Visualita : Jurnal Online Desain Komunikasi Visual
The Online Visual Communication Design Visualita Journal is dedicated to disseminating findings or research and original ideas about design, applied arts, and visual culture, which is published in 2 (two) episodes a year, namely in April and October. The scope of the Visualita Journal covers an unlimited variety of visual culture starting from visual, contemporary, and traditional arts, visual communication design, and graphic and technical design with other sciences such as communication, culture, sociology, marketing, psychology, language, etc.
Articles
154 Documents
<![CDATA[Adaptasi Visual Pare sebagai Desain Ragam Hias Batik Karawang ]]>
<![CDATA[Laksitarini, Ike Niken]]>;
<![CDATA[Sunarya, Yan Yan]]>;
<![CDATA[Tresnadi, Chandra]]>
<![CDATA[ Visualita Jurnal Online Desain Komunikasi Visual Vol 8 No 1 (2019): Agustus ]]>
Publisher : <![CDATA[Universitas Komputer Indonesia ]]>
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DOI: 10.33375/vslt.v8i1.1778
<![CDATA[Batik is one from of art and has become an acon of Indonesian indigenous culture and Batik Karawang is one of them. Its exixtence is not yet as popular as batik from other regions. However, several efforts have been made by cultural observer Karawang Regency and related agencies in introducing and developing Batik Karawang. Geographically, Karawang Regency is an area that has extensive agricultural land. Even though it is a coastal area, the agricultural land in Karawang Regency is an area that is able to produce good quality rice, this is because Karawang Regency is located adjacent to the Citarum River which functions to irrigate all agricultural land in Karawang Regency. So it is not surprising that the batik ornaments created are dominated by rice plants or bitter melon as the main decorative variety. Pare in Indonesian means rice, while sagendeng means one tie. The use of ornamental names that refer to the natural and cultural elements of the Karawang district has symbolic meaning that refers to the ideas and expectations of the local community for good. From the results of the study obtained a relationship or relationship that the aesthetic elements contained in the Karawang Batik decoration is a form of visual adaptation (culture) of Karawang regency society which is correlated with the discovery of the name kekembangan on Sundanese terms found in Lalakaon ti Karawang script. This study aims to unravel the form of adaptation to the Pare ornament. This research is expected to provide insight for the general public regarding the existence of Batik Karawang so that it can develop the potential and economy of UMKM (Usaha Mikro Kecil dan Menengah) on Karawang regency. The type of research used is qualitative research with a descriptive approach. From the results of the study it was found that most of the basic patterns of Karawang Batik motifs were ridiculous. Ceplokan is one of the batik motifs which consists of repetition of the ceplok pattern unit so that as a whole it forms a single unit.]]>
<![CDATA[Telaah Etika Sinematika Deleuze Pada Reprensentasi Perempuan Jawa dalam Film 'SETAN JAWA’ Karya Garin Nugroho ]]>
<![CDATA[Dewi, Agustina Kusuma]]>;
<![CDATA[Piliang, Yasraf Amir]]>;
<![CDATA[Irfansyah, Irfansyah]]>
<![CDATA[ Visualita Jurnal Online Desain Komunikasi Visual Vol 8 No 1 (2019): Agustus ]]>
Publisher : <![CDATA[Universitas Komputer Indonesia ]]>
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DOI: 10.33375/vslt.v8i1.1867
<![CDATA[Film is a medium of visual communication that plays a role in the dissemination of women's concept discourse in Indonesia, one of which is due to its distinctive characteristics that can last for a long period of time, potentially wider in its dissemination, including also being a mass media hypnotic culture. The film is closely related to the concept of gaze, male gaze in the cinematography industry, which according to overly uses men's views, which is positioning women as subjects who have no power over themselves (self-possessiveness) but as objects of male gaze. Women become commodities in the film, a sex object that is commodified to construct an image that represents the position of women is as an additional role that is not important in one film narrative. In the male gaze narration, women in the film do not act, but become part of the actions of men. Morally, male gaze assumes that the behavior of women in films has a vacuum, but in Garin Nugroho's 'Setan Jawa’ using Deleuze's cinematic study, women are positioned to have other representations that differ from the ethics of cinematics which do not place women as signs of sex objectification for the sake of fulfillment of men's desires, but as subjects who are fully empowered and may wish of themselves.]]>
<![CDATA[Gim Daring dari Waktu ke Waktu: Studi Kasus Emotikon pada Gim The Gunbound Mobile ]]>
<![CDATA[Padiatra, Aditia Muara]]>
<![CDATA[ Visualita Jurnal Online Desain Komunikasi Visual Vol 8 No 2 (2020) ]]>
Publisher : <![CDATA[Universitas Komputer Indonesia ]]>
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DOI: 10.33375/vslt.v8i2.2527
<![CDATA[Masyarakat Indonesia pada umumnya menyukai permainan. Permainan ini sendiri sifatnya bermacam-macam, dari yang dapat dimainkan sendiri ataupun berkelompok, dan biasanya dipergunakan sebagai sarana untuk melepaskan stres ataupun untuk mengisi waktu senggang. Seiring dengan perkembangan teknologi, permainan pun mulai diganti dari yang sebelumnya berada pada area dunia nyata menjadi dunia maya (daring), permainan ini disebut sebagai gim daring, dan banyak dimainkan oleh berbagai kalangan di masyarakat. Merunut kepada fenomena gim daring, penulis akan memfokuskan studi mengenai aspek ungkapan emosi yang divisualisasikan melalui pencitraan simbol-simbol tertentu sebagai media komunikasi pada salah satu gim daring, yaitu Gunbound Mobile. Hal ini menarik karena studi mengenai gim daring masih terbilang sedikit di Indonesia. Melalui analisis ikonografi dan ikonologi yang kemudian dilakukan untuk membedah tiap-tiap simbol tersebut, terlihat bahwa aspek komunikasi yang terjadi pada setiap pemain gim daring di dunia maya tidak hanya melalui teks saja, namun ada varian lain yaitu melalui unsur simbolik yang dicitrakan melalui gambar-gambar yang mewakili emosi atau perasaan-perasaan tertentu dari setiap pemainnya, hal ini tentunya menjadi fenomena yang menarik untuk dapat ditilik lebih lanjut.]]>
<![CDATA[Analisis Visual Gim Cuphead ]]>
<![CDATA[Persada, Satria Indra Praja]]>
<![CDATA[ Visualita Jurnal Online Desain Komunikasi Visual Vol 8 No 2 (2020) ]]>
Publisher : <![CDATA[Universitas Komputer Indonesia ]]>
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DOI: 10.33375/vslt.v8i2.2666
<![CDATA[Video games are one of the visual communication design works that are in great demand right now, interactive games have advantages over other design works because they can be played by users and interact directly with objects in the video game, now there are lots of video games in the market with various types ranging from RPG (Role Palying), Adventure, fighting to Racing with various games and Visual concepts, one of which is Cuphead, Cuphead itself is an adventure game that offers unique visual concepts so that it can attract gamers in buying the game, Cuphead itself has sold 5 million copies, this cannot be separated from the unique Visual concept that is carried by Cuphead. The research on the Cuphead Game is based on the visual concept carried by the Cuphead game where the visual concept carried by the Cuphead game uses the visual concept of retro cartoon, while the purpose of this research is to find out the visual elements contained in the game and the method used in the research is a descriptive analysis method where the object of this research will be divided according to the elements contained there in, then a literature study is conducted on each of these elements and an analysis is carried out so that the elements of the elements can be identified, then the results of the research this is an overview and expertise of the element so that it impacts the designer or game developer so that he can consider the visual concept and the visual elements that are stretched so that the game has its own characteristics so that it can compete with other game developers.]]>
<![CDATA[Plana Memora: Dekontekstualisasi Wujud Karya Seni Rupa ]]>
<![CDATA[Rahim, Muhamad Ali]]>;
<![CDATA[Amiarsa, Chandra Ghaisani]]>
<![CDATA[ Visualita Jurnal Online Desain Komunikasi Visual Vol 8 No 2 (2020) ]]>
Publisher : <![CDATA[Universitas Komputer Indonesia ]]>
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DOI: 10.33375/vslt.v8i2.2726
<![CDATA[PLANA MEMORA is a visual work created to respond to the shifting phenomena of contemporary aesthetic discourse. Beginning with the idea of ​​'celebration' will fade the exclusivity of art leading to a pattern of continuity of creation. The conceptual purpose is the manifestation of the location of the authentic-specific personality spirit of postmodern art creative works; in the simplicity of visualization, philosophical elements can be found that require effort to understand their 'depth'. The practical aim is to offer patterns of unconventional work creation techniques, and their visualization becomes an alternative display of two-dimensi works of art. The form of PLANA MEMORA is like a brief note, made to give a simple and quick warning of daily activities plans. It is handwritten using a ballpen on a piece of paper. The rationale is that postmodern artworks characterize the familiar and intense closeness of the creators' daily lives. This reinforces the author that two-dimensi works of art are no longer (merely) about illustrations, representations of real/dreamy nature, imagination or ending in the composition of color splashes, which ends only show the skill of hand techniques in making it. To support the representation of contemporary artworks, the author designed PLANA MEMORA as a response to the ongoing shift in aesthetic discourse symptoms, as a decontextual manifestation of the form of visual works. This work is not an illustration of events, more accurately called the continuity of symptoms itself. Although it may be similar to documentation, but more work (plan) today and the future.]]>
<![CDATA[Unsur Visual Kemasan Granola Creations ]]>
<![CDATA[Desintha, Siti]]>;
<![CDATA[Ayu, Intan Kusuma]]>;
<![CDATA[Octamediana, Haliza]]>
<![CDATA[ Visualita Jurnal Online Desain Komunikasi Visual Vol 8 No 2 (2020) ]]>
Publisher : <![CDATA[Universitas Komputer Indonesia ]]>
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DOI: 10.33375/vslt.v8i2.2769
<![CDATA[Granola Creations is a food product originating from Bali, Indonesia and produced by Hundred Seeds. The products are health food made from a mixture of cereals, oats, nuts, sugar and baked dried fruits. Granola Creations has the appearance of a packaging with a dominant brown color, and images of the contents of the product. Basically, packaging as the main image provider of a product to the target audience. The results of the research show that Granola Creations packaging uses text, layout, texture and certain colors that are suitable for conveying information, the identity, personality and image of the product. The study was conducted to determine whether the visual elements in the packaging display used are in accordance with the image of the Granola Creations product. This research uses descriptive analysis method with elemental approach, Visual Communication Design principles and analysis based on packaging material. The results showed that Granola Creations successfully displayed communicative packaging through visual appearance and physical form of packaging in one food packaging design]]>
<![CDATA[Bahasa Rupa Komik Black Metal Istiqomah pada Pos Instagram (Tokoh Varokah dan Setan) ]]>
<![CDATA[Nasruddin, Merlina Fatimah]]>
<![CDATA[ Visualita Jurnal Online Desain Komunikasi Visual Vol 8 No 2 (2020) ]]>
Publisher : <![CDATA[Universitas Komputer Indonesia ]]>
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DOI: 10.33375/vslt.v8i2.2776
<![CDATA[Achmad Deptian Djenuari Rizky is an Indonesian illustrator who carries emotional black metal themes, horror, and grim spiritual values ​​of western black metal or heavy metal in the style of his illustrations. In Black Metal Istiqomah's post Instagram upload series, Deptian raised Islamic spiritual values, propaganda values, and local values ​​that were paired with a visual theme of the expression of the flow of black metal music. Elements of black metal expression that are aggressive and tend to be rebellious with subtle Islamic values ​​and polite Islamic characteristics are two contrasting elements. The purpose of this study is to discuss the expressions and stories of each object using the Tabrani’s visual language method. The discussion on how to use speech and expressions so that it becomes visual language that can be told based on visible speech, is used to reveal which position is the element of emphasis between Islamic values ​​and thematic black metal in the visual style it carries. In Deptian's Black Metal Istiqomah Instagram post, a version of the Varokah character story with a devil character, Satan's wage is described as having a dominant portion in the frame and has a reference to the demonic illustration in European satanism.]]>
<![CDATA[Perancangan Visual Aplikasi "info dusun" sebagai Sistem Informasi Masyarakat ]]>
<![CDATA[Miyosa, Atmaja Septa]]>
<![CDATA[ Visualita Jurnal Online Desain Komunikasi Visual Vol 9 No 1 (2020) ]]>
Publisher : <![CDATA[Universitas Komputer Indonesia ]]>
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DOI: 10.34010/visualita.v9i1.2932
<![CDATA[SmartCity can be started from the village. The visual design of the InfoDusun application is an innovation on a smartphone. The advantage of the InfoDusun application is creates an information system as a process of sharing information on activities so that citizens are able to make better decisions in planning events. The results of the design are icon logo design, login page design and main page design.]]>
<![CDATA[Kembalinya Realisme Seni Kontemporer Sebagai Penyebab Kemunculan Seni Rupa Realisme di Setiap Zaman ]]>
<![CDATA[Susilowati, Anna]]>
<![CDATA[ Visualita Jurnal Online Desain Komunikasi Visual Vol 9 No 1 (2020) ]]>
Publisher : <![CDATA[Universitas Komputer Indonesia ]]>
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DOI: 10.34010/visualita.v9i1.2995
<![CDATA[Many attacks on Realist Paintings, with emergence of photographic techniques, and the emergence of non-objective art that has a Cold War background between America and Russia. Many artists and critics feel that Realism is no longer sufficient to represent a new spirit after World War II. Disillusionment with war and rationality also made Adorno reject the beautiful and pleasing art of Realism style. Artists who emerged victorious in the 1950s who rejected past creeds of art, such as 'art for the people' or 'art for social reform', instead they opted for personal expression and social alienation. Such trends occur in the world of philosophy, that the theory of correspondence truth based on conformity to reality, has been abandoned. The philosophers replaced it with the Philosophy of Language. But in every period, art style realism always reappears in new forms, such as Pop Art, Photo Realism, Superrealism and Hyperrealism. This article wants to illustrate how realism is rejected and in what way realism always reappears along with its causes and also in the final section will review development of Hyperrealism in Indonesia.]]>
<![CDATA[Desain Logo Responsif sebagai Identitas Visual DKV Universitas ‘Aisyiyah Bandung ]]>
<![CDATA[Faizal, Mochammad]]>
<![CDATA[ Visualita Jurnal Online Desain Komunikasi Visual Vol 9 No 1 (2020) ]]>
Publisher : <![CDATA[Universitas Komputer Indonesia ]]>
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DOI: 10.34010/visualita.v9i1.3165
<![CDATA[The increasing use of the internet in Indonesia, especially during the Covid-19 pandemic, has become an issue that needs to be considered by institutions when designing the Desain Komunikasi Visual study program logo of the Universitas ‘Aisyiyah Bandung. This study aims to design a study program logo that is responsive when applied in various media, which emphasizes geometry shapes as an Islamic visual identity. The design process is done by qualitative methods using a linear design strategy. Data collection was carried out through a literature study, visual observation of three similar logos, and then analyzed using a comparison matrix. The result is a logo that is composed of geometric shapes, has a golden ratio, and has several alternative configurations that reflect its nature as a responsive logo on various digital media. This research can be an example to design other similar logos, especially in the scope of Universitas ‘Aisyiyah which is wrapped with Islamic nuances.]]>
