Articles
41 Documents
<![CDATA[Makna Dari Bentuk Rumah Panjang saham di Kalimantan Barat ]]>
<![CDATA[Mario Mario]]>;
<![CDATA[Widagdo Widagdo]]>
<![CDATA[ ARTic Vol 3 No 1 (2020) ]]>
Publisher : <![CDATA[Universitas Komputer Indonesia ]]>
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DOI: 10.34010/artic.v3i1.3625
<![CDATA[Dayak people live on the island of Kalimantan and live in groups such as, Iban, Kayan, Bidayuh, Kanayatn and other groups scattered in small groups and have different characteristics from each other. They live in longhouse (rumah panjang ) the traditional houses that have space for some families to live in. The problem is that many People of Kalimantan do not use rumah panjang as a place to live, this is due to various factors, such as technological and economic advances that have an impact on changing ways of life. Rumah panjang has traditional values to be preserved as a cultural treasure of Indonesia. If the values of the tradition are extinct along with the loss of (radakng) rumah panjang in West Kalimantan also lost the wealth of Indonesia. The research was conducted to find out the structure of the division of the room from the rumah panjang (radakng) building. A descriptive approach is used to describe parts of the rumah panjang (radakng). The results of the study are rumah panjang (radakng) consisting of Pante (outer terrace), Sami (porch or inner terrace), Bilik (core room of (radakng) longhouse), Jungkar (kitchen) and Dango (barn), there is also a part of the house that does not blend with the core house and each part of the room has a diverse function and rumah panjang as a place of growth of various cultural heritage such as traditional ceremonies, beliefs, dances, musical instruments and gotong royong (community service).]]>
<![CDATA[Eksperimen Fotografi Interior Pada Hotel The House Tour di Bandung ]]>
<![CDATA[Sandy Dwi Putra]]>;
<![CDATA[Kankan Kasmana]]>
<![CDATA[ ARTic Vol 3 No 1 (2020) ]]>
Publisher : <![CDATA[Universitas Komputer Indonesia ]]>
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DOI: 10.34010/artic.v3i2.3696
<![CDATA[The rapid advancement of information and communication technology influences the growth of creative industries such as firms in the fields of architecture, real estate and interior. The firm uses the advantages of information and communication technology, namely the internet and social media to conduct marketing. The use of social media as a marketing strategy of real estate and interior firms today is increasingly used as a promotional medium. The use of photos especially for interior promotion requires good photography techniques, has the power to stir consumer perception of interior services. This research aims to conduct photography experiments on the interior of The House Tour Hotel, designed by an architecture firm called Be Good Design Architect, this experiment was conducted to find out the techniques of photography in photographing the interior. The method used is photography experimentation using photography techniques based on literature and photographic methods from interviews with professional photographer Mario Wibowo. The result of this experiment is interior photo taken from the bedroom room of The House Tour Hotel.]]>
<![CDATA[Kajian Estetik Teknik Kenteng Tempat Sampah Malioboro ]]>
<![CDATA[Ifan Rohimanto]]>;
<![CDATA[Yeffry Handoko Putra]]>
<![CDATA[ ARTic Vol 3 No 1 (2020) ]]>
Publisher : <![CDATA[Universitas Komputer Indonesia ]]>
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DOI: 10.34010/artic.v3i1.3705
<![CDATA[Malioboro Street in Special Region of Yogyakarta, Indonesia is a tourist area. Both sidewalks on the street facilitated with garden chairs, ornamental plants, ornamental statues, ready to drink tap water, and trash cans. Product aesthetic of Malioboro trash cans is important to be studied since the product will be placed in public facility. Research on trash cans in Malioboro area was conducted to see the content of product aesthetic of the trash can. The analysis method uses the aesthetic theory of Dr. Dharsono, M.Sn (Sony Kartika), which consists of color, shape, texture and proportion.. The results showed the color and natural texture obtained from the aluminum, terrazzo, and sand/Merapi mountain ash. The shape consists of blocks/boxes and tubes with aluminum lids using traditional forging techniques namely kenteng, balanced proportions. Malioboro trash can has product aesthetic value that supports Malioboro tourist area.]]>
<![CDATA[Expression Analysis of Big Mom Characters in One Piece Comic 89 (Badend Musical) ]]>
<![CDATA[Yeni Nurlatifah]]>;
<![CDATA[Kankan Kasmana]]>
<![CDATA[ ARTic Vol 3 No 1 (2020) ]]>
Publisher : <![CDATA[Universitas Komputer Indonesia ]]>
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DOI: 10.34010/artic.v3i1.4378
<![CDATA[One Piece comics are about the world of pirates, and are the best-selling comics in history. Like most comics, One Piece comics consist of protagonist and antagonist. The depiction of One Piece comics is the same as the usual depiction of Japanese comics, namely using Mango style with narrative content and the use of black and white. Depictions of moments, image details and character expressions become important in black and white comics to bring the narrative to life. For character portrayals, comics look for alternatives to emphasize expression in their comic images. This research focuses on the analysis of one of the most antagonists in the one piece comic is Big Mom. This study aims to find out the characteristics of visualizing the expression of Big Mom characters in One Piece comics using visual language by means of wimba 4 (depiction). The research method used is Bahasa Rupa by classifying images of Big Mom's expression through a form language method. The results of the analysis showed a depiction of expression, using a detailed draw of lines on the eyes, eyebrows, nose and mouth. The way it is portrayed in Big Mom's expressions uses expressive depictions, distortions and lines. Expressive depictions use thick lines that give a wrinkle effect on the forehead, eyes, nose and around the mouth. Depiction of enlarged distortion, used on parts of the eyes, nose, mouth and teeth. The depiction of the line is used as a shadow and effect so that the antagonistic expression of Big Mom feels sharp.]]>
<![CDATA[The Depiction of Hand Symbols (In) in Animated Series Naruto: Shippuden Episode 375 ]]>
<![CDATA[Fauzan Maulana Harahap]]>;
<![CDATA[Yeffry Handoko Putra]]>
<![CDATA[ ARTic Vol 3 No 2 (2021) ]]>
Publisher : <![CDATA[Universitas Komputer Indonesia ]]>
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DOI: 10.34010/artic.v3i2.3595
<![CDATA[Serial animasi Naruto merupakan sebuah karya terkenal dari Jepang hasil ide dan kreatifitas seorang pembuat komik Masashi Kishimoto. Animasi ini mengambil tema besar ninja Jepang, yang dimana di dalamnya menggunakan suatu simbol jari yang menjadi salah satu tahap dalam mengeluarkan sebuah jurus pada ninja di animasi tersebut. Simbol jari atau in dalam bahasa Jepang sering ditiru oleh para pemirsanya karena terkesan unik untuk diulang-ulang. Dimasa segala bentuk informasi visual dapat diterima dengan cepat, termasuk simbol yang muncul membuat para penerima mengartikan dengan cepat tanpa menggali lebih dalam. Di perhelatan politik, simbol jari menjadi hal yang sangat ramai diperbincangkan lalu masyarakat secara cepat mengartikan simbol jari tersebut. Penelitian ini akan diperdalam apa itu in dalam animasi Naruto serta asal atau keterkaitannya dengan profesi ninja yang sebenarnya ada pada zaman dahulu di Jepang. Penelitian secara kualitatif dilakukan untuk penelitian ini dengan teori Ikonografi sebagai pemerinci prosesnya. Dilakukan penyimakan kepada beberapa episode serial animasi Naruto lalu dilakukan pencuplikan gambar pada beberapa shot. Adanya beberapa faktor kesamaan dan perbedaan antara simbol ninja Naruto dengan ninja Jepang sebenarnya disertai dengan beberapa faktor budaya lain yang menggunakan simbol jari. Baik pada bentuk jari dan elemen yang ditimbulkan pada jurus yang ada. Simbol jari pada animasi Naruto hanya berfungsi berbeda yaitu mengeluarkan jurus elemennya, tapi pada ninja sebenarnya simbol jari sebagai ritual penenangan diri, pemusatan pikiran dan energi, atau berdoa untuk keselamatan pelaksaan misi. Simbol jari dalam animasi Naruto tidak sepenuhnya merepresentasikan apa yang ada pada ninja sebenarnya. Hanya dibuat untuk kepentingan serunya konten dari cerita.]]>
<![CDATA[Penjor Bali and its Development ]]>
<![CDATA[Putu Raka Setya Putra]]>;
<![CDATA[Abay Delon Subarna]]>
<![CDATA[ ARTic Vol 3 No 2 (2021) ]]>
Publisher : <![CDATA[Universitas Komputer Indonesia ]]>
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DOI: 10.34010/artic.v3i2.3708
<![CDATA[Streets in the province of Bali are very distinctive with penjor, especially on Balinese Hindu holidays such as Galungan and Kuningan. Penjor as part of a religious ceremony is full of meaning and the manufacture must be following the standard. Nowadays, penjor is used for events outside of the Balinese Hindu religion. Penjor has also changed its function as a decoration that adds to the lively area of Bali. To find out the development of penjor in Balinese society, a study was conducted with literature studies. The results show that based on its usefulness, penjor consists of two types, namely sacred penjor and decorative penjor. Penjor is used for other religious ceremonies such as Christmas, used for events such as New Year's, and other social occasions. Penjor forms are very diverse, with a variety of materials. The material and shape of the sacred penjor must follow the standard while the shape of the decorative penjor is free with more diverse materials. However, the essence of the meaning of penjor both for sacred penjor and decorative penjor does not shift, namely as a thanksgiving to God.]]>
<![CDATA[Sensuality Representation on Ahri’s KDA Popstar Skin ]]>
<![CDATA[Irfan Fauzi Toha]]>;
<![CDATA[Yully Ambarsih Ekawardhani]]>
<![CDATA[ ARTic Vol 3 No 2 (2021) ]]>
Publisher : <![CDATA[Universitas Komputer Indonesia ]]>
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DOI: 10.34010/artic.v3i2.4785
<![CDATA[This study dissected the costume contained in skin KDA Popstar on Ahri’s Champion in League of Legends game to find represenation of sensuality that adapted imagery from girlband Kpop. League of Legends is a game that offers player an arena to fight, survive and win the game. This studies on skin KDA Popstar of champion Ahri, which adapted from Korean girlband, the visual that can intrigue emotion, desire and addiction from players. The study is a qualitative research by describing skin KDA Popstar weared by champion Ahri then dissect the skin character based on costume matrix, analysis on similarity or relations among theories as well as element that formed perception, and interpretation to the skin KDA Popstar on champion Ahri. lastly design theory about visual culture to understand the general conception of skin character as a visual product. The analysis shows that Ahri’s skin KDA Popstar contains sensual concept in it’s each elements that adapted from Korean girlband image. The costume is focused on featuring her charm and sexiness. Ahri’s skin KDA Popstar represent sensuality evidenced by the form and visualisation of it’s costume.]]>
<![CDATA[A Study of Vernacular Typhography on Traditional Snack Vendors in Monju Sunday Market Bandung ]]>
<![CDATA[Dhika Mega Pratama]]>;
<![CDATA[Kankan Kasmana]]>
<![CDATA[ ARTic Vol 3 No 2 (2021) ]]>
Publisher : <![CDATA[Universitas Komputer Indonesia ]]>
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DOI: 10.34010/artic.v3i2.4788
<![CDATA[Culinary in Indonesia is diverse and has its own characteristics according to the region of origin. One type of traditional culinary in the city of Bandung is a snack that is easily found and well known, namely Cimol. One of the places where Cimol traders sell their products is Pasar Minggu Monju (Monumen Perjuangan). In selling their products, Cimol traders usually use carts equipped with text or writing that is included in vernacular typography. This is quite interesting to study with the main principles of typography because vernacular typography is made manually. This study aims to see whether vernacular typography is in accordance with the principles of typography. the results of this study are the author's opinion regarding the typography on the cilok merchant's cart which apparently still maintains its identity as a street vendor, especially in the city of Bandung.]]>
<![CDATA[BISINDO Alphabet Visualization in Interactive Media ]]>
<![CDATA[Rizky Alfi Randa]]>;
<![CDATA[Yeffry Handoko Putra]]>
<![CDATA[ ARTic Vol 4 No 1 (2021) ]]>
Publisher : <![CDATA[Universitas Komputer Indonesia ]]>
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DOI: 10.34010/artic.v4i1.4789
<![CDATA[Learning technology continues to develop along with the times. In the implementation of daily learning, we often encounter the utilization of technological developments in the world of education, as is often done by teachers or lecturers, namely combining technological tools in learning processes. The development of science and technology has a positive impact with the increasingly open and spread of information and knowledge from and to the whole world penetrating the boundaries of space and time. One of the technological developments in education is interactive media, with the making of this interactive learning media the teaching and learning process becomes effective, interesting and fun for students. The purpose of this research is to produce BISINDO learning media. The benefits of this learning media are to be a solution to the learning process that is effective, interesting and more fun and facilitates the learning process of students. Keywords: BISINDO; Dale’s Cone Experience; Deaf; Distance Learning Media; Sign Language]]>
<![CDATA[Visual Elements of Kabasaran Character on Web Comic Nusantara Droid War ]]>
<![CDATA[Dwi Jaya Arisyana]]>;
<![CDATA[Abay Delon Subarna]]>
<![CDATA[ ARTic Vol 3 No 2 (2021) ]]>
Publisher : <![CDATA[Universitas Komputer Indonesia ]]>
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DOI: 10.34010/artic.v3i2.8456
<![CDATA[Comics are popular, comics contain stories that are published through images and text and contain information. Comics contain knowledge and entertainment. Comic stories and depictions come from creativity resulting in a variety of stories and visual styles. The visual style and content of the story influenced the interest of the audience and raise many comic genres. Many comics in Indonesia take inspiration from Indonesian culture both from their stories and visualizations. Many research on comics has been carried, but research on the visualization of Indonesian culture in comics is limited, as in previous research is still research on characters and their traits, but many character studies are associated with elements of Indonesian culture. Based on this, research on the content of Indonesian culture in a web comic entitled Nusantara Droid War needs to be carried out. Nusantara Droid War is one of the web comics that contains visualizations of Indonesian culture. The visualization used in this comic uses elements that represent the culture of an Minahasa North Sulawesi. The study aims to find out the cultural elements of North Sulawesi contained in the visualization of the character Droid Kabasaran in the Nusantara Droid War comic. It uses the descriptive qualitative method to describe and visually discover the object of study. The results of the study obtained a visualization of the character of Droid Kabasaran containing visualizations from the Minahasa culture, namely the Kabasaran dance. The visualization of Kabasaran dance elements is obtained from the results of character descriptions, character visuals and character costume elements. The visualization of Kabasaran characters in this comic is shown through skills (abilities) taken from three acts of Kabasaran dance, namely: Cakalele, Kumoyak, and Lalayaan. This research is expected to increase knowledge, increase the amount of research related to character visualization, enrich the science of visual communication design]]>
