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ARTic
Published by Universitas Komputer Indonesia
ISSN : -     EISSN : 27152618     DOI : https://doi.org/10.34010/artic
Core Subject : Art,
Arts
The aim of ARTic journal is the dissemination of knowledge related to design. It covers particular issues on education, practice, and research of design (Interior, Industrial Product, and Visual Communication) . Letters and commentaries of our published articles are welcome.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 5 Documents
 1 
Search results for , issue "Vol 2 No 1 (2019)" : 5 Documents clear
ANALISIS VISUAL GAYA MENGGAMBAR PADA KOMIK AKSI INDONESIA Andini Setya Arianti
ARTic Vol 2 No 1 (2019)
Publisher : Universitas Komputer Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34010/artic.2019.3.2484.93-101

Abstract

Comics are one of popular storytelling media which combines images and text, and is read through spesific order. Far before it was known as “comic”, Indonesia already has several forms of storytelling, such as Wayang Beber and relief on Borobudur’s temple. This forms are later known as comics, which evolve through times in Indonesia. Indonesian comics received many influences from other countries. Indonesian comics received most influences from America and Japan. These influences are seen on its storytelling, and also, its drawing style. The comics being analyzed on this thesis are those with action genre, also known as “komik silat” in the past, because this genre is one of the most popular genre. There are two titles picked to be analyzed, one is “Pandji Tengkorak”, which represents older generation comic, and “Raibarong”, which represent a more modern comic. To understand how indonesian comics grows throughout times and the factors behind its growth, this research uses qualitative analysis and descriptive-comparative along with study case as its approach. The result shows the differences between drawing style of the two comics, caused by the trends existing on their respective eras. Internal factors such us the authors personal preferences and media used to create the comics also further influences their drawing styles.
PERAN VISUALISASI LABEL KEMASAN PRODUK MINUMAN USAHA MIKRO KECIL MENENGAH (UMKM) TERHADAP PENGAMBILAN KEPUTUSAN KONSUMEN Triandi Purnama Ramadhan
ARTic Vol 2 No 1 (2019)
Publisher : Universitas Komputer Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34010/artic.2019.3.2489.103-112

Abstract

Micro, Small and Medium Enterprises (MSMEs) is a business group that if it is viewed from assets and turnover is under the factory. Yet, MSME products usually have unique criteria: raw materials, production quantities, and target markets. MSMEs are still considered to have weaknesses in packaging design. One of the factors is the limited ability to use tools and technology in creating unique packaging designs and representing brand identity. The solution is to choose the type of ready-made packaging (stock) available on the market, so it is possible that one form of packaging can be used by many brands. So in their marketing, MSMEs should be able to maximize the role of visualization on the packaging label. Fruits Up and Mon Chérie are examples of MSMEs in Bandung that make fruit-flavored drink products. With the same product category and target market, it is obvious how visualization of the packaging labels they create is reviewed with the 'applied aesthetic' theory chart. Based on the results of the analysis by mixed methods with sequential exploratory strategy, it is found that the visualization role on the packaging label is a major element to differentiate their identity with other products, as well as a means to convey the purpose and uniqueness of each product. The good visual elements on the label must have aesthetic rules, readable, understandable, and right on target. A packaging design can be influenced by the maker (product uniqueness, production capacity, capital, use of technology, tools, and skill) and end user (need, will, lifestyle), then produce impact on the aesthetic, practical, and symbolic aspects of the customer. The conclusion of consumer interpretation is the composition of color and illustration are more effective than other visual elements in order to make it easier for consumers to make purchasing decisions.
FENOMENA PERUBAHAN BENTUK MOBIL TOYOTA KIJANG GENERASI I (1977), GENERASI II (1981) DAN GENERASI III (1986) SEBAGAI REPRESENTASI DARI KEINGINAN, KEBUTUHAN, DAN DAYA BELI MASYARAKAT PENGGUNANYA DI INDONESIA Ahmad Nurzaeni Fauzi
ARTic Vol 2 No 1 (2019)
Publisher : Universitas Komputer Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34010/artic.2019.3.2504.113-120

Abstract

This research is study of a design object that can change based on time, the purpose is to examine what aspects are encourage the design changes of Toyota Kijang 1st generation (1977-1981), Toyota Kijang 2nd generation (1981-1986) And Toyota Kijang 3rd generation (1986-1992). The analytical method that used in this thesis is the Principle of Totality, Principle of Time, and Principle of Value by W. H. Mayall and developed by Dr. Ahadiyat Joedawinata to analyze the features that contained in Toyota Kijang's exterior and exterior components, and examine what factors are missing, what's changed, what's fixed, and what's new from the 3 generation Toyota Kijang. The results of this study concluded that the design aspect of a function (performance) and aesthetic (form) are related to each other, a change in one aspect affects the other aspects. As for the changes that occur in a design influenced by aspects of non-design. In this case of a shift form of the Toyota Kijang cars changes motivated by 3 (three) factors include: Human Factors (need, will and capability), Economical Factors and Technological Factors.
KAJIAN AESTHETIK DAN SIMBOLIK PADA ELEMEN DEKORATIF KARAWO GORONTALO Apsari Dj Hasan
ARTic Vol 2 No 1 (2019)
Publisher : Universitas Komputer Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34010/artic.2019.3.2506.121-134

Abstract

This study aims to examine the decorative types of Gorontalo karawo fabrics in aesthetic and symbolic elements. Researchers want to know as made in the research design, aspects that are present in the decoration of fabrics in aesthetic and symbolic elements. This study uses a number of related theories to get results, and as a determinant, the authors use aesthetic theory, as well as historical approaches. With this theoretical basis, the author seeks to describe the aesthetic aspects and symbolic meanings that exist in Gorontalo karawo fabric. Through the data collection of the chosen motif and provide a classification of motives, the part is used as a reference for research material. The results showed that Gorontalo filigree had an aesthetic value consisting of unity formed from the overall decorative motifs displayed, complexity formed by complexity in the manufacturing process, and intensity of seriousness in the manufacturing process or the impression displayed on the filigree motif. The aesthetic form also reflects the diversity of meanings for communication, such as the symbol of a leader with his noble instincts, a symbol of cultural cooperation, which is worth maintaining, and ideas about nature conservation. This research proves that the decoration in Gorontalo filigree cloth (karawo) does not only act as a visual value, but also as a communication of cultural meanings and social status. Of all these distinctive motifs show a relationship between humans and humans and humans with nature. The influence of culture from the Philippines is also known to have a strong influence on the emergence of the Gorontalo filigree namely manila filigree.
REVITALISASI BUDAYA MESATUA BALI MELALUI MEDIA DIGITAL I Gede Yudha Pratama
ARTic Vol 2 No 1 (2019)
Publisher : Universitas Komputer Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34010/artic.2019.3.2521.135-153

Abstract

This research was compiled based on a visual design study on the revitalization of the Mesatua Bali culture which was divided into 3 (three) periods, namely: the first Balinese Mesatua (oral) culture, the second period Mesatua Balinese culture (written literature), and the third period Mesatua Bali culture (digital visual). The Mesatua Bali culture is an oral tradition culture carried out by parents to their children. In this study begins by sharpening the substance and structure of research problems designed through the structure of the thinking of researchers. The design of the structure of thought focuses on the purpose of research, namely, to find out the causes and consequences of changes in the revitalization of Balinese Mesatua culture. The method used in this study is descriptive qualitative method, in order to meet objective data needs in conducting studies on the revitalization of Balinese Mesatua culture, this study uses data collection techniques through observation, interviews, and documentation. Surgery for object research is carried out starting from observing aspects of actors, technology and targets. Furthermore, an analysis of the stimuli generated starting from space, time and atmosphere (desa-kala-patra) and the human sensory field. In the final stage a study of visual elements in visual objects is carried out starting from the composition of balance, continuity, combination, unity, typography to color. Then it is compared based on each period of the object of research with 3 (three) levels of values, namely, essential, important, and desirable to analyze aspects that influence the revitalization of the Balinese Mesat culture and dissect what are new, what remains, what was lost, and what changed from the 3 (three) periods to the revitalization of the Balinese Mesatua culture. The results of this study indicate that there is a phenomenon of change in each period from the revitalization of Balinese Mesatua culture. The phenomenon of changes occurring in the revitalization of the Balinese culture from oral to become a visual form (design) is influenced and dilaterbelak by several factors, namely: factors of actors, target factors, technological factors along with factors of space, time, atmosphere (desa-kala-patra) different in each period.

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