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All Journal Tanra : Jurnal Desain Komunikasi Visual Fakultas Seni dan Desain Universitas Negeri Makassar Journal of Visual Art and Design ANDHARUPA JADECS (Journal of Art, Design, Art Education and Culture Studies) MUDRA Jurnal Seni Budaya Jurnal Manajemen Indonesia PRODUCTUM : Jurnal Desain Produk (Pengetahuan dan Perancangan Produk) Jurnal Desain Idea: Jurnal Desain Produk Industri Institut Teknologi Sepuluh Nopember Surabaya Jurnal Sinergitas PkM & CSR Semiotika: Jurnal Komunikasi Idealog: Ide dan Dialog Desain Indonesia Jurnal Rupa Industri Inovatif : Jurnal Teknik Industri Seminar Nasional Teknologi Informasi Komunikasi dan Administrasi [SEMINASTIKA] Jurnal Nawala Visual Jurnal Da Moda The Indonesian Design Journal Jurnal Strategi Desain dan Inovasi Sosial Prosiding Konferensi Nasional PKM-CSR Jurnal Manajemen dan Pemasaran Jasa Jurnal Dimensi Seni Rupa dan Desain Jurnal Dimensi DKV Seni Rupa dan Desain Jurnal Seni dan Reka Rancang: Jurnal Ilmiah Magister Desain Journal of Research and Innovation In Open and Distance Learning Lantera Widya Imagine Journal of Integrated System

Gumulya, Devanny

Desain Produk, Fakultas Desain, Universitas Pelita Harapan

Author-ID : 598654

Religion Arts Humanities Computer Science & IT Control & Systems Engineering Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Electrical & Electronics Engineering Engineering Environmental Science Industrial & Manufacturing Engineering Languange, Linguistic, Communication & Media Mathematics Nursing Public Health Social Sciences Other

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KAJIAN TRANSFORMASI SEMANTIK DALAM PORTFOLIO DESAIN PRODUK KEWIRAUSAHAAN SOSIAL Devanny Gumulya; Isabela Elena
Jurnal Dimensi Seni Rupa dan Desain Vol. 16 No. 2 (2020)
Publisher : Universitas Trisakti

AbstractThe market is increasingly more competitive; a brand must have a strong product design identity. Famous brands such as Nike, Apple and Swatch are brands that are good at managing their portfolio strategy for a long time. These brands can form an absolute imagination in the consumer’s mind by orchestrating coherent design characters across their product portfolio. Therefore, a brand must consistently use its design elements without making it dull. Consistent but the novelty element remains essential in every product line. Social enterprise to carry out the societal mission should be able to keep up with other products on the market. Therefore, social enterprise ability to manage their product portfolio strategy is essential. Semantic transformation is the process of changing from language realm into the entity that can be physically seen through design features. It is the process of creating design feature to represent meaning. Three social enterprises: Borneo Chic, Noesa and Du’anyam were selected for semantic transformation analysis across its product portfolio, starting from the brand value into design feature from the product portfolio line. The results suggest that the meanings carried by social enterprises are locality, environmentally friendly and mission to build community capacity. These meanings are transformed into design features such as natural colour combinations, woven and weaving elements as a representation of the product made by local craftsmen and one of a kind not factory-made or mass-produced, use local material and environmentally friendly. The social enterprise is expected to innovate traditional features into something modern that fit to a modern lifestyle. Imperfections in social enterprise’s products are also anticipated because it shows that products are made by humans. AbstrakPersaingan pasar yang semakin ketat membuat sebuah brand harus memiliki identitas desain produk yang kuat. Brand-brand ternama seperti Nike, Apple dan Swatch adalah brand yang pandai mengatur strategi portofolionya sehingga dalam kurun waktu yang lama, brand-brand tersebut bisa membentuk imajinasi yang absolut akan karakter desain dari portofolio produknya. Oleh karena itu, sang brand harus secara konsisten menggunakan elemen-elemen desainnya tanpa membuatnya menjadi membosankan. Konsisten tapi unsur kebaruan tetap penting dalam setiap lini produk. Kewirausahaan sosial untuk menjalankan misi sosialnya, harus mampu bersaing dengan produk-produk lain yang ada di pasar. Oleh karena itu strategi portofolio dari kewirausahaan sosial menjadi sangat penting. Transformasi semantik adalah proses perubahan dari ranah bahasa menjadi wujud entitas yang dapat dlihat secara fisik melalui fitur-fitur desain yang diciptakan untuk merepresentasikan sebuah makna. Tiga kewirausahaan sosial berbasis desain produk: Borneo Chic, Noesa dan Dua’anyam dipilih untuk dianalisa transformasi semantiknya, bermula dari ranah bahasa brand value menjadi karakter desain dari lini portofolio produk. Hasil penelitian adalah makna-makna yang diusung kewirusahaan sosial adalah lokalitas, ramah lingkungan dan misi pembangungan kapasitas komunitas. Makna ini ditranslasikan dalam fitur-fitur desain seperti kombinasi warna natural, elemen anyaman dan tenun sebagai representasi produk yang dibuat oleh perajin lokal dan bukan buatan pabrik atau produksi massa. Material yang digunakan lokal dan ramah lingkungan. Wirausaha sosial diharapkan untuk menginovasi fitur tradisional menjadi sesuatu yang tidak biasa. Ketidaksempurnaan pada produk kewirausahaan juga diantisipasi karena menunjukan bahwa produk dibuat oleh manusia.

FORM GIVING DESIGN EXPLORATION INSPIRED BY The 1980s MEMPHIS DESIGN WITH MORPHOLOGICAL CHART ANALYSIS Devanny Gumulya; Hendrawan Sutikno; Rudy Pramono; Evo Sampetua Hariandja
Jurnal Dimensi Seni Rupa dan Desain Vol. 17 No. 2 (2021)
Publisher : Universitas Trisakti

AbstractThe paper studies how morphological chart that comes from engineering method be applied in a creative design process that promotes both divergent and logical thinking. Morphological chart offers vast of possibility of design exploration that can be very useful for educating nascent designers. On the other hand, history has inspired many designers to create many new things. Memphis is postmodernism design style happened between 1981-1987 that was characterize by form follow fun paradigm by creating objects that are bizarre from common object during the time. The paper presents the findings by reviewing four morphological charts, generating 20 new ideas ranging from very similar to less similar style with Memphis. The reviews discovered three key factors affecting design divergence using the morphological chart method: level of variation, which deals how many variations the means can provide, the more variations the more novelty ideas be yielded. Level of unity means show how each element taken from the means be in harmony with each other. Level of abstraction means that the degree how far the idea from the origin inspiration. By having the three level, ideas generated from morphological chart can yield better design.Abstrak Paper ini mempelajari bagaimana chart morfologi yang berasal dari ilmuteknik diterapkan dalam proses desain kreatif yang memungkinkan pemikiran divergen dan logis digunakan bersama-sama. Chart morfologi menawarkan banyak kemungkinan eksplorasi desain yang bisa sangat berguna untuk mendidik mahasiswa desain. Di sisi lain, sejarah telah menginspirasi banyak desainer untuk menciptakan banyak hal baru. Memphis adalah gaya desain postmodernisme yang terjadi antara 1981-1987 yang dicirikan dengan bentuk mengikuti paradigma “form follow fun” dengan menciptakan objek yang aneh dari objek umum di era 1980an. Paper ini menyajikan temuan dengan meninjau empat chart morfologi yang menghasilkan 20 ide baru mulai dari yang sangatmirip dengan gaya Memphis hingga yang berbeda dengan Memphis. Hasilstudi menemukan tiga faktor utama yang mempengaruhi divergensi desain menggunakan metode chart morfologi: tingkat variasi, seberapa banyak variasi elemen ide maka ide yang dihasilkan akan semakin baru. Tingkat kesatuan berarti menunjukkan bagaimana setiap elemen yang diambil selaras satu sama lain. Tingkat abstraksi berarti seberapa jauh ide dari inspirasi asal. Dengan memiliki tiga tingkat ini, ide yang dihasilkan dari chart morfologi akan semakin membaik.

PERANCANGAN WEBSITE APLIKASI UNTUK MAHASISWA AUTIS SPECTRUM DISORDER LEVEL 1 DENGAN ADAPTASI METODE PICTURE EXCHANGE COMMUNICATION SYSTEM Devanny Gumulya; Ernest Irwandi; Kristian Hardijadi
Jurnal Dimensi Seni Rupa dan Desain Vol. 18 No. 2 (2022)
Publisher : Universitas Trisakti

AbstrakPenyandang autis spektrum disorder (ASD) memiliki kesulitan dalam belajar, komunikasi serta gangguan interaksi sosial. Sehingga sulit bagi mereka untuk memahami informasi selama kuliah. Dalam makalah ini sembilan mahasiswa ASD menjadi subjek penelitian dan diwawancarai kesulitan akademik dan non-akademik mereka selama berkuliah. Dengan prinsip Universal design simple and intuitive use and perceptible information situs web berjudul temaninklusi.id dirancang untuk memecahkan masalah ASD. Proses desain web menggunakan pendekatan minimum viable product (MVP) di mana MVP ke-1 dibuat, diuji, dan memberikan umpan balik untuk meningkatkan dan membuat MVP ke-2. Hasil studi adalah prinsip desain universal diimplementasikan dalam interface design situs web yang didominasi oleh ruang putih dan gambar untuk memberikan arah yang jelas bagi ASD. Fitur audio ditambahkan ke informasi teks untuk memfasilitasi transmisi informasi melalui indra penglihatan dan pendengaran. Bahasa Indonesia yang disederhanakan digunakan untuk menggambarkan setiap menu dan tindakan. ASD bereaksi positif terhadap situs web, dan menyukai ide penyampaian materi kuliah melalui gambar, teks, dan audio. AbstractPeople with autism spectrum disorder (ASD) have learning disabilities and communication and social interaction impairment. Making it difficult for them to intercept information during study. In this paper we study nine autism spectrum disorder university students their academic and non-academic difficulties. With universal design principle simple and intuitive use and perceptible information, a website application titled temaninklusi.id is designed to solve the ASD problem. The web design process used minimum viable product (MVP) approach where the 1st MVP is created, tested and give feedback to improve and create the 2nd MVP. The study result is universal design principle is implemented in the design of website interface that is dominated by white space and image to give clear direction for ASD. Audio feature is added to text information to facilitate information delivery through sight and hearing. Simplified Indonesian language is used to describe each menu and actions. ASD reacted positively toward the website, and like the idea of deliver lecture material through image, text, and audio. Keywords: website design, universal design, autism spectrum disorder, inclusive

KAJIAN ELEMEN VISUAL PADA DESAIN KEMASAN PRODUK PERAWATAN KULIT WANITA Devanny Gumulya; Talitha Alysia Onggo
Jurnal Dimensi DKV Seni Rupa dan Desain Vol. 1 No. 2 (2016): Jurnal Dimensi DKV Seni Rupa dan Desain
Publisher : Universitas Trisakti

AbstractVisual Element Analysis of Skin Care Product Packaging Design. In Indonesia, there has been little study conducted into packaging design recommendations. As a result when developing packaging, designers may use their own judgment to design. On the other hand, skin care product is a fast growing industry. We often find brands changing their packaging very often. Many international research are done in this theme, therefore astudy is needed for evaluating consumer perception on Indonesian skin care packaging, whether existing packaging already convey the product benefits effectively. A combinationof literature study and quantitative data from semi structured questionnaires will collect experiential data accessing participant engagement in perceiving a range of packagingsamples from selected Indonesian skin care brand: Martha Tilaar, Sariayu, Viva, and Citra. The result of this study is the design recommendation for future packaging design.AbstrakKajian Elemen Visual pada Desain Kemasan Produk Perawatan Kulit Wanita. Di Indonesia, studi mengenai desain kemasan masih sangat minim.Akibatnya pada saat mengembangkan desain kemasan, desainer menggunakan insting pribadinya untuk mendesain. Di sisi lain, ind stri produk perawatan kulit bertumbuh pesat. Seringkali ditemukan perusahaan mengganti kemasannya secara berkala, maka penelitian internasional banyak dilakukan pada desain kemasan. Oleh karena itu, studi skala lokal perlu dilakukan untuk meneliti persepsi konsumen pada kemasan produk, apakah kemasan yang ada sudah menyampaikan manfaat produk secara efektif. Metodeyang digunakan adalah studi literatur dan penyebaran kuesioner semi terstruktur menggabungkan metode kualitatif dan kuantitatif. Brand yang dipilih adalah Martha Tilaar, Sariayu, Viva, dan Citra. Hasil akhir dari studi ini adalah rekomendasi desain kemasan yang menarik konsumen.

DESAIN KEMASAN RAMAH LINGKUNGAN DARI LIMBAH KARDUS DENGAN METODE DESIGN DRIVEN MATERIAL INNOVATION Devanny Gumulya
Jurnal Nawala Visual Vol 4 No 2 (2022): Jurnal Nawala Visual Oktober 2022
Publisher : Lembaga Penelitian dan Pengabdian kepada Masyarakat (LPPM) Institut Desain dan Bisnis Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.35886/nawalavisual.v4i2.367

Businesses' strategies have shifted to more eco-friendly and sustainable paths as customer expectations toward eco-friendly products continue to progress. Many industries have preferred sustainable packaging in recent years. Because paper waste is abundant around us, recycling it will be very beneficial to the environment. The goal of this research is to look into how to recycle paper waste using design driven material innovation (DDMI) methods. The study employs a qualitative, research-through-design approach, in which researchers conduct research by developing a design project. The research findings are prototypes of snack packaging designs made from recycled paper using the DDIM method. Furthermore, the study's findings indicate that several factors are important to DDIM: knowledge of production technology, knowledge of market trends, and knowledge integration. The study adds to the body of knowledge in product design by instructing product designers on how to create new innovative DIY materials using the DDMI method.packaging design, diy material, material innovation

Form Exploration with Gist Method A Case Study of Product Design Devanny Gumulya; Handoko Sutantio
JURNAL RUPA Vol 7 No 1 (2022): Open Issue
Publisher : Telkom University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25124/rupa.v7i1.4686

To be successful in today’s competitive market, businesses must have a clear product recognition among their users. Consumers frequently have a wide range of products to choose from, making it difficult for a company’s products to be discovered and remembered. An important factor is product recognition and how we perceive it through our perception, which is primarily an identification process that is based on familiarity, resemblance, or similarity. Product gist is a technique used by product designers to visually evaluate product forms during the design process. The study employs an exploratory qualitative approach with multiple case studies in three design projects. The findings confirm that the gist method can assist product designers in creating strong product recognition. The gist method assists designers in identifying key representations that can be kept, modified, or eliminated in order to create new product recognition through typological innovation. Keywordsgist method, product design, product recognition

Pengembangan Desain Produk Berkonsep Silang Dua Budaya Devanny Gumulya
Jurnal Da Moda Vol 4 No 1 (2022): Jurnal Da Moda Oktober 2022
Publisher : Lembaga Penelitian dan Pengabdian Masyarakat (LPPM) Institut Desain dan Bisnis Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.35886/damoda.v4i1.389

Global market competition is increasingly becoming more and more competitive, demanding that product designers continue to enhance their creativity by exploring new design ideas. The global consumer audience highly appreciates the cultural meaning of a product. Nowadays, several brands use local culture as the basic concept, but sadly, they all look alike using materials, traditional styles mixed with more conventional fabrics and shapes. As a result, this paper seeks to study the process of cultural cross-concept for product design and develop a cross between the two cultures using the morphological chart method. A systematic method of developing ideas by matching features that can provide design solutions. The special regional cultures of Yogyakarta and Egypt have been identified as case studies. The two cultures are identified, and the cultural artifacts are identified by their cultural elements, which can be used as a design inspiration. The results of this study were the framework of the cross-cultural design process and the example on how to apply the framework to product design. It is apparent from this process that the relevance of the meaning of the relationship between the two cultures should be formed, so that the assimilation of culture is not wrong and without meaning. Through cultural identification at the outer, middle, and inner levels, the relevance of intercultural relations is becoming apparent. This is important because, in a product with a cross-cultural concept, the story and historical factors influence the customer's perceived value of the cross-cultural product.

Desain Kemasan Produk Kriya dari Daur Ulang Limbah Kardus dengan Metode Design Driven Material Innovation Devanny Gumulya; Azzahra Deaviera
Jurnal Desain Idea: Jurnal Desain Produk Industri Institut Teknologi Sepuluh Nopember Surabaya Vol 21, No 2 (2022)
Publisher : LPPM, Institut Teknologi Sepuluh Nopember

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.12962/iptek_desain.v21i2.13703

Abstrak—Selama beberapa dekade, material telah menjadi pusat penelitian desain produk secara teoritis dan praktik. Ada banyak limbah bahan di sekitar kita. Untuk itu, merancang dari bahan daur ulang muncul sebagai solusi alternatif untuk pengelolaan limbah dan masalah konsumsi yang berkelanjutan. Limbah kertas adalah limbah umum di rumah, jadi belajar cara mendaur ulangnya akan sangat bermanfaat bagi lingkungan. Design driven material Innovation (DDMI) adalah metode sistematis merancang dengan bahan-bahan inovatif baru yang belum pernah digunakan sebelumnya yang terdiri dari lima langkah: penginderaan, rasa - membuat, menentukan, mengatur, dan menempatkan. Studi ini mengambil pendekatan penelitian melalui desain, di mana para peneliti menyelidiki dengan membuat proyek desain. Hasil penelitian adalah prototipe desain kemasan produk kerajinan yang terbuat dari daur ulang kertas yang dibuat dengan mengikuti metode DDIM. Selain itu, penelitian ini merangkum beberapa faktor yang penting bagi DDIM: pengetahuan tentang teknologi produksi, pengetahuan tentang tren pasar, dan integrasi pengetahuan. Studi ini berkontribusi pada keilmuan desain produk dengan memberikan arahan kepada desainer produk bagaimana menciptakan bahan inovatif baru dengan metode DDIM.Abstract— For decades, material has been at the center of product design research and practice agendas. There are numerous materials wastes all around us. As a result, designing from recycled materials arose as an alternative solution to the waste management and sustainable consumption problems. Paper waste is a common material waste at home, so learning how to recycle it is beneficial to the environment. Design driven material Innovation (DDMI) is a systematic method of designing with new innovative materials that have never been used before. It consists of five steps: sensing, sense - making, specifying, setting up, and placing. The study took a research-through design approach, in which researchers investigated by creating a design project. The research results are prototypes of crafts product packaging design made from paper recycle made by following the DDIM method. In addition, the study recommend several factors that are important to DDMI: knowledge of production technology, knowledge of market trend, and knowledge integration. The study contributes to product design’s body of knowledge by giving direction to product designers how to create new innovative material with DDMI method.

Pembelajaran dari Pengajaran Sustainable Product Design pada beberapa Universitas di United Kingdom, Australia, Denmark, the Netherlands, and the United States Devanny Gumulya
Jurnal Desain Indonesia. Vol 5 No 2 (2023): DISCURSIVE DESIGN
Publisher : Aliansi Desainer Produk Industri Indonesia (ADPII)

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.52265/jdi.v5i2.234

Pola produksi dan konsumsi masyarakat global saat ini menghasilkan dampak negatif pada lingkungan dan Kesehatan manusia. Desainer produk berperan penting untuk membantu menyelesaikan dampak negative lingkungan karena ia yang menentukan material apa dibutuhkan untuk suatu produk, bagaimana ia diproduksi, digunakan, di distribusikan dan bagaimana ia dibuang. Untuk itu seorang desainer produk harus menyadari dampak negative dan positif dari setiap keputusan desain yang diambil di setiap tahap proses desain. Dengan demikian Pendidikan tentang Sustainable Product Design (SPD) adalah kunci untuk mengembangkan pengetahuan, ketrampilan dan kompetensi yang dibutuhkan desainer produk masa depan. Di paper ini, diberikan pengajaran SPD di 6 universitas: Nottingham Trent University, Cranfield University, Dartmouth College, Technical University of Denmark, Technical University of Delft, and University of New South Wales) from five countries (the UK, Australia, Denmark, the Netherlands, and the USA). Hasil penelitian menunjukkan bahwa dasarnya pengetahuan dan ketrampilan khusus yang dibutuhkan SPD dibagi menjadi 3 katagori : pemahaman konsep sustainability secara umum seperti 17 SDG, 3 pillar sustainability, metode SPD dan instrumennya seperti Life cycle analysis untuk menilai dampak dan membantu desainer mengambil keputusan desain, strategi SPD yang dapat diambil desainer untuk membuat desain yang ramah lingkungan dan berdampak pada sosial seperti “design for disassembly, design for repair, dematerialization, design for longevity, design for upgrade, design for reuse, design for recycling, circular product design, and design for sustainable behavior approaches”. Setiap katagori membutuhkan pengetahuan, ketrampilan yang tersendiri dan membentuk kompetensi yang sesuai. Hasil penelitian bermanfaat bagi para akademisi desain produk dalam merancang rencana pembelajaran MK studio bertema Sustainable Product Design.

PERANCANGAN MEDIA EDUKATIF TEMATIK PEKERJAAN UNTUK SISWI TK B BINTANG TIMUR BALI Devanny Gumulya
Jurnal Lentera Widya Vol 3 No 2 (2022): Jurnal Lentera Widya Juni 2022
Publisher : LPPM Institut Desain dan Bisnis Bali

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.35886/lenterawidya.v3i2.369

There are several obstacles to online learning, which has been going on for two years due to the situation of large-scale social restrictions caused by the COVID-19 pandemic. TK Bintang Timur is a Paud Kindergarten in Bali that resumed face-to-face meetings in January. According to the findings of the interview, students become unfocused and unenthusiastic when they return to face-to-face after being online for two years. One of the solutions that can be offered to increase student focus is to create educational media that includes a collection of teaching materials as well as tools such as props, text, diagrams, photos, graphics, and videos. The learning kit theme is occupations for language, creativity, and math lessons. PKM produces two sets of educational media that teach children about various professions in demand today, ranging from YouTubers to photographers. Both sets of educational media were sent to Bali, where they received positive feedback from both teachers and the headmaster of TK Bintang Timur.

Co-Authors Aditya Cipta Sugandhi Ariefianto, Jonathan Azzahra Deaviera Calvin Calvin Cathleen Eiliana Christina Renata Gultom Clemencia Gloriana Sharon Eileen Florean Gunawan Eiliana, Cathleen Elena, Isabela Eleonora Jovita Halim Lam Ernest Irwandi Evo S Hariandja Febriyanti Febriyanti Fenny Meilani Florencia Ho Geoffrey Tjakra Ginting, Magdalena Lestari Handoko Sutantio Hardijadi, Kristian Hartanto, Karen Hendrawan Sutikno I Gede Agastya Indarto Indarto Irvin Aditya Parapak Irwandi, Ernest Irwandi, Ernest Isabela Elena Ivana Stacia Helmi Ivana Stacia Helmi, Ivana Stacia J. Sandra Sembel Jason Aditya Jeny Angreini Jonathan Ariefianto Jordan Surjadi Karen Hartanto Kristian Hardijadi Kristian Harijadi Kristian Harijadi Laurence - - Liman, Sheena Liony Amanda Luther Tjunawan Merdy Batangtaris Merdy Batangtaris, Merdy Merliana Merliana Muhammad Fachrurozi Nabila Andini Nareswari Nathalisa Octavia Nathalisa Octavia Nathalisa Octavia Nathalisa Octavia, Nathalisa Pramono, Rudy Prayogo Jatiadi Prisca Nastasia Prisca Nastasia, Prisca Richard Santio Richard Santio, Richard Robertus Malvin Nico Mahatamtama Ryan Adiputra Ryan Adiputra, Ryan Sheena Liman Shu, Efin Sisilia Huang Stefani Liem Sugandhi, Aditya Cipta Suhanto, Yosefin Susi Hartanto Susi Hartanto, Susi Sutikno, Hendrawan Talitha Alysia Onggo Talitha Alysia Onggo Talitha Alysia Onggo Talitha Alysia Onggo, Talitha Alysia Tjakra, Geoffrey Winston Jauri

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