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Wimba: Jurnal Komunikasi Visual
Published by Institut Teknologi Bandung
ISSN : 20850948     EISSN : 27147207     DOI : https://doi.org/10.5614/jkvw
Core Subject : Humanities, Education, Art, Social,
Arts Humanities Languange, Linguistic, Communication & Media Social Sciences
Wimba Jurnal Komunikasi Visual (2085-0948) is a peer-reviewed and open access journal in the field of visual communication and aims to publish academic article and to create discussion among lecturers, students, researchers and professionals in the field of visual communication design, graphic design, heritage-related design, illustration, typography, photography, multimedia interactive design, advertising and social campaign, branding, packaging design, sign system, interface design, visual language, animation, game design and other visual commucation-related fields. Published and organized by Visual Communication and Multimedia Research Group of ITB (Bandung Institute of Technology) since 2009, the journal is published twice a year every July and December. Wimba Jurnal Komunikasi Visual (2085-0948) adalah jurnal peer-review dan akses terbuka di bidang komunikasi visual dan bertujuan untuk mempublikasi artikel akademik serta menciptakan diskusi di antara pendidik, mahasiswa, peneliti dan profesional dalam bidang desain komunikasi visual, desain grafis, desain berbasis budaya tradisi, ilustrasi, tipografi, fotografi, desain multimedia interaktif, periklanan dan kampanye sosial, branding, desain kemasan, marka grafis, desain antarmuka, bahasa rupa, animasi, desain game dan bidang lainnya yang terkait pada komunikasi visual. Jurnal ini dikelola dan diterbitkan oleh Kelompok Keahlian Komunikasi Visual dan Multimedia, FSRD ITB sejak tahun 2009 dan terbit dua kali setahun setiap Juli dan Desember.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 5 Documents
 1 
Search results for , issue "Vol. 3 No. 2 (2011)" : 5 Documents clear
Representasi Perempuan pada Desain Kemasan "Kiranti" Senja Aprela Agustin; Acep Iwan Saidi; Triyadi Guntur Wiratmo
Wimba : Jurnal Komunikasi Visual Vol. 3 No. 2 (2011)
Publisher : KK Komunikasi Visual & Multimedia Fakultas Seni Rupa dan Desain Institut Teknologi Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1969.996 KB) | DOI: 10.5614/jkvw.2011.3.2.1

Abstract

Gender representation is often used as an attribute of a product differentiation in the current packaging design. One of the woman representation could be found on the packaging design of ‘Kiranti’, a herbal ready to drink which is better known as a traditional medicine by earlier Javanese culture. Kiranti as a text is combined by verbal and visual elements that are meaningful to the readers. How the representation of women and constructions as well as decoding by its consumer are the main questions of this research. Using of discourse analysis method, Kiranti’s text can be traced not only from the visualization, but also of ideas or opinions behind them, such as socio-cultural situation in which Kiranti disseminated. In addition, consideration of readers position as consumers are very important in interpreting the text of Kiranti, because implified particular knowledge in society. Decoding by readers are diverse, ranging from the interpretation of the same message as producer’s intention, differences in interpretation, until modify its message. Visual and verbal elements that appear are the result of the selected signs combination by the producer of meaning, that seeks to utilize conventions that can be accepted easily by society. The combination of the signs are also affected by the construction of discourses, such as codes of Javanese culture, the concept of beauty and menstruating women, as well as the inherent characteristics of femininity (gender), that represented by visual elements, both graphic imagery (photography and illustration), typography, color, and form of the bottle form.
Simbol dan Makna Bentuk Naga (Studi Kasus: Vihara Satya Budhi Bandung) Harry Pujianto Yoswara; Imam Santosa; Naomi Haswanto
Wimba : Jurnal Komunikasi Visual Vol. 3 No. 2 (2011)
Publisher : KK Komunikasi Visual & Multimedia Fakultas Seni Rupa dan Desain Institut Teknologi Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1518.004 KB) | DOI: 10.5614/jkvw.2011.3.2.2

Abstract

Vihara Satya Budhi merupakan salah satu peninggalan artefak budaya Cina yang memiliki bentuk arsitektur Cina . Sistem Hongshui dan konsep YinYang merupakan kunci dalam membangun tempat ibadat. Naga yang merupakan ornamen terpenting dalam klenteng memiliki kedudukan yang tinggi, bahkan posisi naga pada atap menjadi identitas bangunan Cina, karena memberikan makna bahwa bangunan tersebut merupakan bangunan penting, seperti istana dan kuil peribadatan. Kedudukan dan posisi naga pada kuil peribadatan merupakan satu hal yang menarik untuk diteliti. Penelitian ini mencoba melihat bentuk naga yang ada pada Vihara Satya Budhi, Bandung melalui telaah historis dan budaya untuk mencari dan untuk mengetahui kedudukan simbol dan makna bentuk naga yang ada pada Vihara Satya Budhi. Adanya migrasi masyarakat Cina ke Indonesia turut memberikan pengaruh dan perubahan pada visualisasi naga, namun hal ini tidak berdampak kepada bangunan klenteng yang tetap berpegang teguh pada ketentuan yang telah ditetapkan oleh leluhur bangsa Cina. Naga merupakan simbol kekuasaan karena sejak dulu sudah disamakan dengan kedudukan kaisar. Selain kekuasaaan, naga juga merupakan simbol kebaikan dan keberuntungan. Temuan penelitian ini adalah kedudukan naga pada atap bangunan klenteng merupakan simbol identitas dari bangunan peribadatan Cina. Selain pada atap posisi naga pada tiang merupakan bentuk yang sering dijumpai. Hal ini merupakan gambaran bahwa masyarakat Cina diharapkan tidak melupakan kebudayaan leluhur. Dan posisi naga pada tempat dupa juga memiliki arti bahwa naga sebagai pemberi keberuntungan kepada umat manusia patut disembah.
Ideologi Jawa dalam Sampul Majalah "Djaka Lodang" Gamaliel W. Budiharga; Widihardjo Widihardjo; Triyadi Guntur Wiratmo
Wimba : Jurnal Komunikasi Visual Vol. 3 No. 2 (2011)
Publisher : KK Komunikasi Visual & Multimedia Fakultas Seni Rupa dan Desain Institut Teknologi Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2125.785 KB) | DOI: 10.5614/jkvw.2011.3.2.3

Abstract

Majalah berbahasa Jawa adalah bagian dari wacana yang terpinggirkan. Majalah tersebut terbit dengan tiras yang tergolong pas-pasan, yaitu di bawah 10.000 eksemplar. Ketika masih ada majalah-majalah yang terbit dengan bahasa daerah, maka tentunya menjadi menarik untuk memberikan apresiasi atau kritik terhadap eksistensinya. Pertanyaan lebih lanjut, apa yang ingin dicapai majalah-majalah ini jika oplahnya minim? Salah satu argumentasi yang bisa dijelaskan adalah masalah ideologi majalah. Tulisan ini hendak menguraikan tanda-tanda visual yang muncul pada sampul majalah Djaka Lodang, sebagai salah satu majalah berbahasa Jawa, kemudian membongkar ideologi yang mengendap di balik tanda-tanda tersebut. Ideologi yang menggerakkan majalah juga menjadi ideologi yang dihadirkan dalam keseluruhan desain majalah. Objek penelitian adalah majalah "Djaka Lodang"™, sebuah majalah berbahasa Jawa sebagai contoh kasus untuk mengurai permasalahan ideologi ditampilkan melalui tanda-tanda visual dalam sampulnya. Majalah Djaka Lodang adalah sebuah praktik atau manifestasi ideologi Jawa, karena di dalam majalah tersebut memuat nilai-nilai yang diyakini oleh kebudayaan Jawa sebagai konteks dari majalah itu, serta gagasan yang ingin dikomunikasikan kepada masyarakat Jawa (sasarannya). Sebagai sebuah praktik ideologis, maka tanda-tanda visual yang ada pada majalah berbahasa Jawa bisa diurai dan dimaknai dalam kerangka ideologi Jawa. Pada sampul majalah, tanda-tanda visual menjadi unsur pembangun yang paling dominan yang bisa diurai melalui analisis semiotik untuk melihat argumentasi ideologis yang ada di balik tanda-tanda tersebut.
Kajian Representasi Tubuh dalam Film Fiksi Ilmiah Rabendra Yudistira Alamin; Alvanov Zpalanzani Mansoor; Pindi Setiawan
Wimba : Jurnal Komunikasi Visual Vol. 3 No. 2 (2011)
Publisher : KK Komunikasi Visual & Multimedia Fakultas Seni Rupa dan Desain Institut Teknologi Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1114.553 KB) | DOI: 10.5614/jkvw.2011.3.2.4

Abstract

The development of informatics technology in the 21st century has changed the world as if there is no limit and distance. Communication process has been done through various avatar medium which replaces the presence of human body. Representation has become the main factor to visualize or to create an image of human being towards the universe. Surrogates is a science fiction movie which is presenting the representation of different kinds of thoughts and imagination about how life will be conducted in the future or when mankind will have got the avatar technology of human body which is exactly the same as the person that it is represented. Surrogates, this movie is trying to recreate and represent the fact through representation of human body packed in audio visual language. The purpose of this research is to analyze the body representation of a movie to communicate the message to the audience. The theory is based on film studies and the main question about representation is how the world is constructed and represented through the film media. The approach to study the movie is dynamic picture analyzation based on visualization theory. This approach gives the writer an opportunity to break down the component in a movie into smaller units of representation. According through this research, the writer has concluded that the robot 'body' on Surrogates has completely represented the perfection body of human beings in the 21st century. Appearances and behavior of human body has been successfully sent the message to the audience about the story of this movie. By the end of this research, the writer has described the variable of body sign representation in the movie as a unity, so that the writer can decide the components and structures to create it.
Relasi antara Prinsip Visual Barat dan Fengshui pada Desain Logo Fenny Ng; Priyanto Sunarto; Naomi Haswanto
Wimba : Jurnal Komunikasi Visual Vol. 3 No. 2 (2011)
Publisher : KK Komunikasi Visual & Multimedia Fakultas Seni Rupa dan Desain Institut Teknologi Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (563.715 KB) | DOI: 10.5614/jkvw.2011.3.2.5

Abstract

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.

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