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DeKaVe
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Core Subject : Humanities, Art,
Jurnal "dekave" diterbitkan oleh Program studi Desain Komunikasi Visual Fakultas Seni Rupa FSR, Institut Seni Indonesia Yogyakarta sebagai media publikasi ilmiah berupa karya penelitian maupun rancangan dalam bidang komunikasi visual, yang mencakup: bahasa rupa, budaya visual, desain grafis, multi media, dan lain-lain.
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Articles 154 Documents
Rekonstruksi Tokoh Wayang Ramayana Pada Komik Seri H2O:Reborn Karya Sweta Kartika Terra Bajraghosa
DeKaVe Vol 11, No 1 (2018): Jurnal DeKaVe Vol.11 No.1 2018
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (479.567 KB) | DOI: 10.24821/dkv.v11i1.2487

Abstract

ADAPTASI PT. FREEPORT INDONESIA TERHADAP BUDAYA LOKAL PAPUA YANG TERSAJI DALAM KONSEP VISUAL BRANDING PERUSAHAAN Nurita Ririh Pratiwi
DeKaVe Vol 11, No 1 (2018): Jurnal DeKaVe Vol.11 No.1 2018
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (988.592 KB) | DOI: 10.24821/dkv.v11i1.2486

Abstract

PENCIPTAAN MOTION COMIC WAYANG BEBER JAKA KEMBANG KUNING Indiria Maharsi
DeKaVe Vol 11, No 1 (2018): Jurnal DeKaVe Vol.11 No.1 2018
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1466.165 KB) | DOI: 10.24821/dkv.v11i1.2485

Abstract

Estetika Logo Magelang Kota Sejuta Bunga Galih Putra Pamungkas; Ahmad Adib Masruri; Titis Srimuda Pitana
DeKaVe Vol 11, No 1 (2018): Jurnal DeKaVe Vol.11 No.1 2018
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1023.654 KB) | DOI: 10.24821/dkv.v11i1.2484

Abstract

WARNA DARI WARISAN SEBAGAI IDENTITAS: MELIHAT TEKSTIL DAN KULINER JAWA Anita Rahardja; Mita Purbasari
DeKaVe Vol 11, No 1 (2018): Jurnal DeKaVe Vol.11 No.1 2018
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (193.792 KB) | DOI: 10.24821/dkv.v11i1.2483

Abstract

WEBSITE VIRTUAL REALITY WISATA JERON BETENG Andi Haryanto
DeKaVe Vol 1, No 1: Januari 2011
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dkv.v1i1.143

Abstract

Virtual Reality Website of Jeron Beteng is an effort task to make virtual visualization of Jeron Beteng with its heritage and social cultural life of the people who lived surround it as an object. The visualized element of Virtual Reality Website of Jeron Beteng is an interactive broadcast of photographical view of specific locations in Jeron beteng area with 3600 widely views. The user of this website can see and twist the unlimited angle of a photo object, it can be twist whether from right to left orup and down, and zoom in or zoom out the appearance of the tourist object photos in the area of Jeron Beteng. The user also can move from one location to another location only by click, so they can feel the sensation of their presences in that location. Virtual Reality Website of Jeron Beteng has some superior aspects like in multimedia contents, the complete information of Jeron Beteng tourism activities, and designed as an artificial object. This website is created as a media to recognize the potential of Jeron Beteng as a tourist object. The expected effect of this website is to make tourist more curious and motivated them to come and see directly the atmosphere of Jeron Beteng itself, because virtual visualization can't replaced the sensation of being in the location.Keywords : Website, Virtual Reality and Jeron Beteng
MURAL, KEKUATAN MODAL, DAN MASYARAKAT Akbar Annasher
DeKaVe Vol 1, No 1: Januari 2011
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dkv.v1i1.144

Abstract

Broadly speaking, this paper discusses the phenomenon of murals that are now spread in Yogyakarta Special Region, especially the city of Yogyakarta. Mural painting is an art with a media wall that has the elements of communication, so the mural is also referred to as the art of visual communication. Media is a media wall closest to the community, because the distance between the media with the audience is not limited by anything, direct and open, so the mural is often used as media to convey ideas, the idea of ??community, also called the media the voice of the people. Location of mural art in situations of public spatial proved inviting the owners of capital to use such means, in this case is the mural. Manufacturers of various products began racing the race to put on this wall media, as time goes by without realizing the essence of the actual mural art was forced to turn to the commercial essence, the only benefit some parties only, the power of public spaces gradually occupied by the owners of capital, they hopes that the community can view the contents of messages and can obtain information for the products offered. it brings motivation and cognitive and affective simultaneously in the community.Keywords: Mural, Public Space, and Society.
TELEVISI BESERTA REALITAS NILAI MEDIANYA Arief Agung Suwasono
DeKaVe Vol 1, No 1: Januari 2011
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dkv.v1i1.145

Abstract

Television is a medium that delivers meaning through various type of text television conveys information that promotes moral responsibility and social solidarity. In spite of the fact that television is one of capitalism product, its programs can generate social commitment and solidarity reflecting human moral values.Keyword : Television, Fetisme
REFLEKSI PERUBAHAN SOSIAL MASYARAKAT PERKOTAAN DI INDONESIA DALAM IKLAN DI MEDIA CETAK PERIODE 1990 – 2000 Petrus Gogor Bangsa
DeKaVe Vol 1, No 1: Januari 2011
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dkv.v1i1.148

Abstract

A modern industrialist society is an ideal society from economic growth theory by W.W. Rostow. Indonesia during the New Order government applied this theory to a program called Pembangunan Lima Tahun (Five Years Development). As the same as economic growth theory, the New Order's program also had a modern, autonomic and prosperous society as an ideal society. Even this program did not complete properly, brought a wealthy society in a part of the urban society as a positive result. This change, had influenced the urban society's lifestyle. In major of urban society, wealth is a one motive to have a hedonist lifestyle. Advertising as the component of marketing had an important part in the industrial process. In order to do its persuasive function, sometimes advertising creative applied urban lifestyle approach to got consumers interest. In the other hand, urban lifestyle could be identified through print ads visualization.Keyword : Social Change, Indonesian Tone, and Printer Ad
PERMAINAN VISUAL, SIMBOL, DAN PENGHARAPAN DALAM KARTU UNDANGAN PERNIKAHAN DI YOGYAKARTA Hesti Rahayu
DeKaVe Vol 1, No 1: Januari 2011
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/dkv.v1i1.149

Abstract

This study was designed in order to explain the socio- cultural relationship between the wedding invitation card created by graphic designers in Yogyakarta; to reveal the contained symbolic meanings; and to examine the considerations of which the designers decided to use certain visual composition in creating their artworks and why they did it. Hermeneutic theoretical framework was applied to accomplish the research objectives. The first step done was construing the wedding invitation cards and describing the artists' life and cultural background. The invitations then were studied by exploring its' 'socio historical elements', analyzing it visually and ended by interpreting it. This study found out that wedding invitation cards created by graphic designers in Yogyakarta were works of art that could be distinguished from the common ones which were made in a mass production. Wedding invitation card was an effect of 'inviting culture' transformation in Javanese society, from inviting verbally to inviting by written invitation. However, it did not mean that the verbal invitation tradition was vanishing. The socio- cultural relationship existed in wedding card was due to the changing in the customs and manners of inviting people. In the cards made by graphic designer artists, the socio- cultural relationship is not reflected in its visual aspects. When it does, it would be managed and adapted in such a way to meet the artists' aesthetic base that they mastered from their academic experience, i.e. Western aesthetic. The creation of visual artworks was determined by the creative process undertaken by the designers. Yet, each piece of work of visual art basically was conformed the creator's style as a mean to represent the couple and to represent his own authenticity as a graphic designer. The meaning of representation was not representing the reality but more on representing an ideal or expectation.Keywords : Visual artist - Wedding invitation cards - Simbolic meaning

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