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Text written by:
First published in February, 2020
Brian Alvin Hananto, S.Sn., M.Ds.
by Penerbit Fakultas Desain Universitas Pelita Harapan
Publisher: Penerbit Fakultas Desain Universitas Pelita Harapan Design: Kartika Magdalena Suwanto ISBN: 978-623-7489-15-3 Printed in Indonesia
Jl. M.H. Thamrin Boulevard 1100 Lippo Village – Tangerang Banten 15811 Telp: +62-21-5460901 Fax: +62-21-5460910 sod.uph@uph.edu Text CopyrightŠ Penerbit Fakultas Desain Universitas Pelita Harapan All right reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, electrostatic, magnetic tape, mechanical, photocopying, recording or otherwise, without the prior permission in writing of the Publisher.
By Brian Alvin Hananto, S.Sn., M.Ds.
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Dear readers, greetings! Welcome to the journey of Graphic Design Studio, Visual Communication Design, School of Design (SoD), Universitas Pelita Harapan (UPH)! The book intention that you have now is to share the exciting exploration that the Graphic Design Studio did in terms of it learning activities and pedagogical approach throughout the last two years. Thus, it will show the exploration that has been done by the students and the lecturer as the active participant and collaborator of this exciting Graphic Design Studio journey. The journey should also show the reflection of Visual Communication Design, SoD, UPH key values, in which seeing the whole learning process as to carry out understanding that: (1) Design as storytelling and designer as storyteller with holistic narratives that position design as stewardships, and, (2) Designer as culture shaper through mass media visual communication. These key values is also a reflection of the vision and mission of School of Design, Universitas Pelita Harapan (UPH), in which wants to ’become an EXEMPLAR as a center of excellence of Christ centered design education institution that based on Design Thinking - Human Centered Design (DT-HCD) to make social change through innovation that has redemptive impact as reflection of God’s mandate for design as co-creation to be the steward of the earth’, and the university goal as to become Christ Centered University that based on True Knowledge, Faith in God and Godly Character. On behalf of the Faculty and the Department, allow me to congratulate the team of lecturer and students of Graphic Design Studio that documenting this exciting 2 years of journey and exploration. And as of for our dear readers, enjoy reading the book, embark the exciting journey!
Dr. Martin L. Katoppo, S.T., M.T. Dean School of Design – Universitas Pelita Harapan
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The role of Graphic Design and graphic designers are becoming more and more important in this post-modern era. As we shifted from literary culture to visual culture, the need to serve the everyday world with well designed and communicative visual is rising. Reflecting on Icograda Manifesto 2011, digital information technology has manifested itself into our daily life, and with that graphic design has to be present and thrive to serve its user. Mobile screens, social media apps, and even smartwatch have become a visual medium that is necessary and demanded to be designed. Society, especially the one in major cities, has been more aware of the need for good visual communication design in their lives, and become more appreciative of it. Moreover, as humanities discipline and applied art discipline, graphic design, as an enabler to a flourishing society, has the role of preserving and cultivating culture. In the age of global and trans-cultural connection, culture is the one pillar that could drive towards flourishing society, and graphic designers certainly have a role in it. Visual Communication Department of Universitas Pelita Harapan aims to develop graphic designers that aware of that role: able to create design works that are built upon visual communication design thinking and methodologies; holistic understanding of design and ethic philosophy, social construct and human behaviour; and most importantly cultural values to solve visual communication problems through visual medium. To produce such graduates, we designed our curriculum, especially in the Graphic Design Concentration, focusing on these aspects: team teaching method consisting both academics and industry professionals, relevant and meaningful visual communication methodology, involving cultural elements in design projects, and real industry project/study case. We believe these aspects could promote a holistic graphic designer. This book, titled “Inform, Identify, Persuade� consists of selected student works from our Graphic Design Concentration students from 2017-2019 from various studio courses offered in the department. It is a showcase of students’ progress and achievement in developing into that role of graphic designers. It is also a record of design and cultural trends in the era, marking it as a historical artefact of art and design. We could also see it as a milestone for the department in pursuing a curriculum that could bring positive and restorative value to the visual world and society. And lastly, I hope this book could also become an inspiration to anyone reading.
Alfiansyah Zulkarnain, S.Sn., M.Ds. Head of Visual Communication Design Department
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Preface: Graphic Design and Visual Communication Design While
other
so ubiquitous and embedded in our lives, this begs
distinguished peoples had described and defined
many
designers,
authors,
and
the question of how do we distinguish good and
graphic design, I believe that the definition of ‘graphic
bad graphic design? Certainly, there are various
design’ itself is a topic that can be further discussed.
categories and parameters that can be used to
The reason, I believe, lies in the fact that graphic
assess and review what is good graphic design, but
design is ubiquitous; every people are exposed to
there should be a definitive and objective standard
graphic design daily in their lives easier, and every
that can be used to evaluate graphic design. Robin
people, one way or another had performed graphic
Landa describes graphic design as “a form of
design, knowingly or not. When graphic design is
visual communication” (Landa, 2011, p. 2), which
accessible to everyone, everyone is entitled to define
establishes a sense of purpose and objective to
what is graphic design based on their standpoints.
graphic design.
Therefore, I hoped I had successfully justified myself the right to describe and elaborate on what is graphic
If establishing communication is the goal of graphic
design from my perspective.
design, then the countless possibilities in graphic design can be seen as alternatives to solutions to
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Graphic design is the design using graphics,
achieve a certain mean. Graphic designers work
whereas graphic refers to writings and drawings.
with creating, selecting or organizing the design
This comprehension of graphic design then
elements (Landa, 2011, p. 2). Designers can draw
enlightens us on the main element that constitutes
or photograph images in any form they desire.
graphic design: image and letters. When we
They can select typefaces from countless typefaces
appropriate the notion and started seeing that
that are available. They can also manipulate and
all images and letters are elements that can be
configure the elements to suggest an idea or
further utilized for design, we can see endless
tell a story. From all the things that a designer
design possibilities. Seeing how graphic design is
can do, if the end result fails to deliver a certain
message to a certain audience, then the design
the students how to structure images and types
had lost its substantial purpose. In my opinion, the
to create a clear informative design. Later, the
responsibility of communicating messages is what
students would be taught to identify the information
dictates the role of graphic designers.
to create a distinct and unique message. Lastly, the class would be introduced to various contexts
Not all design projects are equal. There are a certain
that will sharpen their understanding of how to
project that requires a more meticulous approach,
communicate effectively. The three stages are
or a more openminded behavior, or even a
often reviewed and readjusted to make sure all
programmatic methodology to create a satisfactory
foundations in graphic designs are covered and
result. Often the factor determining the complexity
that the learning curve is appropriate for students.
of the design project is the layer of communication intensity itself. Expecting people to be informed and
The elaboration of each stage and the result of
persuaded is a different level of communication
the students in each stage is further explained in
layer which requires a different understanding
different chapters that are named from the three
of graphic design. Creating a clear and structured
levels I have mentioned before. By mimicking the
design may be sufficient to help people understand
structure of how I taught graphic design, the book
and be informed, but it may be not enough to shift a
is designed to be able to narrate the learning
person’s behavior. I categorize three different layers
process to the readers of the book. Therefore,
of communication that graphic design can address:
readers can visualize the process and journey that
inform, identify and persuade.
the students partake in to learn graphic design.
As a lecturer, the three levels of communication had helped me categorize the stages for students to learn graphic design. I would start to teach
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Table of Content
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Message from the Dean School of Design Dr. Martin L. Katoppo, S.T., M.T.
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Message from the Head of Department Visual Communication Design Alfiansyah Zulkarnain, S.Sn., M.Ds.
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Preface Graphic Design and Visual Communication Design
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Chapter 1 Design & Communication
14
Chapter 2 Inform: the necessity of clear information
30
Chapter 3 Identify: the fundamental need of identification
92
Chapter 4 Persuade: the mandate of persuasion
118
Credits
119
For Further Readings
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C H A PT E R 1
Design and Communication John Heskett explained design as the human
itself had been described by Claude Shannon
capacity to manipulate things to serve our
and Warren Weaver as a process that involves
needs and create meaning (Heskett, 2002, p.
separate aspects that are elementary. The
5). In this definition, Heskett describes design
model proposed by Shannon and Weaver is
as a process that had a purpose: to be useful
then recontextualized by Jonathan Baldwin &
and also meaningful. Graphic design, as a
Lucienne Roberts that shows how graphic design
process, is useful and meaningful as it helps
and designer fit in a communication process
people to connect with the signs it employs to
(Baldwin & Roberts, 2006, p. 24) shown below.
form a communication process. Communication
Client
Designer/ Artefact
Media Outlet
Noise Source
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Audience
If we ignore the external noise factors, we are
2.
To Identify is to create an identifiable
left with four categories that play a key role in
design, a design that represents an entity,
establishing graphic design as a communication:
that showcases the ability of the designer
1.
The Client, or the communicator. The entity
to comprehend the client comprehensively.
that has a message or image yet to be
This layer is signified by adding the client
presented or represented by the designer
into the mix.
with its design. 2.
3.
3.
To Persuade is to create a communication
The Designer, the one that interprets the
that is able to shift the audience’s behavior or
client and represents the client through
attitude. This is achieved by understanding
graphic design.
the audience properly, hence creating
The Media Outlet, or the touchpoints that
communication that is on point.
are chosen by the client and designer, in 4.
which the audience is accessible.
This structure had become the core and also
The Audience, the entity that needs to receive
foundation of the three semesters of graphic
and understand the message intended by
design class in Universitas Pelita Harapan.
the client (and delivered by the designer and
Through this model, the students are also
media outlet).
informed about the big idea of graphic design, though the knowledge itself must be properly
This model is then translated further and mapped
experienced to obtain a proper understanding.
within the three layers of communication intensity: 1.
To Inform is to create a clear and structured design. To achieve this stage, the designer must be able to craft a graphic design. This layer is based on the understanding that a designer has to be able to choose (or create) a media outlet properly.
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C H A PT E R 2
Inform: the necessity of clear information
In the first semester of the graphic design
format and medium, in which the students are
study, the students are introduced to the two
expected to be able to design properly through
elements of graphic design: image and type.
rigorous practice of crafting.
The two elements are different in ways that they behave and also how people ‘read’ them (Skolos
The aspects covered in this term are the
& Wedell, 2011, p. 10). The image had qualities
relationship between the designer and the
that made people see images as representations
media outlet, in which the designer had to
of the real world, while the type is automatically
be somewhat efficient and also proficient to
seen as a symbol that its meaning is born out of
create an effective design. The designer had to
the convention. Images are seen more ‘natural’
understand the media outlet as its canvas in
then type, something relatable and experiential
which the message will be communicated to the
compared to type.
audience. The media outlet itself is a variable, but not a deciding factor; this notion was inferred by
To understand the two elements, the students
the idea that design, as a discipline, had a crucial
are
to
demand that had to be understood whatever
explore the relationship between type and
tasked
with
different
assignments
the medium is. Designers need to understand
image. This resulted in various exploration and
and be able to bring out the media’s important
experimentations of graphic design forms. The
traits that will be able to enhance his/her design.
projects within this semester also vary by the
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Inform: the necessity of clear information
Assignment 5 City Tour By Novie Carolina
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Inform: the necessity of clear information
Page Before (Left to right) Advertorial By Felicia Kristella Assignment 1 By Jesslyn Kotandi Advertorial By Febrianti Setiana Assignment 1 By Shella Subagia This Page
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Final Assignment Book Redesign By Priscilla Josephine
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Page Before Assignment 5 City Tour By Rafi Krisananda
This Page (Left to right) Assignment 2 - Batik By Michelle Widjaya Midterm Assignment By Felicia Kristella
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Inform: the necessity of clear information
Page Before Final Assignment Book Redesign by Nessie Gunardi
This Page (Left to right) Midterm Assignment By Saskia Rachell Yahya Midterm Assignment By Felicia Violetta
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Inform: the necessity of clear information
4
Page Before (Left to right) World Wildlife Day By Kelvin Assigment 2 - Batik By Shella Subagia Asignment 2 Bauhaus By Phrasasti Catelleya This Page Final Project Book Redesign By Natasha Dian
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C H A PT E R 3
Identify: the fundamental need of identification
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Helping message)
people
to
through
identify graphic
the design
client
(or
is photography. Photography trains the students to
can
be
have a better keen eye in which he/she needed to
achieved by creating a visual representation
capture elements from real life to a still image that
that is consistent. The consistency enables the
has yet to represent a certain message or evoke
audience to remember, and later identify, the
a certain emotion. The idea that photography had
visual representation to the association that
to derive form from real-life showcases its demand
it signifies. The object of design often used to
and limitations while inspiring students to be
achieve this task is a logo, defined by Kevin
creative to deliver messages.
Budelmann et al. as a graphic representation of a brand (Budelmann, Kim, & Wozniak, 2010,
An additional factor that is included in this
p. 7). The design project within the class is
stage is the need to understand the client or
supplemented with the understanding of the
communicator. The need to understand the
design methodology that introduces the students
entity yet to be represented pictures a need to
to several methods that can help them in design.
be able to draw things that perhaps the entity
The inclusion of design methods is believed to
itself isn’t aware of. By doing so, the designer is
create a systematic approach towards design, in
able not to mimic and deliver, but also to suggest
which design is seen as a singular component,
and represent ideas that lay dormant within the
but an interweaving process and objects.
entity itself. This dimension adds a new layer to the practice of designer, in which he/she isn’t
Visual representations are often also found on
a craftsman crafting artistic work, but also an
illustrations, in which visuals are meant to illustrate a
artist that draw possibilities that suggests an
certain story or message. Another discipline taught
alternative way to see things.
in this semester to highlight the necessary practice
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Identify: the fundamental need of identification
Self Branding By Stefanus Togu
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Identify: the fundamental need of identification
Letter over pictorial combination mark
18°
15°
2°
8°
2°
12°
7°
5°
Derajat tiap huruf berbeda-beda sesuai bentuk dan ruang yang diisi.
M E N U
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Identify: the fundamental need of identification
Page Before (Left to right) Project 4 Combination Marks By Tiffany Wong Project 4 Combination Marks By Jesslyn Kotandi Project 4 Combination Marks By Chrisya Project 4 Combination Marks By Yehezkiel Penalosa This Page (Left to right) Project 4 Combination Marks By Kelvin Project 4 Combination Marks By Michelle Widjaya Project 4 Combination Marks By Diva Victoria Project 4 Combination Marks By The Jemima Deka Jenaya
!
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Page Before Final Project Visual Identity By Felicia Tella This Page Final Project Visual Identity By The Jemima Deka Jenaya
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Identify: the fundamental need of identification
Final Project Visual Identity By Kelvin
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FLY
HIGH, HIT H A
R D
FLY
HIGH, HIT H A
R D
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Identify: the fundamental need of identification
Page Before (Left to right) Project 4 Emblem Design By Yehezkiel Penalosa Project 4 Emblem Design By Kelvin Project 4 Emblem Design By Chrisya Project 4 Emblem Design By Erlis Leoni This Page (Top to bottom) Project 4 Emblem Design By Juan Justianto Project 4 Emblem Design By Chrisya
Logo ini memiliki pattern makanan khas Indonesia seperti sate, ayam jago, lemper, lapis legit, ikan balado, ikan gurame, dan lain-lain. Bentuk logo menyerupai gunung wayang dan di atas puncak segitiga berupa motif wayang. Motif wayang ini digunakan untuk menunjukkan budaya Indonesia. Typefaceyang digunakan adalah “worry free” dan memiliki bentuk yang organis sehingga sesuai dengan bentuk makanan dalam pattern logo serta mencerminkan tema “festival”. Skema warna
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Page Before Final Project Visual Identity By Dea Gabriela This Page Final Project Visual Identity By Yehezkiel Penalosa
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Identify: the fundamental need of identification
Page Before Final Project Visual Identity By Rahel Kristhea This Page Final Project Visual Identity By Clarissa Laurencia
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Identify: the fundamental need of identification
Page Before Museum Wayang Rebranding By Jesslyn Josephine, Malvin Joshua, & Stephanie Alvionita This Page Rumah Sakit Pluit Rebranding By Novie Carolina, Fanny Lie
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Identify: the fundamental need of identification
Page Before (Top to bottom) Project 1 By Chrisya Project 1 By Kelvin This Page Final Project Visual Identity By Tiffany Wong
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Identify: the fundamental need of identification
Page Before Museum Wayang Rebranding By Novie Carolina, Fanny Lie This Page Vernacular Typography By Kartika Magdalena
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Identify: the fundamental need of identification
K G A N I M R ET
VE
S
SL G N I LET
M
N A T I H
N AN ITA HIT JAHN JA N ITA ITA HN JAH AA JIT JAH N N AN ITAITA HITJAHJAH
JA N TAN I ITA H JA JAH T N A I JAH
G N I PA
I R E T
JAPINGPING
GING N I P PNG GA G ANG
G N GA
G GNGG N GNGNNG A N I G A G N G G N G PGAI I I GI GANN GG P P P PGAN I NGAN P I G NGNAGNGG P I P A AN GG G GAANNG G
Page Before
N N ITAITA AH JAH AJN A T N I T JAAHN AHI N HAIT ITJA N J AIT AH J H N TANITAJA AHIJAH NJITAN AH TA I J H JA AN HIT AN JA N A T T I I HAH JNAJ ITA JAH
K S A I V M E R L E V
Uni Papua Web Design By Natasha Dian, Novie Carolina, & Rafi Krisananda This Page Vernacular Typography By Eldad TImothy
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Page Before Publication Design By Eldad Timothy This Page
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Vernacular Typography By Novie Carolina
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Identify: the fundamental need of identification
Page Before Freedom of Speech By Febrianti Setiana This Page Freedom of Speech By Shella Subagia
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Identify: the fundamental need of identification
Page Before Freedom of Speech By Michelle Evangelyn This Page Freedom of Speech By Raydita F
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Self Potrait By Edwin Samudra
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Page Before Self Potrait By Tiffany This Page (Top to bottom) Three Wise Monkeys By Nessie Gunardi Brand & Lifestyle Photography By Juan Justianto
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Brand & Lifestyle Photography 2 By Yehezkiel Penalosa
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Self Potrait By Juan Justianto
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One Stroke At A Time By Jesslyn Oh
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One Stroke At A Time By Shella Subagia
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Identify: the fundamental need of identification
Page Before Self Potrait By Clarissa Laurencia This Page Self Potrait By Dea Gabriela
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Identify: the fundamental need of identification
Brand & Lifestyle Photography By TIffany
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Brand & Lifestyle Photography By Edwin Samudra
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C H A PT E R 4
Persuade: the mandate of persuasion
92
The last layer of communication is persuasion,
various stakeholders. In this class, students are
in which the change of behavior or attitude
introduced to various context and variables that
is believed possible with an effective design
require the student to be adaptable in various
solution.
effective
situations. The object of design tasked within the
communication is to brand communication in
One
way
of
creating
class is also often connected, hence creating a
the audience’s perception. Branding is known
long term project for the students that tests their
as a process to build awareness, and it is done
consistency while challenging their creativity.
by using every opportunity to communicate with people about the brand (or message) (Wheeler,
The final element yet to be included within the
2009, p. 6). The idea of branding through
discussion is the audience. All design is said to
graphic design is also a followup from the notion
serve a purpose, and one of the main purposes
of graphic design as a visual representation.
of communication design is to communicate to
Through
comprehensive
the audience. The understanding of the audience
representation, the audience can relate and
consistent
and
in a design work enrichens the designer to a
be branded with an image. To achieve effective
deeper understanding of what the design can
branding, graphic designers had to understand
and maybe. The audience sometimes had a
their audiences well. Only after they understand
certain language that had to be understood by
their audience can graphic designers set their
the designers so that the communication may
targets and goals of communication.
arrive at a similar frequency with the audience. After understanding the final aspect of the
Assignments in the final stage of design study
communication model, the students are expected
are complex and comprehensive design projects
to understand the whole visual communication
that
process taught in the department.
simulate
real
project
which
includes
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Branding & Packaging - Rednis By Helen Tristanti, Malvin Joshua, Shelley Christine
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Branding & Packaging - Fibble By Felicia Violetta & Shienny Wongso
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Persuade: the mandate of persuasion
Branding & Packaging - Fuel Up By Kezia Octavia & Samantha Jolene
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Branding & Packaging - Geraw By Celine Wisuna & Febrianti Setiana
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Branding & Packaging - Ubibu By Felicia Kristella
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Branding & Packaging - Mireokki By Shella Subagia
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Persuade: the mandate of persuasion
Page Before Branding & Packaging - Kupana By Saskia Rachell Yahya & Paradisa Chirana This Page Branding & Packaging - DAME By Fanny Lie, Jennifer Audiah, & Stephanie Alvionita
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Branding & Packaging - Kalsisoes By Livia Margarita & Priscilla Josephine
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Persuade: the mandate of persuasion
Page Before Final Project Publication Design By Amira, Angelina B., Nabila Yasmin, Nashya Rahmawita, Rachael Eleanor, Triska, & Vanessa Allegra This Page Final Project Publication Design By Fanny Lie, Jennifer Audiah, Marleena Tedja, Natasha Dian, Novie Carolina, Stephanie Alvionita
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Persuade: the mandate of persuasion
Page Before Branding & Packaging - Load Bar By Natasha Dian, Novie Carolina, Rafi Krisananda This Page Branding & Packaging - Kembang By Marleena Tedja, Nabila Yasmin, Nashya Rahmawita
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Credits Chapter 2
Chapter 4
Lecturers
Lecturers
Brian Alvin Hananto, Ellis Melini, Julianto, Leonardo Widya, Njoo
Ade Maradona, Brian Alvin Hananto, Ernest Irwandi, Chandra
Dewi Candra Kertasari, Valerie Wiraatmadja, Winoto Usman
Djoko, Christo Wahyudi, Karen Steffi Halim, Meutia Parahita, Rerry Isfandriani, Siswanto Sidharta, Sutopo Singgih
Students Febrianti Setiana, Felicia Kristella, Felicia Violetta, Jesslyn Kotandi, Kelvin, Michelle Widjaya, Nessie Gunardi, Phrasasti Catelleya, Priscilla Josephine, Rafi Krisananda, Saskia Rachell Yahya, Shella Subagia, Natasha Dian, Novie Carolina
Students Amira, Angelina Budiman, Celine Wisuna, Fanny Lie, Febrianti Setiana, Felicia Kristella, Felicia Violetta, Helen Tristanti, Jennifer Audiah, Kezia Octavia, Livia Margarita, Malvin Joshua, Marleena Tedja, Nabila Yasmin, Nashya Rahmawita, Natasha Dian, Novie Carolina, Paradisa Chirana, Priscilla Josephine, Rachael Eleanor, Rafi Krisananda, Samantha Jolene, Saskia Rachell Yahya, Shella
Chapter 3 Lecturers Ade Maradona, Anastasia Callista, Brian Alvin Hananto, Christo Wahyudi, Ferdinand Indrajaya, F. X. Damarjati, Njoo Dewi Candra Kertasari, Rerry Isfandriani, Siswanto Sidharta, Sutopo Singgih
Students Chrisya, Clarissa Laurencia, Dea Gabriela, Diva Victoria, Edwin Samudra, Eldad Timothy, Erlis Leoni, Fanny Lie, Febrianti Setiana, Felicia Kristella, Jesslyn Josephine, Jesslyn Kotandi, Jesslyn Oh, Juan Justianto, Kartika Magdalena, Kelvin, Malvin Joshua, Michelle Evangelyn, Michelle Widjaya, Nessie Gunardi, Novie Carolina, Rahel Kristhea, Raydita F., Shella Subagia, Stefanus Togu, Stephanie Alvionita, The Jemima Deka Jenaya, Tiffany, Yehezkiel Penalosa
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Subagia, Shelley Christine, Shienny Wongso, Stephanie Alvionita, Triska, Vanessa Allegra
Further Readings Baldwin, J., & Roberts, L. (2006). Visual Communication: From Theory to Practice. Case Postale: AVA Academia.
Budelmann, K., Kim, Y., & Wozniak, C. (2010). Brand Identity Essentials. Massachusetts: Rockport Publisher.
Heskett, J. (2002). Design: A Very Short Introduction. New York: Oxford University Press.
Landa, R. (2011). Graphic Design Solutions (4th ed.). Boston: Wadsworth Cengage Learning.
Skolos, N., & Wedell, T. (2011). Type, Image, Message : A Graphic Design Layout Workshop. Massachusetts: Rockport.
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