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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 113 Documents
Rekonstruksi Tokoh Wayang Ramayana Pada Komik Seri H2O:Reborn Karya Sweta Kartika Bajraghosa, Terra
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 | DOI: 10.24821/dkv.v11i1.2487

Abstract

Abstract:Pada awal kemunculannya tahun 1958, komik yang menampilkan kisah dari jagat pewayangan tidak disebut khusus sebagai komik wayang. Seiring dengan ketenarannya, terlebih melalui karya Ardisoma, Oerip dan kemasifan penerbitan karya RA Kosasih, periode ‘komik wayang’ seolah menjadi genre tersendiri dalam perjalanan sejarah media komik di Indonesia.Pada masa kini, bahkan selepas tahun 2015, selalu saja ada judul baru komik Indonesia yang terinspirasi kisah dan tokoh-tokoh dari dunia wayang. Baik secara kuat dengan plot dan ciri tokoh yang sama, maupun samar-samar hanya melalui nama tokoh yang sama. Komik seri H2O:Reborn karya sweta Kartika adalah komik bergenre fiksi-ilmiah yang bersetting di masa depan paska apokalips. Manusia hidup ditopang oleh mesin dan berdampingan dengan robot. Yang membuatnya menarik adalah adanya tokoh-tokoh baik manusia, robot, atau sistem artificial intelligence, yang merujuk dari tokoh dalam kisah pewayangan, terutama kisah Ramayana. Dalam Komik misalnya ada: Rama, Sita, Ravana, Hans, L4X-3424, dan Hanoman .02. Tanpa harus terkait pada tokoh-tokoh wayang, sebenarnya komik H2O:Reborn tidak mempunyai kesulitan untuk membangun narasinya. Konteks apa yang  sekiranya ingin dibangun oleh komik ini terkait beberapa tokohnya yang merujuk pada tokoh wayang?Diskusi dengan pendekatan kajian genre membahas jalinan kisah komik H2O:Reborn dan menyorot pada bagaimana tokoh-tokoh dari kisah Ramayana direkonstruksi pada seri komik ini dan apa konteksnya pada unsur storytelling dan relasinya terhadap penerbitannya pada pola industri kreatif masa kini.Keywords:Rekonstruksi, Wayang, Ramayana, Komik Indonesia, H2O:Reborn, Sweta Kartika, Industri Kreatif.
ADAPTASI PT. FREEPORT INDONESIA TERHADAP BUDAYA LOKAL PAPUA YANG TERSAJI DALAM KONSEP VISUAL BRANDING PERUSAHAAN Pratiwi, Nurita Ririh
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 | DOI: 10.24821/dkv.v11i1.2486

Abstract

Abstract:Branding in a company requires workmanship is not easy to maintain consistency of quality in each element, it will created a valuable visual work. Value here is meant value that not only communicate information about the company with public, but also the value of its own visual work in view of the visible combination of its various elements. This research will analyze the branding strategy of a foreign company, PT Freeport Indonesia, which adapts the elements of local Papuan culture as a concept to each of its branding. Company data is neatly wrapped with local Papuan cultures into treats that are not monotonous, not frontal, and more able to establish kindship between the company and the surrounding local society. In addition, also to know the function of the application of local cultural content of Papua presented in a new form, namely PTFI visual branding. Viewed from the point of view of art philosophy, which in the science of art philosophy there is a study of the elements underlying the creation of a work of art. Artwork here is a series of Visual Branding PTFI which seems to have value and meaning, there are elements of artists, elements of the work itself, and elements of society that act as public art, together to form a formation with a particular purpose, has created a blend of visual works of character and has an aesthetic value.Keyword:Art,  Local Papuan Culture, Visual Branding.Relevance to Visual Communication Design Practice: Provides an inspiration for a more valuable visual branding design while still running its main function as visual communication and self-image to around, one of which is by raising the local culture in the region.
PENCIPTAAN MOTION COMIC WAYANG BEBER JAKA KEMBANG KUNING Maharsi, Indiria
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 | DOI: 10.24821/dkv.v11i1.2485

Abstract

Abstract.Jaka Kembang Kuning is one of the acts performed in Wayang Beber Pacitan. It tells about Dewi Sekartaji leaving her kingdom, Kediri. The story is downright attractive. However, people are no longer in enthusiasm to enjoy this performing art. It is due to the more rich performance choices offered to them. The bad condition of the wayang (puppets) worsens this condition. Reperforming Jaka Kembang Kuning in a new mode of presentation is an effort to revitalize Wayang Beber Pacitan. One of the new promising media that can be used is motion comic. It is highly suggested that Indonesian comic is rooted in wayang beber. Motion comic as a brand new way to present comic recently gains popularity among comic lovers, the youth in particular. It is hoped that the young generation will be persuaded to enjoy the performance by the animation and the audio-visual used in it. In turn, this positive impact will result in the preservation of wayang beber as a cultural heritage of Indonesia.    Keywords:Wayang Beber Pacitan, Jaka Kembang Kuning, comic, motion comic.
Estetika Logo Magelang Kota Sejuta Bunga Pamungkas, Galih Putra; Masruri, Ahmad Adib; Pitana, Titis Srimuda
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 | DOI: 10.24821/dkv.v11i1.2484

Abstract

Abstract. In 2012,Magelang city proclaimed as the City of Million Flowers. An important element to keep brand awareness and public attention awake is the aesthetic element. The main visual form is the logo. Logo is a visual identity that reflects from the vision, mission of the organization, the company, the city or personality. The logo can not yet be said to represent the philosophy of Magelang City Million Flowers. The aesthetic element of the logo does not reflect the philosophy of the city branding program. The aesthetic element of logo weight is less strong. The message conveyed is less clear because of the influence of the element of the form that is less precise, the subject color and the placement of writing a million flowers that require small font size, so the legibility is low. The aesthetic element of logo appearance is less maximize the type of promotion media, so the communication process is hampered.This research analyzes the aesthetics of Magelang City logo’s with tagline Magelang City of Million Flowers through qualitative method. The theory of aesthetics used is a theory written by AAM. Djelantik in 1999, regarding the three major elements in aesthetics: form, weight, and appearance.Keywords: Aesthetic, Design, Communication and VisualRelevance to Visual Communication Design Practice: This research is expected to add insight and perspective in the development of visual communication design science, which is the aesthetic and functional visual branding of the city.
WARNA DARI WARISAN SEBAGAI IDENTITAS: MELIHAT TEKSTIL DAN KULINER JAWA Rahardja, Anita; Purbasari, Mita
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 | DOI: 10.24821/dkv.v11i1.2483

Abstract

Abstract: Digital technology influences all aspects of life, making global information highly accessible and competitions unavoidable. To stand out in competition, it is necessary to understand our strength, which derived from local heritage. Indonesia is culturally diverse and rich in heritage, untouched and forgotten, especially by young generations. By applying quantitative method, research is conducted to study traditional textiles and culinaries, focusing to Jakarta, Bandung, Yogyakarta, Semarang and Surabaya, big cities in Java. Digital visual documentation chosen for its close ties with Visual Communication Design (VCD) roots. The goal is to have a deeper understanding of Indonesian culture through cultural color analysis. A series of cultural color morphologies for each city and analysis of their relation using Johannes Itten color theory will be the result of the research.Keywords: Digital, Traditional Textile and Culinary, Cultural Color, Morphology, Color Theory
WEBSITE VIRTUAL REALITY WISATA JERON BETENG Haryanto, Andi
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 Annasher, Akbar
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 Agung Suwasono, Arief
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 Gogor Bangsa, Petrus
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 Rahayu, Hesti
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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