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DeKaVe
Published by Institut Seni Indonesia Yogyakarta
ISSN : 20879709     EISSN : 26856093     DOI : https://doi.org/10.24821/dkv.v18i2
Core Subject : Humanities, Education, Art,
Arts Humanities Languange, Linguistic, Communication & Media
Jurnal DeKaVe diterbitkan oleh Program Studi Desain Komunikasi Visual Fakultas Seni Rupa, Institut Seni Indonesia Yogyakarta bekerjasama dengan AIDIA (Asosiasi Profesional Desain Komunikasi Visual Indonesia) sebagai media publikasi ilmiah bagi karya penelitian maupun perancangan, yang mencakup: desain komunikasi visual, bahasa rupa, budaya visual, desain grafis, multimedia, dan periklanan. Jurnal DeKaVe is published by the Visual Communication Study Program of Visual Arts Faculty of Institut Seni Indonesia Yogyakarta in collaboration with AIDIA (Indonesian Visual Communication Design Professional Association) as a scientific publication medium for research and design works, which includes: visual communication design, visual language, visual culture , graphic design, multimedia, and advertising
Arjuna Subject : Seni dan Humaniora - Seni dan Humaniora (Lain-Lain)
Articles 214 Documents
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WEBSITE VIRTUAL REALITY WISATA JERON BETENG Andi Haryanto
DeKaVe Vol 1, No 1: Januari 2011
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dkv.v1i1.143

Abstract

Virtual Reality Website of Jeron Beteng is an effort task to make virtual visualization of Jeron Beteng with its heritage and social cultural life of the people who lived surround it as an object. The visualized element of Virtual Reality Website of Jeron Beteng is an interactive broadcast of photographical view of specific locations in Jeron beteng area with 3600 widely views. The user of this website can see and twist the unlimited angle of a photo object, it can be twist whether from right to left orup and down, and zoom in or zoom out the appearance of the tourist object photos in the area of Jeron Beteng. The user also can move from one location to another location only by click, so they can feel the sensation of their presences in that location. Virtual Reality Website of Jeron Beteng has some superior aspects like in multimedia contents, the complete information of Jeron Beteng tourism activities, and designed as an artificial object. This website is created as a media to recognize the potential of Jeron Beteng as a tourist object. The expected effect of this website is to make tourist more curious and motivated them to come and see directly the atmosphere of Jeron Beteng itself, because virtual visualization can't replaced the sensation of being in the location.Keywords : Website, Virtual Reality and Jeron Beteng
MURAL, KEKUATAN MODAL, DAN MASYARAKAT Akbar Annasher
DeKaVe Vol 1, No 1: Januari 2011
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dkv.v1i1.144

Abstract

Broadly speaking, this paper discusses the phenomenon of murals that are now spread in Yogyakarta Special Region, especially the city of Yogyakarta. Mural painting is an art with a media wall that has the elements of communication, so the mural is also referred to as the art of visual communication. Media is a media wall closest to the community, because the distance between the media with the audience is not limited by anything, direct and open, so the mural is often used as media to convey ideas, the idea of ??community, also called the media the voice of the people. Location of mural art in situations of public spatial proved inviting the owners of capital to use such means, in this case is the mural. Manufacturers of various products began racing the race to put on this wall media, as time goes by without realizing the essence of the actual mural art was forced to turn to the commercial essence, the only benefit some parties only, the power of public spaces gradually occupied by the owners of capital, they hopes that the community can view the contents of messages and can obtain information for the products offered. it brings motivation and cognitive and affective simultaneously in the community.Keywords: Mural, Public Space, and Society.
TELEVISI BESERTA REALITAS NILAI MEDIANYA Arief Agung Suwasono
DeKaVe Vol 1, No 1: Januari 2011
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dkv.v1i1.145

Abstract

Television is a medium that delivers meaning through various type of text television conveys information that promotes moral responsibility and social solidarity. In spite of the fact that television is one of capitalism product, its programs can generate social commitment and solidarity reflecting human moral values.Keyword : Television, Fetisme
REFLEKSI PERUBAHAN SOSIAL MASYARAKAT PERKOTAAN DI INDONESIA DALAM IKLAN DI MEDIA CETAK PERIODE 1990 – 2000 Petrus Gogor Bangsa
DeKaVe Vol 1, No 1: Januari 2011
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dkv.v1i1.148

Abstract

A modern industrialist society is an ideal society from economic growth theory by W.W. Rostow. Indonesia during the New Order government applied this theory to a program called Pembangunan Lima Tahun (Five Years Development). As the same as economic growth theory, the New Order's program also had a modern, autonomic and prosperous society as an ideal society. Even this program did not complete properly, brought a wealthy society in a part of the urban society as a positive result. This change, had influenced the urban society's lifestyle. In major of urban society, wealth is a one motive to have a hedonist lifestyle. Advertising as the component of marketing had an important part in the industrial process. In order to do its persuasive function, sometimes advertising creative applied urban lifestyle approach to got consumers interest. In the other hand, urban lifestyle could be identified through print ads visualization.Keyword : Social Change, Indonesian Tone, and Printer Ad
PERMAINAN VISUAL, SIMBOL, DAN PENGHARAPAN DALAM KARTU UNDANGAN PERNIKAHAN DI YOGYAKARTA Hesti Rahayu
DeKaVe Vol 1, No 1: Januari 2011
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dkv.v1i1.149

Abstract

This study was designed in order to explain the socio- cultural relationship between the wedding invitation card created by graphic designers in Yogyakarta; to reveal the contained symbolic meanings; and to examine the considerations of which the designers decided to use certain visual composition in creating their artworks and why they did it. Hermeneutic theoretical framework was applied to accomplish the research objectives. The first step done was construing the wedding invitation cards and describing the artists' life and cultural background. The invitations then were studied by exploring its' 'socio historical elements', analyzing it visually and ended by interpreting it. This study found out that wedding invitation cards created by graphic designers in Yogyakarta were works of art that could be distinguished from the common ones which were made in a mass production. Wedding invitation card was an effect of 'inviting culture' transformation in Javanese society, from inviting verbally to inviting by written invitation. However, it did not mean that the verbal invitation tradition was vanishing. The socio- cultural relationship existed in wedding card was due to the changing in the customs and manners of inviting people. In the cards made by graphic designer artists, the socio- cultural relationship is not reflected in its visual aspects. When it does, it would be managed and adapted in such a way to meet the artists' aesthetic base that they mastered from their academic experience, i.e. Western aesthetic. The creation of visual artworks was determined by the creative process undertaken by the designers. Yet, each piece of work of visual art basically was conformed the creator's style as a mean to represent the couple and to represent his own authenticity as a graphic designer. The meaning of representation was not representing the reality but more on representing an ideal or expectation.Keywords : Visual artist - Wedding invitation cards - Simbolic meaning
IKLAN MASA KOLONIAL 1930 - 1942 TINJAUAN SOSIOHISTORIS Baskoro Suryo Banindro
DeKaVe Vol 1, No 1: Januari 2011
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dkv.v1i1.150

Abstract

Dutch colonial culture that come to enrich the culture of Indonesia, it joined the growing culture of modern Indonesia, it can be observed through the lifestyles of people and uptake of aesthetic value. Graphic design style developed in the colonial Indies Dutch East Indies and had peaks in the artistic developments of the 1930s. The design style developed by Dutch graphic designer is a blend of modern design style that flourished in Europe early 20th-century art with a product of local culture. The combination has created a style of indie that became a source of inspiration for creativity designer graphic design of the future. Advertising colonial period in Indonesia, developed along with the progress of knowledge, especially in the fields of economy and industry, idiom - idioms unsure that are tailored to its target audience. In the context of social phenomena and the idea of ??modern advertising in Indonesia now, of course, inseparable from the history of the Dutch East Indies colonialism itself.Keyword: Advertising colonial period, westernization, a zeitgeist
DESAIN KOMUNIKASI VISUAL DI ERA DIGITAL Hartono Karnadi
DeKaVe Vol 1, No 1: Januari 2011
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dkv.v1i1.151

Abstract

Budaya berkirim kartu ucapan selamat hari raya saat ini kian jarang dilakukan. Kita pun tak lagi berkirim telegram indah kepada handai taulan. Praktik berkirim ucapan telah tergantikan dengan SMS (short message system), yang lebih cepat, murah dan pasti sampai ke tujuan. Papan-papan billboard kian tergantikan oleh big screen atau videotron yang bersifat audio visual dan atraktif. Poster dan baliho lebih cepat dan efisien bila dicetak dengan teknologi digital printing. Konsumen tinggal memilih bahan dan harga yang  enyesuaikan anggran. Seorang fotografer tidak lagi lama menunggu hasil jepretan kameranya. Ia pun sangat yakin dengan kualitas pemotretannya, tinggal tekan tombol shutter, tunggu sekian detik muncul hasilnya. Demikian pula dengan dunia desain grafis, industri grafika, dan bidang-bidang profesi lainnya. Semua dengan serta merta menggunakan teknologi digital. Seakan merasa ketinggalan zaman atau tidak profesional bila tidak bersinggungan dengan digital. Kondisi dan situasi di atas tidak dapat dihindari. Kemajuan dan perkembangan teknologi digital membawa dampak luas. Digitalisasi diberbagai bidang mempercepat perubahan sosial. Semua serba mudah, cepat, tepat, praktis!
RESENSI BUKU : “GUSDUR VAN JOMBANG” FX. Widyatmoko
DeKaVe Vol 1, No 1: Januari 2011
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dkv.v1i1.152

Abstract

Buku “Gus Dur Van Jombang” merupakan buku tentang Gus Dur yang dikemas dalam bentuk komik. Buku ini mengisahkan perjalanan hidup Gus Dur sejak lahir hingga meninggal dunia. Meski buku ini tidak bermaksud menerbitkan sebuah biografi tentang Gus Dur namun setidaknya perjalanan hidup Gus Dur menjadi alur cerita keseluruhan isi buku ini. Ulasan kali ini didasarkan pengalaman membaca buku “Gus Dur Van Jombang” ditambah beberapa informasi yang didapat dari bedah buku tersebut yang diselenggarakan di Prodi DKV ISI Yogyakarta (4 Desember 2010). Sebagai sebuah komik, buku “Gus Dur Van Jombang” terasa hambar cara penyampaiannya. Komik ini datar-datar saja, tak ada penekanan pada satu kisah atau panel tertentu. Konsistensi cara menggambarkan tokoh-tokoh di dalamnya pun tak terjada, di satu sisi memiliki tingkat kemiripan (ikon) yang tinggi, di lain kesempatan kesadaran akan ikon tersebut tak dipatuhi. Pun juga terdapat panel yang memiliki kekurangtepatan dalam meletakkan balon kata dilihat dari alur membaca (yang sebaiknya membaca balon kata dari kanan ke kiri jadi dari kiri ke kanan). Namun demikian, dari sekian panel yang ada terdapat panel yang memiliki kekuatan cara ungkap komik (seperti pada halaman 27). Panel inipun rupanya juga menjadi salah satu panel yang disukai sang komikus buku tersebut. Berdasarkan tuturan sang komikus pula diketahui bahwa dirinya mendapati kesulitan dalam menggambarkan (mengkomikkan) adegan pada saat ibu Gus Dur dan isterinya, Sinta Nuriyah, mengalami kecelakaan(halaman 75).
WARNA BERBICARA Mr. Pujiyanto
DeKaVe Vol 1, No 2 (2011): DeKaVe Vol. 1 No. 2 2011 Juli-Desember 2011
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dkv.v1i2.153

Abstract

Colors can not be kissed, heard, or touched, but can be seen. Color can only be seen with eyes and felt in the heart. Color is not a living thing and can not read but it can "talk". In this context, the color has flexible properties when applied to various objects and subjects. Colors and symbols have specific meanings in the social cultural society. Colors can "talk" soft and hard through the symbols and meanings in objects or subjects that apply.Keywords : color, application, trust, violence, political, institutional, product.
TANDA VISUAL PADA PERANGKO SATU ABAD MUHAMMADIYAH Restu Ismoyo Aji
DeKaVe Vol 1, No 2 (2011): DeKaVe Vol. 1 No. 2 2011 Juli-Desember 2011
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dkv.v1i2.154

Abstract

Muhammadiyah, one of the largest Islamic religious organization in Indonesia has been moving in to cultural, spiritual, and intellectual aspects since its beginning. Muhammadiyah's achievement appreciated not only by the Indonesian government but also by the Dutch Indies government. One of them through Centennial stamps of Muhammadiyah. From the selection of visual signs that are present on each stamp can be traced to the hidden meanings as well as the reason behind every specific objects in the stamp. Similarly, for the Centennary of Muhammadiyah Stamp. What, how, and why objects like the Masjid Gedhe Kauman Yogyakarta, KH Ahmad Dahlan, and The building University of Muhammadiyah Malang could be shown in all series of stamp.Keywords: stamp, Muhammadiyah, history.

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