VISUALITA

Journal Information
ISSN / EISSN : 23015144 / 26552140
Current Publisher: Universitas Komputer Indonesia (10.33375)
Total articles ≅ 67
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Latest articles in this journal

Siti Desintha, Intan Kusuma Ayu, Haliza Octamediana
Published: 29 February 2020
VISUALITA, Volume 8, pp 89-95; doi:10.33375/vslt.v8i2.2769

Abstract:
Granola Creations adalah salah satu produk makanan yang berasal dari Bali, Indonesia dan diproduksi oleh Hundred Seeds. Produk yang disajikan berupa makanan kesehatan yang terbuat dari campuran sereal, gandum, kacang-kacangan, gula dan buah-buahan kering yang dipanggang. Granola Creations memiliki tampilan kemasan dengan dominan warna coklat, dan gambar dari isi produk. Pada dasarnya kemasan berperan sebagai pemberi citra utama mengenai suatu produk kepada khalayak sasaran. Penelitian dilakukan untuk mengetahui apakah unsur visual pada tampilan kemasan yang digunakan sesuai dengan citra produk Granola Creations. Penelitian ini menggunakan metode analisis deskriptif dengan pendekatan unsur, prinsip Desain Komunikasi Visual dan analisis berdasarkan material kemasan. Hasil penelitian memperlihatkan kemasan Granola Creations menggunakan teks, tata letak, tekstur dan warna tertentu yang sesuai untuk menyampaikan informasi yaitu identitas, personalitas dan citra dari produk dan memperlihatkan Granola Creations berhasil menampilkan kemasan yang komunikatif melalui tampilan visual dan bentuk fisik kemasan dalam satu kesatuan desain kemasan makanan.
Merlina Fatimah Nasruddin
Published: 29 February 2020
VISUALITA, Volume 8, pp 97-112; doi:10.33375/vslt.v8i2.2776

Abstract:
Achmad Deptian Djenuari Rizky is an Indonesian illustrator who carries emotional black metal themes, horror, and grim spiritual values ​​of western black metal or heavy metal in the style of his illustrations. In Black Metal Istiqomah's post Instagram upload series, Deptian raised Islamic spiritual values, propaganda values, and local values ​​that were paired with a visual theme of the expression of the flow of black metal music. Elements of black metal expression that are aggressive and tend to be rebellious with subtle Islamic values ​​and polite Islamic characteristics are two contrasting elements. The purpose of this study is to discuss the expressions and stories of each object using the Tabrani’s visual language method. The discussion on how to use speech and expressions so that it becomes visual language that can be told based on visible speech, is used to reveal which position is the element of emphasis between Islamic values ​​and thematic black metal in the visual style it carries. In Deptian's Black Metal Istiqomah Instagram post, a version of the Varokah character story with a devil character, Satan's wage is described as having a dominant portion in the frame and has a reference to the demonic illustration in European satanism.
Muhamad Ali Rahim, Chandra Ghaisani Amiarsa
Published: 27 February 2020
VISUALITA, Volume 8, pp 75-88; doi:10.33375/vslt.v8i2.2726

Abstract:
Dilatarbelakangi gagasan 'perayaan' memudarnya eksklusifitas seni menuju ke pola kontinuitas penciptaan, penelitian ini diiringi proses penciptaan dan menghasilkan karya seni rupa berjudul “Plana Memora” yang dirancang dalam rangka merespon fenomena pergeseran wacana estetika kontemporer. Tujuan konseptualnya adalah manifestasi letak spirit personalitas yang spesifik-otentik atas karya seni rupa pascamodernisme; dalam kesederhanaan visualisasi bisa jadi ditemukan unsur filosofi karya yang memerlukan upaya untuk memahami 'kedalamannya'. Tujuan praktisnya adalah tawaran pola teknik penciptaan karya yang tidak konvensional, dan visualisasinya menjadi alternatif wujud karya seni rupa dua-dimensi. Wujud Plana Memora berupa tulisan tangan dengan menggunakan bolpoin pada sepotong kertas, tak ubahnya sebuah catatan singkat, dibuat dengan maksud memberi peringatan sederhana dan cepat akan rencana kegiatan harian. Dasar pemikirannya adalah bahwa karya seni rupa pascamodernisme mencirikan adanya kedekatan yang lazim dan intens dengan keseharian kreatornya. Hal ini menguatkan bahwa karya seni rupa dua-dimensi tidak lagi (melulu) tentang ilustrasi, representasi alam nyata/ alam mimpi, imajinasi atau berakhir pada komposisi cipratan warna, yang secara eksplisit sekedar menunjukkan kepiawaian tangan belaka. Studi literatur sebagai sumber data dan eksplorasi karya dilakukan sebagai metode dalam penelitian dan penciptaan ini. Dalam rangka mendukung representasi kekaryaan seni rupa kontemporer, penciptaan ini menghasilkan rancangan karya sebagai manifestasi dekontekstualisasi wujud karya seni rupa. Karya ini bukan ilustrasi konvensional. Karya ini mengusung konsep kontinuitas gejala dirinya sendiri yang meskipun bisa jadi mirip dokumentasi, namun merupakan karya (rencana) hari ini dan masa depan.
Satria Indra Praja Persada
Published: 4 February 2020
VISUALITA, Volume 8, pp 61-74; doi:10.33375/vslt.v8i2.2666

Abstract:
Video gim merupakan salah satu karya desain komunikasi visual yang diminati saat ini, gim yang bersifat interaktif memiliki kelebihan dari karya desain lain karena dapat dimainkan oleh penggunanya dan berinteraksi langsung dengan objek yang ada dalam video gim tersebut, Saat ini sudah banyak sekali video gim dengan berbagai jenis mulai dari gim RPG (Role Playing Game), Petualangan (Adventure), Pertarungan (Fighting) hingga Lomba adu kecepatan (Racing) dengan berbagai macam gameplay dan konsep visual, salah satunya adalah Cuphead, Cuphead sendiri merupakan gim petualangan yang menawarkan konsep visual unik sehingga dapat menarik para pemain gim dalam membeli gim tersebut saat ini cuphead sendiri telah terjual sampai 5 juta kopi hal ini tidak lepas dari keunikan konsep visual yang diusung oleh Cuphead. Adapun penelitian mengenai gim Cuphead ini dilatar belakangi oleh konsep visual yang diusung oleh gim Cuphead dimana konsep visual yang di usung oleh gim Cuphead ini memakai konsep visual retro cartoon, adapun tujuan dari dilakukan penelitian ini adalah untuk mengetahui elemen-elemen visual yang terkandung dalam gim tersebut dan metode yang digunakan dalam penelitian adalah analisis deskriptif dimana objek penelitian ini akan dikelompokan sesuai dengan elemen-elemen yang terkandung didalamnya lalu dilakukan studi pustaka kepada tiap elemen tersebut dan dilakukan analisis sehingga dapat diketahui asal dari elemen tersebut, lalu hasil dari penelitian ini adalah gambaran dan keterengan mengenai elemen tersebut sehingga berdampak pada desainer ataupun pengembang gim agar dapat mempertimbangkan konsep visual beserta elemen visual yang diusung agar gim tersebut memiliki ciri khas sehingga dapat bersaing dengan pengembang gim lain.
Aditia Muara Padiatra
Published: 1 February 2020
VISUALITA, Volume 8, pp 53-59; doi:10.33375/vslt.v8i2.2527

Abstract:
Masyarakat Indonesia pada umumnya menyukai permainan. Permainan ini sendiri sifatnya bermacam-macam, dari yang dapat dimainkan sendiri ataupun berkelompok, dan biasanya dipergunakan sebagai sarana untuk melepaskan stres ataupun untuk mengisi waktu senggang. Seiring dengan perkembangan teknologi, permainan pun mulai diganti dari yang sebelumnya berada pada area dunia nyata menjadi dunia maya (daring), permainan ini disebut sebagai gim daring, dan banyak dimainkan oleh berbagai kalangan di masyarakat. Merunut kepada fenomena gim daring, penulis akan memfokuskan studi mengenai aspek ungkapan emosi yang divisualisasikan melalui pencitraan simbol-simbol tertentu sebagai media komunikasi pada salah satu gim daring, yaitu Gunbound Mobile. Hal ini menarik karena studi mengenai gim daring masih terbilang sedikit di Indonesia. Melalui analisis ikonografi dan ikonologi yang kemudian dilakukan untuk membedah tiap-tiap simbol tersebut, terlihat bahwa aspek komunikasi yang terjadi pada setiap pemain gim daring di dunia maya tidak hanya melalui teks saja, namun ada varian lain yaitu melalui unsur simbolik yang dicitrakan melalui gambar-gambar yang mewakili emosi atau perasaan-perasaan tertentu dari setiap pemainnya, hal ini tentunya menjadi fenomena yang menarik untuk dapat ditilik lebih lanjut.
Agustina Kusuma Dewi, Yasraf Amir Piliang, Irfansyah Irfansyah
Published: 16 August 2019
VISUALITA, Volume 8, pp 39-46; doi:10.33375/vslt.v8i1.1867

Abstract:
Film is a medium of visual communication that plays a role in the dissemination of women's concept discourse in Indonesia, one of which is due to its distinctive characteristics that can last for a long period of time, potentially wider in its dissemination, including also being a mass media hypnotic culture. The film is closely related to the concept of gaze, male gaze in the cinematography industry, which according to overly uses men's views, which is positioning women as subjects who have no power over themselves (self-possessiveness) but as objects of male gaze. Women become commodities in the film, a sex object that is commodified to construct an image that represents the position of women is as an additional role that is not important in one film narrative. In the male gaze narration, women in the film do not act, but become part of the actions of men. Morally, male gaze assumes that the behavior of women in films has a vacuum, but in Garin Nugroho's 'Setan Jawa’ using Deleuze's cinematic study, women are positioned to have other representations that differ from the ethics of cinematics which do not place women as signs of sex objectification for the sake of fulfillment of men's desires, but as subjects who are fully empowered and may wish of themselves.
Andrie Rizky Darmawan
Published: 16 August 2019
VISUALITA, Volume 8, pp 47-52; doi:10.33375/vslt.v8i1.1774

Abstract:
Papuan batik is batik originating from the Province of Papua, Indonesia. The batik was produced by the Phokouw Faa batik center in Papua Province. The batik center of Phokouw Faa realizes that the batik that he manufactures is not evenly recognized in Papua Province, so that efforts are needed to inform the existence of the Papua batik. The method used in this research is an experiment on the application of elements and principles of visual communication design using non-conventional media (non-print), namely on time-based digital media in the form of documentary videos. Data to design a visual communication about Papuan batik was obtained during a field survey by observing and interviewing. The identities of the Papua province were applied in developing the documentary video. The full results of the research can be seen on the Youtube link as follow https://youtu.be/M5EP0b3jaBs.
Ike Niken Laksitarini, Yan Yan Sunarya, Chandra Tresnadi
Published: 10 August 2019
VISUALITA, Volume 8, pp 25-38; doi:10.33375/vslt.v8i1.1778

Abstract:
Batik is one from of art and has become an acon of Indonesian indigenous culture and Batik Karawang is one of them. Its exixtence is not yet as popular as batik from other regions. However, several efforts have been made by cultural observer Karawang Regency and related agencies in introducing and developing Batik Karawang. Geographically, Karawang Regency is an area that has extensive agricultural land. Even though it is a coastal area, the agricultural land in Karawang Regency is an area that is able to produce good quality rice, this is because Karawang Regency is located adjacent to the Citarum River which functions to irrigate all agricultural land in Karawang Regency. So it is not surprising that the batik ornaments created are dominated by rice plants or bitter melon as the main decorative variety. Pare in Indonesian means rice, while sagendeng means one tie. The use of ornamental names that refer to the natural and cultural elements of the Karawang district has symbolic meaning that refers to the ideas and expectations of the local community for good. From the results of the study obtained a relationship or relationship that the aesthetic elements contained in the Karawang Batik decoration is a form of visual adaptation (culture) of Karawang regency society which is correlated with the discovery of the name kekembangan on Sundanese terms found in Lalakaon ti Karawang script. This study aims to unravel the form of adaptation to the Pare ornament. This research is expected to provide insight for the general public regarding the existence of Batik Karawang so that it can develop the potential and economy of UMKM (Usaha Mikro Kecil dan Menengah) on Karawang regency. The type of research used is qualitative research with a descriptive approach. From the results of the study it was found that most of the basic patterns of Karawang Batik motifs were ridiculous. Ceplokan is one of the batik motifs which consists of repetition of the ceplok pattern unit so that as a whole it forms a single unit.
Nooryan Bahari, Dyah Yuni Kurniawati, Sigit Purnomo Adi
Published: 10 August 2019
VISUALITA, Volume 8, pp 15-23; doi:10.33375/vslt.v8i1.1235

Abstract:
The research aim of art creation and presentation is to revitalize traditional glass painting in Indonesia by utilizing plexiglas flexibility as a medium in fine artwork. This is due to the use of glass as a medium is very heavy and easily broken when moved or taken for display. The research method used in the creation of art uses experimental method with the order of exploration stage, design stage, and realization stage. Exploration stage is an exploration activity that explores the source of ideas, including exploring plexiglass materials using various types of water-based and oil-based paints, as well as gravur and grinder techniques to erode the surface. Next is collecting data and references, as well as processing and analyzing data which results are used as the basic for making designs. Design Stage visualizes exploration results into various design alternatives which then the best is chosen and used as references in making works. Realization Stage is the process of manifesting the chosen design into the real work. Research showed that the use of plexiglass material as a medium of traditional glass painting has a very good results, and plexiglas can fully replace glass in terms of aplicable to various paint types, even plexiglas has excellence over ordinary glass that is water-based acrylic paint can be applied better in plexiglas and can fused (compound). Exploration of works visualization using plexiglas as medium has a very good result, as applied to ordinary glass. Exploration of works visualization has a very good result, some works still use traditional motifs and symbols combined with modern motifs and symbols with illustrative, expressionist and pop art style.
Siti Desintha
Published: 10 August 2019
VISUALITA, Volume 8, pp 1-14; doi:10.33375/vslt.v8i1.1234

Abstract:
Soulscape Road is one of the compilations of Oscar Motuloh's work against the background of the disaster that occurred in Indonesia. Photographs of spot or news photos are recorded in essays in the social and cultural context of Oscar Motuloh as a journalist. Book Cover is basically an information that represents the contents of a book. Book Cover as a point of interest gives the perception and image formed through the visual. Soulscape Road book Cover by Oscar Motuloh has a distinctive character by using several media (mix media) as its illustration and becoming a differentiator with general book Covers. The study was conducted to determine the image relation or image of the sign construction on the book's Cover. This study uses a descriptive method, with the Peirce semiotic approach