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ARTic
Published by Universitas Komputer Indonesia
ISSN : -     EISSN : 27152618     DOI : https://doi.org/10.34010/artic
Core Subject : Art,
Arts
The aim of ARTic journal is the dissemination of knowledge related to design. It covers particular issues on education, practice, and research of design (Interior, Industrial Product, and Visual Communication) . Letters and commentaries of our published articles are welcome.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 41 Documents
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ANALISIS VISUAL GAYA MENGGAMBAR PADA KOMIK AKSI INDONESIA Andini Setya Arianti
ARTic Vol 2 No 1 (2019)
Publisher : Universitas Komputer Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34010/artic.2019.3.2484.93-101

Abstract

Comics are one of popular storytelling media which combines images and text, and is read through spesific order. Far before it was known as “comic”, Indonesia already has several forms of storytelling, such as Wayang Beber and relief on Borobudur’s temple. This forms are later known as comics, which evolve through times in Indonesia. Indonesian comics received many influences from other countries. Indonesian comics received most influences from America and Japan. These influences are seen on its storytelling, and also, its drawing style. The comics being analyzed on this thesis are those with action genre, also known as “komik silat” in the past, because this genre is one of the most popular genre. There are two titles picked to be analyzed, one is “Pandji Tengkorak”, which represents older generation comic, and “Raibarong”, which represent a more modern comic. To understand how indonesian comics grows throughout times and the factors behind its growth, this research uses qualitative analysis and descriptive-comparative along with study case as its approach. The result shows the differences between drawing style of the two comics, caused by the trends existing on their respective eras. Internal factors such us the authors personal preferences and media used to create the comics also further influences their drawing styles.
PERAN VISUALISASI LABEL KEMASAN PRODUK MINUMAN USAHA MIKRO KECIL MENENGAH (UMKM) TERHADAP PENGAMBILAN KEPUTUSAN KONSUMEN Triandi Purnama Ramadhan
ARTic Vol 2 No 1 (2019)
Publisher : Universitas Komputer Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34010/artic.2019.3.2489.103-112

Abstract

Micro, Small and Medium Enterprises (MSMEs) is a business group that if it is viewed from assets and turnover is under the factory. Yet, MSME products usually have unique criteria: raw materials, production quantities, and target markets. MSMEs are still considered to have weaknesses in packaging design. One of the factors is the limited ability to use tools and technology in creating unique packaging designs and representing brand identity. The solution is to choose the type of ready-made packaging (stock) available on the market, so it is possible that one form of packaging can be used by many brands. So in their marketing, MSMEs should be able to maximize the role of visualization on the packaging label. Fruits Up and Mon Chérie are examples of MSMEs in Bandung that make fruit-flavored drink products. With the same product category and target market, it is obvious how visualization of the packaging labels they create is reviewed with the 'applied aesthetic' theory chart. Based on the results of the analysis by mixed methods with sequential exploratory strategy, it is found that the visualization role on the packaging label is a major element to differentiate their identity with other products, as well as a means to convey the purpose and uniqueness of each product. The good visual elements on the label must have aesthetic rules, readable, understandable, and right on target. A packaging design can be influenced by the maker (product uniqueness, production capacity, capital, use of technology, tools, and skill) and end user (need, will, lifestyle), then produce impact on the aesthetic, practical, and symbolic aspects of the customer. The conclusion of consumer interpretation is the composition of color and illustration are more effective than other visual elements in order to make it easier for consumers to make purchasing decisions.
FENOMENA PERUBAHAN BENTUK MOBIL TOYOTA KIJANG GENERASI I (1977), GENERASI II (1981) DAN GENERASI III (1986) SEBAGAI REPRESENTASI DARI KEINGINAN, KEBUTUHAN, DAN DAYA BELI MASYARAKAT PENGGUNANYA DI INDONESIA Ahmad Nurzaeni Fauzi
ARTic Vol 2 No 1 (2019)
Publisher : Universitas Komputer Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34010/artic.2019.3.2504.113-120

Abstract

This research is study of a design object that can change based on time, the purpose is to examine what aspects are encourage the design changes of Toyota Kijang 1st generation (1977-1981), Toyota Kijang 2nd generation (1981-1986) And Toyota Kijang 3rd generation (1986-1992). The analytical method that used in this thesis is the Principle of Totality, Principle of Time, and Principle of Value by W. H. Mayall and developed by Dr. Ahadiyat Joedawinata to analyze the features that contained in Toyota Kijang's exterior and exterior components, and examine what factors are missing, what's changed, what's fixed, and what's new from the 3 generation Toyota Kijang. The results of this study concluded that the design aspect of a function (performance) and aesthetic (form) are related to each other, a change in one aspect affects the other aspects. As for the changes that occur in a design influenced by aspects of non-design. In this case of a shift form of the Toyota Kijang cars changes motivated by 3 (three) factors include: Human Factors (need, will and capability), Economical Factors and Technological Factors.
KAJIAN AESTHETIK DAN SIMBOLIK PADA ELEMEN DEKORATIF KARAWO GORONTALO Apsari Dj Hasan
ARTic Vol 2 No 1 (2019)
Publisher : Universitas Komputer Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34010/artic.2019.3.2506.121-134

Abstract

This study aims to examine the decorative types of Gorontalo karawo fabrics in aesthetic and symbolic elements. Researchers want to know as made in the research design, aspects that are present in the decoration of fabrics in aesthetic and symbolic elements. This study uses a number of related theories to get results, and as a determinant, the authors use aesthetic theory, as well as historical approaches. With this theoretical basis, the author seeks to describe the aesthetic aspects and symbolic meanings that exist in Gorontalo karawo fabric. Through the data collection of the chosen motif and provide a classification of motives, the part is used as a reference for research material. The results showed that Gorontalo filigree had an aesthetic value consisting of unity formed from the overall decorative motifs displayed, complexity formed by complexity in the manufacturing process, and intensity of seriousness in the manufacturing process or the impression displayed on the filigree motif. The aesthetic form also reflects the diversity of meanings for communication, such as the symbol of a leader with his noble instincts, a symbol of cultural cooperation, which is worth maintaining, and ideas about nature conservation. This research proves that the decoration in Gorontalo filigree cloth (karawo) does not only act as a visual value, but also as a communication of cultural meanings and social status. Of all these distinctive motifs show a relationship between humans and humans and humans with nature. The influence of culture from the Philippines is also known to have a strong influence on the emergence of the Gorontalo filigree namely manila filigree.
REVITALISASI BUDAYA MESATUA BALI MELALUI MEDIA DIGITAL I Gede Yudha Pratama
ARTic Vol 2 No 1 (2019)
Publisher : Universitas Komputer Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34010/artic.2019.3.2521.135-153

Abstract

This research was compiled based on a visual design study on the revitalization of the Mesatua Bali culture which was divided into 3 (three) periods, namely: the first Balinese Mesatua (oral) culture, the second period Mesatua Balinese culture (written literature), and the third period Mesatua Bali culture (digital visual). The Mesatua Bali culture is an oral tradition culture carried out by parents to their children. In this study begins by sharpening the substance and structure of research problems designed through the structure of the thinking of researchers. The design of the structure of thought focuses on the purpose of research, namely, to find out the causes and consequences of changes in the revitalization of Balinese Mesatua culture. The method used in this study is descriptive qualitative method, in order to meet objective data needs in conducting studies on the revitalization of Balinese Mesatua culture, this study uses data collection techniques through observation, interviews, and documentation. Surgery for object research is carried out starting from observing aspects of actors, technology and targets. Furthermore, an analysis of the stimuli generated starting from space, time and atmosphere (desa-kala-patra) and the human sensory field. In the final stage a study of visual elements in visual objects is carried out starting from the composition of balance, continuity, combination, unity, typography to color. Then it is compared based on each period of the object of research with 3 (three) levels of values, namely, essential, important, and desirable to analyze aspects that influence the revitalization of the Balinese Mesat culture and dissect what are new, what remains, what was lost, and what changed from the 3 (three) periods to the revitalization of the Balinese Mesatua culture. The results of this study indicate that there is a phenomenon of change in each period from the revitalization of Balinese Mesatua culture. The phenomenon of changes occurring in the revitalization of the Balinese culture from oral to become a visual form (design) is influenced and dilaterbelak by several factors, namely: factors of actors, target factors, technological factors along with factors of space, time, atmosphere (desa-kala-patra) different in each period.
BAHASA RUPA TRADISI DALAM LUKISAN KACA KONTEMPORER KARYA HARYADI SUADI TAHUN 1989-2011 Indah Rosniawati
ARTic Vol 1 No 2 (2018)
Publisher : Universitas Komputer Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34010/artic.2018.2.2522.51-57

Abstract

Every artists studies art from society tradition. That is every creation are tradition assets a society, at he begining constitue creation of creative on new creation at period. The strength of visual artist thinks with visual language. Visual language can use for expressing many kinds of visual tradition art. Focus to research that is in tended to creation painting glass Haryadi, because the elements visual as produce inelined. Disposed to become very free but constant for remind the elements of visual language tradition Haryadi to become artist contemporer since following research visual language with Primadi Tabrani. So that to become Haryadi Contemporer in his tradition. The background Haryadi in glass painting is one of living to creation art glass painting to the elements tradition painting glass Haryadi in that periode at 1989-2011 to take the element tradition pupet, batik, culture Cirebon, Cina, Jawa, Islam, Hindu and from the elements visual language Haryadi only getting shapes his visual only is comoted in art creation. Haryadi didn't take throughly the tradition of elements, except visual language tradition.
STUDI KOMPARATIF PADA KOSTUM TARI MERAK KARYA RADEN TJETJE SOMANTRI DAN KARYA IRAWATI DURBAN ARDJO MELALUI PENDEKATAN ESTETIKA Miraci Kartiyani
ARTic Vol 1 No 2 (2018)
Publisher : Universitas Komputer Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34010/artic.2018.2.2523.59-66

Abstract

West Java is one of the provinces that has a religious community with a wealth of cultural heritage and traditional noble values. As one example of the culture of West Java is dance, there are various kinds of dances in West Java. One dance that is widely known by the public is the Peacock Dance. The Peacock Dance is a dance originating from West Java and was created by Raden Tjetje Somantri in 1955. However, in contrast to the Peacock Dance that is often found today is the work of Irawati Durban which was remade costumes and choreography in 1965. Therefore researchers chose "Study Comparative on Peacock Dance Costumes Rd. Tjetje Somantri and Irawati Durban Ardjo's Work Through Aesthetic Upholding”. This research uses descriptive qualitative research methodology using aesthetic theory. The classicist technique used is literature study, observation, interview and documentation. In the visual form of the peacock dance several differences and similarities were found in the Tjetje Peacock Dance costume and the Irawati Peacock Dance costume. Likewise with the choreography that has the same aspects, different, and added, so that the two peacock dances are compared. Research focuses on aesthetic elements in the visual form of peacock dance costumes and choreography.
KAJIAN BENTUK DAN SIMBOL KUJANG SUNDA Hendri Saifulhayat
ARTic Vol 1 No 2 (2018)
Publisher : Universitas Komputer Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34010/artic.2018.2.2524.67-72

Abstract

Kujang is known and considered as a weapon tradition that represents Sundanese society culture. Looking back, that a knife is the development of a sharp-sided discovery made up of rocky chunks of kalcedon that make humans rank first in the food chain on the face of the earth. The knife transforms into a long sword, thrown into a spear, jagged into a saw, squeezed with axis into scissors and many other more specific functions into a variety of tools because of the growing demands of life needs. Kujang comes from Kudi Hyang. Kudi is functionally a farming tool that is prepared to honor and worship Hyang, the supreme ruler of the universe. The concept of Kujang is far from the utility function of a tool or a weapon. Kujang is a symbolic artifact that functions intrinsically, and not a weapon, because planning from the beginning can be distinguished by making weapons. Then Kujang in form follows function proven not to fulfill utility requirement. Kujang which is identified with the term "nyumput buni dinu caang" or hidden in a visible / bright place, can be fully revealed through a scalpel of Sundanese cultural teaching that is Panca Niti or five stages of understanding. This teaches us to understand something more deeply, from the meaning, meaning, nature, divinity and understanding in a comprehensive way. Kujang is loaded with full of spectacle, guidance, teaching or education to the state, and the potential will be revealed more positive things behind its appearance.
KAJIAN BENTUK, FUNGSI DAN MAKNA RAGAM HIAS RUMAH BOLON SIMALUNGUN BERDASARKAN TATANAN SOSIAL BUDAYA MASYARAKAT SIMALUNGUN Roseilda Regita
ARTic Vol 1 No 2 (2018)
Publisher : Universitas Komputer Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34010/artic.2018.2.2525.73-82

Abstract

This research, entitled "Study of Form, Function and Meaning of Decorations in Rumah Bolon Simalungun “Traditional House” based on the culture society". This research, entitled "Study of Form, Function and Meaning of Decorations in Rumah Bolon Simalungun “Traditional House” based on the culture society". In general this research is aimed to know the values of traditional buildings by using conceptions and cultural values of Simalungun specifically. Such as, to reveal the meaning inside of "Rumah Bolon Simalungun", describe everysingle part of the house. Including of, roof, wall, floor, and identify decorative pattern on the building. This research uses qualitative descriptive technique. Data was collected by documentation, observation, and interviews. Data analysis was conducted on the types of the building in terms from the principle of form, fuction, and meaning of ornamentation on the building Rumah Bolon Simalungun in Pematang Purba. This study was conducted to explore the traditional culture for Simalungun contained in traditional buildings that have been forgotten. Not all of the parts of traditional houses which can be understood as a description of the customary meaning of behavioral traits Simalungun society. In this building preservation efforts have repercussions far backwards that will come, that is for everyone, whether Simalungun people, the older generation or the younger generation as a successor or the heir of their culture that will understand and know well about the result of their native culture.
MAKNA SIMBOLIK DAN WUJUD ESTETIK NAGA DALAM KEBUDAYAAN JAWA Ceptian Suryana
ARTic Vol 1 No 2 (2018)
Publisher : Universitas Komputer Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34010/artic.2018.2.2526.83-91

Abstract

This study examines the symbolic meaning and the aesthetic form of the dragon contained in the visual form of the stretch of the Dwi Naga Rasa Tunggal and Dwi Naga Rasa Wani. The method used in this research is descriptive qualitative. The symbolic meaning is examined through the basic patterns of Javanese society that influence Javanese society in constructing artifacts. After that, the aesthetic form is analyzed through indicators of color, shape, size and proportion. Based on the analysis, the shapes of the dragons on the three parts have the same meaning to each other, namely the representation of the Javanese way of thinking, as a 'rice field' society. From the basic pattern seen in the ornamental ornament as well as the shape and position of the dragon on the ladder, the Javanese community's relationship with his Lord can be found, in the form of hopes for fertility in agriculture, safety, and blessing in life. When viewed from its overall shape, the shape of the dragon in these three parts also has similarities in the shape of the headdress, head shape and body shape.

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