Garuda - Garba Rujukan Digital

Kreativitas Kode Visual Golek Asep Sunandar Sunarya dalam Media TV Irfansyah Irfansyah; Priyanto Sunarto
Wimba : Jurnal Komunikasi Visual Vol. 5 No. 1 (2013)
Publisher : KK Komunikasi Visual & Multimedia Fakultas Seni Rupa dan Desain Institut Teknologi Bandung

'Golek' show is a typical Sundanese art that had been built for generations by the convention (golek as a puppet made from wood that can moved). Convention as the reference in the performance golek set to 'standar' or 'tetekon'. Standard be 'rules' or 'code' in the making and golek play. Previously, the golek show was held in open spaces and performed at night until early morning. Nowdays, staged golek becomes shorter only take place within 2-3 hours. Since the television media increasingly showing its existence; and as well as the emergence of other entertainment stage such as 'dangdut', pop music, 'Malay orchestra', or 'solo organ'.In such condition, there was emergence of Golek Stage by Asep Sunarya. He creates breakthoughs by designing many tricks in his wayang-golek show: character smoking, dancing 'jaipongan', doing material arts pencak silat, or spewing noodle. Asep's wayang golek-performance can regain the attention of the people (mosly Sundanese). On the top of that, Asep style becoming new inspiration for other dalang. The evolving of Asep's golek show, then attracted television industry. At this point, the show becoming more entertaintment than before. In television, golek show perform new encoding, like advertizing code, interaactive broadcasting code, and digital visual effect code.The aim of this study is to reveal the convertion of traditional-golek visual code to modern-television visual-code. The methodologies used are structural visual code, and also ethnometodologi approach. Ethnometodologi method used observation's in-depth interview, and unstructural interview upon selective omnicient informants.

Perancangan Aplikasi (App) Buku Digital Sri Pohaci untuk Anak Pra-Sekolah: Pengenalan Sembilan Tanaman Pangan Pokok Citra Remi; Priyanto Sunarto; Riama Maslan
Wimba : Jurnal Komunikasi Visual Vol. 5 No. 1 (2013)
Publisher : KK Komunikasi Visual & Multimedia Fakultas Seni Rupa dan Desain Institut Teknologi Bandung

Folktales need to be modified and packaged in a variety of media to preserve classic literature. The myth of Sundanese goddess of rice, Sri Pohaci is modified to fit the current context, without changing the basic structure of the story. As the story told, Sri Pohaci incarnated into nine plants. These plants are modified to nine consumptive plants, to support diversification of food consumption program through the story of Sri Pohaci, intended for pre-school children. The pre-design phase for this research applies qualitative methodology based on action research. The e-book application (app) design utilizes digital storytelling method, combined with touch-screen technology to enable interactive animated features. The concept of storytelling through narration, visual, audio and interactivity can increase the sensation of two-way interaction to encourage children's comprehension and enjoyment of storybook.

Identitas dan Karakter Budaya Lokal pada Kemasan Makanan Oleh-Oleh Nina Nurviana; Priyanto Sunarto; Achmad Syarief
Wimba : Jurnal Komunikasi Visual Vol. 4 No. 2 (2012)
Publisher : KK Komunikasi Visual & Multimedia Fakultas Seni Rupa dan Desain Institut Teknologi Bandung

"Oleh-oleh"has become an important thing to buy. "Oleh-oleh" package with prominent characteristic of the local culture can be found in a small number of "oleh-oleh" shops or stalls. This characteristic might be hard to find in other areas. Nowadays, the number of such packaging is still limited. With its various cultures, Indonesia should have become a great source of inspiration to develop packaging design"oleh-oleh". This background triggered the idea that "oleh-oleh" packaging design has great potential to be developed. Such "oleh-oleh" packaging can be considered to have a unique position for several reasons. In addition to its design, its existence in the area of tourism activities and cultural environment has been continually living side by side with the identity where it is marketed. "Oleh-oleh" packaging will be deeply assessed by using a combination method of qualitative and quantitative approaches. Qualitative approach is used to identify the physical and graphic of it. The theory underlining this study is a packaging design theory and theories related to the form of culture. To identify the character of the packaging, theory associated with uniqueness, exotics and emotions are employed. Making use of questionnaire, consumer perceptions of the design are collated. To identify the average opinion of the respondents, a quantitative approach with Semantic Differential assessment method is adopted. The study of the food "oleh-oleh" packaging which can be useful source in design planning, shows that: (1) form, materials and how to package are the aspects influencing the construction of the package; (2) cultural context viewed at the packaging is cultural context seen as exotics, nostalgic experience, visual experience, (3) recognition from consumers is needed to show evidence of physical experience to the place visited and the desire to collect (4) aspects of culture on the packaging can be considered as an opportunity to increase sales; (5) the efforts of food manufacturers in decorating the package is considered quite successful in highlighting the uniqueness and the attractiveness of the appearance.

Relasi antara Prinsip Visual Barat dan Fengshui pada Desain Logo Fenny Ng; Priyanto Sunarto; Naomi Haswanto
Wimba : Jurnal Komunikasi Visual Vol. 3 No. 2 (2011)
Publisher : KK Komunikasi Visual & Multimedia Fakultas Seni Rupa dan Desain Institut Teknologi Bandung

Nowadays, the integrations between Western principles of visual art with principles of Feng Shui in logo designs can easily be found in Indonesia. Principles of Feng Shui, often called as Feng Sui or Hong Sui, is an ancient Chinese way of thinking that emphasize in environment organization. Principles of Feng Shui's four key points are to produce a positive Qi energy, to maintain stability among Yin and Yang, to produce a productive cycle Wu Xing (Five Elements), and to represent the symbolism from Chinese culture. The purpose of this research is to establish an understanding on the relationship between Western principles of visual art and principles of Feng Shui in logo designs, like the similarities on the way of reading logo as well as the differences. Logo designs were analyzed, described, and explained using Western principles of visual art and principles of Feng Shui's four key points into three sections, which are visual elements, logo composition, and logo interpretation. This research used the qualitative method with descriptive analysis. The data were collected through several methods, such as interviews and literature reviews. The four stages of analysis procedure are description, formal analysis, interpretation, and evaluation or judgement. Upon completion, there are three findings. First, the way of reading a logo design using the Western principles of visual art is simpler and straightforward than the principles of Feng Shui. Second, several relationships among the two principles were found in visual elements, logo composition, and logo interpretation. Third, the integrations between Western principles of visual art with principles of Feng Shui in a logo design represents its ideologies as well as the 'shield' to protect the company from any harm.

Adaptasi Karakter Aksara Batak Toba dalam Huruf Latin Njoo Dewi Candra Kertasari; Naomi Haswanto; Priyanto Sunarto
Wimba : Jurnal Komunikasi Visual Vol. 1 No. 2 (2009)
Publisher : KK Komunikasi Visual & Multimedia Fakultas Seni Rupa dan Desain Institut Teknologi Bandung

Aksara adalah salah satu warisan budaya tradisional yang perlu mendapat perhatian khusus. Hal ini dikarenakan secara fungsi, aksara sudah tidak lagi dipandang sebagai suatu kebutuhan media komunikasi dan tertindas oleh efektivitas huruf latin yang telah mewabah ke seluruh aspek komunikasi global. Hal ini dikhawatirkan akan menyebabkan punahnya aksara Nusantara. Kunci yang paling efektif untuk mengatasi kekhawatiran tersebut adalah melalui teknologi huruf. Dimana aksara tradisional dapat difungsikan sebagai sumber inspirasi typeface komputer tanpa menggeser efektivitas huruf latin.Perancangan desain typeface huruf latin dengan karakter Aksara Batak Toba ditempuh antara lain melalui proses penelitian konstruksi visual, anatomi huruf dan kajian elemen-elemen geometris terhadap huruf latin (Roman) dan aksara Batak Toba yang menghasilkan pola dasar desain huruf. Tujuan final seluruh proses penelitian adalah mewujudnyatakan karakter aksara Batak Toba (aksara silabik) ke dalam huruf latin (aksara fonetik) dalam bentuk font komputer yang fungsional.

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