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Journal of Visual Art and Design
Published by Institut Teknologi Bandung
ISSN : 23375795     EISSN : 23385480     DOI : https://doi.org/10.5614/jvad
Core Subject : Humanities, Art,
Arts Humanities
Journal of Visual Art and Design focuses on theoretical and empirical research articles in the Visual Art and Design disciplines in the region of Asia and Pacific. The scope includes the following subject areas: Design and Art History, Visual Culture, Art and Design Methodology, Art and Design Discourse, Design and Culture, Art and Design Sociology, Design and Art Management, Art Criticism, Anthropology of Art and Design, Industrial Design, Visual Communication Design, Photography, Interior Design, Craft, Architectural Design, Film, Multimedia, Design Policy, Psychology of Art and Design as well as Art and Design Education. Journal of Visual Art and Design welcomes original research, Art and Design work, and critical discourse on traditional and contemporary issues in the field of Art and Design. Researchers, Artists, and Designers are welcomed to contribute in the form of conceptual or theoretical approaches, designer/artists writings, case studies or critical essays in the fields of Art and Design.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 238 Documents
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Kajian Karya-Karya I Nyoman Erawan, antara Tradisi dan Modernitas I Wayan Seriyoga Parta; Yustiono Yustiono; Nuning Y. Damayanti
Journal of Visual Art and Design Vol. 5 No. 2 (2013): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

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Abstract

I Nyoman Erawan is an artist who develops abstraction shape manner by fusing formal aspects (line, area, color and texture), with the symbols in the Balinese culture tradition which is absorbed by his own religious experience as a part of Hinduism Balinese Community. The experience exists and gives deep influence to his works, when he took art study at Indonesian Art Institute of Yogyakarta in the year of 1980 and then was introduced to modern art included to its' technique and concept. The Nyoman Erawan's works development in presenting the values of the tradition and modernity can be seen from three aspects, which includes; technique, medium and theme. The exploration of Nyoman Erawan's technique and medium was begun from two dimension artworks in1982, painting technique and assemblage, collage various materials was fused for his works and then it developed become installation work in 1993-1994, and has become performance work since 1996. The tradition values in his work are presented in west modern art manner. He uses the modernity spirit to preserve the tradition value. He represents the development of modernity in different way than modernity in West context. This is a development of his work.
Kajian Transformasi Visual Desain Karakter Eevee pada Game Pokémon Series Generasi I-V Dewi Isma Aryani; Imam Santosa; Alvanov Zpalanzani
Journal of Visual Art and Design Vol. 5 No. 2 (2013): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

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Abstract

Pokémon game series is a representation of the media culture that offers a world of simulation by creating signs through storyline, gameplay, environment, as well as game characters, so that it becomes a part of digital culture. The design of Pokémon character, in this case is Eevee, is able to generate its fans curiosity and addiction resulted from the application of Manga-matrix method, color theory and morphological-forced-connections technique through the visual transformation of character design itself. This study is a qualitative research that conducted through the application of Manga-matrix principle including internal and external factors on the characters, similarity analysis or the relation among the theories connected to visual element and the interpretation of character meaning, and the combination of character design theories as the reflection of the Satoshi Tajiri as well as Japanese society’s ideology or thinking pattern in cultural implementation. The analysis shows that Eevee’s changing form still contains similarity with its existence of additional elements creates variety of forms in Eevee’s character visualization. Those Eevee’s form variety becomes the essence of the creation of the character as the media that introduces the visual transformation of character design in a game, in this matter is the Pokémon game series.
Analisis Kualitatif Tampilan Visual Pada Situs E-Learning Andi Aulia Hamzah; Achmad Syarief; Ifa Safira Mustikadara
Journal of Visual Art and Design Vol. 5 No. 2 (2013): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

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Abstract

This research attempts to identify the influence of visuals of e-learning websites on learning motivation. The investigated object is e-learning sites of ilmukomputer.com and pendidikan.ws, which presents differences of interactivity. Results of investigation on the visual appearance of both websites indicate that level of complexity of an e-learning website affects the presentation of information for learners. The presented visuals assist learners to dwelve into the subjects, visuals directly influence 33.5% of learners' motivation. Therefore, one should emphasize visual preparation of information and instruction design when creating an e-learning website.
Instalasi Buku dari Batu sebagai Representasi Reinkarnasi Ilmu dalam Pengkaryaan Tiga Dimensi Seni Patung Kontemporer Gabriel Aries Setiadi; A. Rikrik Kusmara; Tisna Sanjaya
Journal of Visual Art and Design Vol. 8 No. 1 (2016): Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/j.vad.2016.8.1.2

Abstract

Penemuan tulisan telah membawa cahaya peradaban kedalam kehidupan manusia, penemuan yang telah ada lebih dari 5000 tahun yang lampau tersebut memungkinkan pelestarian buah pikiran maupun pengalaman, dan pewarisan kebijaksanaan yang telah diperoleh kepada generasi berikutnya. Tulisan-tulisan tersebut awalnya hanya berupa lembaran atau lempengan yang terpisah, namun seiring dengan perubahan jaman dan kebutuhannya maka lempengan batu dan tanah berubah menjadi lembaran kulit, daun, maupun kayu. Media kulit, kayu, serta daun kemuadian tidak lagi dipakai dan kertas menjadi media utama. Kumpulan kertas tersebut disatukan dalam jumlah yang banyak yang kita kenal saat ini sebagai wujud buku. Sesuai kebutuhan zamannya, wujud buku secara fisik sudah mengalami beberapa kali perubahan namun secara fungsi buku tetap sebagai medium untuk dibaca dan dituliskan sesuatu. Berdasarkan fakta tersebut, kita perlu menyadari bahwa peran buku selama sejarah manusia akan tetap sama, yaitu sebagai media transfer ilmu pengetahuan, baik dengan cara penulisan ilmiah, novel, dongeng, maupun ayat-ayat kitab suci. Peranan buku terhadap perubahan sangatlah signifikan. Berapa banyak buku yang dapat mempengaruhi pemikiran orang lain. Berapa banyak orang yang dapat dipengaruhi pikirannya oleh satu buku yang berkualitas. Berapa banyak perubahan yang diawali oleh satu tulisan. Buku sebagai objek karya merupakan kumpulan sebuah tulisan perwujudan buah pikiran maupun pengalaman yang tersusun dari berbagai kalimat, terdiri atas kata-kata yang terbentuk akibat susunan huruf dan menghasilkan makna. Secara harfiah buku itu sendiri terdiri atas sampul depan, halaman-halaman isi yang dilambangkan dengan tumpukan lembaran kertas, ketebalan jilid, judul buku dan pengarang pada sampul depan dan pada ketebalan jilid. Seiring  perkembangan buku secara fisik, dari awal penciptaannya hingga kini, telah banyak tulisan tentang perasaan, ide,dan  pengalaman diungkapkan. Selama itu pula telah tercipta interaksi secara fisik dan psikis antara manusia sebagai apresiator dengan buku. Manusia memegang peranan penting sebuah siklus kehidupan dalam ilmu pengetahuan yang dilandasi oleh keinginan dan ide-idenya. Hasrat dan imajinasi menjadi titik penting perkembangan kebudayaan dan peradaban manusia. Karya ini merupakan upaya untuk kembali mendekatkan apresiator dengan buku namun dengan kondisi visual yang berbeda karena telah mengartefak dan membatu.Kata kunci:  artefak; buku; batu; ide; pengalaman; perjalanan; tulisan.Book Installation from Stone as a Scientific Reincarnation Representation in a Contemporary Three-dimensional Art SculptureThe invention of script, more than 5000 years ago, brought enlightenment to human civilization. Script enabled the transfer of ideas, experiences and wisdom to the next generation. The book is an arrangement of writings embodying ideas and experiences, containing words that convey meanings. The book as a physical object consists of the cover and the book block, i.e. a voluminous stack of paper sheets. The book's title and the author's name are printed on the cover and on the side of book. At first, script was enscribed on rocks or pieces of clay, but as time went by and needs changed, the rocks and clay were replaced by separate sheets of leather, leaves and wood. After some time, leather, wood and leaves were no longer used and paper became the mainstream medium. During its evolution, the appearance of the book has changed, but it has always essentially remained a medium for writing and reading. Books will always play the same role in human existence, i.e. as a knowledge transfer medium, either in the form of scientific publications, novels, fairy tales or holy scriptures. Through the influence of books, civilization has changed significantly. Many books have changed people's way of thinking, many people have been influenced by a good book, and many changes have occurred because of one single writing. Through all the physical changes of the book, from the very beginning until now, things have been written about feelings, ideas, and experiences. Through all this time, also a physical and psychological interaction between humans and the book was created. Human individuals have a large influence on the life cycle of knowledge, based on their desires and ideas. Passion and imagination are important triggers of change in cultures and civilizations. This artwork is a way of creating a physical interaction with the book by giving it a different visual appearance, that is by fossilizing the book.Keywords: artifact; book; experience; idea; journey; script; stone.
Looking into the Credibility of Appearance: Exploring the Role of Color in Interface Aesthetics and How it Affects our Perception on System’s Credibility Achmad Syarief; Haruo Hibino
Journal of Visual Art and Design Vol. 1 No. 1 (2007): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/itbj.vad.2007.1.1.1

Abstract

Dalam penelitian ini dikaji hasil tiga eksperimen sebagai kelanjutan studi yang pernah dilakukan oleh Kurosu-Kashimura [1] dan Noam Tractinsky [2] tentang relasi antara persepsi pengguna dengan kualitas estetik dan usability tampilan interface. Berdasar dua premis utama yaitu bahwa persepsi estetik dipengaruhi latar belakang kultural serta tampilan yang atraktif dapat mempengaruhi persepsi kehandalan sebuah produk., Dalam penelitian ini dievaluasi bagaimana persepsi pengguna migran (:orang Indonesia yang berada di Jepang) terhadap relasi antara tampilan estetik dan apparent usability pada sebuah interface produk. Dalam eksperimen dilakukan investigasi efek tampilan warna pada sebuah interface produk terhadap persepsi trustworthy (tingkat kepercayaan) dan credibility (tingkat kredibilitas) produk secara umum. Sebagai stimulus, digunakan tampilan layout-utama (hasil modifikasi) layar ATM bank di Jepang. Hasil eksperimen menunjukkan bahwa nilai estetik tampilan interface mempengaruhi persepsi user atas credibility (tingkat kredibilitas) dan trustworthy (tingkat kepercayaan) sebuah objek. Latar belakang budaya pengguna tidak memiliki pengaruh signifikan terhadap persepsi estetik tampilan interface apabila pengguna telah melakukan adaptasi eksperiential atau memiliki pengalaman interaksi dengan produk dengan komposisi layout sejenis. Lebih lanjut hasil penelitian menunjukkan bahwa warna memiliki pengaruh penting dalam meningkatkan kualitas ke-atraktif-an, persepsi kredibiltas (credibility), dan tingkat penerimaan (acceptability) pengguna (user). Eksperimen lebih lanjut perlu dilakukan untuk mengetahui bagaimana dan seperti apa sebuah kombinasi warna pada sebuah tampilan interface, dapat memiliki pengaruh yang bermakna pada keterpakaian sebuah produk.
Nilai Estetis Pada Kemasan Makanan Tradisional Yogyakarta Setiawan Sabana
Journal of Visual Art and Design Vol. 1 No. 1 (2007): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/itbj.vad.2007.1.1.2

Abstract

This research is focused on investigating the aesthetical and philosophical values of traditional food packaging in Yogyakarta, whereas much of traditional values are still applied and existed in the daily life. It is thought that the philosophical value of traditional food packaging is related to its use in the traditional ceremonies of the Yogyakarta Palace, such as Garebeg Mulud (Sekaten), Garebeg Syawal, Garebeg Idhul Adha, Tumplak Wajik, and Labuhan. Although some of traditional food packaging are also used in the people's ceremony, such as birth, wedding, and funeral ceremonies. Accordingly, traditional food packagings are mostly used to represent symbols that link to the life of the people of Yogyakarta. The aesthetical value of traditional food packaging can be identified from its visual elements, such as shapes, lines, textures, colors, masses (volumes), spaces, and the composition of those elements using natural materials such banana leaf and young coconut leaf. The intertwined of each element carry on meanings and therefore when modern materials (papers and plastics) are applied, most of traditional food packaging degrades their actual and symbolical meanings.
Representasi Identitas di Medan Pasar Seni Lukis Indonesia Djuli Djatiprambudi
Journal of Visual Art and Design Vol. 1 No. 1 (2007): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/itbj.vad.2007.1.1.3

Abstract

Since the middle of 1980s, Indonesian arts show striking growth, due to the dynamic appearance of painting market which was often referred as the boom of paintings. This phenomenon is triggered by the change of social-political-economical conditions of Asia, which are also influencing the infrastructure and suprastructure changes of the social-politics-and economy of Indonesia. It leads to the dialectical rise of the class of economical elite in Indonesia, which is dominated by the Chinese ethnic group. This group, which was politically pressurized during New Order regime, has built a tantalous room in economy. Their involvement in the arts market can bee seen as the starting point to comprehend the economical-capitalism of Indonesian Arts. It is expected that by constructing the role of Chinese ethnic group in art market, we will obtain a complete understandings of the social history of arts in Indonesia.
Perempuan Perupa Cina dalam Perubahan Politik di Cina Ira Adriati Winarno
Journal of Visual Art and Design Vol. 1 No. 1 (2007): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/itbj.vad.2007.1.1.4

Abstract

China has experienced several political changes. The latest change is the emerging of capital-liberalism, which cause their openness to the foreign culture and visitors. This openness has influenced their art work too. The Chinese's Art work is no longer made for propaganda purpose, but shifting to the aspiring of personal expression or for the purpose of social criticism. Yet, seeking the "freedom" of this capital-liberalism era, do not certainly brings equal opportunity to the woman artists of China. It was after the 1995 International Women Conference in Beijing that Chinese women artists began to realize their aspirations. Since then, many works by Chinese woman artists' take woman issues as their object and showing a new expression of aesthetics.
Motif Naga pada Hinggi Sumba Timur Sebuah Metamorfosa Estetik Biranul Anas
Journal of Visual Art and Design Vol. 1 No. 1 (2007): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/itbj.vad.2007.1.1.5

Abstract

Hinggi, a traditional ikat cloth, is one of East Sumba's foremost material culture. As a component of the East Sumbanese traditional man's dress, hinggi is visually impressive. Its patterns display attractive motives, decorative and symbolic, that depict religious conviction, power, wealth, status, honor and gender prestige, based on local and foreign sources that comply to traditional standards of quality. Intrinsically it indicates hinggi's central role in social and ritual context, making it a highly prized item among the East Sumbanese, a matter that has been taken place since ancient days, and the international audience as well. Throughout its long history, the making of the hinggi came in contact with outside powers i.e. through trade, colonialism, education, and industrialization, including today's international tourism. From a cloth that functioned to serve the internal culture of its producers, hinggi became a commodity for outsiders that consequently affected its aesthetical aspects. Hinggi's patterning went through changes towards new forms adjusting to external demand, especially for the past 30 years, resulting in salient differences between hinggis made for sale and those made for internal use. Significant visual changes are that of the introduction of secular designs depicting local cultural themes such as ceremonies and mock battles, conveyed in realistic expressions with  smooth lines in a coinciding asymmetric configuration within a narrative set up, replacing traditional spiritual iconography which is relatively stylistic, abstract and stiff, in a diametrical symmetric setting with no expository relation. New hinggi designs principally sprung up from three main themes i.e. the papanggang, a spectacular burial ceremony carried out for personalities of high social status; the pasola, a ceremonial (in the past real) battle between opposing parties; and the palai ngandi, a folk tale about the groom's kidnapping of his bride. The three themes are presented in numerous variations, partly in combination with traditional symbolic motives, which now play a minor role in the overall configuration, besides the many more without them. However, the new designs have no role in East Sumba's tradition. Traditionally designed hinggis continue to exist due to their importance in the East Sumbanese internal culture.
Ragam dan Unsur Spiritualitas pada Ilustrasi Naskah Nusantara 1800-1900-an Nuning Damayanti; Haryadi Suadi
Journal of Visual Art and Design Vol. 1 No. 1 (2007): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/itbj.vad.2007.1.1.6

Abstract

A civilized society is a society who respects the culture of its predecessors and their philosophy of life, including the inherited artifacts that represent cultural values. Accordingly, the cultural development of a society can be traced and valued from its traditional artifact, such as an ancient drawing/old illustration that passed from the older generation. Aside of its economical values, ancient drawing/old illustration is a cultural product that serves as an object of visual language or visual communication. Before script and writing were established, drawings were used by people from thousands years ago to establish communication. The discovery of pictures in the prehistoric caves is considered as the beginning of drawing tradition towards modern illustration. Yet, the discovery of scripts and writing devalue the tradition of drawing, although it is believed that pictures worth to be the simplest and the most effective communication among human. This research tried to identify how an ancient illustration/drawing is used as a mean to communicate, as well as understanding the society who created it. A hermeneutic reasoning was employed to explain the visuals of ancient illustration/ pictures. Illustrations/pictures from the old Java and Bali traditional visual arts until the first year of the 20th century were used as object of analyses. It was assumed that the selected objects carry visual communication means and spiritualism content that could be elaborated more, and thus provide rich understandings to learn from.

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