Nama Mata Kuliah
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Text written by:
First published in October, 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
Jl. M.H. Thamrin Boulevard 1100 Lippo Village – Tangerang Banten 15811 Telp: +62-21-5460901 Fax: +62-21-5460910 sod.uph@uph.edu
ISBN 978-623-7489-29-0
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E-ISBN 978-623-7489-28-3 (PDF)
Universitas Pelita Harapan
Printed in Indonesia
Penerbit Fakultas Desain
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By Brian Alvin Hananto, S.Sn., M.Ds.
Message from the Dean School of Design
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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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Message from the Head of Department Visual Communication Design
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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 7
While many designers, authors, and other distinguished peoples had described and defined graphic design, I believe that the definition of ‘graphic design’ itself is a topic that can be further discussed. The reason, I believe, lies in the fact that graphic design is ubiquitous; every people are exposed to graphic design daily in their lives easier, and every people, one way or another had performed graphic design, knowingly or not. When graphic design is accessible to everyone, everyone is entitled to define what is graphic design based on their standpoints. Therefore, I hoped I had successfully justified myself the right to describe and elaborate on what is graphic design from my perspective. Graphic design is the design using graphics, whereas graphic refers to writings and drawings. This comprehension of graphic design then enlightens us on the main element that constitutes graphic design: image and letters. When we appropriate the notion and started seeing that all images and letters are elements that can be further utilized for design, we can see endless design possibilities. Seeing how graphic design is so ubiquitous and embedded in our lives, this begs the question of how do we distinguish good and bad graphic design? Certainly, there are various categories and parameters that can be used to assess and review what is good graphic design, but there should be a definitive and objective standard that can be used to evaluate graphic design.
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Robin Landa describes graphic design as “a form of visual communication� (Landa, 2011, p. 2), which establishes a sense of purpose and objective to graphic design.
may be sufficient to help people understand and be informed, but it may be not enough to shift a person’s behavior. I categorize three different layers of communication that graphic design can address: inform, identify and If establishing communication is the goal of persuade. graphic design, then the countless possibilities in graphic design can be seen as alternatives As a lecturer, the three levels of communication to solutions to achieve a certain mean. Graphic had helped me categorize the stages for designers work with creating, selecting or students to learn graphic design. I would organizing the design elements (Landa, 2011, start to teach the students how to structure p. 2). Designers can draw or photograph images and types to create a clear informative images in any form they desire. They can design. Later, the students would be taught to select typefaces from countless typefaces that identify the information to create a distinct and are available. They can also manipulate and unique message. Lastly, the class would be configure the elements to suggest an idea or introduced to various contexts that will sharpen tell a story. From all the things that a designer their understanding of how to communicate can do, if the end result fails to deliver a certain effectively. The three stages are often reviewed message to a certain audience, then the design and readjusted to make sure all foundations had lost its substantial purpose. In my opinion, in graphic designs are covered and that the the responsibility of communicating messages learning curve is appropriate for students. is what dictates the role of graphic designers. Not all design projects are equal. There are a certain project that requires a more meticulous approach, or a more openminded behavior, or even a programmatic methodology to create a satisfactory result. Often the factor determining the complexity of the design project is the layer of communication intensity itself. Expecting people to be informed and persuaded is a different level of communication layer which requires a different understanding of graphic design. Creating a clear and structured design
The elaboration of each stage and the result of the students in each stage is further explained in different chapters that are named from the three levels I have mentioned before. By mimicking the structure of how I taught graphic design, the book is designed to be able to narrate the learning process to the readers of the book. Therefore, readers can visualize the process and journey that the students partake in to learn graphic design.
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This book is an updated version of the collection of Graphic Design Projects that were designed by students as part of their study in the Visual Communication Design Department in Universitas Pelita Harapan (UPH). Graphic Design had always been the most popular major in UPH’s Visual Communication Department, and as the program continues, more designs are being produced each semester in our classes. The increase of projects, in quantity and also quality, prompted us to update the previous book as we believe the book itself had already brought positive benefits to studies within our classes. The first update of the book is the increase of students and projects showcased within the book. As the previous version had shown projects that are collected until the 2018/2019 academic year, this version includes projects that were designed during the 2019/2020 academic year. The first version had 51 students and 78 projects included, while this version had 70 students and 130 projects included. The increase of students and projects showcased is meant to provide a more rich archive of projects that were made throughout the years. The second update of the book, while may seem minor, is the addition of information describing and elaborating the curriculum of the Visual Communication Design Program. As the project designed and showcased
within the book is part of the 2016 Operational Curriculum, we thought that it may be necessary to provide additional background to provide a clearer context understanding. This additional information can be seen in the first chapter of the book. Other than the two updates stated, the overall structure and essence of the book remains the same. The first chapter of the book serves as an introduction to the book. This time, providing the operational curriculum and also how the concept of graphic design is mapped on each semester within the curriculum. The second chapter showcases various projects from the first major semester, the third chapter presents projects from the second major semester, while the fourth chapter contains projects from the third major semester. As we complete the updated version of the book, we are starting to collect and curate student works that are being made in the 2020/2021 academic year. As to whether we will produce another updated version, we would have to see the presentable number of projects available by the end of the 2020/2021 academic year. With this, we hope that this book may continue to serve its purpose as a study reference for design students in and outside of UPH. Kudos to all.
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5 Message from the Dean School of Design 7 Message from the Head of Department Visual Communication Design
14 Chapter 1 Design & Communication 18 Chapter 2 Inform: the necessity of clear information
8 Preface Graphic Design & Visual Communication Design
48 Chapter 3 Identify: the fundamental need of identification
10 Preface Updated Version
130 Chapter 4 Persuade: the mandate of persuasion 174 Credits 175 For Further Readings
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Graphic Design In Universitas Pelita Harapan As a formal education institution, the Visual Communication Design Department of Universitas Pelita Harapan had it’s own operational curriculum. The curriculum that is active when the students created the design that is showcased in this book is the 2016 operational curriculum. In that curriculum, there were three majors or concentration that were offered to students, animation design, cinematography, and graphic design. Now, as previously stated, this book showcased graphic design major student works during their studies on their first, second, and third semester of concentration study. The overall structure of the curriculum will be shown below.
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On the first year, the students are taught about visual arts. During these period, students are introduced on elements of art and principles of design. After learning their foundation, the students choses any concentrations from the the three options available. On the second year, the students dwell on a more focused and foundational studies on their chosen concentration. In the third year, the students begin to learn to apply what they learn on their concentration in a broader context. During these years the students are also taught to work on interdisciplinary projects as part of their preparation for their final year. In their fourth year, the students will spent two semesters on their final projects, with the first semester focusing on
Visual Communication Design John Heskett explained design as the human capacity to manipulate things to serve our needs and create meaning (Heskett, 2002, p. 5). In this definition, Heskett describes design as a process that had a purpose: to be useful and also meaningful. Graphic design, as a process, is useful and meaningful as it helps people to connect with the signs it employs to form a communication process. Communication itself had been described by Claude Shannon and Warren Weaver as a process that involves separate aspects that are elementary. The model proposed by Shannon and Weaver is then recontextualized by Jonathan Baldwin & Lucienne Roberts that shows how graphic design and designer fit in a communication process (Baldwin & Roberts, 2006, p. 24) shown below.
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If we ignore the external noise factors, we are left with four categories that play a key role in establishing graphic design as a communication: 1.
The Client, or the communicator. The entity that has a message or image yet to be presented or represented by the designer with its design.
2.
The Designer, the one that interprets the client and represents the client through graphic design.
3.
The Media Outlet, or the touchpoints that are chosen by the client and designer, in which the audience is accessible.
4.
The Audience, the entity that needs to receive and understand the message intended by the client (and delivered by the designer and media outlet).
This model is then translated further and mapped 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.
2.
To Identify is to create an identifiable design, a design that represents an entity, that showcases the ability of the designer to comprehend the client comprehensively. This layer is signified by adding the client into the mix.
3.
To Persuade is to create a communication that is able to shift the audience’s behavior or attitude. This is achieved by understanding the audience properly, hence creating communication that is on point.
This structure had become the core and also foundation of the three semesters of graphic design class in Universitas Pelita Harapan. Through this model, the students are also informed about the big idea of graphic design, though the knowledge itself must be properly experienced to obtain a proper understanding.
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In the first semester of the graphic design study, the students are introduced to the two elements of graphic design: image and type. The two elements are different in ways that they behave and also how people ‘read’ them (Skolos & Wedell, 2011, p. 10). The image had qualities that made people see images as representations of the real world, while the type is automatically seen as a symbol that its meaning is born out of the convention. Images are seen more ‘natural’ then type, something relatable and experiential compared to type. To understand the two elements, the students are tasked with different assignments to explore the relationship between type and image. This resulted in various exploration and experimentations of graphic design forms. The projects within this semester also vary by the format and medium, in which the students are expected to be able to design properly through rigorous practice of crafting. The aspects covered in this term are the relationship between the designer and the media outlet, in which the designer had to be somewhat efficient and also proficient to create an effective design. The designer had to understand the media outlet as its canvas in which the message will be communicated to the audience. The media outlet itself is a variable, but not a deciding factor; this notion was inferred by the idea that design, as a discipline, had a crucial demand that had to be understood whatever the medium is. Designers need to understand and be able to bring out the media’s important traits that will be able to enhance his/her design.
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Graphic Design Choose Me! School of Design, Uph
09.00 am - 20.00 pm Guest Lecture Series
August 28, 2019 August 29, 2019 August 30, 2019
VISUAL COMMUNICATION Guest lecture series
GRAPHIC DESIGN CHOOSE ME!
Visual communication
SCHOOL OF DESIGN UPH
Graphic design choose me! School of design, uph 09.00 am - 20.00 pm
GUEST LECTURE SERIES
09.00 AM - 20.00 PM
August 28, 2019 August 29, 2019 August 30, 2019
42
Inform: The Necessity of Clear Information
Romaw
i
Jurusan Desain Komunikasi Visual Kosentrasi Desain Grafis 2018.dquph@gmail.com
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Page Before (Left to right) Project 1 By Vincent Project 1 By Lorentius Calvin Project 1 By Stephanie Nathania Project 1 By Angela Nadya This Page (Top to bottom) Infographic Design By Gwyneth Vannia Infographic Design By Geraldine Karnadi
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World Wildlife Dayâ&#x20AC;&#x2122;s Poster (from left to right) By Natashia Salim, Andreas Wijaya, Kimberly Mulia, Angela Nadya
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World Wildlife Dayâ&#x20AC;&#x2122;s Poster (from left to right) By Shefira Marcelline, Jennifer Claudy, Tifani Nathania, Jessine Suliang
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Nama Mata Kuliah
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Final Project Book Redesign By Natashia Salim
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Helping people to identify the client (or message) through graphic design can be achieved by creating a visual representation that is consistent. The consistency enables the audience to remember, and later identify, the visual representation to the association that it signifies. The object of design often used to achieve this task is a logo, defined by Kevin Budelmann et al. as a graphic representation of a brand (Budelmann, Kim, & Wozniak, 2010, p. 7). The design project within the class is supplemented with the understanding of the design methodology that introduces the students to several methods that can help them in design. The inclusion of design methods is believed to create a systematic approach towards design, in which design is seen as a singular component, but an interweaving process and objects. Visual representations are often also found on illustrations, in which visuals are meant to illustrate a certain story or message. Another discipline taught in this semester to highlight the necessary practice is photography. Photography trains the students to have a better keen eye in which he/she needed to capture elements from real life to a still image that has yet to represent a certain message or evoke a certain emotion. The idea that photography had to derive form from real-life showcases its demand and limitations while inspiring students to be creative to deliver messages. An additional factor that is included in this stage is the need to understand the client or communicator. The need to understand the entity yet to be represented pictures a need to be able to draw things that perhaps the entity itself isnâ&#x20AC;&#x2122;t aware of. By doing so, the designer is able not to mimic and deliver, but also to suggest and represent ideas that lay dormant within the entity itself. This dimension adds a new layer to the practice of designer, in which he/she isnâ&#x20AC;&#x2122;t a craftsman crafting artistic work, but also an artist that draw possibilities that suggests an alternative way to see things.
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Nama Mata Kuliah
40 Students, 64 Projects 50
Identify: The Fundamental Need of Indentification
Self Branding By Stefanus Togu
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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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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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Identify: The Fundamental Need of Indentification
Page Before Final Project Visual Identity By Felicia Tella This Page Final Project Visual Identity By The Jemima Deka Jenaya
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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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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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Page Before Final Project Visual Identity By Rahel Kristhea This Page Final Project Visual Identity By Clarissa Laurencia
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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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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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Page Before Museum Wayang Rebranding By Novie Carolina, Fanny Lie This Page Vernacular Typography By Kartika Magdalena
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K G A N I M R ET
Identify: The Fundamental Need of Indentification
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
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
Page Before Uni Papua Web Design By Natasha Dian, Novie Carolina, & Rafi Krisananda This Page Vernacular Typography By Eldad TImothy
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1
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Page Before Publication Design By Eldad Timothy
2
This Page Vernacular Typography By Novie Carolina
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Page Before Freedom of Speech By Febrianti Setiana This Page Freedom of Speech By Shella Subagia
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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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1
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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Nama Mata Kuliah
One Stroke At A Time By Shella Subagia
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Page Before Self Potrait By Clarissa Laurencia This Page Self Potrait By Dea Gabriela
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Brand & Lifestyle Photography By TIffany
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Brand & Lifestyle Photography By Edwin Samudra
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This and Page Before Final Project Visual Identity By Angela Maria Nadya Sujanto, Fredella Agatha, Jeff Daniel Riyanto, Lorentius Calvin, & Tio Alfandri
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Penjabaran Identitas Visual
Page Before Visual Identity Design for Banking Application By Lorentius Calvin This Page Visual Identity Design for Music Band By Fredella Agatha
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Kartu Nama
Fredella Agatha Co-Founder of Ide Dear Mr. John Doe, Lorem ipsum dolor sit amet, consectetur adipiscing e lit. S uspendisse placerat nisi id tellus ultricies sagittis. Proin rutrum aliquet sapien, semper pharetra augue pellentesque eu. Nullam venenatis nec sapien eu congue. Phasellus quis accumsan augue. Suspendisse euismod, risus porttitor finibus luctus, ligula quam maximus neque, at dapibus mauris orci at enim. Mauris cursus a uctor dolor. N ulla f acilisi. Etiam q uis velit e rat. Q uisque m aximus ante s it a met tellus laoreet, a t congue lectus vestibulum. P roin n on t urpis blandit, facilisis ex sed, interdum purus. Nulla facilisi. Nullam posuere, tellus id euismod m aximus, arcu nulla p ellentesque est, a t rutrum n isi tellus at lectus. Nam quis e rat non purus bibendum s celerisque. Interdum e t malesuada fames ac ante ipsum primis in faucibus. Aliquam erat volutpat. Nulla facilisi. Curabitur ultrices e nim et e gestas s odales. Integer posuere scelerisque eros. In imperdiet enim porta massa tempus egestas. Donec et leo lorem. Sed elementum fermentum massa, ac sagittis neque volutpat et. In maximus eget felis at lobortis.
Fredella Agatha, (Co-Founder of Ide)
Ide adalah Banking Reinvented . Dengan Ide, penggu na memilik i kendali penuh dalam mengatur hidup dan keuangan melalui smar tphone dengan aman, mudah, dan cerdas . Ide membua t Life Financ e ada di ujung jari pengguna nya. Ide juga menawar kan banyak hal baru (yang tentuny a hanya ada di Ide). Selain dapat membuka tabungan melalui smartphone, tanpa perlu ke bank. Penggun a akan menemukan cara baru mengatur Life Financ e dengan $Cashtag , Save It, Send It, Pay Me, Split Bil, eCard, dll. Aplikasi perbank an revolusione r yang dilengkapi dengan kartu debit VISA untuk membant u melaku kan aktivita s finansia l seperti menabung dan juga bertransaksi , atau mengat ur keuangan dengan lebih aman, cerdas , dan simpel hanya dengan melalu i smar tphone berbasi s Android maupun iOS. Ide menjanji kan keamanan , kecepata, serta
COMPANY PROFIL E
ELECTRONIC USE ON
LY
Id e He lp : 1 80 0 9 91 or + 62 21 18 00 9 91
1000 2345 6000 123 4
VA LI D THRU
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12/2 4
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Debi t
AU THORIZED S IGNA TURE
Ka rt u in i m ili k PT B an k Id e Tbk. Ji ka d itemuk an h arap d ik embalik an ke c ab an g Ba nk I de t erde ka t.
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g
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- Tipografi Teks pada kata â&#x20AC;&#x153;Batagorâ&#x20AC;? merupakan sebuah typeface Creature. Adapun alasan dalam pemilihan typeface ini adalah untuk menjaga keselarasan dengan logogram yang memiliki kesan skeletal.
3. Aplikasi Desain Dalam latihan ketiga , format yang diminta untuk mengaplikasikan logo yang telah dibuat ada 3 yaitu : Kartu Nama, t-shirt, dan folder A4.
t-shirt
cover depan Page Before Visual Identity Design for Banking Application By Fredella Agatha
depan
belakang
This Page Visual Identity Design for Music Band By Natashia Salim
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hot cup
WAKTU KOPI
WAKTU KOPI
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47 Page Before Visual Identity Design for Coffee Shop By Natashia Salim This Page Visual Identity Design for Coffee Shop By Gwyneth Vannia
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BATAGOR
BATAGOR
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Kartu nama
Identify: The Fundamental Need of Indentification
RE
mobil box
RENJANA
For Better Living Experience
Page Before Visual Identity Design for Music Band By Tio Alfandri This Page Visual Identity Design for Furniture Store By Natashia Salim
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kasi Desain
u Nama
Barista
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umbul-umbul Identify: The Fundamental Need of Indentification
Variasi warna
18th Asian Games
Polo
o !"#$%&'(
ETE
ungi ri
18th Asian Games
!"#)*+,-/ other color ENERGY OF ASIA
17 - 24 Agustus 2020 Gelora Bung Karno Jakarta
3. Aplikasi Desain 18th Asian Games Dalam latihan keenam, format yang diminta untuk mengaplikasikan logo yang telah dibuat ada 6 yaitu : name tag, polo, totebag, umbul-umbul, jaket dan maskot . Masctot (Bhintungi)
!"#$%&'( a untuk mengaplikasikan Hoodie ag, polo, totebag,
odie
tumb
nametag
ATHLETE
ATHLETE
34.0546/12
Masctot (Bhintungi) Bhintungi pesepak bola
18th Asian Games tumblr
umbul-umbul
!"#)*+,-/ other color
ATHLETE
minimum size Bhintungi swimmer
18th Asian Games
,-./0&12 Bhintungi pelari
"%&' 18th Asian Games
(#)%&'
18th Asian Games
!"#$%&' +%&'
ENERGY OF ASIA
17 - 24 Agustus 2020 Gelora Bung Karno Jakarta
!#+%&' "#)("%&'
*#$%&' 18th Asian Games
!#+%&'
Page Before Visual Identity Design for Coffee Shop By Fredella Agatha This Page Visual Identity Redesign for Asian Games By Natashia Salim
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t Logo
Truk
Clear Sp
Penjabaran Identitas Visual Logo Renjana Furniture terdiri dari logotype, brandmark, dan tagline. Brandmark merupakan bentuk lampu klasik yang biasanya digunakan sebagai lampu tidur. Brandmark dibangun dari lampu klasik dengan sedikit modifikasi di bagian kepala lampu. Kepala lampu secara tersirat merupakan log kayu yang sudah dipotong. Log kayu merupakan indeks penggunakan kayu pada perabot Renjana Funiture. Sedangkan, lampu klasik digunakan sebagai simbol dari inovasi yang biasanya dilambangkan dengan lampu.
Folder
Aplikasi Design Kartu nama
Folder
i Warna
Fotografi
imary Color
Page - 93 - Latihan 05 - Proses Design Perancangan Logo Page - 91 - Latihan 05 - Proses Design Perancangan Logo
Page - 92 - Latihan 05 - Proses Design Perancangan Logo
INDEX.indd 93-94 INDEX.indd 91-92
econdary Color 124
03
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Page Before Visual Identity Design for Furniture Store By Fredella Agatha This Page Visual Identity Design for Music Band By Albert Rahardjo
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Foto Display
Page - 104 - Latihan 06 - Proses Design Perancangan Logo
03/03/2020 01:27:14
Page - 111 - Latihan 06 - Proses Design Perancangan Logo
ndd 111-112 Visual Identity Redesign for Asian Games By Fredella Agatha
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A4 Identify: The Fundamental Need of Indentification
APLIKASI
KOP SURAT
LIKASI
APHIC TEES
APLIKASI
TOTE BAG
INTERNATIONAL SCHOOL OF DESIGN
GSM latihan 7 (6)).indd 27
INTERNATIONAL SCHOOL OF DESIGN
27
27/04/2020 09:55:10
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ang dipakai adalah vertical format. iletakkan di bagian kanan atas Logo: Logo terletak pada kiri atas.
graphic: andise T-shirt menggunakan rafis Tipe 2a: Bidang datar dengan padat hanya 1 baris. Supergrafis kan di bagian bawah kaos.
APLIKASI
Supergraphic: Merchandise Totebag atau Canvas bag Menggunakan supergrafis Tipe 2a: aplikasi Bidang datar dengan bagian padat 3 baris.
NOTEBOOK
e cetak: T-shirt, Logo dan supergrafis on, bukan dibordir.
Metode cetak: Sablon.
PLIKASI
NYARD & CARD
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Size: 8.5x12 cm Logo: Menggunakan Vertical format logo dengan lebar yang disesuaikan berdasarkan jumlah kotak yang dihilangkan pada supergrafis. Logo diletakkan di kiri atas.
Final Project Visual Identity By Jessine Suliang, Kimberly Mulia & Geraldine Karnadi
Supergraphic: Menggunakan supergrafis tipe 1: Background application dengan jumlah kotak 2x3. kotak bagian kiri atas dihilangkan untuk logo.
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The last layer of communication is persuasion, in which the change of behavior or attitude is believed possible with an effective design solution. One way of creating effective communication is to brand communication in the audienceâ&#x20AC;&#x2122;s perception. Branding is known as a process to build awareness, and it is done by using every opportunity to communicate with people about the brand (or message) (Wheeler, 2009, p. 6). The idea of branding through graphic design is also a followup from the notion of graphic design as a visual representation. Through consistent and comprehensive representation, the audience can relate and be branded with an image. To achieve effective branding, graphic designers had to understand their audiences well. Only after they understand their audience can graphic designers set their targets and goals of communication. Assignments in the final stage of design study are complex and comprehensive design projects that simulate real project which includes various stakeholders. In this class, students are introduced to various context and variables that require the student to be adaptable in various situations. The object of design tasked within the class is also often connected, hence creating a long term project for the students that tests their consistency while challenging their creativity. The final element yet to be included within the discussion is the audience. All design is said to serve a purpose, and one of the main purposes of communication design is to communicate to the audience. The understanding of the audience in a design work enrichens the designer to a deeper understanding of what the design can and maybe. The audience sometimes had a certain language that had to be understood by the designers so that the communication may arrive at a similar frequency with the audience. After understanding the final aspect of the communication model, the students are expected to understand the whole visual communication process taught in the department.
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Persuade: The Mandate of Persuassion
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 Persuassion
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 Persuassion
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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Persuade: The Mandate of Persuassion
Branding & Packaging - Kalsisoes By Livia Margarita & Priscilla Josephine
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Persuade: The Mandate of Persuassion
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 Persuassion
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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Persuade: The Mandate of Persuassion
Page Before Branding & Packaging - Caverly By Hana Irena This Page Branding & Packaging - Banazel By Natasha Christina Gondo
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Persuade: The Mandate of Persuassion
Page Before Branding & Packaging - Fortune Chick By Rahel Kristhea This Page Branding & Packaging - Get To Yu By Kelvin
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Persuade: The Mandate of Persuassion
Branding & Packaging - Tulaboocha By Tiffany
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Persuade: The Mandate of Persuassion
SQU
Figur 37 | Kemasan Sekunder Squink Stick (Tampak Depan)
CONDARY PACKAGING
ondary packaging (kemasan sekunder) merupakan masan yang fungsi utamanya adalah untuk keperluan nding display dan juga keperluan logistik lainnya (Saxon kaging 2017). Selain itu, kemasan sekunder juga unakan untuk perlindungan dan penyimpanan beberapa masan primer, serta untuk keperluan display beberapa masan primer secara sekaligus (Saxon Packaging 2017).
uk kemasan sekunder, Squink Stick menggunakan suatu ak karton berukuran 21,5 cm x 7,3 cm x 10,5 cm. Satu masan sekunder ini memuat tiga varian rasa Squink Stick sinil, keju, dan rumput laut) secara sekaligus. Bentuk ak ini juga dibuat dengan pemikiran agar dapat disusun Figur 36 | Kemasan Squink Stick dengan ara bertumpuk ke atasprimer maupun kesamping. Pada varian bagianrasanya. 168 an kemasan ini, terdapat bolongan yang cukup besar
Persuade: The Mandate of Persuassion
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Page Before Branding & Packaging - Jaipong By Jesslyn Kotandi This Page Branding & Packaging Squink Stick By Nessie Gunardi Branding & Packaging - Elegum By Clarissa Laurencia
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Branding & Packaging - Wobble By Jemima Deka
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Branding & Packaging - Taloaf By Yehezkiel Penalosa
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Chapter 2 Lecturers Brian Alvin Hananto, Ellis Melini, Juliana Suhindro Putra, Julianto, Leonardo Widya, Meivina, Njoo Dewi Candra Kertasari, Valerie Wiraatmadja, Winoto Usman
Students Andreas Wijaya, Angela Nadya, Febrianti Setiana, Felicia Kristella, Felicia Violetta, Fredella Agatha, Geraldine Karnadi, Gwyneth Vannia, Jennifer Claudy, Jessine Suliang, Jesslyn Kotandi, Kelvin, Kimberly Mulia, Lorentius Calvin, Michelle Widjaya, Natasha Salim, Natasha Dian, Nessie Gunardi, Novie Carolina, Phrasasti Catelleya, Priscilla Josephine, Rafi Krisananda, Saskia Rachell Yahya, Shella Subagia, Shefira Marcelline, Stephanie Nathania, Tifani Nathania, Vincent
Karnadi, Gwyneth Vannia, Jeff Daniel Riyanto, Jessine Suliang, Jesslyn Josephine, Jesslyn Kotandi, Jesslyn Oh, Juan Justianto, Kartika Magdalena, Kimberly Mulia, Kelvin, Lorentius Calvin, Malvin Joshua, Michelle Evangelyn, Michelle Widjaya, Natashia Salim, Nessie Gunardi, Novie Carolina, Rahel Kristhea, Raydita F., Shella Subagia, Stefanus Togu, Stephanie Alvionita, The Jemima Deka Jenaya, Tio Alfandri, Tiffany, Yehezkiel Penalosa
Chapter 4 Lecturers Ade Maradona, Brian Alvin Hananto, Ernest Irwandi, Chandra Djoko, Christo Wahyudi, Karen Steffi Halim, Meutia Parahita, Rerry Isfandriani, Siswanto Sidharta, Sutopo Singgih
Students
Chapter 3 Lecturers Ade Maradona, Anastasia Callista, Brian Alvin Hananto, Christo Wahyudi, Ferdinand Indrajaya, F. X. Damarjati, Lia Herna, Meivina, Njoo Dewi Candra Kertasari, Rerry Isfandriani, Siswanto Sidharta, Sutopo Singgih
Students Albert Rahardjo, Angela Maria Nadya Sujanto, Chrisya, Clarissa Laurencia, Dea Gabriela, Diva Victoria, Edwin Samudra, Eldad Timothy, Erlis Leoni, Fanny Lie, Febrianti Setiana, Felicia Kristella, Fredella Agatha, Geraldine
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Amira, Angelina Budiman, Celine Wisuna, Clarissa Laurencia, Fanny Lie, Febrianti Setiana, Felicia Kristella, Felicia Violetta, Hana Irena, Helen Tristanti, Jemima Deka, Jennifer Audiah, Jesslyn Kotandi, Kelvin, Kezia Octavia, Livia Margarita, Malvin Joshua, Marleena Tedja, Nabila Yasmin, Nashya Rahmawita, Natasha Christina Gondo, Natasha Dian, Nessie Gunardi, Novie Carolina, Paradisa Chirana, Priscilla Josephine, Rachael Eleanor, Rafi Krisananda, Rahel Kristhea, Samantha Jolene, Saskia Rachell Yahya, Shella Subagia, Shelley Christine, Shienny Wongso, Stephanie Alvionita, Tiffany, Triska, Vanessa Allegra, Yehezkiel Penalosa
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. Wheeler, A. (2009). Designing Brand Identity (3rd Editio). New Jersey: John Wiley & Sons.
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