.16024

Abstract

The Tahilalats advertising comics are a differentiator from works that only aim to convey humorous messages on Instagram. An overview of advertising comics with commercial purposes is interesting because the contents of commercial advertisements for a product become a new pattern of creativity for Tahilalats creators. The object of the problem taken from the work entitled “Surprise” offers a form of negotiation between the aim of being funny and commercial advertising The Ponds Men advertisement is a promotional idea for men’s skin care products which is humorously visualized in ten comic strip panels. The series of panels is a sign structure that will be dissected in order to find the right meaning to show the persuasion message of a commercial product. The accuracy of meaning can be seen from the visualization of the text or aspects of form and context or content as part of the marking system. The marking system will be reviewed based on the sign structure of Barthes’s semiotic theory, namely lexia. The meaning analysis begins by re-reading the nine comic panels into four lexias by naming them based on the logic of meaning, not chronology. In the lexia you will find code categories used as sign dynamic rules according to Barthes based on the perception and culture of the users as interpreters including hermeneutic codes, semimic or semantic codes, symbolic codes, proairetic or action codes, and cultural codes. The code becomes the main reference showing the context in the form of a persuasive message from a Ponds Men commercial advertisement. The context of being funny can be visualized with aspects of character shape, cartoon-style expressions that are simple and simple. The supporting theory is in the form of relays and intertextuality from Julia Kristeva to review the performance of the tagging system based on caption text in the form of titles and descriptions in the Instagram Tahilalats column. In this case, it can show that the commercial message of Ponds Men’s products can be combined appropriately according to Tahilalats’ cute characterization.Keyword: advertising, comic, tahilalats, visual semiotics
Merchandise Djampie Oesodo Sebagai Brand Awarness Konsumen Hanafi, Ahmad Nur; Happy, Handry Rochmad Dwi; Hendrawan, Faldi
Jurnal Desain Komunikasi Visual Asia Vol 8 No 01 (2024): Jeskovsia 8.1
Publisher : Lembaga Penelitian Pengembangan dan Pengabdian Kepada Masyarakat STMIK Asia Malang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.32815/jeskovsia.v8i01.788

Abstract

The existence of herbal medicine has begun to decline because it has been replaced by modern medicines. For the people of Indonesia, herbal medicine is not just traditional medicine, but a drink to support health. The purpose of this research is to create a way to create a new image of herbal medicine that can be a solution to this phenomenon so that it can be considered a casual drink that can be consumed every day. Literature Study, By studying reference books and journals related to today's design techniques and styles and the application of business in the digitalization era. Observations, indirect observations made through digital media related to the development of visual style, observing products that have been in business for a long time, and following issues that develop in society. Analysis, and research on Segmentation, Targeting and Positioning to find out the right strategy in designing brand identity. This research produces 3 types of visual identity and merchandise, namely logo, packaging, and promotional media. The results of the test using the questionnaire method show that the Visual Identity design can provide a value of trust and attract consumers to buy products. Djampie oesodo is a traditional beverage brand that has just been pioneered so the identity of the product is not yet well known. With the use of visual identities such as logos (logograms and logotypes), 1st Packaging, 2nd Packaging, key chains, bags, tumblers, social media, and online stores have been able to become product identities so that buyers can easily identify these products.
Co-Authors Hanafi, Ahmad Nur Happy, Handry Rochmad Dwi Wardani, Lely Surya