Kreativitas Kode Visual Golek Asep Sunandar Sunarya dalam Media TV

'Golek' show is a typical Sundanese art that had been built for generations by the convention (golek as a puppet made from wood that can moved). Convention as the reference in the performance golek set to 'standar' or 'tetekon'. Standard be 'rules' or 'code' in the making and golek play. Previously, the golek show was held in open spaces and performed at night until early morning. Nowdays, staged golek becomes shorter only take place within 2-3 hours. Since the television media increasingly showing its existence; and as well as the emergence of other entertainment stage such as 'dangdut', pop music, 'Malay orchestra', or 'solo organ'.In such condition, there was emergence of Golek Stage by Asep Sunarya. He creates breakthoughs by designing many tricks in his wayang-golek show: character smoking, dancing 'jaipongan', doing material arts pencak silat, or spewing noodle. Asep's wayang golek-performance can regain the attention of the people (mosly Sundanese). On the top of that, Asep style becoming new inspiration for other dalang. The evolving of Asep's golek show, then attracted television industry. At this point, the show becoming more entertaintment than before. In television, golek show perform new encoding, like advertizing code, interaactive broadcasting code, and digital visual effect code.The aim of this study is to reveal the convertion of traditional-golek visual code to modern-television visual-code. The methodologies used are structural visual code, and also ethnometodologi approach. Ethnometodologi method used observation's in-depth interview, and unstructural interview upon selective omnicient informants

Komunikasi Gambar Bercerita pada Buku Belajar Baca Anak Taman Kanak-Kanak

Visual communication experience that ensues between the picture and the children is an episode that should be experienced long before kindergarten children learn to read. Each visual element in the picture has a causal link that connects to an event.  Joint visual communication experience illustrates visual language strength in delivering messages actively or when they work together.  This experience provides an opportunity for the picture to send messages actively and get children accustomed to get the message and tell the message from the picture they gazed at. This research discussed the importance of storytelling pictures in visual communication experience with children. This research results' are three models of communications between picture and all visual elements and the working method of those models, based on children visual-word language indicators. The dynamics in this communication model show how far the role of child assistants (parents and teachers) in motivating and facilitating the occurence of interaction between the picture and the child independently. This research verified the importance of child activity for gazing the picture which should be executed before the child is able to read letters. This study also illustrated the importance of two key functions of storytelling pictures as an active messenger by gazing the picture and a letter interpreter for learning how to read

Relasi antara Prinsip Visual Barat dan Fengshui pada Desain Logo

Nowadays, the integrations between Western principles of visual art with principles of Feng Shui in logo designs can easily be found in Indonesia. Principles of Feng Shui, often called as Feng Sui or Hong Sui, is an ancient Chinese way of thinking that emphasize in environment organization. Principles of Feng Shui's four key points are to produce a positive Qi energy, to maintain stability among Yin and Yang, to produce a productive cycle Wu Xing (Five Elements), and to represent the symbolism from Chinese culture. The purpose of this research is to establish an understanding on the relationship between Western principles of visual art and principles of Feng Shui in logo designs, like the similarities on the way of reading logo as well as the differences. Logo designs were analyzed, described, and explained using Western principles of visual art and principles of Feng Shui's four key points into three sections, which are visual elements, logo composition, and logo interpretation. This research used the qualitative method with descriptive analysis. The data were collected through several methods, such as interviews and literature reviews. The four stages of analysis procedure are description, formal analysis, interpretation, and evaluation or judgement. Upon completion, there are three findings. First, the way of reading a logo design using the Western principles of visual art is simpler and straightforward than the principles of Feng Shui. Second, several relationships among the two principles were found in visual elements, logo composition, and logo interpretation. Third, the integrations between Western principles of visual art with principles of Feng Shui in a logo design represents its ideologies as well as the 'shield' to protect the company from any harm

Identitas dan Karakter Budaya Lokal pada Kemasan Makanan Oleh-Oleh

"Oleh-oleh"has become an important thing to buy. "Oleh-oleh" package with prominent characteristic of the local culture can be found in a small number of "oleh-oleh" shops or stalls. This characteristic might be hard to find in other areas. Nowadays, the number of such packaging is still limited. With its various cultures, Indonesia should have become a great source of inspiration to develop packaging design"oleh-oleh". This background triggered the idea that "oleh-oleh" packaging design has great potential to be developed. Such "oleh-oleh" packaging can be considered to have a unique position for several reasons. In addition to its design, its existence in the area of tourism activities and cultural environment has been continually living side by side with the identity where it is marketed. "Oleh-oleh" packaging will be deeply assessed by using a combination method of qualitative and quantitative approaches. Qualitative approach is used to identify the physical and graphic of it. The theory underlining this study is a packaging design theory and theories related to the form of culture. To identify the character of the packaging, theory associated with uniqueness, exotics and emotions are employed. Making use of questionnaire, consumer perceptions of the design are collated. To identify the average opinion of the respondents, a quantitative approach with Semantic Differential assessment method is adopted. The study of the food "oleh-oleh" packaging which can be useful source in design planning, shows that: (1) form, materials and how to package are the aspects influencing the construction of the package; (2) cultural context viewed at the packaging is cultural context seen as exotics, nostalgic experience, visual experience, (3) recognition from consumers is needed to show evidence of physical experience to the place visited and the desire to collect (4) aspects of culture on the packaging can be considered as an opportunity to increase sales; (5) the efforts of food manufacturers in decorating the package is considered quite successful in highlighting the uniqueness and the attractiveness of the appearance

Perancangan Aplikasi (App) Buku Digital Sri Pohaci untuk Anak Pra-Sekolah: Pengenalan Sembilan Tanaman Pangan Pokok

Folktales need to be modified and packaged in a variety of media to preserve classic literature. The myth of Sundanese goddess of rice, Sri Pohaci is modified to fit the current context, without changing the basic structure of the story. As the story told, Sri Pohaci incarnated into nine plants. These plants are modified to nine consumptive plants, to support diversification of food consumption program through the story of Sri Pohaci, intended for pre-school children. The pre-design phase for this research applies qualitative methodology based on action research. The e-book application (app) design utilizes digital storytelling method, combined with touch-screen technology to enable interactive animated features. The concept of storytelling through narration, visual, audio and interactivity can increase the sensation of two-way interaction to encourage children's comprehension and enjoyment of storybook

Mengenal Relief, Mudra dan Stupa Candi Borobudur untuk Anak-Anak Usia 9-12 Tahun melalui Edugame

Candi Borobudur sebagai salah satu aset budaya Indonesia dan menjadi salah satu keajaiban dunia, pertama diperkenalkan kepada anak-anak dalam mata pelajaran Ilmu Pengetahuan Sosial (IPS) di Sekolah Dasar (SD) sebagai bangunan peninggalan kerajaan Buddha di Indonesia. Pengetahuan yang diberikan sebatas pada tahun pembangunan, raja yang memimpin dan membangun, serta nama tingkatan pada candi. Pemberian pelajaran di sekolah tidak hanya dari buku, namun dapat dilakukan dengan pendekatan multimedia. Berdasarkan hasil penelitian yang dilakukan kepada anak-anak usia 9-12 tahun, guru pelajaran IPS dan pemandu wisata Candi Borobudur yang memberi materi kepada anak-anak ketika berkunjung. Candi Borobudur tidak dapat dipisahkan dari relief-reliefnya yang indah, arca Buddha yang memiliki berbagai sikap tangan (mudra) dan stupa Candi Borobudur menjadi materi yang perlu diberikan kepada anak-anak karena belum didapatkan di sekolah. Memberikan pendekatan yang berbeda dalam mempelajari suatu pengetahuan baru dapat memudahkan anak-anak untuk menyerap teori baru namun dengan cara yang lebih menyenangkan. Memadukan game dengan ilmu pengetahuan menjadi edugame merupakan salah satu cara untuk menyiasati anak-anak agar tetap belajar sambil bermain. Kata kunci: anak-anak; Candi Borobudur; edugame.Borobudur Temple is one of the world heritage from Indonesia that being introduced to Indonesian student in history lesson at elementary school. But the national curriculum doesn't give all children needs because they should learn lot of lessons from history. Different knowledge of Borobudur Temple can be given to children by video game, because as a student, children want to spend their leisure time at home with something they like most. The knowledges that will be given to children are based on the research from children, 9-12 years old, their teachers, and tourist guide who gave the children some knowledge when they come to Borobudur temple. The main of Borobudur temple are it beautiful reliefs, Buddha's hand positions and stupa. Creating game with education is a one great way to help children learn about Borobudur temple, so they will get new knowledge and fun.Keywords: Borobudur Temple; children; edugame

Kebaya Encim as the Phenomenon of Mimicry in East Indies Dutch Colonial’s Culture

Clothing is not just simply a fashion’s matter. It is an artifact of culture once used to differentiate someone based on his/her ethnic identity and position in certain power field. Dutch East Indies colonial government was very aware of this as they issued the rule at 1872 which required every resident to use 'its ethnic clothing' respectively in public areas. But there is exception in the case of the Dutch, Indo Belanda 1), Tionghoa Peranakan 2), and Native women's clothing. They had to wear kebaya and batik sarong (Jean Gelman Taylor, 2009). The clothes worn by indigenous women of Indonesian (particularly in Java), subsequently worn by Tionghoa Peranakan and Indo Belanda. From 1872 until 1920 Dutch women also wore kebaya and batik sarong in their house because the clothes were very comfortable to use in the hot and humid tropical region. To differentiate their position as the highest class in the colonial hierarchy, they wore kebaya made from luxury fabric and batik sarong, which designs was derived from European style in soft colors.  On February 10, 1910 the colonial government issued a regulation for the Tionghoa Peranakan: “Wet op het Nederlandsch Onderdaanschap” (Act on Dutch nationality), on gelijkgesteld which means 'equalization'. This equalization led the rich Tionghoa Peranakan women to wear kebaya and batik sarong similar to the Dutch women's. First they imitated the Dutch kebaya made ??of white cotton decorated with white lace. After a while they began to modify their Dutch kebaya to white kebaya kerancang 3). But at last they wore the colorful kebaya sulam, which was embroidered with China’s ornament design. These Tionghoa Peranakan’s kebaya was known as kebaya encim 4). Since the object of study came from the past, this descriptive qualitative research uses philological method. Data is collected from books that discuss the history of Dutch East Indies society in the late 19th until early 20th century. Interpretation is based on the point of view of Homi Bhabha’s theory of mimicry and hybridity. Keywords: Kebaya, Gelijkgesteld, Hybridity, Mimicry 1)                   Tionghoa Peranakan were descendants from mixed marriages of Chinese men and indigenous Indonesian women. 2) Indo Belanda were descendant from mixed marriages of Dutch men and indigenous Indonesian women. 3) Kebaya Kerancang (cutwork) made by perforate the fabric of kebaya after it had been embroidered to make it similar of lace. 4) Encim means auntie or simply Chinese wome

Adaptasi Karakter Aksara Batak Toba dalam Huruf Latin

Aksara adalah salah satu warisan budaya tradisional yang perlu mendapat perhatian khusus. Hal ini dikarenakan secara fungsi, aksara sudah tidak lagi dipandang sebagai suatu kebutuhan media komunikasi dan tertindas oleh efektivitas huruf latin yang telah mewabah ke seluruh aspek komunikasi global. Hal ini dikhawatirkan akan menyebabkan punahnya aksara Nusantara. Kunci yang paling efektif untuk mengatasi kekhawatiran tersebut adalah melalui teknologi huruf. Dimana aksara tradisional dapat difungsikan sebagai sumber inspirasi typeface komputer tanpa menggeser efektivitas huruf latin.Perancangan desain typeface huruf latin dengan karakter Aksara Batak Toba ditempuh antara lain melalui proses penelitian konstruksi visual, anatomi huruf dan kajian elemen-elemen geometris terhadap huruf latin (Roman) dan aksara Batak Toba yang menghasilkan pola dasar desain huruf. Tujuan final seluruh proses penelitian adalah mewujudnyatakan karakter aksara Batak Toba (aksara silabik) ke dalam huruf latin (aksara fonetik) dalam bentuk font komputer yang fungsional

WIMBA - Jurnal Komunikasi Visual : Vol. 01, No.1, 2009

1. Wimba, Asal Usul dan Pembentukannya / Primadi Tabrani 2. The Creation Process of Nyeni / Pindi Setiawan 3. Cara Wimba Dan Tata Ungkap Bumper MTV: Sebuah Kajian Bahasa Rupa Media Rupa Rungu Dinamis / Intan R. Mutias dan Primadi Tabrani 4. Manga: Invisible Cultural \u27 Imperialism \u27 through popular Medium / Hafiz Ahmad dan Alvanov Zpalanzani 5. Ragnarok Online,Reality of Virtual Phenomenon / Alvanov Zpalanzani dan Hafiz Ahmad 6. Film Animasi Pendek \u27\u27The Animatrix: The Second Renaissance Part 2 \u27\u27 sebagai Prognosis Budaya Simulacrum / Imam Sudjudi 7. Apresiasi dalam Fotografi, Sebuah Pengantar dalam Membaca, Memahami dan Mengapresiasi Fotografi Andhika Prasetya 8. 360 Branding:Apakah yang Terbaik ? Henricus Kusbiantor