Garuda - Garba Rujukan Digital

Article Per Year (5 Year)

All

DeKaVe

dkv
Website

Published by Institut Seni Indonesia Yogyakarta

ISSN : - EISSN : - DOI : -

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.

Arjuna Subject : -

Articles 214 Documents

1 2 3 4 5

PROSES KREATIF LAMBANG INSTITUT SENI INDONESIA YOGYAKARTA Subroto SM
DeKaVe Vol 1, No 3 (2012): DeKaVe Vol. 01 No. 03 Januari-Juni 2012
Publisher : Institut Seni Indonesia Yogyakarta

Tulisan ini dapat menjadi pedoman baik bagi para pemula maupunprofesional produksi grafika yang sudah "berjalan", untuk mengaktualisasi hadirnya "paradigma baru"dalam hal ini teknologi digital printing sehingga lebih dapat meningkatkan kualitas dan ragam cetakkansesuai selera jaman.

Stensil Sebagai Media Aspirasi Dalam Wacana Desain Komunikasi Visual Antonius Purwantono
DeKaVe Vol 1, No 3 (2012): DeKaVe Vol. 01 No. 03 Januari-Juni 2012
Publisher : Institut Seni Indonesia Yogyakarta

Stencil is one of street art forms such as mural and graffity. It's simplicity and thepeople/community perceptions towards the street art have made stencil as a medium for street art artist toexpress their ideas. Today, stencil becomes the form of street art practices and is used as visual designelements wich can be applied as profitable commodity

WACANA HIPERREALITAS DALAM FILM BERGENRE FANTASI Arwin Purnama Jati
DeKaVe Vol 3, No 5 (2013): DeKaVe Vol. 03 No. 05 2013 Januari - Juni 2013
Publisher : Institut Seni Indonesia Yogyakarta

Global culture and industrial society have been raise production and consumption habits. Thediscourse is related to the role of media as a culture-mass product. Film with fantasy genre is part ofculture-mass product which has influenced the society significantly. Media is formed by narration andvisual signs which creates social habits pattern. Fantasy films as itself reconstruct the audience's mind,accommodate idea and imagination oflife and its social relations.As it is formed in mind of the audience, imagination represents the need of "new-world" realitiesthat is virtual means, which is produced as a consequence of digital revolution and technology productthat are both related to the necessity of production. In this case, there is continuity production of visualsigns, therefore treats to the rise of"hiperreality" by its product, that isfantasy:film as a discourse.Keywords: Hyperreality, Film, Virtual, Fantasy

ELEMEN TANDA DALAM FILM Arief Agung Suwasono
DeKaVe Vol 2, No 4 (2012): DeKaVe Vol. 02 No. 04 2012 Juli- Desember 2012
Publisher : Institut Seni Indonesia Yogyakarta

The film is generally the reconstructed road documentation or representation as the work artisticproduced by the touch art, so that it was able to 'hypnotize' audience that what he saw through rationaldimensions we, as though they were involved in the scope emotional, brought a certain beliefS in thedirection certain, that is not aware is no longer from reality. To the processing narrative and the focalpoint, we will do not understand will participate empathize,feelflush emotion,follow justification in themovie, or even became the inspiration, and believes that his ideology.

PENCIPTAAN KOMIK BEBER Indiria Maharsi
DeKaVe Vol 2, No 4 (2012): DeKaVe Vol. 02 No. 04 2012 Juli- Desember 2012
Publisher : Institut Seni Indonesia Yogyakarta

Beber Comic isa comic that combine the concept of modern comic and Wayang Beber as theembryo of the embryo of the modern comic. It is an innovation considering that in the development ofmodern comic it has never been noted such a form/style of comic. This combination is a credit for WayangBeber as a magnificent cultural inheritance of Indonesia. It is also an effort revitalize Wayang Beber.The title of the Beber Comic created is PangeranAntaguna. It is a story of a man's hard journey infinding who he really is and the meaning of life. The visual concept is combining the elements ofWayangBeber and of modern comic. It results in a unique comic form/ style. HopefUlly, the innovation of BeberComic will stimulate comic creators and will positively support the development of comic in the fUture.Keywords: Beber comic, new innovation.

PENGGUNAAN KERTAS DALUANG SEBAGAI MEDIA CETAKALTERNATIF Priscilla Panti Meyrina
DeKaVe Vol 2, No 4 (2012): DeKaVe Vol. 02 No. 04 2012 Juli- Desember 2012
Publisher : Institut Seni Indonesia Yogyakarta

These thingsthat happened as a result too many consumption plastic was to be a concern bythemselves in society at large. Concern and fear a threat disasters as a result pollution from the land mustbe reduced to reduce danger environmental pollution, so we need to be innovative a to reduce the usematerials as vinyl print media, especially among university students ViSual Communication Design.Because it is meant for the students, and innovation must be cheaper and can be found easily.Paper use sustains daluang as a replacement for vinyl to score a material works, can become oneof the problem solution that can be caused by the use of material vinyl excessively.Keyword: Paper daluang, environmentally friendly, innovation alternative printed media.

EKSPLOITASI ANAK: PELANGGARAN ETIKADESAIN PERIKLANAN TERIIADAP PERKEMBANGAN ANAK Pujiyanto -
DeKaVe Vol 2, No 4 (2012): DeKaVe Vol. 02 No. 04 2012 Juli- Desember 2012
Publisher : Institut Seni Indonesia Yogyakarta

The advertising often uses the object of children as models to promote products/services.Exploitation of children in advertisements can effect a great pleasure for the role (model) or who saw it(the audience), so advertising gets a positive or negative response from consumers.The appearance of ads using the model children sometimes crosses the line advertising code ofethics or manners. Violation of a particular party is not unstoppable, so that indirectly affect growth andmental development of children.Keywords: advertising, children, exploitation, ethics, audience, psychology.

LOGO SHELL BENTUK KERANG YANG MUDAH DIKENANG Susilo Tri Hartanto
DeKaVe Vol 2, No 4 (2012): DeKaVe Vol. 02 No. 04 2012 Juli- Desember 2012
Publisher : Institut Seni Indonesia Yogyakarta

According to AI Surveillance Ries and Laura Surveillance Ries brand is a word in the mindconsumers, a word, which is called a proper noun, where the words objects that show people, place, and,etc. this has the power to influence on it, so every proper noun is essentially a brand and can likes whatevername, so that nobody is a brand? In addition will be easier for consumers to recognize and buy goodswhich gave her satisfaction, can also be able to differentiate company or individual that one to another intheproductthattheyo.ffer(Jejkins, 1997: 296).Use company identity in a product, making consumers to quickly identifY, to remember, causing agreat impression or the image even to all the things associated with it. Especially when identity is createdthrough a unique design or a special be realized through unity elements color, shape, and the letter.Keywords: Logo, mimesis, remainder

"WAYANG BEBER" antara inspirasi dan transformasi Bakoro Suyo Banindro
DeKaVe Vol 3, No 5 (2013): DeKaVe Vol. 03 No. 05 2013 Januari - Juni 2013
Publisher : Institut Seni Indonesia Yogyakarta

Artikel ini merupakan resensi buku berjudul wayang beber karya Ardus M Sawega.

REALITAS SOSIAL DALAM SENI POSTER SEBUAH KAJIAN KARYA POSTER SHEPARD FAIRY Dwi Haryanto
DeKaVe Vol 3, No 5 (2013): DeKaVe Vol. 03 No. 05 2013 Januari - Juni 2013
Publisher : Institut Seni Indonesia Yogyakarta

A poster, briefly dominated the visual element that is able to seize the attention of the audience ratherthan the verbal element. However, in fact that would be submitted by a poster is "i'!formation" or aparticular message. Obey Giant poster artwork which is the object of this study represent a designer,Shepard Frairy, in expressing ideas and imagination as part of the social environment in its own way.Though the visual imagination unusual phenomenon would lead to different design styles. Posters can bea medium of expression as a person over the sociological phenomenon.In describing a sociological study will be a lot of talk varied possibilities in understanding a work ofdesign, so that design work should be understood as a being who does not stand alone and require moreextensive exposure of the public support. Obey Giant poster-style works Shepar Fairy, in a sociologicalcontext does not appear out of nowhere and grows by itself into a large art construction. In the process,the work produced naturally through a social process.The process of creation of the work of Shepard Fairy gradually much influenced by several factorsthat are subjective (emotional factors, the nature, the power of images, and mental processes) as well asobjective factors that include factors of social institutions, society, geography, religion, and various otherfactors, so that the whole can be understood as a part of the components that build artistic construction ofthe designer.Keywords: Poster, Sociology, Social process

Page 3 of 22 | Total Record : 214

1 2 3 4 5

Filter by Year

2011 2025

Filter By Issues

All Issue Vol 18, No 2 (2025): DeKaVe Vol. 18 No. 2 2025 Vol 18, No 1 (2025): DeKaVe Vol. 18 No. 1 2025 Vol 17, No 2 (2024): DeKaVe Vol. 17 No. 2 2024 Vol 17, No 1 (2024): DeKaVe Vol. 17 No. 1 2024 Vol 16, No 2 (2023): DeKaVe Vol. 16 No. 2 2023 Vol 16, No 1 (2023): DeKaVe Vol. 16 No. 1 2023 Vol 15, No 2 (2022): DeKaVe Vol. 15 No. 2 2022 Vol 15, No 1 (2022): DeKaVe Vol. 15 No. 1 2022 Vol 14, No 2 (2021): Jurnal DeKaVe Vol.14 No.2 2021 Vol 14, No 1 (2021): Jurnal DeKaVe Vol.14 No.1 2021 Vol 13, No 2 (2020): Jurnal DeKaVe Vol. 13 No. 2 2020 Vol 13, No 1 (2020): Jurnal DeKaVe Vol. 13 No. 1 2020 Vol 1, No 1 (2020): Jurnal DeKaVe Vol. 1 No. 1 2020 Vol 12, No 2 (2019): Jurnal DeKaVe Vol. 12 No. 2 2019 Vol 12, No 1 (2019): Jurnal DeKaVe Vol.12 No.1 2019 Vol 12, No 1 (2019): Jurnal DeKaVe Vol.12 No.1 2019 Vol 11, No 2 (2018): Jurnal DeKaVe Vol. 11 No. 2 2018 Vol 11, No 1 (2018): Jurnal DeKaVe Vol.11 No.1 2018 Vol 10, No 2 (2017): Jurnal DeKaVe Vol.10 No.2 2017 Vol 10, No 1 (2017): Jurnal DeKaVe Vol. 10 No. 1 2017 Vol 10, No 1 (2017): Jurnal DeKaVe Vol. 10 No. 1 2017 Vol 9, No 2 (2016): Jurnal DeKaVe Vol. 9 No. 2 2016 Vol 9, No 1 (2016): DeKaVe Volume 9 Nomor 1 Januari-Juni 2016 Vol 8, No 2 (2015): DeKaVe Vol. 8 No. 2 Juli-Desember 2015 Vol 8, No 1 (2015): DeKaVe Vol. 8 No. 1 Januari-Juni 2015 Vol 7, No 2 (2015): DeKaVe Volume 7 Nomor 2 Juli-Desember 2015 Vol 7, No 1 (2014): DeKaVe Vol. 07 No. 01 2014 Januari - Juni 2014 Vol 7, No 2 (2014): DeKaVe Vol. 7 No. 2 Juli-Desember 2014 Vol 3, No 6 (2013): DeKaVe Vol. 03 No. 06 2013 Juli- Desember 2013 Vol 3, No 5 (2013): DeKaVe Vol. 03 No. 05 2013 Januari - Juni 2013 Vol 2, No 4 (2012): DeKaVe Vol. 02 No. 04 2012 Juli- Desember 2012 Vol 1, No 3 (2012): DeKaVe Vol. 01 No. 03 Januari-Juni 2012 Vol 1, No 2 (2011): DeKaVe Vol. 1 No. 2 2011 Juli-Desember 2011 Vol 1, No 1: Januari 2011 More Issue

Home Page

OAI Link

Editorial Team

Contact

Reviewer

Google Scholar

Contact Name
-

Contact Email
-

Phone
-

Journal Mail Official
-

Editorial Address
-

Location
Kab. bantul,

Daerah istimewa yogyakarta

INDONESIA

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Home Page

OAI Link

Editorial Team

Contact

Reviewer

Google Scholar

Contact Name -

Contact Email -

Phone -

Journal Mail Official -

Editorial Address -

Location Kab. bantul, Daerah istimewa yogyakarta INDONESIA

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Contact Name
-

Contact Email
-

Phone
-

Journal Mail Official
-

Editorial Address
-

Location
Kab. bantul,

Daerah istimewa yogyakarta

INDONESIA