Articles
<![CDATA[SEMIOTIKA TANDA INFOGRAFIS KOMISI PEMBERANTASAN KORUPSI (KPK) ]]>
<![CDATA[Arifianto, Pungky Febi]]>
<![CDATA[ Jurnal Bahasa Rupa Vol 2 No 1 (2018): Jurnal Bahasa Rupa Oktober 2018 ]]>
Publisher : <![CDATA[LPPM STMIK STIKOM Indonesia ]]>
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DOI: 10.31598/bahasarupa.v2i1.210
<![CDATA[In term of its presentation of data, qualitative descriptive research is implemented as the method. To interpret the handling of corruption conducted by Indonesias Corruption Eradication Commission, Charles S. Piercesâ theory of signs classification in icon, index, and symbol is utilized as the approach. Disclosure of meaning the signs itself applies of Rolland Barthesâs connotation interpretations in significance. The Five Codes in significances are divided into Hermeneutic, Proairetic, Semantic, Symbolic, and Cultural. Visual infographic analysis in corruptionâs handling by Indonesias Corruption Eradication Commission is expected for being able to give a discourse in semiotic interpretation to signs and meaning in infographics. Theoretically, the purpose of this analysis will give depiction about a scientific approach to visual communication design theory in sending message through sign-system in each visual elements in infographics.]]>
<![CDATA[MEMAHAMI MAKNA KONOTASI INFOGRAFIS PRODUK TEKNOLOGI SEBAGAI PENYAMPAI BERITA INFORMASI DALAM SITUS GOPEGO.COM EDISI AGUSTUS 2011-AGUSTUS 2012 ]]>
<![CDATA[Pungky Febi Arifianto S1]]>
<![CDATA[ Saraswati Jurnal Mahasiswa Desain Komunikasi Visual ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/srs.v0i0.207
<![CDATA[Penelitian “Memahami makna konotasi infografis produk teknologi sebagai penyampai berita informasi dalam situs gopego.com edisi Agustus 2011-Agustus 2012” ini berusaha untuk mengetahui proses pemahaman dan pemaknaan atas infografis yang ada di dalam situs website gopego.com sebagai penyampai berita informasi produk teknologi melalui pemaknaan dalam wilayah semiotika yakni makna konotatif dengan kode-kode sosial yang dikemukakan Rolland Barthes. Berdasarkan pengamatan infografis selain memberikan gambaran umum mengenai sebuah berita melalui tanda visual, infografis juga bisa menghasilkan sebuah informasi dan berita melalui tanda-tanda yang muncul dalam simbol gambar. Tanda-tanda yang muncul dalam infografis tersebut bukan hanya mengemukakan makna secara denotatif yang apa adanya tetapi lebih dari itu pesan yang terdapat dalam infografis tersebut bisa dibongkar dengan melakukan pengamatan lebih terhadap obyek tanda visual yang ada didalamnya sehingga menghasilkan makna konotatif yang tidak dapat disangka memberikan sebuah aspek korelasi dengan bahasa verbalnya. Kata kunci : infografis, semiotika, makna konotatif ]]>
<![CDATA[Membedah Makna Lukisan Jim Diragandi “Teriakan Ternodai” Melalui Metode Kritik Seni ]]>
<![CDATA[Pungky Febi Arifianto]]>
<![CDATA[ Journal of Contemporary Indonesian Art Vol 1, No 2 (2015) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/jocia.v1i2.1752
<![CDATA[Pameran sebagai ruang berkesenian memberikan sebuah ambiensi mengenai karya seni dan masyarakat pemangku kesenian. Hal tersebut menjadikan pameran sebagai ruang interaksi bagi seniman memamerkan dan penonton sebagai penikmat seni. Tulisan ini dibuat sebagai sebuah cara penulis menikmati kesenian dengan menggunakan metode kritik seni dengan pendekatan semiotika. Kritik seni dilakukan sebagai salah satu cara untuk membedah makna yang ada di dalam karya seni dengan melalui 4 tahapan, yakni, mendeskripsikan, menganalisa, mengintrepetasi, menilai, disertai dengan pertimbangan mengambil objek penelitian terhadap karya seni. Karya yang dijadikan materi subjek adalah karya lukisan Jim Diragandi yang di pamerkan di Festival Kesenian Indonesia ke 8 di Gedung Serbaguna ISI Yogyakarta. Diharapkan penulisan kritik seni bukan sebagai media untuk menjustifikasi karya itu jelek maupun bagus. Namun lebih mengukur kepekaan kita sebagai insan akademisi dalam mengapresiasi sebuah karya seni.Kata kunci : pameran, FKI, kritik seni, semiotika]]>
<![CDATA[SEMIOTIKA TANDA INFOGRAFIS KOMISI PEMBERANTASAN KORUPSI (KPK): Semiotika Tanda Infografis Komisi Pemberantasan Korupsi (KPK) ]]>
<![CDATA[Pungky Febi Arifianto]]>
<![CDATA[ Jurnal Bahasa Rupa Vol. 2 No. 1 (2018): Jurnal Bahasa Rupa Oktober 2018 ]]>
Publisher : <![CDATA[LPPM Institut Bisnis dan Teknologi Indonesia ]]>
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DOI: 10.31598/bahasarupa.v2i1.210
<![CDATA[In term of its presentation of data, qualitative descriptive research is implemented as the method. To interpret the handling of corruption conducted by Indonesia's Corruption Eradication Commission, Charles S. Pierces’ theory of signs classification in icon, index, and symbol is utilized as the approach. Disclosure of meaning the signs itself applies of Rolland Barthes’s connotation interpretations in significance. The Five Codes in significances are divided into Hermeneutic, Proairetic, Semantic, Symbolic, and Cultural. Visual infographic analysis in corruption’s handling by Indonesia's Corruption Eradication Commission is expected for being able to give a discourse in semiotic interpretation to signs and meaning in infographics. Theoretically, the purpose of this analysis will give depiction about a scientific approach to visual communication design theory in sending message through sign-system in each visual elements in infographics.]]>
<![CDATA[ANALISIS TANDA VISUAL DALAM TAGAR CORONA ART MUSEUM ]]>
<![CDATA[Nofrizaldi Nofrizaldi]]>;
<![CDATA[Pungky Febi Arifianto]]>;
<![CDATA[Elianna Gerda Pertiwi]]>
<![CDATA[ Jurnal Bahasa Rupa Vol. 4 No. 1 (2020): Jurnal Bahasa Rupa Oktober 2020 ]]>
Publisher : <![CDATA[LPPM Institut Bisnis dan Teknologi Indonesia ]]>
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DOI: 10.31598/bahasarupa.v4i1.614
<![CDATA[The gallery is a space of interaction between artists and audiences. In the era of pamdemik covid, gallery space was closed due to physical distancing. Imaginary space is built by utilizing communication and information technology. Instagram as a digital platform is widely used as a space for building artistic interactions. Through the hashtag of Corona Art Museum, the writer looks for some visual works to be used as object of analysis. Verbal and visual signs in the visual content will be dissected using the classification of signs: icons, indexes, symbols from Charles S. Peirce and the system of meaning production of codes using The Five Code: Hermeunetic, Narrative, Cultural, Semantik & Symbolic from Roland Barthes. The reading of visual signs will use the Sumbo Tinarbuko Triadik in looking at aspects of visual communication. The results of reading visual signs will reveal how visual content in an imaginary space can be a space of expression and the existence of an artist / designer.]]>
<![CDATA[Persepsi Komunikasi Visual Terhadap Media Promosi BRT (Bus Rapid Transit) Trans Jateng Koridor Purwokerto - Purbalingga ]]>
<![CDATA[Fauzan Romadlon]]>;
<![CDATA[Pungky Febi Arifianto]]>;
<![CDATA[Nofrizaldi Nofrizaldi]]>
<![CDATA[ ULTIMART Jurnal Komunikasi Visual Vol 14 No 1 (2021): Ultimart: Jurnal Komunikasi Visual ]]>
Publisher : <![CDATA[Universitas Multimedia Nusantara ]]>
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DOI: 10.31937/ultimart.v14i1.1996
<![CDATA[Bus Rapid Transit (BRT) is one of public transportation modes in Purwokerto-Purbalingga that has a visual communication element as form as transit ads for a tourism promotion media. This study aims to analyze public perceptions in terms of the effectiveness of visual communication of the promotional media. This study uses a Likert scale to assess and ANOVA to analyze the results. The results of the study indicate that the perception criteria are based on demographic factors, especially gender and job type. Men and women have different perspectives regarding the visual communication design that is applied in BRT. This study also illustrates that the expected promotion of the community as general is increasingly diverse. Promotion is expected not to be limited to tourism promotion, it is also possible to promote culinary, batik promotion, and invitations to use public transportation to campaign to prevent corrupt behavior. Keywords: perception; promotion media; visual communication; bus rapid transit; Purwokerto-Purbalingga.]]>
<![CDATA[Pendidikan Desain Komunikasi Visual dalam Era Society 5.0 ]]>
<![CDATA[Pungky Febi Arifianto]]>
<![CDATA[ DeKaVe Vol 15, No 1 (2022): DeKaVe Vol. 15 No. 1 2022 ]]>
Publisher : <![CDATA[Institut Seni Indonesia Yogyakarta ]]>
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DOI: 10.24821/dkv.v15i1.6167
<![CDATA[The world community order has undergone a revolution along with the development of increasingly massive information and communication technology. All aspects of life are filled by the movement of communication through cyber media that is useful for crossing the limitations of space and time. This revolution then brought a lot of convenience in connecting cross-community relations or creating new community spaces in the internet network. This communication media produces a lot of data so that it can be used by several other users as a reference in mapping people's habits that can be coordinated by certain communities to facilitate the problems that are present. The involvement of people's lives and Internet-based information technology media is called revolution Society 5.0. As a problem solving-based education, Visual Communication Design that utilizes media as a means of communication must be able to blend in the space. This paper attempts to describe the role of DKV Education in the Society of Society 5.0. The method used is a literature review from various study sources, both from research and from the thoughts of other authors. So that new ideas will be obtained in opening new insights to produce Graduate Achievements that can be useful for the Society 5.0.]]>
<![CDATA[KAJIAN VISUAL TRANSFORMASI DIGITAL MEDIA KOMPAS MELALUI COVER EDISI NFT-RECONNECTION ]]>
<![CDATA[Pungky Febi Arifianto]]>;
<![CDATA[Sri Wulandari]]>
<![CDATA[ Jurnal Kajian Seni Vol 9, No 2 (2023): Jurnal Kajian Seni Vol 9 No 2 April 2023 ]]>
Publisher : <![CDATA[Universitas Gadjah Mada ]]>
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DOI: 10.22146/jksks.77367
<![CDATA[Kompas sebagai media pemberitaan nasional telah bertransformasi selama 57 tahun dalam perjalanannya sebagai “Amanat Hati Nurani Rakyat”. Selama itu, Kompas telah berkembang dari media cetak dan merambah ke dunia digital berbasis internet mengikuti dinamika masyarakat. Sebagai bentuk eksistensi dan upaya perjalanan sejarah tersebut, Kompas berkolaborasi dengan seniman digital membuat sampul e-paper edisi 27/6/2022 dalam format NFT (Non-Fungible Token). Sampul berbasis digital ini menjadi menarik untuk dianalisis karena merupakan kolaborasi khusus menghadapi dunia digital virtual yang semakin berkembang masif. Penelitian ini berusaha memaparkan kajian visual berdasarkan keilmuan desain komunikasi visual. Pembacaan makna visual ini akan menggunakan analisis semiotika visual secara kualitatif deskriptif dengan pembacaan tanda-makna menggunakan Triadik Sumbo. Kajian tersebut dibantu menggunakan teori tanda oleh Charles S.Peirce dan kode-kode dari Roland Barthes. Hasil yang diperoleh dari penelitian ini akan memberikan sebuah gambaran akan realitas visual berdasarkan perkembangan teknologi dan budaya visual. Bagaimana kode-kode yang terdapat dalam tanda visual sampul e-paper Kompas mampu mengungkapkan makna konotatif selain makna denotatif dari redaksi Kompas sendiri. Sehingga pembacaan tersebut akan memperkaya kajian desain komunikasi visual sebagai penghasil tanda visual dalam dinamika masyarakat dalam menghadapi gempuran produk digital.]]>
<![CDATA[KAJIAN IKONOGRAFI IKONOLOGI : “HELLO ANDY, THIS IS INDIE” (2008) DALAM SEJARAH SENI KONTEMPORER INDONESIA ]]>
<![CDATA[Pungky Febi Arifianto]]>;
<![CDATA[Miftahul Adi Suminto]]>
<![CDATA[ Tanra: Jurnal Desain Komunikasi Visual Fakultas Seni Dan Desain Universitas Negeri Makassar Vol 10, No 1 (2023): Januari - April ]]>
Publisher : <![CDATA[Universitas Negeri makassar ]]>
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DOI: 10.26858/tanra.v10i1.42666
<![CDATA[This study analyzes paintings by Yogyakarta artists named Indieguerillas. They have an artist duo fronted by Miko Bawono and Santi Ariestyowanti. Their painting entitled “Hello Andi, This is Indie” will be dissected using art history as an approach to Erwin Panofsky's main theories, namely iconography and iconology. Qualitative historical research methods include searching for data through literature studies, both books and exhibition catalogues. The results of this study contain a description of the use of wayang elements with Punakawan figures in Indieguerillas' works. This is a self-reflection of satire and self-assimilation of western and eastern cultural values that exist within them. On the other hand, it provides an understanding of the spirit of the era at that time in the process of its creation so as to produce history at this time. The analysis carried out has three stages, namely pre-iconographic iconography and iconology. Through this analysis, it is found that the psychological experience and social background of the people that shape culture so that it can be considered that the work of Indieguerillas artists is a crystallization of symbols regarding the existence of artistic developments that represent human life in their time.]]>
<![CDATA[Analisis Visual Infografis Produk “Samsung Galaxy Note Edge” ]]>
<![CDATA[Pungky Febi Arifianto]]>
<![CDATA[ AKSA: Jurnal Desain Komunikasi Visual Vol. 1 No. 2 (2018): AKSA: Jurnal Desain Komunikasi Visual ]]>
Publisher : <![CDATA[LP2M Sekolah Tinggi Seni Rupa dan Desain Visi Indonesia (STSRD VISI) ]]>
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DOI: 10.37505/aksa.v1i2.10
<![CDATA[This research aims to figure out the understanding and the comprehending process of infographic used in samsungtommorow.com as its marketing medium in a way to show product excellency through the territory of semiotic meaning, specifically connotative meaning. Based on the observation, it can be concluded that Samsung as manufacturer use infographic as a problem solver in communication problem. Infographic also give the general overview of the definition as a form of communication through visual sign. Infographic can also produce information and marketing process that shown by the signs that appear in symbols. Signs that appear in infographic are not only express the denotative meaning as what it is, but it can be more than that. The message contained in infographics can be dismantled by doing thorough observation of the object of visual signs inside, resulting in connotative meanings which can not be predicted to be correlated with the verbal language. To determine the connotative meaning that is generated through a visualization that is present in these infographics a theory is needed . In this case, the main theory used is the connotative meaning with social codes Rolland Barthes theory. The signs definition that generated by design communication visual will be assisted by th]]>
