cover
Contact Name
Eva Y
Contact Email
evay@isi-padangpanjang.ac.id
Phone
+6282216161515
Journal Mail Official
artchive.fsrd@gmail.com
Editorial Address
Faculty Of Fine Arts and Design Institut Seni Indonesia Padang Panjang Jl. Bahder Johan, Guguk Malintang, Padang Panjang Timur, Kota Padang Panjang, Sumatera Barat 27118
Location
Kota padang panjang,
Sumatera barat
INDONESIA
ARTCHIVE: Indonesia Journal of Visual Art and Design
ISSN : 26550903     EISSN : 2723536x     DOI : http://dx.doi.org/10.53666/artchive.v1i2
Indonesia Journal Of Visual Art And Design welcomes full research articles in the area of Visual Art and Design from the following subject areas: Design History, Art History, Visual Culture, Design Methodology, Design Process, Design Discourse, Design and Culture, Sociology Design, Design Management, Art Critism, Anthropology of Art, Artifact Design, Industrial Design, Visual Communication Design, Photography, Interior Design, Craft, Architecture, Film, Multimedia, Creative Industry, Design Policy, and other historical, critical, cultural, psychological, educational and conceptual research in visual art and design.
Articles 6 Documents
Search results for , issue "Vol 1, No 2 (2020): ARTCHIVE : Indonesia Journal of Visual Art and Design" : 6 Documents clear
DAMPAK PEMILIHAN LOKASI PEMBUATAN FILM TERHADAP PROMOSI PARIWISATA Choiru Pradhono; Rosta Minawati; Adi Krisna
ARTCHIVE: Indonesian Journal of Visual Arts and Design Vol 1, No 2 (2020): ARTCHIVE : Indonesia Journal of Visual Art and Design
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53666/artchive.v1i2.1626

Abstract

Film is an audio-visual medium which can be extremely effective in conveying information to society at large. The method used here is qualitative using the technique of data collection through observation, literature research and documentation. Film has two determining aspects: narrative and cinematic respectively. Narrative consists of creative content which is to be conveyed to audiences. Cinematic aspects include Mise- en-scène, cinematography, editing and sound. Mise-en-scène consists of four elements, among them the setting and background shooting at tourist objects. These locations have become popular in fact because of publication through film. As phenomena film is extremely effective as an indicator for promotion of tourist destinations, both within the country and abroad. Tourism and film are two pillars in a mutually symbioticrelationship and are useful to society. ABSTRAKFilm adalah audio visual yang sangat efektif dalam menyampaikan informasi ke masyarakat luas. Metode yang digunakan kualitatif dengan teknik pengumpulan data observasi, studi pustaka dan dokumentasi. Film terdiri dari dua unsur pembentuk yakni unsur naratif dan sinematik. Unsur naratif memiliki conten kreatif yang ingin disampaikan kepada penoton, sedangkan unsur sinematik terdiri dari mise en scene,sinematografi, editing, dan suara. Mise en scene terdiri dari empat, diantaranya setting dan latar yang berhubungan dengan lokasi-lokasi shooting film di tempat wisata. Lokasi-lokasi tersebut menjadi popular karena terpublikasi bersama dengan kepopuleran filmnya. Secara fenomena, film sangat efektif beindikasi terhadap promosi lokasi pariwisata, baik dalam negeri maupun luar negeri. Pariwisata dan film merupakan dua pilar yang saling bersimbiosis mutualisme dan menguntungkan bagi masyarakatKata kunci : Film; Indikasi; Promosi; Pariwisata
Corporate Identity Canting Buana Kreatif: Rancangan dan Pengaplikasiannya Izan Qomarats; Eva Y.
ARTCHIVE: Indonesian Journal of Visual Arts and Design Vol 1, No 2 (2020): ARTCHIVE : Indonesia Journal of Visual Art and Design
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53666/artchive.v1i2.1625

Abstract

Canting Buana Kreatif is a small and medium-sized business that is developing towards an international scale company. This company is engaged in the creative industry (Batik Tanah Liek, a Minangkabau heritage). With the opportunities offered by the market which is quite tempting, making Widdi, the owner of Canting Buana Kreatif wants to make a Corporate Identity that is attractive, memorable and can fully represent the vision, mission and goals of his company. The goal is that the company has a positive image as a whole and can become better known and have a stronger identity in its market place. Corporate identity is created and applied to promotional media in accordance with the character of the target audience and the target market “canting buana creatives”. The method used to design this corporate identity is a qualitative method with an emphasis on Cyclic Strategy through several stages of the process, namely: briefs, problem seeking, analysis and solutions. After a solution is found, then proceed to the pre-production, production, post-production and evaluation stages. It is hoped that “Canting buana creatively” will be the only best place to visit when you want to recognize and understand Minangkabau batik.ABSTRAKCanting Buana Kreatif merupakan usaha kecil menengah yang berkembang menuju perusahaan skala International. Perusahaan ini bergerak di lingkup industri kreatif (Batik Tanah liek warisan Minangkabau). Dengan peluang yang ditawarkan pasar yang cukup menggiurkan, membuat Widdi yaitu owner Dari Canting Buana Kreatif ingin membuat Corporate Identity yang menarik, memorable dan dapat mewakili sepenuhnya visi, misi dan tujuan perusahaannya. Tujuannya agar perusahan memiliki citra positif secara menyeluruh dan dapat menjadi lebih dikenal serta identitasnya menguat di market place nya. Corporate identity dibuat dan diaplikasikan pada media promosi yang sesuai dengan karakter dari target audience dan target market Canting Buana Kreatif. Metode yang digunakan untuk merancang corporate identity ini adalah metode kualitatif dengan penekanan ke Cyclic Strategy melalui beberapa tahapan proses, yaitu: brief, problem seeking, analysis dan solusi. Setelah solusi ditemukan, barulah dilanjut ke tahap pra-produksi, produksi, pasca produksi dan evaluasi. Diharapkan Canting Buana Kreatif nantinya akan menjadi satu-satunya tempat terbaik yang akan dikunjungi ketika ingin mengenali dan memahami batik Minangkabau.Kata Kunci: Corporate, Identity, Batik, Minangkabau
SULUAH DALAM NAGARI; PENCIPTAAN KRIYA EKSPRESI DENGAN INSPIRASI BUNDO KANDUANG Fera wati; Lisa Dewi
ARTCHIVE: Indonesian Journal of Visual Arts and Design Vol 1, No 2 (2020): ARTCHIVE : Indonesia Journal of Visual Art and Design
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53666/artchive.v1i2.1630

Abstract

Bundo Kanduang, in essence, is personally values of a mother with a very noble position in Minangkabaunese society which are embraced by showing good character and being role model, representative, and light for the family and society. In this circumstance, Bundo Kanduang becomes an inspiration for the creation of leather crafts in the form of decorative lights which has a called Suluah. The concept of personal expression underlies this creation that is presented through three components such as the theme, visual and meaninng associated with the work. The process is done through methods and stages in the form of exploration, source, idea, design, and embodiment which is done by craftmanship as a basis for working on the art of crafts. ABSTRAKBundo Kanduang pada hakikatnya merupakan nilai-nilai kepribadian seorang ibu dengan kedudukan sangat mulia dalam masyarakat Minangkabau dengan budi, serta kemampuan menjadi contoh, teladan serta penerang bagi kaum, dan masyarakat. Dalam hal ini Bundo Kanduang menjadi inspirasi penciptaan karya kriya kulit berupa lampu hias yang diwujudkan dengan tema suluah. Konsep ekspresi personal melandasi penciptaan karya yang dihadirkan melalui tiga komponen berupa tema, wujud visual, serta makna yang terkandung dalam karya. Prosesnya dilakukan melalui metode dan tahapan berupa eksplorasi sumber ide, perancangan, dan perwujudan yang dilakukan dengan craftmanships sebagai landasan garap dalam seni kriya.Kata Kunci: Suluah, Bundo Kanduang, kriya kulit.
MENJAGA TRADISI CABLAKA DI ERA MILENIAL MELALUI COVER MAJALAH ANCAS BANYUMASAN Bayu Aji Suseno; Luqman Wahyudi
ARTCHIVE: Indonesian Journal of Visual Arts and Design Vol 1, No 2 (2020): ARTCHIVE : Indonesia Journal of Visual Art and Design
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53666/artchive.v1i2.1629

Abstract

The publication of Ancas Banyumasan magazine is intended for market segmentation or target audience (consumers) of the millennial generation in the Barlingmascakep area (Banjarnegara, Purbalingga, Banyumas, Cilacap and Kebumen). The cover image of Ancas Banyumasan magazine presents a role model for local teenagers or young people who are not well known or less popular with an understated or simple (pose) style or attitude. The title of the main article of Ancas Banyumasan magazine uses Penginyongan language with persuasive sentences with provocative tones to maintain the character of the Cablaka culture which means speaking frankly or as is. This research uses a qualitative method with a descriptive analytic study approach, while data collection is by non-participant observation to obtain a picture or information on an objective state or certain event based on clear facts. The results of the study aimed to analyze the meaning of the cablaka concept in the cover design of Ancas Banyumasan magazine in building awareness of the millennial generation of the value of local wisdom. Penerbitan majalah Ancas Banyumasan ditujukan untuk segmentasi pasar atau target audience (konsumen) generasi milenial di wilayah Barlingmascakep (Banjarnegara, Purbalingga, Banyumas, Cilacap dan Kebumen). Image cover majalah Ancas Banyumasan menghadirkan role model remaja atau anak muda lokal yang tidak terkenal atau kurang popular dengan (pose) gaya atau sikap bersahaja atau sederhana. Judul artikel utama majalah Ancas Banyumasan menggunakan bahasa Penginyongan dengan kalimat persuasif bernada provokatif untuk mempertahankan karakter budaya cablaka yang berarti berbicara terus terang atau apa adanya. Penelitian ini menggunakan metode kualitatif dengan pendekatan studi deskriptif analitik, sedangkan pengumpulan data dengan observasi non-partisipan untuk memperoleh gambaran atau informasi terhadap suatu keadaan objektif atau peristiwa tertentu berdasarkan fakta yang jelas. Hasil penelitian bertujuan untuk menganalisis makna konsep cablaka dalam desain cover majalah Ancas Banyumasan dalam membangun kesadaran (awareness) generasi milenial terhadap nilai kearifan lokal.Kata kunci : Cablaka, cover, majalah, ancas, banyumasan
PENYIARAN ONLINE LANGKAH PELESTARIAN BUDAYA DAERAH Riki Rikarno
ARTCHIVE: Indonesian Journal of Visual Arts and Design Vol 1, No 2 (2020): ARTCHIVE : Indonesia Journal of Visual Art and Design
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53666/artchive.v1i2.1628

Abstract

The development of information and communication technology is very fast in this era of globalization. This development is sure to touch, even give birth to a new orientation in all areas of human life including the art performance of saluang dendang. One of the Baguruau Saluang Dendang groups in Solok Regency is Cimpago Talang. The Cimpago Talang arts club, with the Covid 19 concession, the government has implemented social restrictions. For this reason, broadcasting media through social media applications is an option for performing saluang dendang shows. One of the media they use is Live Streaming via the Facebook and Youtube applications, so that the Baguruau Saluang Dendang performance continues with the concept of two-way communication with the audience.ABSTRAKPerkembangan teknologi informasi dan komunikasi sangat cepat pada era globalisasi ini. Perkembangan ini dipastikan menyentuh, bahkan melahirkan orientasi baru pada semua bidang kehidupan manusia termasuk pertunjukan kesenian saluang dendang. Salah satu grub Baguruau Saluang Dendang yang ada di Kabupaten Solok adalah Cimpago Talang. Grub kesenian Cimpago Talang dengan konsidi Covid 19, pemerintah telah menerapkan pembatasan social. Untuk itu media penayangan melalui aplikasi-aplikasi media social menjadi pilihan melakukan pertunjukan saluang dendang. Salah satu media yang mereka pakai adalah live streaming melalui aplikasi Facebook dan Youtube, sehingga pagelaran baguruau saluang dendang tetap berjalan dengan konsep komunikasi dua arah dengan penonton.Kata Kunci: Penyiaran Online, Kesenian Saluang Dendang, Kelompok Seni Cimpago Talang
PKI’s stigmatization after 1965 in the Installation of Artwork Muhammad Bagus Ramadhan
ARTCHIVE: Indonesian Journal of Visual Arts and Design Vol 1, No 2 (2020): ARTCHIVE : Indonesia Journal of Visual Art and Design
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53666/artchive.v1i2.1627

Abstract

The Lamongan people, since 1965 after the G30S PKI became the basis for the escape of the PKI’s lackeys who infiltrated the confusion of farming community in Lamongan. Since then, BTI (Barisan Tani Indonesia) has emerged among the peasant community, although it cannot be flat that the Lamongan community is a BTI community. From the basis of the event, the writer wants to voice through visualizing ideas and ideas into the creation of installation art works, which was given the title Stigmatization of the PKI after 1965 in the Creation of Installation Artworks. The installation is visualized using a light base that produces shadows. The writer wants to convey a condition in which the general public who never knew the other side of the history that was released by the government, The writer wanted to make the installation as a medium for sound and a new space for thinking in seeing the dark historical context of the G30 S PKI. This event became a foothold in the formation of the ideology of the writer creating artworks. This installation of art is realized using David Campbell’s method approach; 1. Preparation, 2. Concentration, 3. Incubation, 4. Illumination, 5. Verivication. 

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