Wimba: Jurnal Komunikasi Visual
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.
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<![CDATA[Komunikasi: Nyata, Maya dan Hubungannya dengan Pendidikan ]]>
<![CDATA[Primadi Tabrani]]>
<![CDATA[ Wimba : Jurnal Komunikasi Visual Vol. 4 No. 1 (2012) ]]>
Publisher : <![CDATA[KK Komunikasi Visual & Multimedia Fakultas Seni Rupa dan Desain Institut Teknologi Bandung ]]>
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DOI: 10.5614/jkvw.2012.4.1.1
<![CDATA[Human communication is the topic of this article. It begins with Direct-Contact Communication in prehistory and during childhood. Than follows Distance-Communication that begins with talking, than writing and reading follows. Since the beginning there are always criticism every time a new communication media emerge. This criticism accelerate with the habit of indulging reading literature in the train, chatting by amateur radio and end up in BB's cyberspace and its facebook. Besides its positive effect, we are intoxicated by this IT communication. So we loose many productive hours of working time. The IT (Information Technology) becomes frightening with its "clever" CDs in general education and so is the training of skills and competency with the help of IT simulators. Are we educating real human or virtual humans? Is this excess of IT happening a common happening, a risk of being modern? Or are there somekind of education missing? How to overcome it?]]>
<![CDATA[Silent Scenes in Manga as the Powerful and Universal Visual Languages ]]>
<![CDATA[Hafiz Aziz Ahmad]]>
<![CDATA[ Wimba : Jurnal Komunikasi Visual Vol. 4 No. 1 (2012) ]]>
Publisher : <![CDATA[KK Komunikasi Visual & Multimedia Fakultas Seni Rupa dan Desain Institut Teknologi Bandung ]]>
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DOI: 10.5614/jkvw.2012.4.1.2
<![CDATA[Comics as the popular medium of communication, especially medium for the children due to its capabilities in telling stories with its visual narrative has been known for quite long. Manga as the form of comic medium that came from Japan is also well known for its uniqueness. Due to the strong relation within the Japan cultural background, manga has integrated its own distinctive way in telling the stories, visually. One of the methods is known as the silent sequences. The silent sequences term is used to mention the scene in comics that told using minimal sequence and with very little -if any- text or narration. Some even used several of unconnected scenes to create a specific mood or a sense of place. Such scenes could be found in abundance in various manga works, notably in the works of Osamu Tezuka or Mitsuru Adachi. Scott McCloud "“a comic scholar- relates these sequences as the solid example of moment-to-moment and aspect-to-aspect type of panel transition. By using mostly visual images with less text and narration as the way of telling stories and creating the exact mood for the scenes, the silent sequences could serve as a good example of the universality and power of comic language. This paper is intended to take further analysis behind the context of the silent sequences and the possibilities in using it as a more universal way in visual communication as part of the power in children's literature.]]>
<![CDATA[Perancangan Permainan Digital Kisah Dewa Ruci sebagai Media Pengenalan Wayang bagi Remaja ]]>
<![CDATA[Miki Tjandra]]>;
<![CDATA[Irfansyah Irfansyah]]>;
<![CDATA[Imam Santosa]]>
<![CDATA[ Wimba : Jurnal Komunikasi Visual Vol. 4 No. 1 (2012) ]]>
Publisher : <![CDATA[KK Komunikasi Visual & Multimedia Fakultas Seni Rupa dan Desain Institut Teknologi Bandung ]]>
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DOI: 10.5614/jkvw.2012.4.1.3
<![CDATA[Teenagers today are more interested in modern western cultures and have gradually loosing respects for their own traditional cultures. Many of them have already started to forget the stories and arts of wayang. One form of modern culture that is increasingly favored by teenagers is digital game that presents diverse contents and ease of access as it can be played on a variety of electronic devices. This project is trying to reintroduce Indonesian wayang culture in the form of digital game to regain the interest of the teenagers. The story introduced in the game design is based on the legend of Dewa Ruci from the myths of wayang purwa. The story resolves around Bima and his journeys to find the water of life. The design method incorporates data collecting, data analysis and game design process. Fullerton's iteration method is applied in the process of game development. The methods used for data mining are based on the descriptive methods, implementing researches on the narratives and characters found in Dewa Ruci story both visually and philosophically, along with the substances of the story respectively. Data collections are derived from literatures and interviews. Information gathered such as Bima's heavy coarse features and his vicious Pancanaka, attributes such as Bima's poleng cloth and Candrakirana armlets, sacred mantras such as Jalasengsara and Bayu Braja, and Bima's adversaries confronted along the paths in finding the water of life are analyzed and developed into various visual assets in the game. The model of the game which is being developed is an action adventure side-scrolling platformer with a distinctive iconic character style, utilizing visual concepts derived from traditional shadow puppet's performance.]]>
<![CDATA[Kajian Emotional Branding dan Budaya Etnik Sunda pada Restoran Tradisional Sunda (Studi Kasus: Restoran Sindang Reret dan Restoran Bumbu Desa) ]]>
<![CDATA[Monica Hartanti]]>;
<![CDATA[Imam Santosa]]>;
<![CDATA[Alfonso Ronald Koapaha]]>
<![CDATA[ Wimba : Jurnal Komunikasi Visual Vol. 4 No. 1 (2012) ]]>
Publisher : <![CDATA[KK Komunikasi Visual & Multimedia Fakultas Seni Rupa dan Desain Institut Teknologi Bandung ]]>
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DOI: 10.5614/jkvw.2012.4.1.4
<![CDATA[Emotional Branding is an incorporated four strategic key factors, such as relationship, sensory experience, imagination, and vision. These four key factors create a "dialogue" among one brand and its consumer which fulfill their needs as well as their desires. This research aim for a determination of the branding strategies used in two Sundanese restaurants. The analysis focused on the corporate identities from two Sundanese restaurants as well as their tangible and intangible identities that regarded to the Sundanese culture. Data were collected through several observations, evaluations, and interview completed through a Focus Group Discussion. Afterward, the data were compiled and analyzed through the theory of Emotional Branding and the study of Sundanese culture. Therefore, this research is considered as a Qualitative Descriptive Analysis research. The findings of this research show that the a corporate identities of these two restaurants has been using the Sundanese ethnic culture for a while till today. A local ethnic culture considered as one of the trends in the branding design which involve several parties (especially designers) to process the design components in such a way that the local ethnic culture is not turned into a merely "cosmetic" of brand identity. Through Emotional Branding, someone could make Sundanese's culinary as a lifestyle by promoting the authenticity of its tradition supported by the four factors that exist in Emotional Branding.]]>
<![CDATA[Evaluasi Desain Media Sosialisasi Kebencanaan Ditinjau dari Kemampuan Literasi Visual (Studi Kasus Media Sosialisasi Tsunami Kabupaten Bantul Yogyakarta) ]]>
<![CDATA[Danang Febriyantoko]]>;
<![CDATA[Naomi Haswanto]]>;
<![CDATA[Y. Martinus Pasaribu]]>
<![CDATA[ Wimba : Jurnal Komunikasi Visual Vol. 4 No. 1 (2012) ]]>
Publisher : <![CDATA[KK Komunikasi Visual & Multimedia Fakultas Seni Rupa dan Desain Institut Teknologi Bandung ]]>
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DOI: 10.5614/jkvw.2012.4.1.5
<![CDATA[There society requires an adequate understanding of disaster risk in order to react appropriately to save themselves. The role of disaster media socialization as one source of information is an important element in disaster management. Understanding disaster media socialization reflects community level preparedness in an area. This research is the study of visual literacy measured to evaluate the tsunami socialization media given to the coastal districts of Bantul, Yogyakarta. From the research facts about the level of literacy communities are affected by the social and cultural environment. Based on the results the easy disaster media needed to be found in relation to daily in order to foster disaster preparedness.]]>
<![CDATA[Pemetaan Komik Indonesia Periode Tahun 1995-2008 ]]>
<![CDATA[Irawati Tirtaatmadja]]>;
<![CDATA[Nina Nurviana]]>;
<![CDATA[Alvanov Zpalanzani Mansoor]]>
<![CDATA[ Wimba : Jurnal Komunikasi Visual Vol. 4 No. 1 (2012) ]]>
Publisher : <![CDATA[KK Komunikasi Visual & Multimedia Fakultas Seni Rupa dan Desain Institut Teknologi Bandung ]]>
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DOI: 10.5614/jkvw.2012.4.1.6
<![CDATA[Indonesia's comics in 1995-2008 are rich in visual and story exploration. It is unfortunate that there are no efforts to do the charting for this creative industry. This research focus is documenting the 1995-2008 Indonesia's comics through systematical and descriptive statistic review. It is an empirical study in order to set the footing for further research on Indonesia's comics especially on 1995-2008 time periods. It is the starting point of the new and rich yet debatable for its origin and identity of Indonesia's comic development. Based on research findings, there are three aspects that generate new Indonesia's comics. They are the competitive spirit that ignites the Indonesia's comic artists to strive in making comics, abundance of visual and sequential reference in elaborating slice of life and enhancing story in comics from translated manga, and lots of comic events held to make the comic artists busy producing comics and promoting towards new and eager to explore the new taste of Indonesia's comics.]]>
