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MAKNA TANGGUNG JAWAB SOSIAL DALAM STUDI KREATIF GENRE IKLAN DI TELEVlSI Handriyotopo, Handriyotopo
Acintya Vol. 1 No. 2 (2009)
Publisher : Institut Seni Indoensia Surakarta

The development of television media is quickly enough. in indonesia, many television advertisements appear to support the media. Advertisement which is formerly only comercial and non comercial (ILM) advertisement, nowadays there comes a kind of corporate advertisement butÂ itÂ hasÂ social nuance because of CSR (Corporat Social Responsibility) or philanthropy support soÂ thatÂ the advertisement becomes a new advertisement called philanthropy advertisement. As the factory responsibility towards society, philanthmpy advertisement is usually presented appropriately with the suitable moment in orderÂ thatÂ the presented advertisement is exactly on target. To understand the meaning of philanthropy advertisement can be reached by catching the audiovisual advertisement by taking picture frame by frame from moving image advertisement The first thing to do is deconstructing the signs including icons, index, and symbols. The second step is interpretating denotative as well as conotative meaning of the myth from cultural values by narrative, descriptive, and inductive description. By post structuralist semiotics, television advertisement in one moment can be analized in relation to the form and content of message, moment or cultural context, artistic visual aspect offrame byÂ frameÂ as well as the movement in creating advertisement from its sign and signer. A sign is a game so thatÂ theÂ signer is free from meaning. in other words, meaning presents because of intertextual signÂ andÂ a text can be given a meaning freely and endlessly.Key words: meaning, philantrophy, culture

TIPOGRAFI DEKORATIF KAWUNG FLORAL REGULAR Handriyotopo, Handriyotopo
Acintya Vol. 6 No. 2 (2014)
Publisher : Institut Seni Indoensia Surakarta

Typeface as a print advertising communication element has an important role to convey the message.There are many variations in the use of type application in typography. One is a kind of decorativetypeface. The existence of decorative letters during the Dutch East Indies in terms of silografi iswidely used in newspapers. Currently the use of decorative letters is less productive because it is onlyused as a supplement and as an aesthetic element. The creation of works of decorative letters will adddigital reference letters in adopting elements of local culture in the motif. The chosen motif to thesource of creation decorative letters is like motif kawung of Surakarta and Yogyakarta batik stylesthat have a common history. The application of this new type of decorative fonts as supporting visualaesthetic in design wedding invitations, especially themed Javanese batik or marriage. The method ofcreation is through the stages of observation and exploration, experimentation, creation and applicationin the design of wedding invitation cards.Keywords: Decorative letter, batik, wedding invitations

IDENTITAS VISUAL DESA WISATA BATIK COKROKEMBANG MELALUI ENVIRONMENT GRAPHIC DESIGN SEBAGAI PENGEMBANGAN DI KABUPATEN PACITAN Prilosadoso, Basnendar Herry; Suyanto, S.,; Rosmiati, Ana; Handriyotopo, H.,
Acintya Vol. 9 No. 1 (2017)
Publisher : Institut Seni Indoensia Surakarta

Moral value awareness had begun to be shifted by the western culture that tended to be incompatiblewith the condition of our society. This research was an effort to give reinforcement of local wisdomcontained in wayang beber figure, as a source for the development of batik patterns of Pacitan. Thegeographical condition of Pacitan Regency was very potential to be developed as a superior ecotourismwhere Pacitan got the nickname as Word class karst geopark tourism area. The economic condition ofthe community was mostly supported by a variety of small and medium industries. Batik industrydeveloped rapidly and had great potential to be developed and improved from the aspect of productivity, so that later could increase the economic level of Pacitan society. This research used actionresearch theory where there were four stages, namely select a focus, collect data, analyze and interpret data, and take action. Methods performed in several stages: assessment, design, socialization,mentoring and training, production, and launching. The research results aimed to increase batikproductivity and creativity through the development of Cokrokembang batik tourism village, Ngadirejo,Pacitan through corporate identity design, so it was expected to increase the economy of the peopleand the opening of the leading tourist attraction in Pacitan.Keywords: local wisdom, corporate identity,, batik tourism.

RETORIKA INFOGRAFIS PANDEMI CORONA VIRUS MEDIA JURNALISTIK DIGITAL ONLINE Handriyotopo, Handriyotopo
Acintya Vol. 13 No. 1 (2021)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v13i1.3819

AbstractThe phenomenon of infographics as a visual strategy to attract readers of digital newspapers in order to realize the importance of the protocol issued by WHO and the government of the Republic of Indonesia in an effort to deal with the Covid-19 pandemic, is currently quite prevalent by online media press. The visual form of infographics published by the digital-based press (online) is usually derived to accompany the main article on the front page (headline). The important message of the infographic that is prioritized is not to spread quickly, namely by maintaining social distancing, encouraging work at home, and always maintaining cleanliness and wearing a mask when leaving the house, even then with restrictions. How the form of visual communication design in the form of an infographic is able to provide aesthetic appeal in visual rhetoric to readers who will be the attention of this study. Through a qualitative research method approach to the phenomenon of infographic design from the perspective of text study from the aesthetic value of symbolic visual rhetoric with visual communication design analysis in terms of harmony achievement through its persuasive informative constituent elements. The findings of this study are related to the form of the infographic which is more portrait or vertical dominant. Colors tend to be strong colors red, yellow, blue, and black to indicate pandemic-related color psychology. Visual rhetoric tends to be iconic and header and copy letters are dominant in using sanserif to persuade understanding and reading of information to the reading audience. To remind adherence to health protocols, such as messages from mothers, namely wearing masks, washing hands and maintaining social distancing are the keywords to break this pandemic.Keywords: Covid-19 infographics, aesthetics, visual rhetoric, online press media

MAKNA TANGGUNG JAWAB SOSIAL DALAM STUDI KREATIF GENRE IKLAN DI TELEVlSI Handriyotopo, Handriyotopo
Acintya Vol. 1 No. 2 (2009)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v1i2.77

The development of television media is quickly enough. in indonesia, many television advertisements appear to support the media. Advertisement which is formerly only comercial and non comercial (ILM) advertisement, nowadays there comes a kind of corporate advertisement butÂ itÂ hasÂ social nuance because of CSR (Corporat Social Responsibility) or philanthropy support soÂ thatÂ the advertisement becomes a new advertisement called philanthropy advertisement. As the factory responsibility towards society, philanthmpy advertisement is usually presented appropriately with the suitable moment in orderÂ thatÂ the presented advertisement is exactly on target. To understand the meaning of philanthropy advertisement can be reached by catching the audiovisual advertisement by taking picture frame by frame from moving image advertisement The first thing to do is deconstructing the signs including icons, index, and symbols. The second step is interpretating denotative as well as conotative meaning of the myth from cultural values by narrative, descriptive, and inductive description. By post structuralist semiotics, television advertisement in one moment can be analized in relation to the form and content of message, moment or cultural context, artistic visual aspect offrame byÂ frameÂ as well as the movement in creating advertisement from its sign and signer. A sign is a game so thatÂ theÂ signer is free from meaning. in other words, meaning presents because of intertextual signÂ andÂ a text can be given a meaning freely and endlessly.Key words: meaning, philantrophy, culture

TIPOGRAFI DEKORATIF KAWUNG FLORAL REGULAR Handriyotopo, Handriyotopo
Acintya Vol. 6 No. 2 (2014)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v6i2.217

Typeface as a print advertising communication element has an important role to convey the message.There are many variations in the use of type application in typography. One is a kind of decorativetypeface. The existence of decorative letters during the Dutch East Indies in terms of silografi iswidely used in newspapers. Currently the use of decorative letters is less productive because it is onlyused as a supplement and as an aesthetic element. The creation of works of decorative letters will adddigital reference letters in adopting elements of local culture in the motif. The chosen motif to thesource of creation decorative letters is like motif kawung of Surakarta and Yogyakarta batik stylesthat have a common history. The application of this new type of decorative fonts as supporting visualaesthetic in design wedding invitations, especially themed Javanese batik or marriage. The method ofcreation is through the stages of observation and exploration, experimentation, creation and applicationin the design of wedding invitation cards.Keywords: Decorative letter, batik, wedding invitations

IDENTITAS VISUAL DESA WISATA BATIK COKROKEMBANG MELALUI ENVIRONMENT GRAPHIC DESIGN SEBAGAI PENGEMBANGAN DI KABUPATEN PACITAN Prilosadoso, Basnendar Herry; Suyanto, S.,; Rosmiati, Ana; Handriyotopo, H.,
Acintya Vol. 9 No. 1 (2017)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v9i1.2120

Moral value awareness had begun to be shifted by the western culture that tended to be incompatiblewith the condition of our society. This research was an effort to give reinforcement of local wisdomcontained in wayang beber figure, as a source for the development of batik patterns of Pacitan. Thegeographical condition of Pacitan Regency was very potential to be developed as a superior ecotourismwhere Pacitan got the nickname as Word class karst geopark tourism area. The economic condition ofthe community was mostly supported by a variety of small and medium industries. Batik industrydeveloped rapidly and had great potential to be developed and improved from the aspect of productivity, so that later could increase the economic level of Pacitan society. This research used actionresearch theory where there were four stages, namely select a focus, collect data, analyze and interpret data, and take action. Methods performed in several stages: assessment, design, socialization,mentoring and training, production, and launching. The research results aimed to increase batikproductivity and creativity through the development of Cokrokembang batik tourism village, Ngadirejo,Pacitan through corporate identity design, so it was expected to increase the economy of the peopleand the opening of the leading tourist attraction in Pacitan.Keywords: local wisdom, corporate identity,, batik tourism.

RETORIKA INFOGRAFIS PANDEMI CORONA VIRUS MEDIA JURNALISTIK DIGITAL ONLINE Handriyotopo, Handriyotopo
Acintya Vol. 13 No. 1 (2021)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v13i1.3819

AbstractThe phenomenon of infographics as a visual strategy to attract readers of digital newspapers in order to realize the importance of the protocol issued by WHO and the government of the Republic of Indonesia in an effort to deal with the Covid-19 pandemic, is currently quite prevalent by online media press. The visual form of infographics published by the digital-based press (online) is usually derived to accompany the main article on the front page (headline). The important message of the infographic that is prioritized is not to spread quickly, namely by maintaining social distancing, encouraging work at home, and always maintaining cleanliness and wearing a mask when leaving the house, even then with restrictions. How the form of visual communication design in the form of an infographic is able to provide aesthetic appeal in visual rhetoric to readers who will be the attention of this study. Through a qualitative research method approach to the phenomenon of infographic design from the perspective of text study from the aesthetic value of symbolic visual rhetoric with visual communication design analysis in terms of harmony achievement through its persuasive informative constituent elements. The findings of this study are related to the form of the infographic which is more portrait or vertical dominant. Colors tend to be strong colors red, yellow, blue, and black to indicate pandemic-related color psychology. Visual rhetoric tends to be iconic and header and copy letters are dominant in using sanserif to persuade understanding and reading of information to the reading audience. To remind adherence to health protocols, such as messages from mothers, namely wearing masks, washing hands and maintaining social distancing are the keywords to break this pandemic.Keywords: Covid-19 infographics, aesthetics, visual rhetoric, online press media

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