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All Journal Gorga : Jurnal Seni Rupa JURNAL ITENAS REKARUPA Ars: Jurnal Seni Rupa dan Desain Jurnal Sosioteknologi Journal of Visual Art and Design JADECS (Journal of Art, Design, Art Education and Culture Studies) Panggung Jurnal Desain Gestalt : Jurnal Desain Komunikasi Visual Wimba: Jurnal Komunikasi Visual Jurnal Seni dan Reka Rancang: Jurnal Ilmiah Magister Desain Ekonomi dan Bisnis: Berkala Publikasi Gagasan Konseptual, Hasil Penelitian, Kajian, dan Terapan Teori International Journal of Management, Entrepreneurship, Social Science and Humanities (IJMESH) Kartala Visual Studies Panggung Serat Rupa: Journal of Design

Budiwaspada, Agung Eko

Institut Teknologi Bandung

Author-ID : 768543

Arts Humanities Decision Sciences, Operations Research & Management Economics, Econometrics & Finance Education Engineering Environmental Science Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Social Sciences Other

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PENGGUNAAN MASKOT SEBAGAI BAGIAN DARI CITY BRANDING KOTA MALANG (STUDI KASUS: OSI DAN JI) Aris Kurnia Wicaksono; Agung Eko Budiwaspada; G. Prasetyo Adhitama
Gestalt : Jurnal Desain Komunikasi Visual Vol 3 No 2 (2021): Gestalt : Jurnal Desain Komunikasi Visual
Publisher : Program Studi Desain Komunikasi Visual Universitas Pembangunan Nasional "Veteran" Jawa Timur

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33005/gestalt.v3i2.90

In this modern era, cities play an important role in the country's development strategy, urban planners and designers and all stakeholders build a strong image and reputation in order to compete between cities and introduce them to the world for sources of regional cash income. City branding is one of the city's strategies to display uniqueness so that it is easily recognized and as a differentiator between a city. Currently, many cities in Indonesia have implemented a city branding strategy and some have mascots as part of their city branding. Mascot is part of the visualization of city branding which has a role to strengthen brand identity. Malang City is one of the big cities in Indonesia that has implemented a city branding strategy, namely Beautiful Malang. The city of Malang also has a mascot which is part of the city branding of the city of Malang, namely the mascot of Osiji which is the official mascot of the Malang City government. This research is a study that examines the Osiji mascot in terms of its application. This study discusses the use of the Osiji mascot as part of the city branding strategy of Malang City and how the visual perception arises from the application of the mascot. The purpose of this research is to find out the strategy that has been implemented by the Malang city government in applying the Osiji mascot as part of the city branding of Malang City and to know the visual perception created from the application of the Osiji mascot. This research uses descriptive qualitative method. The theory used in this research is Gestalt's theory of visual perception and Anholt's The City Brand Hexagon theory. The final results in this study indicate that the city branding of Malang through Osiji is considered less than optimal so that the popularity of Osiji has not been able to strengthen the positive image of Malang City. The low popularity of the Osiji mascot is due to the application strategy that does not consider the design principles and concepts of city branding.

PERANCANGAN STATION ID RTV Henry Wijaya; Agung Eko Budiwaspada Eko Budiwaspada; Agus Nugroho Ujianto
Jurnal Seni dan Reka Rancang: Jurnal Ilmiah Magister Desain Vol. 1 No. 2 (2019): Jurnal Seni & Reka Rancang: Jurnal Ilmiah Magister Desain
Publisher : Universitas Trisakti

AbstractIn the era of a very limited television industry, television stations need a strategy to seize a selective audience in accordance with the target audience to reach the various audience structures in the community. Rajawali Television as a television company that was established in 2014 and has been airing for 3 years, until now Rajawali has reached the fifth position in Nielsen share rating. In reaching the highest position and able to survive is not easy, a television requires a reminder of identity to the target audience known as station identity. Problems that occur until now RTV has not had id station that aired and aired as a step to maintain and increase sales of this television company. The design of a station identity also requires deep thinking in order to create a station identity that is able to answer the problem. Designing the appropriate station identity, requires several platforms as a reference in the design tailored to the needs. Positioning and differentiation are the foundations used in designing this work, the selection of the two foundations has been adapted to the needs of RTV through the data already obtained. The foundation is applied with appropriate design methods in designing station identity, MDLC (Multimedia Development Life Cycle) becomes an option in designing RTV station identity. The resulting station identity will be distributed to several output media as needed, so that more can be maximized its useAbstrakPada era industi televisi yang sangat ketat menyebabkan stasiun televisi membutuhkan strategi merebut penonton yang selektif sesuai dengan target audiens demi menjangkau struktur-struktur penonton yang beragam dalam masyarakat. Rajawali Televisi sebagai sebuah perusahaan televisi yang berdiri pada tahun 2014 dan telah mengudara selama 3 tahun, hingga saat ini Rajawali telah mencapai posisi ke-6 dalam share rating Nielsen. Dalam mencapai posisi tertinggi dan mampu bertahan tidaklah mudah, sebuah televisi memerlukan pengingat identitas kepada target audiens yang dikenal sebagai station identity. Permasalahan yang terjadi hingga saat ini RTV belum memiliki stasiun id yang tayang dan mengudara sebagai langkah menjaga dan meningkatkan penjualan perusahaan televisi ini. Perancangan sebuah station identity juga memerlukan pemikiran yang dalam demi menciptakan sebuah station identity yang mampu menjawab permasalahan tersebut. Merancang station identity yang tepat guna, memerlukan beberapa landasan sebagai acuan dalam perancangan yang disesuaikan dengan kebutuhan. Positioning dan diferensiasi merupakan landasan yang digunakan dalam merancang karya ini, pemilihan dua landasan tersebut telah disesuaikan dengan kebutuhan RTV melalui data yang telah didapat. Landasan tersebut diaplikasikan dengan metode perancangan yang sesuai dalam merancang station identity, MDLC (Multimedia Development Life Cycle) menjadi pilihan dalam merancang station identity RTV. Adapun station identity yang dihasilkan akan didistribusikan kepada beberapa output media sesuai kebutuhan, sehingga semakin dapat dimaksimalkan penggunaannya.

KAJIAN MAKNA PADA FOTO KARYA ANTON ISMAEL RESEARCH STUDI OF MEANING ON PHOTOS BY MR. ANTON ISMAEL Candra Prayogi; Agung Eko Budiwaspada; Yan Yan Sunarya
Jurnal Seni dan Reka Rancang: Jurnal Ilmiah Magister Desain Vol. 1 No. 2 (2019): Jurnal Seni & Reka Rancang: Jurnal Ilmiah Magister Desain
Publisher : Universitas Trisakti

AbstractThis research aims to describe Anton Ismael's photography works seen from the study of semiotics. The research subject was a photographic work related to social issues around an attractive environment by Anton Ismael. While the object of research is in the form of material objects and formal objects (objects that are invisible, which are in the work of Anton Ismael which can be studied using semiotics). The research focused on the problems related to Anton Ismael's photographic works seen from the study of semiotics Charles Sander Peirce and Roland Barthes. The results of the study show that: (1) Anton Ismael's photographic works are based on Charles Sanders Peirce's theories such as icons, indices and symbols. The iconic forms in the work include high school students, high school uniforms, roses, mountains, places to eat, instant noodles and others. The index on photo works contains the life of school children, problems that often arise in school, school environment. (2) Analysis of Anton Ismael's photo works seen from the study of semiotics. From the analysis that has been done, in Anton Ismael's photo work always shows the existence of a relationship or relationship between signs. Icons, indexes, and symbols are good in form, print collage, paint and are always related and explain more or less the meaning contained in each work. In other words, photos can describe the contents implied in each work so that the information delivered will be more easily captured. AbstrakPenelitian ini bertujuan untuk mendeskripsikan karya-karya fotografi Anton Ismael dilihat dari kajian semiotika. Subjek penelitian adalah karya foto yang berhubungan dengan isu sosial di sekitar lingkungan yang menarik oleh Anton Ismael. Sedangkan objek penelitian adalah berupa objek material dan objek formal (objek yang tidak kasat mata, yang ada di dalam karya Anton Ismael yang dapat dikaji menggunakan semiotika). Penelitian difokuskan pada permasalahan yang berkaitan dengan karya-karya foto Anton Ismael dilihat dari kajian semiotika Charles Sander Peirce dan Roland Barthes. Hasil penelitian menunjukkan bahwa: (1) karya-karya foto Anton Ismael berdasarkan teori Charles Sanders Peirce seperti, ikon, indeks, dan symbol. Bentuk Ikon dalam karya antara lain berupa siswa-siswi SMA, Seragam SMA, Mawar, Gunung, Tempat makan, Mie Instan dan lain-lain. Indeks pada karya foto berisi tentang kehidupan anak sekolah, permasalahan yang sering timbul di sekolah, lingkungan sekolah., (2) Analisis karya-karya foto Anton Ismael dilihat dari kajian semiotika. Dari analisis yang telah dilakukan, dalam karya foto Anton Ismael selalu menunjukan adanya hubungan atau relasi antar tanda. Ikon, indeks, dan symbol baik pada bentuk, kolase print, cat dan selalu berkaitan dan sedikit banyak menjelaskan makna yang terkandung dalam setiap karya. Dengan kata lain, foto dapat menggambarkan isi yang tersirat di dalam setiap karya sehingga informasi yang disampaikan akan lebih mudah ditangkap.

PERANCANGAN MEDIA INTERAKTIF DALAM MENDUKUNG PENGEMBANGAN PARIWISATA RUMAH GADANG ISTANO BASA PAGARUYUNG MENGGUNAKAN QR CODE Tedy Wiraseptya; Agung Eko Budiwaspada; Ganal Rudiyanto
Jurnal Seni dan Reka Rancang: Jurnal Ilmiah Magister Desain Vol. 1 No. 2 (2019): Jurnal Seni & Reka Rancang: Jurnal Ilmiah Magister Desain
Publisher : Universitas Trisakti

Abstract The strength in conveying messages to communicants is a form of media activity. There are many things and forms of media that are developing in the digital era today. Surely the development of the media to be more friendly and closer to the community will make it easier to deliver messages. The media is also an important part in supporting the tourism sector. Especially in the cultural tourism sector that we know as cultural heritage or historical heritage. one of them is the Rumah Gadang Istano Basa as a relic of the history of West Sumatra. QR Code or quick response created in Japan by Denso Wave provides technological updates. This makes it easier to share information through digital technology such as smartphones. This interactive media design method will adapt the Waterfall design method created by Pahl and Beitz. In the design process will go through the requirements stage analysis, design, implementation, integration testing and end with maintenance. Of course interactive design that uses the QR Code must follow a structured stage of the Waterfall method. Then, the design that becomes an important point in this design is the concept of infographics that is clear and has strength in readability. AbstrakKekuatan dalam menyampaikan pesan kepada komunikan ialah suatu bentuk keaktifan sebuah media. Ada banyak hal dan bentuk media yang berkembang dalam era digital saat ini. Tentunya perkembangan media menjadi lebih ramah dan dekat dengan masyarakat akan mempermudah menyampaikan pesan. Media juga menjadi bagian terpenting dalam mendukung sektor pariwisata. Apalagi dalam sektor wisata budaya yang kita kenal dengan warisan budaya atau peninggalan sejarah. salah satunya ialah Rumah Gadang Istano Basa sebagai peninggalan sejarah sumatera barat. QR Code atau quick respon yang diciptakan di Jepang oleh Denso Wave memberikan pembaharuan teknologi. Hal ini mempermudah membagikan informasi melalui teknologi digital seperti smartphone. Metode perancangan media interaktif ini akan mengadaptasi metode perancangan Waterfall yang ciptakan oleh Pahl dan Beitz. Dalam proses perancangan akan melalui tahap requirement analisis, design, implementation, integration testing dan diakhiri dengan maintenance. Tentunya perancangan interaktif yang menggunakan QR Code ini harus mengikuti tahap yang terstruktur dari metode Waterfall. Kemudian, desain yang menjadi poin penting dalam perancangan ini ialah konsep infografis yang jelas dan mempunyai kekuatan dalam keterbacaan.

PENGGUNAAN MODEL AIDA UNTUK PEMBENTUKAN KONSEP BRAND PHOTO CABIN PADA MEDIA SOSIAL INSTAGRAM Rendy Iswanto; Agung Eko Budiwaspada; Acep Iwan Saidi
Jurnal Seni dan Reka Rancang: Jurnal Ilmiah Magister Desain Vol. 3 No. 1 (2020): Jurnal Seni & Reka Rancang: Jurnal Ilmiah Magister Desain
Publisher : Universitas Trisakti

Using Aida Model For The Formation Of The Brand Photo Cabin Concept In The Media SocialInstagram. The development of photo corner services in Surabaya is particularly fast making competitioneven tighter. The intense business competition makes photo business people corner does various waysto market its services. One of them is with using Instagram social media. Social media is used as ameans of promotion and marketing to increase consumer buying interest. This research is to analyzequalitatively on the use of the AIDA model, namely Attention, Interest (Interests), Desire (Desire) andAction (Actions in shaping the concept of a brand Photo Cabin on Instagram social media.

PERANCANGAN IDENTITAS VISUAL UNTUK RE-BRANDING RAJA TRAVEL MENJADI WHY TRIP TOUR AND TRAVEL DESIGNING VISUAL IDENTITY FOR THE RE-BRANDING OF RAJA TRAVEL INTO WHY TRIP TOUR AND TRAVEL Wijil Susetyo Gunarso; Ahadiat Joedawinata; Agung Eko Budiwaspada
Jurnal Seni dan Reka Rancang: Jurnal Ilmiah Magister Desain Vol. 4 No. 1 (2021): Jurnal Seni & Reka Rancang : Jurnal Ilmiah Magister Desain
Publisher : Universitas Trisakti

Abstract Why Trip Tour and Travel is a company which engaged in tour and travel service provider, as an old company which engaged in tour and travel service provider bussines sector, it needs an effort to create image and strong identity, so that company’s identity can increase. Thus, rebranding is needed as an effort of increasing company’s identity through some media, for example logo, website, social media, mobile apps which finally it creates a GSM ( Graphic standard manual) this planning aims to rebranding Why Trip Tour and Travel will show more fresh visual. In this rebranding is needed some steps to recieve appropriate result. First step is interviewing and observation, collecting data, creative strategy from Why Trip Tour and Travel and next step is processing design planning. Through all of steps, it will recieve key word as rebranding reference, is safe trip. The result of this final project is a logo, website, soscial media, and mobile apps which create a GSM ( Graphics Standard Manual) , it will be propposed to ownrer of Why Trip Tour and Travel company.Key word: Rebranding, why trip tour and travel, Company’s identity Abstrak Why Trip Tour and Travel adalah perusahaan yang bergerak di bidang penyedia layanan jasa tour dan perjalanan. Sebagai perusahaan yang cukup lama brgerak di sector bisnis penyedia layanan jasa tour dan perjalanan, perlu adanya upaya membangun citra serta identitas yang kuat sehingga mampu meningkatkan identitas perusahaan. Maka dari itu, diperlukan upaya rebranding sebagai upaya peningkatan identitas perusahaan melalui beberapa media berupa pembuatan logo, website, sosial media, mobile apps yang akhirnya nanti membentuk sebuah GSM (Graphic Standart Manual). perancangan ini bertujuan untuk me-rebranding Why Trip Tour and Travel yang mana akan menampilkan visual yang lebih segar dari sebelumnya. Dalam rebranding ini diperlukan beberapa tahapan untuk mendapatkan hasil yang sesuai, yakni diawali dengan wawancara serta observasi, pengumpulan data, strategi keratif dari pihak Why Trip Tour and Travel, dan kemudian dilanjutkan dengan proses perancangan desain. Dari tahapan tersebut nantinya didapatkan kata kunci sebagai acuan rebranding, yaitu Safe Trip. Hasil dari laporan tugas akhir ini berupa logo, website, sosial media, mobile apps yang akhirnya nanti membentuk sebuah GSM (Graphic Standart Manual). yang akan diajukan kepada pemilik perusahaan Why Trip Tour and Tavel.Kata kunci: Rebranding, Why Trip Tour and Travel, Identitas Perusahaan

LINO PRINTING DALAM ILUSTRASI CERITA RAKYAT SABAI NAN ALUIH LINO PRINTING IN THE SABAI NAN ALUH FOLKTALE ILLUSTRATIONS Rhomina Hestiningtyas; Achmad Syarief; Agung Eko Budiwaspada
Jurnal Seni dan Reka Rancang: Jurnal Ilmiah Magister Desain Vol. 4 No. 1 (2021): Jurnal Seni & Reka Rancang : Jurnal Ilmiah Magister Desain
Publisher : Universitas Trisakti

AbstractLino Printing is one of the manual printing techniques that belongs to the High printing technique which is part of the graphic arts. In the history of the development of graphic arts in Indonesia, it has been able to become a means of publishing news of Indonesian independence, but the nature of this printing technique that can be duplicated makes graphic art not develop because it is considered not exclusive and its originality is doubtful However, the interesting characteristic became the inspiration to use this technique in illustration work based on the narrative in the story of Sabai nan Aluih. This research uses practice lead research method. This method is used so that the work process can be done more freely. The story of sabai nan Aluih was chosen as a form of concern for Indonesian folklore.Keywords: lino-printing, illustration, Indonesian folklore, Sabai nan Aluih. AbstrakLino Printing adalah salah satu teknik cetak manual yang termasuk dari teknik cetak Tinggi yang merupakan bagian dari seni grafis. Dalam sejarah perkembangan seni grafis di Indonesia mampu menjadi sarana publikasi berita kemerdekaan indonesia, namun sifat teknik cetak ini yang dapat di duplikasi membuat seni grafis tidak berkembang karena dianggap tidak eksklusif dan diragukan originalitasnya. Tetapi ciri khas yang menarik menjadi inspirasi untuk menggunakan teknik ini dalam karya ilustrasi yang berdasarkan narasi dalam cerita Sabai nan Aluih. Penelitian ini menggunakan metode practice lead research. metode ini digunaka agar proses berkarya dapat di lakukan dengan lebih leluasa. Cerita sabai nan Aluih di pilih sebagai wujud kepedulian terhadap cerita rakyat Indonesia.Kata kunci: lino-printing, ilustrasi, cerita rakyat Indonesia, Sabai nan Aluih.

PERANCANGAN REBRANDING EVENT THE ELITE SHOWCASE 2021 PLANNING OF “THE ELITE SHOWCASE 2021” EVENT’S REBRANDING M Fikri Akbar; Agung Eko Budiwaspada; Wegig Murwonugroho
Jurnal Seni dan Reka Rancang: Jurnal Ilmiah Magister Desain Vol. 4 No. 1 (2021): Jurnal Seni & Reka Rancang : Jurnal Ilmiah Magister Desain
Publisher : Universitas Trisakti

AbstractThis study discusses an organizer of a car modification exhibition, namely The Elite Production. This event organizer always tries to be a barometer of car modification in Indonesia which is held at ICE BSD, South Tangerang City. Although The Elite Production with its event has been running since 2015, this event organizer is still unable to compete with its competitors. The defeat of the competition was because The Elite Production lost in terms of branding. To be able to compete and beat its competitors, The Elite Showcase 2021 must carry out rebranding as a creative strategy to raise The Elite Showcase 2021 brand in the face of competitors. The method chosen for re-branding is to use “Design Thinking”. The stages in carrying out the design thinking method are empathize, define, ideaty, and test. Before the new branding is inaugurated, it must first go through several trials to the public, starting from several prototypes, until finally becoming a visual identity of The Elite Production 2021, which is ready to compete with its competitors in the car modification exhibition event.Keywords: event organizer, exhibition, car modification, design thinking AbstrakPenelitian ini membahas tentang sebuah penyelenggara pameran modifikasi mobil, yaitu The Elite Production. Event Organizer ini selalu berusaha menjadi barometer modifikasi mobil di Indonesia yang diadakan di ICE BSD, Kota Tangerang Selatan. Walaupun The Elite Production dengan eventnya sudah dijalankan sejak tahun 2015, tetapi event organizer ini masih kalah bersaing dengan para kompetitornya. Kekalahan persaingan tersebut karena The Elite Production kalah dari segi branding. Untuk dapat bersaing dan mengalahkan para kompetitornya, The Elite Showcase 2021 harus melakukan rebranding sebagai strategi kreatif untuk menaikkan brand The Elite Showcase 2021 dalam menghadapi kompetitor. Metode yang dipilih untuk melakukan re-branding adalah dengan menggunakan “Design Thinking”. Tahapan dalam menjalankan metode design thinking adalah emphatize, define, ideaty, dan test. Sebelum branding baru diresmikan, harus terlebih dahulu melalui beberapa uji coba ke publik, mulai dari beberapa prototype, sampai akhirnya menjadi sebuah identitas visual dari The Elite Production 2021, yang siap bersaing dengan para kompetitornya dalam ajang pameran modifikasi mobil.Kata kunci: event organizer, pameran, modifikasi mobil, design thinking

PERANCANGAN IDENTITAS VISUAL REBRANDING CITRA PERUSAHAAN CEMARA CERAMICS (DESIGN OF CEMARA CERAMICS VISUAL REBRANDING IDENTITY) Anak Agung Ngurah Gede Marhendra; Agung Eko Budiwaspada; Sangayu Ketut Laksemi Nilotama
Jurnal Seni dan Reka Rancang: Jurnal Ilmiah Magister Desain Vol. 4 No. 1 (2021): Jurnal Seni & Reka Rancang : Jurnal Ilmiah Magister Desain
Publisher : Universitas Trisakti

Abstract Design of Cemara Ceramics Visual Rebranding Identity aims to produce a concept strategy and visual rebranding of the Cemara Ceramics company and produce a Cemara Ceramics rebranding visual identity design in order to encourage the creation of a new identity image. The method in this design uses a 5-stage Design Thinking approach, namely Empathize, Define, Ideate, Prototype and Test. The result achieved is the design of the new Cemara Ceramics corporate identity. With the use of the design thinking method in this research, various problems related to the company image of Cemara Ceramics can be found. The core problem obtained is how to design a strategy and concept of visual identity rebranding to encourage the creation of a new corporate image of Cemara Ceramics.Keywords: visual rebranding identity, concept strategy, design thinkingAbstrak Perancangan Identitas Visual Rebranding Citra Perusahaan Cemara Ceramics ini bertujuan untuk menghasilkan strategi konsep dan visual rebranding perusahaan Cemara Ceramics serta menghasilkan rancangan identitas visual rebranding Cemara Ceramics dalam rangka mendorong terciptanya citra identitas yang baru. Metode dalam perancangan ini menggunakan pendekatan 5 tahapan Design Thinking yaitu Empathize, Define, Ideate, Prototype dan Test. Hasil yang dicapai yaitu rancangan corporate identity Cemara Ceramics yang baru. Dengan adanya penggunaan metode design thinking pada penelitian ini dapat menemukan berbagai permasalahan terkait citra perusahaan Cemara Ceramics. Permasalahan inti yang didapat yaitu mengenai bagaimana merancang strategi dan konsep identitas visual rebranding untuk mendorong terciptanya citra baru perusahaan Cemara Ceramics.Kata kunci: identitas visual rebranding, strategi konsep dan visual, design thinking

GAYA VISUAL INFOGRAFIK SEBAGAI IDENTITAS HARIAN KOMPAS DI ERA DIGITAL Pandu Lazuardy Patriari; Elda Franzia Jasjfi; Agung Eko Budiwaspada
Jurnal Seni dan Reka Rancang: Jurnal Ilmiah Magister Desain Vol. 4 No. 2 (2022): Jurnal Seni dan Reka Rancang : Jurnal Ilmiah Magister Desain
Publisher : Universitas Trisakti

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (881.111 KB)

Abstract The mass media, especially newspapers, are starting and adapt to enter digital platforms as a result of industrial revolution 4.0. People change how to reading and that makes the mass media must be able to provide information briefly but clearly, one of which is through visual journalism, represented by infographics. The Kompas Daily Infographic has its own visual style that distinguishes it from others. This visual style become an identity that represents the Kompas Daily brand. This study explores how the visual style of infographics becomes the identity of Kompas Daily in terms of text, production, consumption, to socio-culture. The goal is to understand how visual style becomes identity. The methodology uses Norman Fairclough's critical discourse analysis which dissects a phenomenon with three dimensions. The results of this study show that the visual style of Kompas Daily infographic can be an identity that distinguishes it from other media. Infographic visual style is produced to align its ideology, policies, and consumption. Identity is manifested from a pattern that takes place in a continuous time and is formed by various factors, both directly and indirectly influencing it. Keywords: Mass Media, Infographic, Visual Style, Identity Abstrak Media massa khususnya surat kabar mulai beradaptasi dengan era revolusi industri 4.0 untuk masuk ke dalam platform digital. Pola baca yang ikut berubah menjadikan media massa harus mampu memberikan informasi dengan singkat namun jelas, salah satunya melalui jurnalisme visual yang diwakili salah satunya dengan infografik. Infografik Harian Kompas memiliki gaya visual sendiri yang membedakan dengan infografik media lain. Gaya visual tersebut dapat menjadi identitas yang mewakili brand Harian Kompas. Penelitian ini mengangkat bagaimana gaya visual infografik menjadi identitas Harian Kompas dilihat dari teks, produksi, konsumsi, hingga sosial budaya. Tujuannya untuk memahami bagaimana gaya visual menjadi identitas. Metodologi menggunakan analisis wacana kritis Norman Fairclough yang membedah suatu fenomena dengan tiga dimensi. Hasil penelitian ini menunjukkan gaya visual infografik Harian Kompas dapat menjadi identitas yang membedakan dengan media lain. Gaya visual infografik diproduksi untuk menyelaraskan ideologi, kebijakan, dan konsumsinya. Identitas terwujud dari pola yang berlangsung dalam waktu yang kontinyu dan terbentuk oleh dari berbagai macam faktor baik yang memengaruhi langsung maupun tidak secara langsung. Kata kunci: Media Massa, Infografik, Gaya Visual, Identitas

Co-Authors Acep Iwan Saidi Achmad Syarief Achmad Syarief Aflah Hanif Hariadi Agus Nugroho Ujianto Agus Nugroho Ujianto, Agus Nugroho Agus Sachari Akmal Alvanov Zpalanzani Mansoor Anak Agung Ngurah Gede Marhendra Ananta Aristia Karina Andreas Kurniawan Annisa Dinar Azahra ARI KURNIAWAN Aris Kurnia Wicaksono Ayuningtias Ramadhani Bangun Asmo Darmanto Cama Juli Rianingrum Candra Prayogi Cavin Joo Dauneeaaron Danang Adi Wiratama Darfi Riskavirwan Deddy Wahjudi Dewi Iriani Dipa Sandi Dewanty Dudy Wiyancoko Dwinita Larasati Elda Franzia Jasjfi Fadillah Fadillah Faikar Izzani G. PRASETYO ADHITAMA Ganal Rudiyanto Handayani Madania Insani Henry Wijaya Henry Wijaya, Henry Ifa Shafira Mustikadara Irfansyah Irfansyah Irfansyah Irfansyah Joedawinata, Ahadiat Krishna Hutama M Fikri Akbar Mansoor, Alvanov Z. Milenia Aziz Naomi Haswanto Nayla Almira Vasthi Pandu Lazuardy Patriari R. Bhima Danniswara Rendy Iswanto Rhomina Hestiningtyas Riki Himawan Mulyadi Robby Firmansyah Rumondang Theresia Juniarta Sangayu Ketut Laksemi Nilotama Sheilla Puspita Sru Setyohadi Syarifah Arsitadewi Putri Gayanti Utomo, R. Drajatno Widi Wegig Murwonugroho Wijil Susetyo Gunarso Wiraseptya, Tedy Yan Yan Sunarya Yasraf Amir Piliang

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