Jurnal Bahasa Rupa
The contents of Bahasa Rupa Journal include scientific ontology, epistemology and axiology of Visual Communication Design (DKV) and Multimedia, which includes: VISUAL COMMUNICATION DESIGN (a) Visual semiotics; Iconography; Iconology, (b) Illustrations, (c) Typography, (d) Photography, (e) Advertising and Branding strategy, (f) Corporate Identity, (g) Packaging Design, (h) The latest applied technologies related to Visual Communication Design, (i) Educational methods in Visual Communication Design teaching, (j) The Science of Design in Visual Communication Design, (k) Cultural Issues Related to Visual Communication Design. MULTIMEDIA DESIGN (a) User Interface & User Experience (UI/UX design), (b) Animation, (c) Cinematography and Videography, (d) Digital Game, (e) Interactive Multimedia, (f) The latest applied technologies related to Multimedia Design, (g) Educational methods in Multimedia Design teaching, (h) The Science of Design in Multimedia Design, (i) Cultural Issues Related to Multimedia Design.
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<![CDATA[EDUKASI PERAWATAN ORGAN REPRODUKSI EKSTERNAL SAAT MENSTRUASI BAGI REMAJA PUTRI MELALUI VIDEO ANIMASI TIPE MOTION GRAPHIC ]]>
<![CDATA[Krisciaputri, Yuliana Cornillon Intan]]>;
<![CDATA[Wenas, Michael Bezaleel]]>
<![CDATA[ Jurnal Bahasa Rupa Vol. 4 No. 2 (2021): Jurnal Bahasa Rupa April 2021 ]]>
Publisher : <![CDATA[Institut Bisnis dan Teknologi Indonesia ]]>
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DOI: 10.31598/bahasarupa.v4i2.472
<![CDATA[This study discusses the design of a socialization video entitled Menstrual Health and Hygiene with motion graphic techniques. This is based on the importance of a woman to maintain personal hygiene, especially during menstruation and the lack of socialization media that discusses the maintenance of cleanliness and health of women's external reproductive organs, especially during menstruation. Therefore, a media outreach was designed in the form of video socialization with motion graphic techniques to help socialize how to maintain the cleanliness and health of women's external reproductive organs, especially during menstruation effectively and attractively. The method used is a mixed method for data collection and quantitative testing of product results. In this design, the process of making socialization media, from the concept design to the final result, is in the form of video socialization with motion graphic techniques. The results achieved from this research were in the form of a socialization video entitled Menstrual Health and Hygiene, able to convey information about hygiene and health of female external reproductive organs, especially during menstruation and can be used as a media for Menstrual Health and Hygiene socialization.]]>
<![CDATA[VIDEO ANIMASI MOTION GRAPHIC DAN TIPOGRAFI KINETIK SEBAGAI MEDIA SOSIALISASI PENCEGAHAN VIRUS CORONA ]]>
<![CDATA[Krisbiantoro, Dwi]]>;
<![CDATA[Handani, Sitaresmi Wahyu]]>;
<![CDATA[Falah, Ilfa Jawahiril]]>
<![CDATA[ Jurnal Bahasa Rupa Vol. 4 No. 2 (2021): Jurnal Bahasa Rupa April 2021 ]]>
Publisher : <![CDATA[Institut Bisnis dan Teknologi Indonesia ]]>
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DOI: 10.31598/bahasarupa.v4i2.659
<![CDATA[Animation is a static image that is displayed sequentially so that the image becomes a moving image. Apart from being an entertainment, animation has also become a guide, an inspiration, as well as a means of socializing. Along with the development of technology, there are many techniques for making animation. These techniques aim to improve the quality of the image, as well as the animation movement itself. There is a lack of awareness to maintain health in society today. Many people do not understand the importance of maintaining health to stay healthy. Recently, there has been an unclear paradigm towards the transmission of the Covid -19 virus. The spread of a virus that is very mobile, will definitely have a bad impact. This is exacerbated by the state of unclear issues, where there is a lack of socialization of the preventive action of the Covid-19 virus, especially in Indonesia. Based on these things, in this study a socialization video was made about preventing the spread of the Covid -19 virus, based on 2-dimensional animation using kinetic typography techniques. So, the final result of this research is in the form of an animated video as a 2-dimensional based socialization media regarding the prevention of transmission of the Covid -19 virus to the public visually in the form of an animated video.]]>
<![CDATA[NILAI-NILAI SUBKULTUR DALAM MEREK MATERNAL DISASTER ]]>
<![CDATA[Bastari, Rendy Pandita]]>;
<![CDATA[Resmadi, Idhar]]>;
<![CDATA[Lukito, Wahyu]]>
<![CDATA[ Jurnal Bahasa Rupa Vol. 4 No. 2 (2021): Jurnal Bahasa Rupa April 2021 ]]>
Publisher : <![CDATA[Institut Bisnis dan Teknologi Indonesia ]]>
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DOI: 10.31598/bahasarupa.v4i2.670
<![CDATA[Subculture is a movement against the mainstream that is manifested through music, fashion and lifestyle. One of the supporting element of the manifestation of a subculture is the existence of products from certain brands that have authenticity. The authenticity of a brand can be formed through the interaction of a brand with its community. A brand is not constructed by itself, but it must be built with various actions towards a community with its own ecosystem so as to give rise to consumer attitudes and habits towards a brand's product. Previous studies have shown that general consumers with subcultural actors show different attitudes towards a product from a certain brand. Another study shows that brands imitate the behavior patterns of a subculture and make it their target market to sell products. This study aims to take another approach, namely a sociological approach, by conducting a case study of a brand that is associative with a subcultural movement, one of which is Maternal Disaster. The method used in this study was an unstructured interview with the owner of the Maternal Disaster brand, visual samples analysis and an analysis based on the sociological theory of Pierre Bourdieu. The result of this research is a recommendation, brands that want to start moving in the subculture must prioritize the values that are upheld by the subculture movement. In addition, interaction with the community must be built through the support of activities in the subculture.]]>
<![CDATA[PERANCANGAN FILM PENDEK BERJUDUL SI AYU SEBAGAI MEDIA SOSIALISASI DAMPAK PSIKOLOGIS BODY SHAMING BAGI REMAJA PUTRI ]]>
<![CDATA[Bezaleel, Michael]]>;
<![CDATA[Felicia, Felicia]]>
<![CDATA[ Jurnal Bahasa Rupa Vol. 4 No. 2 (2021): Jurnal Bahasa Rupa April 2021 ]]>
Publisher : <![CDATA[Institut Bisnis dan Teknologi Indonesia ]]>
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DOI: 10.31598/bahasarupa.v4i2.697
<![CDATA[Body shaming is known as the action of expressing humiliation by commenting, mocking, or criticizing about another individual’s body shape or size. This act is often considered a joke for many people, especially among teenagers, without realizing that it can cause mental problems for victims who receive this body shaming treatment. This form of bullying can cause the victim to lack confidence, low self-esteem and even suicide. Based on the background of the problems explained, creating an audio visual in the form of short film is judged as fit to be a relevant socialization media in this modern society. This research is using qualitative methodology, collecting datas by interviewing a number of sources and target audiences. Based on the results of data collection, this short film was designed with an emphasis on one of the psychological impacts experienced by the victim which is low self-esteem. As a result, this short film has presented a visualization that can convey messages about the psychological impact that occurs on victims of body shaming to teenage girls.]]>
<![CDATA[NARASI LIRIS FOTOGRAFI JURNALISTIK PADA MASA PANDEMI COVID-19: STUDI KASUS PROYEK FOTOGRAFI “STILL LIVES” OLEH THE NEW YORK TIMES ]]>
<![CDATA[Purnomo, Aji Susanto Anom]]>;
<![CDATA[Andrea, Novan Jemmi]]>;
<![CDATA[Kusuma, Monica Revias Purwa]]>
<![CDATA[ Jurnal Bahasa Rupa Vol. 4 No. 2 (2021): Jurnal Bahasa Rupa April 2021 ]]>
Publisher : <![CDATA[Institut Bisnis dan Teknologi Indonesia ]]>
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DOI: 10.31598/bahasarupa.v4i2.714
<![CDATA[2020 is the year when the world is faced with a health crisis, namely the Covid-19 pandemic or also known as the Corona Virus. All aspects of life are affected by this crisis, the joints of humanity are faced with limitations. The mass media are intensively reporting various incidents regarding the Covid-19 pandemic. The stories are often accompanied by journalistic photos. One of the functions of photojournalism is to strengthen the story of what the media wants to convey. Journalistic photos during this pandemic usually feature scenes from medical activities, government policies and large narratives that are cold on empathetic human relations. However, different from most photojournalism in most mass media, The New York Times publishes "Still Lives" photography projects that are done by its photographers. The project presents a different narrative from this time of the pandemic. The “Still Lives” photography project is important because it presents journalistic photos that tell a domestic narrative that is close to the sides of universal humanity, namely the stories of the photographers' homes and families. This study aims to describe and interpret the “Still Lives” photography project as an alternative in creating a different narrative from photojournalism during the pandemic. This study used a descriptive qualitative research method based on phenomenology with Roland Barthes' main theory of semiotics and supported by journalistic photography theory and representation theory. The research results obtained a complete explanation and meaning of the “Still Lives” Project from The New York Times. The project according to the theory of photo journalistic is photo story based on personal experiences. From the analysis through the theory of semiotics from Roland Barthes and representation theory successfully obtained a result that basically projects “Still Lives” can be understood as a representation of the universal experience and feeling by mankind. Project “Still Lives” provides the representation of covid-19 pandemic through the mass media journalistic that show an alternative offer to journalistic practice to use lyrical narratives and personal experience in the story and more empathy in the mass publication of pandemic covid-19.]]>
<![CDATA[PERAN BRANDING BAGI PENCIPTAAN IMAGE BATIK 3 NEGERI SOLO KARYA KELUARGA TJOA ]]>
<![CDATA[Rismantojo, Sandy]]>;
<![CDATA[Lukman, Christine Claudia]]>;
<![CDATA[Valeska, Jesslyn]]>
<![CDATA[ Jurnal Bahasa Rupa Vol. 4 No. 2 (2021): Jurnal Bahasa Rupa April 2021 ]]>
Publisher : <![CDATA[Institut Bisnis dan Teknologi Indonesia ]]>
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DOI: 10.31598/bahasarupa.v4i2.718
<![CDATA[Batik Tiga Negeri is an Indonesian adiwastra that is still considered a mystery. Why? Because its history is still not completely clear. Batik Tiga Negeri is believed to have undergone a coloring process in three different cities, first in Lasem for red color, Pekalongan for the blue color, and finally in Solo for sogan or brown color. Therefore, the production journey of one batik Tiga Negeri will take a total of 650 km. The Tjoa family started producing batik Tiga Negeri in 1910, but it was regrettable that in 2014, the family had stopped the production because they have no successors. The Tjoa family stated that they named after their batik based on the legendary Sam Kok story from China known as the Three Kingdoms. Therefore, the batik Tiga Negeri, created by the Tjoa family, is a brand that is then attached to the legendary batik Tiga Negeri through the branding process. This study will analyze how Batik 3 Negeri Tjoa Family's brand and branding process can help build a brand image to strengthen the batik 3 Negeri Tjoa family's brand value. The researcher conducted a qualitative descriptive method to explore batik 3 Negeri of the Tjoa family through literature studies on batik Tiga Negeri and interviews with batik experts and enthusiasts complemented by literature studies on brand theory and branding. The results reveal the strength of the Tjoa family Batik 3 Negeri Solo's brand and branding process, which had been carried out for three generations, had succeeded in elevating their batik products into known to have aesthetic value and high quality and became the leading choice for the Sundanese in West Java.]]>
<![CDATA[STRATEGI KREATIF PERANCANGAN KOMUNIKASI VISUAL PARIWISATA INDONESIA “TEMUKAN LOKALMU” ]]>
<![CDATA[Iskandar, Bianca]]>;
<![CDATA[Valentina, Anny]]>;
<![CDATA[Bekti, Siti Nurannissaa Parama]]>
<![CDATA[ Jurnal Bahasa Rupa Vol. 4 No. 2 (2021): Jurnal Bahasa Rupa April 2021 ]]>
Publisher : <![CDATA[Institut Bisnis dan Teknologi Indonesia ]]>
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DOI: 10.31598/bahasarupa.v4i2.771
<![CDATA[As a country known for its diversity of natural beauty and cultural diversity, Indonesia has the potential as a tourist destination. Tourism is one of the largest income in Indonesia. The high interest of foreign tourists is inversely proportional to the decrease of local tourists every year. One of the reasons is that local tourists prefer to travel abroad. Pandemic conditions are also one of the causes of declining in the domestic tourism industry. This study aims to find an alternative concept of creative strategies for designing tourism visual communication that emphasizes local aspects. This research used mixed methods, quantitative methods by using questionnaires and qualitative methods by using observation, interviews and literature study. The target audience is the young generations aged 21-27 years, domiciled in Jakarta and having SES A-B economy class. The result of this research form a creative strategy in visual communication design with the concept of "Discover your locale". This concept emphasizes the delivery of information about characteristics, local aspects, and recommended information on the attractiveness of an area from local residents to gain new experiences.]]>
<![CDATA[STRATEGI KREATIF KAMPANYE PENGGUNAAN EARPHONE YANG AMAN BAGI KESEHATAN TELINGA ]]>
<![CDATA[Valentina, Anny]]>;
<![CDATA[Yunita, Sherly]]>;
<![CDATA[Bekti, Siti Nurannisaa Parama]]>
<![CDATA[ Jurnal Bahasa Rupa Vol. 4 No. 2 (2021): Jurnal Bahasa Rupa April 2021 ]]>
Publisher : <![CDATA[Institut Bisnis dan Teknologi Indonesia ]]>
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DOI: 10.31598/bahasarupa.v4i2.776
<![CDATA[As time evolves, it is easier to find children, young, and adults using earphones to do various things ranging from work to entertainment purposes. The habit of using earphones with a volume that is too loud or too long added with other daily noise and a person's lifestyle can certainly harm their hearing. Therefore, the risk of hearing loss that can arise due to unsafe use of earphones needs to be informed early on to young people. This is because hearing loss due to noise is irreversible, so prevention is the most effective way to protect hearing from the risks that may occur. The research objective was to describe the creative strategy design for the educational campaign using earphones. The campaign's creative strategy is using qualitative methods, observation, interviews, literature studies, and surveys. The target chosen for this campaign strategy is young people aged 18-22 years as the generation who use earphones in their everyday life most of the time. The result of this research is a creative strategy in designing a visual communication campaign using an educational approach with the concept of "your last song". This concept emphasizes the delivery of information that the habit of listening to songs using earphones needs to pay attention to safety and risk aspects.]]>
<![CDATA[VISUALISASI ELEMEN PEMBENTUK CONSUMER BRANDSCAPE MELALUI OPOSISI BINER SEMIOTIKA PEMASARAN XING FU TANG (幸福堂) DAN XI BO BA (喜悦) ]]>
<![CDATA[Gandakusumah, Beryl]]>;
<![CDATA[Marta, Rustono Farady]]>
<![CDATA[ Jurnal Bahasa Rupa Vol. 4 No. 2 (2021): Jurnal Bahasa Rupa April 2021 ]]>
Publisher : <![CDATA[Institut Bisnis dan Teknologi Indonesia ]]>
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DOI: 10.31598/bahasarupa.v4i2.808
<![CDATA[The use of visual elements based on color, texture, and shape in semiotics is known as a sign or symbol. The strength of the use of these elements is driven by the consumer brandscape which consists of several elements. The adoption of creative strategies by the two brands is an effort made by XING FU TANG (幸 福 堂) and XI BO BA (喜悦) in promoting and instilling their brand ideology to consumers. This research is comparative in nature through the Binary Opposition Strategy in Oswald's Semiotic Marketing Method, in order to be able to trace the two brands from the perspective of the consumer brandscape with a qualitative approach. The results obtained show that XING FU TANG (幸福 堂) uses elements of classical oriental nuances, while XI BO BA (喜悦) defines its brand to target modern and contemporary circles. The application of marketing semiotics is carried out by the two brands through visual elements and is a form of the consumer brandscape which consists of a combination of cultural, emotional, and conical aspects of a sign.]]>
<![CDATA[MAKNA PERUBAHAN LOGO PARTAI KEADILAN SEJAHTERA (PKS) DAN HUBUNGANNYA DENGAN BRAND IMAGE PKS ]]>
<![CDATA[Muhammad, Ben Isa]]>
<![CDATA[ Jurnal Bahasa Rupa Vol. 4 No. 2 (2021): Jurnal Bahasa Rupa April 2021 ]]>
Publisher : <![CDATA[Institut Bisnis dan Teknologi Indonesia ]]>
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DOI: 10.31598/bahasarupa.v4i2.809
<![CDATA[Sunday, November 29, 2020, the Prosperous Justice Party (Partai Keadilan Sejahtera abbreviated as PKS) held their Fifth National Conference in Bandung and launched its new logo, march and hymn. The logo change is a value transformation proclaimed by PKS, which can be categorized as a company rebranding. This study used a qualitative approach with Charles Sanders Peirce's semiotic analysis. The authors tried to study and describe the meaning of the new PKS logo, and how the logo changes as part of the PKS rebranding. The research found that rebranding wise, this change is an evolutionary change, and the changes of the basic shapes and brand color from the dominant black-yellow colored box to the Orange-White colored circle and its meaning constitutes the most significant change, though philosophically, the party values remain maintained. The results concluded that the meaning represented in the PKS new visual logo was changing the image of the party from a more religious and formal one to a more neutral, youthful, fresh and dynamic. As part of the PKS's corporate rebranding, changing the logo is PKS strategy to attract new constituent, especially millennials. PKS has evolved its logo into a more modern, adaptive and organic design.]]>
