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All Journal Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Humaniora Urban : Jurnal Seni Urban dan Industri Budaya Jurnal Dimensi DKV Seni Rupa dan Desain
Fathoni, Ahmad Faisal Choiril Anam
Animation Program, Visual Communication Department, School Of Design, Bina Nusantara University Jl. K.H Syahdan No. 9, Palmerah, Jakarta Barat, 11480
Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences Other

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Karakter Srimulat: Alih Wahana, Memori Kolektif, dan Identitas Humor Indonesia Fajarwati, Ade Ariyani Sari; Fathoni, Ahmad Faisal Choiril Anam
Urban: Jurnal Seni Urban Vol 5, No.1: April 2021
Publisher : Sekolah Pascasarjana Institut Kesenian Jakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.52969/jsu.v5i1.47

Abstract

Changes are inevitable in everyone’s life. This condition almost always pushes artists to find new strategies in order to keep their works accepted by public at large. One of Indonesia’s comedy group called Srimulat is one of the art groups who have made some efforts to keep their existence. In this spirit, a comic artist, Hari Prast, has tried to bring back the identity and character of the Srimulat members through digital comic media. This article delves into the strategies used by the comedy group Srimulat and by Hari Prast using comic media. The analysis uses descriptive method through adaptation study in order to find the strategies of maintaining the character and identity of the comedy group of Srimulat. The result of the analysis shows that through adaptation – specifically through comic media, the character and identity of Srimulat’s jokes are maintainable up until now. In the adaptation process, the existence of the people’s and the art audience’s collective memory play an important role as the connecting bridge between work of arts and the audience who appreciate it. The link between the past and present knowledge of a community can be built through the strategy of adaptation so that the artists and their works can sustain and known from one generation to the next generation. Perubahan zaman tak terhindarkan bagi siapa saja. Keadaan ini sering kali membuat seniman  harus melakukan berbagai strategi pemertahanan terhadap karyanya agar tetap bisa diterima dan bertahan. Grup lawak Srimulat adalah salah satu kelompok seni yang melakukan berbagai strategi pemertahanan agar tetap eksis. Sejalan dengan itu, komikus Hari Prast mencoba menghadirkan kembali identitas dan karakter personel Srimulat lewat media komik digital.  Artikel ini akan memaparkan pemertahanan yang dilakukan oleh grup lawak Srimulat dan juga oleh Hari Prast lewat media komik. Analisis dilakukan dengan metode analisis deskriptif melalui pendekatan kajian alih wahana untuk melihat strategi pemertahanan karakter dan identitas grup lawak Srimulat. Hasil analisis menunjukkan bahwa melalui alih wahana salah satunya melalui media komik, karakter dan identitas lawakan Srimulat dapat terus bertahan hingga saat ini. Dalam proses pengalihwahanaan itu, keberadaan memori kolektif masyarakat dan penikmat karya seni sangat berperan penting sebagai jembatan penghubung antara karya seni dengan masyarakat penikmatnya. Pertalian antara pengetahuan masa lalu dan masa kini sebuah komunitas dapat dihubungkan melalui strategi alih wahana agar seniman dan karyanya  tetap dapat bertahan dan dikenal dari satu generasi ke generasi berikutnya. 
DESAIN KARAKTER “STU” SEBAGAI KARAKTER PELENGKAP UNTUK MEMPERKUAT INTERAKSI TERHADAP MASKOT “XODE” BINUS DKV: “STU” Character Design as a Complementary Character to Strengthen Interaction with the “XodE” BINUS DKV Mascot Retno Widya Hapsari; Ahmad Faisal Choiril Anam Fathoni
Jurnal Dimensi DKV: Seni Rupa dan Desain Vol. 10 No. 1 (2025): Jurnal Dimensi DKV Seni Rupa dan Desain
Publisher : Universitas Trisakti

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25105/jdd.v10.i1.22592

Abstract

“STU” Character Design as a Complementary Character to Strengthen Interaction with the “XodE” BINUS DKV Mascot. Mascots play a significant role in representing organizations by serving as visual identities that engage audiences emotionally and promote institutional values. BINUS School of Design (BINUS DKV) introduced its primary mascot “XodE” in 2022 to embody creativity, enthusiasm, and the dynamic spirit of its students and faculty. However, as a single character, XodE’s personality and emotional depth were limited without interactions to reveal more relatable traits. To address this limitation, the design of “STU” as a complementary mascot was initiated to enrich XodE's character through dynamic interactions and highlight the diverse personalities within the BINUS DKV community. Using the Design Thinking methodology, which includes stages such as empathy, definition, ideation, prototyping, and testing, the development of “STU” prioritized creating a visual and emotional counterbalance to “XodE”. “STU” was designed with rounded shapes and soft lines through this method to visually communicate his reserved, diligent, and introverted personality, contrasting XodE’s vibrant and expressive traits. The result is a companion character that enhances XodE’s personality through contrasting interactions and strengthens the emotional connection with the audience. This study demonstrates the importance of complementary character design in building engaging mascots that reflect organizational identity while fostering emotional resonance. The findings contribute to character design by illustrating how contrasting personalities and visual elements can enrich mascot narratives and deepen audience engagement.
The Application of Physiognomy for Comic Character Development in “Menjelajah Negeri Rempah” Comic Fathoni, Ahmad Faisal Choiril Anam; Renata, Patricia; Syamsuddin, Dermawan; Mahardhika, Satrya
Humaniora: Journal of Indonesia Culture and Society Vol. 12 No. 2 (2021): Humaniora
Publisher : Bina Nusantara University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21512/humaniora.v12i2.6862

Abstract

The research aimed to document the journey of character development in ‘Menjelajah Negeri Rempah’ comic with physiognomy studies. Indonesia was known as a maritime country that had emerged as one of the largest producers of spices in the last centuries. Unfortunately, younger generations of Indonesia lacked the knowledge of spices. This was one of the reasons why young Indonesians were less concerned with the existence of spices. Several things had been done by the government to socialize the glory of spices in the past so that spices would return to their glory in the future. The researchers who were involved in the teaching and learning process in the Visual Communication Design department wished to take part in this effort through comics to help the government spread knowledge to the younger generation through visual languages they liked without appearing patronizing. In creating this comic, one of the priorities was in the development of characters, which needed to be designed in such a way so that the characters were more easily recognized, and the stories came alive. To strengthen the character, it applied physiognomy in the development of the character designs contained in the comic. It used the design thinking process as a continuously applied design method in this character creation development. It consisted of define, research, ideation, prototype, select, implementation, and learn. The research results are in the form of the comic ‘Menjelajah Negeri Rempah’, which aims to introduce Spice Route as this country’s potential instead of the more famous Silk Road. The result of the research still requires additional data, considering that in the process of making comics, apart from building a relatable character, a strong story is also needed.
Deconstruction of iconic characters: binary opposition and différance in the visual-narrative design of Darth Vader, Naruto, and Mario Ahmad Faisal Choiril Anam Fathoni; Ercilia Rini Octavia; Cahyono Budi Santosa
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 21 No. 1 (2026)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v21i1.8357

Abstract

Character design plays a crucial role in visual narrative effectiveness and emotional connection with audiences, yet existing scholarship privileges visual-narrative coherence over the role of contradiction in shaping emotional resonance. This study asks how Derridean mechanisms, binary opposition and différance, operate within iconic character design to generate interpretive depth. It employs a qualitative multiple-case design analyzing three purposively selected characters: Darth Vader, Naruto Uzumaki, and Super Mario. Selection followed three operational criteria: documented global iconicity, representation of three distinct visual traditions (Hollywood cinema, Japanese anime, and Japanese video games), and contrasting modes of iconization (tragic-antagonistic, heroic-developmental, and functional-iconic). Each case was analyzed through a four-stage deconstructive procedure—identification of the privileged binary, contradictory close reading, exposure of the moment of différance, and synthesis of layered meaning—applied to two defined units of analysis: visual units (silhouette, color, costume, facial configuration, movement, and symbolic marker) and narrative units (scene, action, transformation, and symbolic reversal). Interpretive claims were validated by returning each reading to its primary text, by cross-case pattern testing, and by author consensus. The analysis finds that resonance is generated not by design harmony but by sustained tension between visual meaning and narrative subversion, with each character organized around a distinct collapsing hierarchy: power/weakness, recognition/alienation, and complexity/simplicity. The study contributes an operational deconstructive procedure for visual-narrative research, reframes visual contradiction as a designed resource rather than a flaw, and extends deconstructive analysis across three cultural production contexts. As a textual analysis, it describes interpretive potential inscribed in the design and makes no claim about measured audience response; empirical reception testing remains a task for subsequent research.  
Co-Authors Ade Ariyani Sari Fajarwati Cahyono Budi Santosa Dermawan Syamsuddin Ercilia Rini Octavia Jehezkiel Christian Ray Mahardhika, Satrya Renata, Patricia Retno Widya Hapsari Rina Kartika Satrya Mahardhika Sulaiman Hakim Lubis Syamsuddin, Dermawan Syamsuddin, Dermawan