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DeKaVe

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Published by Institut Seni Indonesia Yogyakarta

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Core Subject : Humanities, Art,

Arts Humanities

Jurnal "dekave" diterbitkan oleh Program studi Desain Komunikasi Visual Fakultas Seni Rupa FSR, Institut Seni Indonesia Yogyakarta sebagai media publikasi ilmiah berupa karya penelitian maupun rancangan dalam bidang komunikasi visual, yang mencakup: bahasa rupa, budaya visual, desain grafis, multi media, dan lain-lain.

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Articles 198 Documents

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PERLINDUNGAN HUKUM TERHADAP PENGETAHUAN TRADISIONAL (TRADITIONAL KNOWLEDGE) SEBAGAI BENTUK PERLINDUNGAN TERHADAP KEKAYAAN TRADISIONAL Novi Mayasari
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.v1i2.155

As a great nation, our nation is rich in tradition and culture of high value in terms of both moral and financial. Tradition and traditional culture is then known as the traditional knowledge or traditional knowledge. Unfortunately the wealth of knowledge traditional Indonesian nation has not protected to the maximum so often occurs utilization of traditional cultural community by other nations, like motif Jepara carving by Harrison, biodiversity by Japan, traditional culture by Malaysia, and others. Therefore the government must began taking steps to protect the nation traditional property Indonesia is good through the Copyright Law, Trademark, Patent Law and Intellectual Property Rights other.Keyword : Traditional Knowledge, Intellectual Property

ANALISIS VISUAL PADA SAMPUL DEPAN MAJALAH DESAIN GRAFIS “CONCEPT” EDISI ULTAH PERDANA (Sebuah Kajian Semiotika) Prayanto WH
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.v1i2.156

Magazine is one of the forms of mass media that has fungsikomunikasi to convey information to mass audiences. The cover is an important element because it is through cover / cover one can guess the contents of the magazine, as well as further interested to know further information contained therein. On a magazine cover consists of drawings and writings are arranged in such a way that looks interesting and has meaning Press publications, especially magazines, today's not enough just to rely on the quality of news or manuscript, although verbal aspect is very important. It must be recognized that the visual aspects (design) as the cover / envelope has crucial role to capture the prospective reader. For the cover of a magazine is a window that shows the content information, can be either a text or photographs, illustrations, and design elements. The function of a magazine cover is to attract, dazzle prospective readers, by way influence the thoughts flow in a short time. So it's no wonder much current the magazine publisher who made the cover of such a way as to attract the attention of prospective readers. Thus the task of designers to magazine cover to create designs that attract the attention of the reader becomes increasingly severe. This study tries to analyze a visual on the front cover Magazine Graphic Design 'Concept' birthday inaugural edition by using the Roland Barthes' semiotic approach. As Roland Barthes (1984), any simple "design work (magazine cover)" continue to play in management of the sign. So that will generate a message (image) specific. Design cover, usually contains the elements of the sign in the form of objects, context of the environment, people or other beings who provide meaning to objects, and text (of writing) that reinforce the meaning.Keyword: cover, magazine Concept, semiotics

KOMIK “KEMBALI KEPADA TUHAN” SEBUAH UPAYA PEMBELAJARAN MORAL SPIRITUAL BAGI REMAJA Indiria Maharsi
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.v1i2.157

Comic is one of the mass communication media that is encased and presented uniquely by combining texts and images. This combination may eventually create a plot which has a very broad effect because of the ability of this media to transform itself into various kinds of forms even for readers from various kinds of backgrounds. The application of the universal language of images makes the value of comics enhance into a kind of means to convey various kinds of messages, both simple and complex. With its flexible visual and verbal language comics can create an aesthetical visualization towards a current issue that is happening in the society. The comic Kembali Kepada Tuhan (Returning to God) is a comic title which is made based upon the social and spiritual conditions that occurs in Indonesia nowadays, about the habits of praying to other entities other than God. This comic is to make the youths nowadays not to follow such wrong example. Furthermore, it is hoped through this comic that the youths today understand the consequences if they follow that incorrect model. The reason of why this creation is targeted for today's youngsters is because of the nature of adolescents where they are vulnerable towards any bad external influences. Therefore, constant positive information and messages that deals with the moral and spiritual conditions during this period is necessary. This story is taken from many true stories that have ever happened in the society with the alteration of plots, settings, and characters; whereas, the idea is a combination from the visual reality and the enigma. The visual realities are to describe the human characters in the story. Meanwhile, the supernatural beings are derived enigmas that are caught from the spiritual realism. This comic gives a clear image for the targeted viewers if such habit is carried out. The comic itself uses the combination between digital coloring using Adobe Photoshop and manual drawing by using poster paint. Whereas, the images utilizes the realist style in order to emphasizes the reality aspect, an aspect that cannot beobtained using the cartoon style.Keyword : comics, adolescent, visualization

KOMIK DI LINGKARAN INDUSTRI MUSIK Terra Bajraghosa
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.v1i2.158

Comic ges. Based on comprehention as a narrative media, comics in Indonesia are oftenly compared to bas-reliefs on Borobudur temple and Wayang Beber.. From many kind of stories Indonesian comic books recently offered, with the developed visual wrapping, some comics steal attentions by its unique themes. These comic books are created because of the inspiration and relation to music industry. These comic books couldn't be seen from the visual style alone, as they were created in many visual genres, but they could be seen from their relations to music industry, whether the mainstream or indie ones. These comic books are published together with the music CDs, telling fictional stories from factual bands or musicians, telling a band's factual stories, or created by one of the band members. To understand modes of creation of these music industry-related-comic books, visual narrative approach will be applied. Through visual narrative approach, the band members' or musician's necessity for telling stories via comics, beside the common practices via music and song lyrics, will be observed.Keywords : Comic book, music industry, visual narrative

ESTETIKA, RETORIKA, DAN KOMINIKASI SEBAGAI WACANA FX Widyatmoko
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.v1i2.159

Perbincangan estetika dalam seni, terutama desain, dapat dimulai atau paling tidak berada di wilayah teori. Perbincangan teoritik tersebut telah dimulai sejak era kemunculan filsafat di mana di situ seni merupakan bagian dari estetika. Modernisme yang menggagas bahwa manusia memiliki otonomi (terutama pada peran subjectum) memengaruhi cara seni memandang estetika. Estetika di jaman modern pun memiliki sifat-sifat untuk senantiasa mencari kebaruan-kebaruan. Maka, tak aneh jika bermunculan aliran-aliran dalam seni rupa/fine art. Sedangkan dalam dunia desain, perbincangan estetika dapat dibagike dalam dua aspek yaitu fungsi dan keindahan.

RESENSI BUKU "PLAGIARISME: PELANGGARAN HAK CIPTA DAN ETIKA” Baskoro Suryo Banindro
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.v1i2.160

Jika kita melihat judul buku di atas, maka yang terlintas di benak kita, buku tersebut khusus diperuntukkan bagi para praktisi hukum, apalagi ditulis oleh seorang doktor bidang hukum, sehingga semakin melengkapi persepsi atau pandangan kita akan status buku tersebut . Namun demikian, jika kita baca dan kita lihat lebih dalam isi buku tersebut, maka pandangan tersebut sama sekali keliru. Henry selaku penulis mencoba memberikan penjelasan, deskripsi dan referensi plagiarisme tersebut tidak sekedar wawasan dari aspek hukum tindak plagiarisme, akan tetapi dimensi lain dari sisi moral, etika dan bagaimana plagiarisme itu sendiri “selayaknya dilakukan”. Mengingat buku ini membahas masalah plagiarisme atau lebih sangat dekat dengan padanan kata “jiplak” atau kata yang lebih halus “mirip”, Henry mencoba menjelaskan sebagai excuse dalam catatan pengantarnya bahwa diterbitkannya buku ini semata-mata murni untuk kebutuhan akademik! (dengan sengaja Henry melengkapi dengan atribut tanda seru), artinya tidak ada tendensi apapun dibalik penulisan buku tersebut dari delik pencemaran, mengingat kasus yang disampaikan merupakan contoh nyata kegiatan plagiarisme yang telah dilakukan oleh beberapa tokoh akademisi, peneliti bahkan pejabat publik.

Kajian Ikonografis Bahasa Rupa Uang Kertas Indonesia Masa Revolusi Baskoro Suryo Banindro
DeKaVe Vol 1, No 3 (2012): DeKaVe Vol. 01 No. 03 Januari-Juni 2012
Publisher : Institut Seni Indonesia Yogyakarta

Bank note as a medium for visual communication, in it loaded with aesthetic values associatedwith beauty problems. Composed of letters, pictures, colors and unique printing techniques. Paper moneyas a sign of payment, in addition to having intrinsic value in the form of nominal value, has also thefunction of signification, that is a function where bookmarks (signifier), which is concrete as a medium ofexchange, laden with abstract concepts or meanings commonly referred to as marker (signified) in formof text and images. In the image of paper money, which is poured visual expression can reflect ideas,concepts or symbolic meanings related to hegemony, legitimacy, ideology, the existence, sovereignty ofboth states and rulers.Oeang Repoeblik Indonesia (ORI), is the first legitimate currency owned by the Republic ofIndonesia after independence. Since printed in December 1945 to December 1949, in addition topictorial inzet Sukarno, the Indonesian tradition of cultural objects more dominate and become the mainimage. Departure from this phenomenon, need to be studied in greater depth and comprehensive visualand symbolic aspects of paper money during the ORI physical revolution. By looking at the artifacts of theimages on paper money ORI 1945 - 1949, built on the revolutionary period, besides the symboliclanguage of art is a form of symbolic expression to foster community spirit of nationalism and patriotismof the newly independent Indonesia, as well as communicating, showing identity, reflecting the spirit andthe factual circumstances of his time.

BLENDER 3D UNTUK PENDIDIKAN ANIMASI Mochamad Faizal Rochman
DeKaVe Vol 1, No 3 (2012): DeKaVe Vol. 01 No. 03 Januari-Juni 2012
Publisher : Institut Seni Indonesia Yogyakarta

Animation has become one of the pillars of the creative industries that have been set by thegovernment. Animation is a major industry in addition to requiring a lot of human resources also requiresgreater availability of funds. The role of academia to create and educate human resources are necessaryto meet the demands of the growing animation industry. Constraints in advancing educational animatedclassic one is the issue of availability of funds. Because the animation industry is an industry that requiresthe availability of hardware and software are very expensive.This paper aims to ensure that the use of Free Open Source Software (FOSS) Blender 3D is verysuitable to be applied in the world of education as an introduction to the study of three-dimensionalanimation.

MENGAPA HARUS GANTI LOGO? (Kasus Pergantian Logo PT Pertamina dan Bank BNI ditinjau dari aspek Filosofi, Estetika dan Fungsional) Wibowo -
DeKaVe Vol 1, No 3 (2012): DeKaVe Vol. 01 No. 03 Januari-Juni 2012
Publisher : Institut Seni Indonesia Yogyakarta

The more professional a company, the role of corporate identity or logo increasingly important,especially for the needs of sales promotion, public relations, publicity, and advertising.. Besides aiming tobuild the companies image in the public eye, a good logo will lead to suggestions and strong selfconfidence,pride, sense of belonging, even to establish unity and solidarity among the members of oneanother.

ESTETIKA (DALAM) DESAIN FX Widyatmoko
DeKaVe Vol 1, No 3 (2012): DeKaVe Vol. 01 No. 03 Januari-Juni 2012
Publisher : Institut Seni Indonesia Yogyakarta

Aesthetics is a word that is often present in the areas of art, including fine art. However, in thearea of visual communication design aesthetic rarely spoken words compared with the area of fine arts(fine arts). Not that there are no problems in the design aesthetic. Aesthetic issue still exists, but it is rarelyused as a design concept design. Even the design of the study area, there are aesthetic studies. However,the study could have imagined aesthetic has a great distance to the aesthetics of everyday design. There isalso an effort to facilitate the understanding of aesthetics is to provide the name of a visual strategy(Andry Masri, Jalasutra, 2010). However, the strategy also has not explained the visual aesthetic studiesare very diverse. The phrase is intended to facilitate common aesthetic learned, particularly for the needsof design planning (especially product design).This paper aims to offer a way to understand the aesthetic rather than through understanding, butto find the position of each design aesthetic in visual communication design. The objects that wereexamined in the two final ISI Visual Communication Design (one object assessment, the object creation),as well as a book cover design. The goal is clear, to give an overview of the aesthetic. Hopefully, thegrowing diversity of aesthetic closer to the day-to-day. In short, bringing together academic research,design work, the aesthetic experience everyday.

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