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Journal of Visual Art and Design
Published by Institut Teknologi Bandung
ISSN : 23375795     EISSN : 23385480     DOI : https://doi.org/10.5614/jvad
Core Subject : Humanities, Art,
Arts Humanities
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.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 267 Documents
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I Draw Therefore I Am: Drawing as Visual (Communication) Studies Muliyadi Mahamood; Karna Mustaqim
Journal of Visual Art and Design Vol. 4 No. 2 (2013): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

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Abstract

This paper sets view to consider the significance of drawings as part of visual communication design. Drawing gives a chance to observe, to muse, to select and develop continuous thinking techniques. It is to present that drawing is not just a cursory to generate ideas, but it has its own energy and philosophy which deserve studying as a domain of art. In recent years, drawing has received attention; there is on the one hand a group of drawing practitioners, and on the other hand a group of drawing researchers. Drawing in design is a medium of visual and spatial thinking. Digging into research actually is a necessity for visual communication studies. It is suggested here three kinds of research approaches: research into art/design; research through art/design; and research for art/design. Indeed, it leads to four axis topics (topoi) for design studies: design practice, design product, design discourse, and design meta-discourse. A field of study called 'visual culture' which, departed from the study of critical theory and cultural studies which have set out relatively new field of study called 'visual studies'. Based upon to this perspective, visual (communication) studies should be more self-reflexive. The production of visual communication contributes to construct the visual culture in society.
Art Medium and Art Infrastructure Development in Contemporary Indonesian Art A. Rikrik Kusmara
Journal of Visual Art and Design Vol. 4 No. 2 (2013): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/itbj.vad.2013.4.2.3

Abstract

This research review Indonesian contemporary artists that used the various media in the presentation in his works over the years since 2000 until now. Survey at Pameran Besar Indonesia "Manifesto" in May 2008, were around 670 Indonesian living artists, 350 are consistently professional artists, 41 artists who utilize a variety of media in each works and 6 of them are artists who used a various of media on their solo exhibition including combining conventional media with new media and installation approaches. 6 artists are analyzed on the structure of the media presentation configuration their used, and generally they used more than 3 types of media in their solo exhibition, first, painting/drawing, second, sculpture/object/installation, and third video/photography. In the study of each exhibition process, generally utilizing the curatorial and sponsored by promotor (gallery). This research shows a rapid development of economic infrastructure in Indonesian the art in 2000-an era with the emergence of many auction hall, a new generation of collectors and galleries, and the Asian art market and global orientation, it became one of the holding in contemporary art of Indonesia, has been shifting art situation from cultural appreciation in the era of 90-to an era to cultural production.
Objective Measurement of Effective Message through Photograph among the Public Adzrool Idzwan Hj. Ismail; Kamarudzaman Md. Isa; Mustaffa Halabi Hj. Azahari; Roziah Mohd Janor
Journal of Visual Art and Design Vol. 4 No. 2 (2013): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

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Abstract

'Photograph' is to an extent very close with visual representation, which consists as a part of an act of seeing which establishes places and subject matters in the surrounding world. These would in part, described in words and explained such paradigm. However, it's still yet lacking in the content of the emotional experience as a total. Such form of images plays as an important role, yet lacking realization, as it is also a part of a design committee in society. The act of seeing which establishes our place in the surrounding world, we can describe the world using words, but words can never describe the emotional experience in total. What does visual really mean? How is visual measured? As an observer, how can we define whether the message and the meaning of a particular visual is delivered and understood along with the information it carries? Those three questions play important roles especially with the rapid growth of technology, which contributes to the development of human knowledge especially in the art industries. This paper explores the problems in understanding of photography imageries and their impact to the society.
Urban Screen and Spatial Dimension Litta Primasari; Basauli Umar Lubis
Journal of Visual Art and Design Vol. 4 No. 2 (2013): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

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Abstract

This paper is discussing about the urban screen phenomena and its influence to spatial dimension in urban space. The visual characteristics which are forming a spatial dimension will be an emphasis to be presented. Urban screen as a visual intervention has an impact to spatial configuration in urban space. The space dimension was not dominated with materiality limitation, but also images. We have to consider that people senses can measure a spatial dimension, knowing as a perception. That is a human visual and mind relation. The spatial dimension has no longer tangible boundary, but also has intangible ones. Spatial dimension in urban screens phenomena is not merely mathematics, nor spatial dimension in physics which are based on a three-dimensional Cartesian coordinate system. Movement can be expressed in other terms, by how far we can move depends on our eyes to catch that space limitation, and how fast we can move is depends on our mind to perceive some visual phenomenon, that is a spatial dimension. So, the dimension will depend on a visual quality that we perceived. The movement of the body and people's thought will be an important term to generate the space dimension in urban screen phenomenon. The activity of body's movement and thought will influence the depth of space dimension.
Wayang Kulit Cirebon: Warisan Diplomasi Seni Budaya Nusantara Moh. Isa Pramana Koesoemadinata
Journal of Visual Art and Design Vol. 4 No. 2 (2013): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

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Abstract

The wayang kulit (shadow puppet) theatre is a traditional art form that has thrived in Southeast Asia for a long time. In Indonesia, Malaysia and Thailand, apart from local stories, wayang kulit presents Indian epics, such as the Ramayana and Mahabharata, as a medium for Hindu-Buddhist teachings. When Islam spread in this region, the Javanese and Malay wayang kulit still kept developing, even when it was being repurposed for Islamic preaching. In its development in the Islamic era, the Javanese wayang kulit incorporated the role and influence of Sufi scholars and local rulers. The visual form, composition, and creation of the wayang kulit puppets along with the prose and musical arrangements were directly inspired by the Wali Sanga (Nine Apostles) and the following Javanese kings themselves. This paperng Kulit of Cirebonural Diplomacy of Nusantara ion in the pasteration, presents the historic wayang kulit of Cirebon and discusses its unique visual features, which reflect acculturation between ethnicities (Javanese, Chinese) as well as beliefs (local animism, Hindu-Buddhism, Islam). The historic wayang kulit of Cirebon proved that a peaceful, cross-cultural and religious diplomacy took place through the medium of art since the early stages of deployment of Islam in Java. This traditional art is a legacy for current and future younger generations, not only because of the aesthetical aspect, but also as a cross-cultural diplomacy strategy and philosophy that must be acknowledged, understood, and practiced. In accordance with the meaning of the word, 'wayang' (reflection) reflects a successful diplomacy of the past that can potentially be applied in the present, hoping harmonic relationships can emerge from cultural diversity in the midst of rapid globalization.
The Local Genius Typography as a Source of Idea for Latin-based Typeface Design in Visual Communication Today Naomi Haswanto
Journal of Visual Art and Design Vol. 4 No. 2 (2013): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

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Abstract

During its long history, slowly but sure, Indonesia had accepted the influence of the written language from various nation and civilization. Approximately in the 15th century AD, European brought their language system, Latin, to Indonesia, which had been developed until present time. The usage of Latin alphabet for daily communication in Indonesia has created a disadvantage for the local/ethnic language, especially since the Latin provided an easier writing and speaking system. Latin uses alphabet system in which one sound represents one letter: A, B, C, etc. In contrast, the ethnic language uses syllable system in which one sound could consist of more than one letter (a, ba, ta, ka, nga, kha, etc). The growing of the nation of Indonesia with its various ethnic groups created the need for unification language, a language with a universal system. Furthermore, the alphabet system is easier to be used for various written and spoken language in the world. The richness of ethnic alphabet from Indonesia could become infinite ideas in developing computer typefaces. A typographer could design Latin alphabet with the characteristic of ethnic alphabets by capturing the traditional elements from the letters. These findings could enrich the field of visual communication nowadays. 
Cultural Messages of the Borobudur Temple's Symbols Seen from Aerial Photography Media Ade Dani Setiawan
Journal of Visual Art and Design Vol. 4 No. 2 (2013): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

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Abstract

Aerial photography depicts real images and reality requirements of the real images on scientific encoding, presenting objects clearly, accurately, without any manipulations. Accurate consideration and exact flying direction coordinate will capture objects of miles away in minutes for time is too precious too loose in the air. Aerial photography has flexibility. It can move on the physical reality, abstract reality, as well as reality which deliver messages to public. By means of aerial photography Borobudur temple can be seen as a whole to complete the familiar horizontal perspective. Borobudur temple has plenty of geometrical forms on its whole parts, i.e. diagonal lines, curves, upright lines, triangles, horizontal, cones, cubes, squares, and circles. These geometrical forms symbolize Buddhist cultural and spiritual messages. This research attempts to explicate the connections of symbols and messages on the Borobudur, its nature landscape and cultural landscape using vertical approaches as recorded in aerial photography. The explication applies semiotics theory of Roland Barthes, completed with photography theories. This explication aims to enrich the former readings fulfilled from horizontal view, in order to reveal more signs and messages carried by the physical shape of the temple.
Pengaruh Elemen Desain Interior Terhadap Persepsi Maskulinitas (Studi Kasus: Barber Shop) Ardiles Septuaginta Sopakuwa; Prabu Wardono; Bagus Handoko
Journal of Visual Art and Design Vol. 8 No. 1 (2016): Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/j.vad.2016.8.1.4

Abstract

Barber shop merupakan ruang publik yang masih belum diinfiltrasi oleh wanita dan diperuntukkan bagi pria saja, maka barber shop dianggap cocok untuk menjadi representasi ruang publik khusus pria. Penelitian ini berupaya mencari tahu dampak dari elemen lingkungan interior terhadap persepsi maskulin, sehingga ruang-ruang publik khusus pria yang ada saat ini dapat secara optimal memenuhi kebutuhan persepsi maskulin. Penelitian ini menggunakan stimulus visual berupa desain tiga dimensional dari lima kondisi barber shop yang merupakan manipulasi kombinasi variabel bebas berupa warna biru (A1) dan jingga (A2), serta material concrete (B1) dan kayu (B2). Kombinasi warna dan material ini menghasilkan empat kondisi eksperimental, dan  satu kondisi kontrol tanpa elemen warna maupun material experimental yang diterapkan. Eksperimen dilakukan terhadap 30 orang responden yang merupakan pelanggan barber shop untuk memberikan respon persepsi, emosi, dan sikap terhadap 5 buah stimulus visual yang menggambarkan kondisi barber shop. Data yang didapatkan dianalisa dengan metode ANOVA dan menunjukkan bahwa perbedaan respon terhadap keempat kondisi eksperimental tidak signifikan. Kondisi yang dipersepsi paling positif memiliki setidaknya satu elemen interior maskulin. Sementara kondisi yang dinilai paling mendukung emosi positif tidak menerapkan satu elemen interior maskulin pun. Sehingga menarik untuk menilai lebih jauh dampak kombinasi elemen interior ini terhadap respon responden. Kata Kunci: barber shop; desain eksperimental; emosi positif; persepsi maskulinitas; sikap positif.Influence of Interior Design Elements in Perception of Masculinity (Case Study: Barber Shop)The barber shop is one of the few public spaces that are not infiltrated by women. Therefore, the barber shop is a good representative of a male-only public space. This research was aimed at finding out the effect of interior-environment elements towards a masculine perception, so that current male-only public spaces are able to optimally fulfill the need of a masculine perception. In the experiment for this research, 5 three-dimensional conditions of a barber shop as a result of manipulation with independent variables consisting of color (blue and orange) and material (concrete and wood) were used as visual stimulus. Combinations of these colors and materials resulted in four experimental conditions and one controlled condition without any experimental colours or materials. The experiment was conducted involving 30 subjects to rate how they responded in terms of masculine perception, positive emotion and behavior toward the five visual stimuli. The experimental data were analyzed using ANOVA. The results showed that the responses to each variable were not significantly different. Although the perception response to it was not significantly different from that of the other experimental conditions, Condition 1, in which a decorative element of a big motorcycle and a visualization of football (fixed variables) were combined with a blue color (A1) and wood material (B2), was perceived as the most masculine at M = 89.13, 95% Cl.Keywords: barber shop; experimental design; masculinity perception; positive emotion; positive behaviour.
Ragam Hias “Sepak Bola” pada Pakaian Batik: Antara Komodifikasi dan Estetika Michael H.B. Raditya
Journal of Visual Art and Design Vol. 7 No. 2 (2016): Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/j.vad.2016.7.2.5

Abstract

Dewasa ini, perkembangan batik semakin masif dalam keberadaannya. Di satu sisi eksistensinya semakin terjaga, di sisi lain terjadi perubahan pada batik. Dua tahun terakhir, Pakaian Batik dengan ragam hias sepak bola muncul, dan menjadi komoditas lain oleh para perajin batik. Kemunculan batik cetak dengan ragam hias sepak bola ini turut memancing pro dan kontra dalam keberadaannya. Persoalan estetika dan komodifikasi muncul terkait tujuan dari perubahan ini. Terlebih mempertanyakan esensi dan eksistensi dari batik tersebut. Pada artikel ini, pakaian batik dengan ragam hias sepak bola akan ditelaah berdasarkan esensi dan perubahan. Pembahasan esensi pada batik akan ditelaah dengan estetika dan komodifikasi. Hal ini dimaksudkan untuk melihat esensi dari ragam hias sepak bola pada batik tersebut. Telaah yang didapat, bahwasanya pada batik ragam hias sepak bola lebih mengedepankan komodifikasi dibanding estetika batik itu sendiri. Telaah ini menjadi refleksi terhadap masyarakat atas batik secara khusus, dan seni secara umum. Kata kunci: batik; sepak bola; perubahan; komodifikasi; estetika. “Football” Patterns on Batik Shirts: Between Commodification and Aesthetic Nowadays batik is going through a massive development in its existence. On the one hand its position has become stronger, but on the other hand its character is changing. About two years ago, a batik football pattern gained popularity and was adopted as a commodity by batik artisans. The football pattern had positive and negative effects on batik. Issues of aesthetics and commodification emerged as a result of this development. Moreover, it put the essence and character of batik itself into question. In this research, the batik football pattern was investigated in relation to the essence of batik and the way it has been affected. The essence of batik was particularly analyzed from the perspective of its aesthetics and commodification, with the aim to find out how they were influenced by the football pattern. The conclusion of the research was that the batik football pattern has put more emphasis on the commodification of batik in stead of its aesthetics. This analysis shows how batik specifically and art in general are influenced by society. Keywords: batik; football; changed; commodification; aesthetic.
Kain Songket Palembang dengan Penerapan Teknik Batik sebagai Produk Fesyen Nadina Sukma Salim
Journal of Visual Art and Design Vol. 7 No. 2 (2016): Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/j.vad.2016.7.2.2

Abstract

Minimnya perkembangan motif Songket Palembang dan menghadapi kemunculan 'songket' mesin yang harga jualnya jauh lebih murah membuat beberapa pengrajin tenun songket asli menggunakan material alternatif, seperti sutera campuran, benang emas campuran, dan lain-lain untuk tetap bertahan. Semaraknya tren batik di Indonesia sejak UNICEF menetapkan batik sebagai warisan tak benda asli Indonesia, namun banyak masyarakat dalam dan luar Palembang yang tidak kenal dengan Batik Palembang. Kenyataannya, karena ketidakpahaman ini dan karena sisi ekonomis menyebabkannya sebagian masyarakat terpaksa memilih tekstil hasil industri pabrik dibanding karya asli daerah. Akhirnya, kepentingan untuk mempopulerkan motif batik Palembang yang mulai terlupakan juga menjadi kepentingan penelitian ini, selain kebutuhan akan variasi baru kreasi kain Songket Palembang. Hubungan dengan Cina dan India memberikan pengaruh dalam beberapa ragam hias dan warna pada kain Songket Palembang. Kesultanan Palembang Darussalam membeli benang emas dari Cina untuk ditenun menghiasi Songket Palembang sebagai pakaian  mewah kalangan bangsawan wanita. Berdasarkan kuantitas benang dan motif yang diterapkan di dalamnya, kain songket berbeda bagi golongan penggunanya. Diketahui, sebagai komoditi dagang dari Jawa, batik juga dikenakan oleh masyarakat Palembang. Motif-motif tertentu digemari dan menjadi ciri khas motif Palembangan hingga kini. Batik Palembang tidak dibuat di Palembang melainkan di Pesisir Jawa. Oleh karena itu, motifnya merupakan paduan ragam hias flora fauna Palembang dan corak songket selain motif India dan daerah pembuatnya. Akhirnya, salah satu solusi yang ditawarkan untuk keragaman variasi ini adalah menerapkan teknik batik di atas permukaan kain Songket Palembang sebagai salah satu cara menghias permukaan kain. Penerapan ini dapat dilakukan karena kain terbuat dari benang sutera alam. Menggunakan mode kualitatif, data-data didapat melalui literatur, wawancara dan observasi non partisipatoris di tempat pengrajin songket dan batik. Menggunakan metode triangulasi data didukung pendekatan berbagai disiplin terkait untuk menghasilkan karya eksperimentatif, penelitian ini bertujuan untuk memberikan variasi baru pada kain Songket Palembang dengan penerapan teknik batik di atasnya, sebagaimana belum pernah ada yang pernah melakukan hal seperti ini sebelumnya. Proses berkarya dimulai dari perancangan yang mengangkat motif-motif batik Palembang mengikuti estika karya Palembang yang repetitif dan geometris terukur. Hasilnya teknik batik dapat diterapkan di atas permukaan kain songket dengan memperhatikan jenis pewarna batik yang cocok untuk selanjutnya diterapkan sebagai produk fesyen. Kata Kunci: Batik Palembang; penerapan; ragam hias; Songket Palembang; variasi. Kain Songket Palembang with Batik Technique Implementation for Fashion ProductLess variation on motifs and facing the low cost production of machine woven Songket has make the Songket Palembang crafters are trying to use alternative materials, like synthetic silk, cheap threads et cetera. In the middle of the batik trend in since UNICEF announced Batik as intangible heritage from Indonesia, many people inside and outside Palembang do not know about what is Batik Palembang. Sadly, lack of knowledge about this, the community tends to choose machine woven textiles upon their own traditional folk art such as hand woven textiles. Therefore, reintroducing Palembang batik that is almost forgotten and the need for a new variation in kain Songket Palembang creation become one of the goals in this research. Songket has influences from China and India especially its color and motifs. A rich city as Palembang in the past has made its Kingdom can afford to buy gold threads from China to decorate Songket as the cloth for their royal women costume. The users are ranked divided to its quality and the motifs of the Songket. At the same time, batik is also used by Palembang citizens for it was known as trading matters. The Palembangan motifs had a lot of absorbance from not only floral and animals of Palembang, songket motifs, but also from Indian and places where they are made in Pesisir Jawa. One of the solutions offer is by implementing batik technique upon kain Songket Palembang. As an act of decorating cloth surface, this technique is surely can be done for this textille is made of silk thread. Using a qualitative mode, the data were collected through literatures, interviews and non-participate observation at Songket Palembang and Batik crafters' studios. With multidiscipline approaches for inspiration in creating the artworks, the datas were united for their analysis. The artwork process began by researching the aesthetical matters from Palembang to the designs for developing Batik motifs. The result is Batik technique can be implemented to the Songket survace with the adequate batik dyeing technique into become a suitable fashion product. Aiming to give a new variation, this will give a new look on Songket Palembang which none has ever done it before. Keywords: Batik Palembang; implementation; ornaments; Songket Palembang; variations.

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