Journal of Visual Art and Design
Journal of Visual Art and Design focuses on theoretical and empirical research articles in the Visual Art and Design disciplines in the region of Asia and Pacific. The scope includes the following subject areas: Design and Art History, Visual Culture, Art and Design Methodology, Art and Design Discourse, Design and Culture, Art and Design Sociology, Design and Art Management, Art Criticism, Anthropology of Art and Design, Industrial Design, Visual Communication Design, Photography, Interior Design, Craft, Architectural Design, Film, Multimedia, Design Policy, Psychology of Art and Design as well as Art and Design Education. Journal of Visual Art and Design welcomes original research, Art and Design work, and critical discourse on traditional and contemporary issues in the field of Art and Design. Researchers, Artists, and Designers are welcomed to contribute in the form of conceptual or theoretical approaches, designer/artists writings, case studies or critical essays in the fields of Art and Design.
Articles
12 Documents
Search results for
, issue
"Vol. 4 No. 1 (2013): ITB Journal of Visual Art and Design"
:
12 Documents
clear
<![CDATA[Enter the Matrix: Building Creative Industry through Delivering Insights in Comics ]]>
<![CDATA[Hafiz Ahmad Aziz]]>;
<![CDATA[Alvanov Zpalanzani]]>;
<![CDATA[Setiawan Sabana]]>
<![CDATA[ Journal of Visual Art and Design Vol. 4 No. 1 (2013): ITB Journal of Visual Art and Design ]]>
Publisher : <![CDATA[ITB Journal Publisher, LPPM ITB ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
|
DOI: 10.5614/itbj.vad.2013.4.1.1
<![CDATA[Comic is a media which delivers its content through visual sequence. This media has negative preference in Indonesia's community because viewed as mild entertainment for children. Yet in modern society, comics observed and researched as one of media which could penetrate deep within its reader's mind. In re-create cultural insight through comic, the content must encrypt into visual and sequential mode which form a matrix of insight. This matrix will encompasses the effective transformation of cultural content in comic and also other visual media through media linkage strategy. The media linkage strategy is to surround the children's access of information and visual entertainment in order to build certain knowledge and understanding. It's a system that crystallized from global marketing practices of visual media industry over decades. This paper urges to highlight the visual communication design study in creating a matrix of cultural insight in translating cultures of Archipelago and media linkage strategy in order to strengthen cultural understanding among children.]]>
<![CDATA[New Value: Keeping It Real ]]>
<![CDATA[Peter Chamberlain]]>
<![CDATA[ Journal of Visual Art and Design Vol. 4 No. 1 (2013): ITB Journal of Visual Art and Design ]]>
Publisher : <![CDATA[ITB Journal Publisher, LPPM ITB ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
<![CDATA[Many parts of the world now swim in a sea of complex products that do not necessarily improve the overall quality of our lives. From cell phones to baby strollers, we have overloaded our designed environment with hyper-functional products that often leave us searching for simpler, straighter forward product offerings. In a product landscape that more often than not equates complexity with sophistication; our ever-increasingly complex modern society has allowed faux conveniences to outweigh the tangible realness of our experiences. The look and feel of products has often become complex and complicated "“ and this is often highlighted as a positive thing. We are less likely to encounter simple, intuitive, and usable products geared toward the individual. To avoid this trap, one would need to apply a filter that would govern the intake of certain products to only those that are seen as adding true value to our lives. It is necessary to appeal to people's emotions, and carry cultural richness and authenticity back to the forefront while embracing the power of cur-rent and future technologies. Design has tremendous power and the versatility necessary to bring about this positive change.]]>
<![CDATA[Assessing Three-Dimensional Art Objects Quantitative Evaluation of Qualitative Achievements in Art and Design Education ]]>
<![CDATA[Nedina Sari]]>
<![CDATA[ Journal of Visual Art and Design Vol. 4 No. 1 (2013): ITB Journal of Visual Art and Design ]]>
Publisher : <![CDATA[ITB Journal Publisher, LPPM ITB ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
<![CDATA[Knowledge about shaping three-dimensional objects is tangibly and conceptually relevant to human activities within a spatial environment, and is part of formal arts and design education as one of the basic elements in the process of learning about creating functional artifacts and art objects. Basic skills connected with this knowledge are conveyed in 'Basic Three-Dimensional Object' class, which is aimed at conveying a deeper understanding of three-dimensional objects as touchable and visible, and occupying a structural space. Learning this entails is quite an elaborate exploration, which, when evaluated afterward, is of a qualitative nature. However, in higher education every step of the learning process is quantified in order to validate the students' achievements. This requires an objective judgment from the lecturer, despite the fact that many parameters which are relevant for art objects are not exact. Therefore, once grades are released, not all students understand the meaning of numbers that represent their grades. These numbers are of a precise, quantitative nature, while explanations from lecturers in non-exact narrations are of a qualitative nature. The contrast between these two types of evaluation has raised questions such as: is quantitative grading an appropriate method, or is it better to use a subjective validation to appreciate creativity?]]>
<![CDATA[Shadow Puppets Performance of Yogyakarta through its Visual Language ]]>
<![CDATA[Ika Ismurdyahwati]]>
<![CDATA[ Journal of Visual Art and Design Vol. 4 No. 1 (2013): ITB Journal of Visual Art and Design ]]>
Publisher : <![CDATA[ITB Journal Publisher, LPPM ITB ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
<![CDATA[The shadow puppet performance conveys its story to the viewers through its visual language. The aim of this research is to reveal the visual language of the gesture effects in the shadow images of the shadow puppet performance of Yogyakarta. Visual language stands for the representative images that are similar to the original objects and the way to draw it. In the case of shadow puppet performance of Yogyakarta, Central Java, Indonesia, the way to draw the images correlated to the space-time-plane system of drawing. The space-time-plane system has the characteristic to have multiple angles, distances and moments. The results of this research were each movements of the main puppet character determine it own body language.]]>
<![CDATA[The Aesthetics of Sundanese Traditional Design, Case study: Rice Containers Design ]]>
<![CDATA[Jamaludin Jamaludin]]>
<![CDATA[ Journal of Visual Art and Design Vol. 4 No. 1 (2013): ITB Journal of Visual Art and Design ]]>
Publisher : <![CDATA[ITB Journal Publisher, LPPM ITB ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
<![CDATA[The traditional design that is still made and exists today is a legacy from mythical culture period. That is to say that it has its own aesthetical concept that is different from modern aesthetics. Some of the traditional designs in Sundanese society is the rice containers that come in different form depends on the rice condition. The design of a traditional rice container in Sundanese culture is made in basic shapes, such as square, circle and triangle or configuration of the basic shapes resulted in a beautiful design. The rice containers mostly made of woven bamboo. Uniquely, these visual basic shapes also found in proverbs and idioms in Sundanese language as a symbol of perfection of conduct. Square symbolizes attitude or behavior, circle is for belief or faith, and triangle represents a holy place. Rice in traditional community such as Baduy in Banten has a connection with the myth of the goddess of rice. Thus, Sundanese traditional culture and society highly respect the rice. This is one of the reasons why the traditional rice containers are designed in those form. This study has come to a conclusion that traditional design made is not merely to fulfill utility needs but also to represent the Sundanese macrocosm.]]>
<![CDATA[Visual Identity of Malaysian Modern Sculpture ]]>
<![CDATA[Abdul Halim Husain]]>
<![CDATA[ Journal of Visual Art and Design Vol. 4 No. 1 (2013): ITB Journal of Visual Art and Design ]]>
Publisher : <![CDATA[ITB Journal Publisher, LPPM ITB ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
<![CDATA[An artwork is the manifestation of an artist's utilization of a variety of approaches, which is closely related to the idea of an artist, media and technique. The manipulation of an artwork is based on the relationship of an artist, idea and media, through formalistic approaches and the surrounding community. Understanding of the visual identity is related to other disciplines in fine art, such as painting, printing and drawing, and new media because of the nature of its context, which is based on the physical form and space. The aim of this research is to generate knowledge on visual identity through sculpture. The research explores the forms and the symbolic meanings based on the influence of the local community and social system. This study employs the cultural concept as a system to create an understanding framework to the process of creating artwork. The qualitative approach is used as the methodology framework, which is deemed as suitable to the problem of investigating the visual identity in sculptures. The findings uncover that Malaysian sculptures synergize harmoniously the value system with modern expression, through belief, surroundings, needs and social requirements. These findings contribute to the knowledge of art, generally, that can be used in other fields of art in the process of creation and appreciation.]]>
<![CDATA[Analisis Perupaan Situs Megalitik Gunung Padang di Cianjur, Jawa Barat ]]>
<![CDATA[Savitri Putri Ramadina]]>
<![CDATA[ Journal of Visual Art and Design Vol. 4 No. 1 (2013): ITB Journal of Visual Art and Design ]]>
Publisher : <![CDATA[ITB Journal Publisher, LPPM ITB ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
<![CDATA[Gunung Padang megalithic site at Desa Karyamukti, Cianjur, West Java is the biggest Megalithic site in Southeast Asia and situated in an area of 3132.15 m2. The site, which is located at 6°057'S 107°01'E about 50 kilometer southwest of Cianjur city in West Java, is shaped in punden berundak or terraced site which consisted of five terraces. This study is intended to be an endeavor to comprehend the architectural construction, visualization, and purpose of Gunung Padang site. The research was done by qualitative analysis and multidiscipline approaches, especially by using the theories of art history and art criticism. Based on the research, the whole site is an open megalithic structure which then divided into terraces bordered by big stone columns, and the area of the terraces is getting narrower toward the top of the site. Forerunner researches of Gunung Padang created assumptions that Gunung Padang site functioned as sacred place for animism ritual which was a common belief of Megalithic communities, and as a gathering place of chieftains for important discussions. The pattern of three and pattern of five, and symbols of Sunda Wiwitan applied in whole constructions and structures of Gunung Padang site. The abilities to build a majestic megalithic construction and the applications of aesthetic values and pattern of thoughts signifying that the people who built Gunung Padang site had advanced culture and civilization. ]]>
<![CDATA[A Conceptual and Technical Discussion on Digital Painting as New Media Art: Introducing Some Malaysian Works ]]>
<![CDATA[Mumtaz Mokhtar]]>
<![CDATA[ Journal of Visual Art and Design Vol. 4 No. 1 (2013): ITB Journal of Visual Art and Design ]]>
Publisher : <![CDATA[ITB Journal Publisher, LPPM ITB ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
<![CDATA[The revolution of media technology offers artists a lot of possibilities to create different art forms. The artist explored and manipulated different media to give different impact in their works since modernism and post modernism period. Malaysia as one of Asian country also committed to art development where artist explore various media in painting including conventional and technological media as well. Digital technology and art movement were developed in two separate segments. In fact, new media art does not establish in art history plot. Therefore, the word digital painting poses an ambiguity to describe its status. The convergence of scientific term and art term called digital painting will be discussed into two sections under conceptual issues and technical issues. In conceptual issues, digital painting will be linked to the ingredient and components of art including the artist, the form, the audience and its surrounding, the subject, and the content. This paper will also discuss what is behind digital painting which includes some technical issues including concept of digital image, the hardware and the software. This paper will confer some Malaysian digital paintings situation and scenario. Subsequently, it summarizes the core elements in digital painting to be implemented in further studies.]]>
<![CDATA[Batik Fractal: Marriage of Art and Science ]]>
<![CDATA[Yun Hariadi]]>;
<![CDATA[Muhamad Lukman]]>;
<![CDATA[Achmad Haldani Destiarmand]]>
<![CDATA[ Journal of Visual Art and Design Vol. 4 No. 1 (2013): ITB Journal of Visual Art and Design ]]>
Publisher : <![CDATA[ITB Journal Publisher, LPPM ITB ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
<![CDATA[By applying Fourier Transformation, this paper shows that batik has fractal characteristic. This character is shown in batik's fractal dimension between 1 and 2. The isen process in batik is one factor that contributes to create self affine as one of fractal's important characteristic. Anova Test for fractal dimension in this method classifies batik according to patterns and its region. Fractal in batik shows the presence of complexity in traditional art. This complexity arises because the effort to obey pakem rule and media. Furthermore, the presence of fractal in batik becomes the foundation of this paper to create algorithm which will produce new kind of patterns: Batik Fractal. The method used for creating the pattern is L-System and Fractal Dimension. L-System is used to create pattern, while Fractal Dimension is used as a measurement tool for Batik Fractal to compare with traditional batik. Algorithm to create Batik Fractal has been developed into a software known as jBatik. As a software, jBatik becomes a helping tool for batik makers to create new patterns. jBatik v 2.0 has been used as a tool to create new batik patterns in creative industry by involving several batik makers.]]>
<![CDATA[Cover Vol. 4 No. 1, 2013 ]]>
<![CDATA[Journal of Visual Art and Design]]>
<![CDATA[ Journal of Visual Art and Design Vol. 4 No. 1 (2013): ITB Journal of Visual Art and Design ]]>
Publisher : <![CDATA[ITB Journal Publisher, LPPM ITB ]]>
Show Abstract
|
Download Original
|
Original Source
|
Check in Google Scholar
