Kartika Magdalena Suwanto, S.Ds.
TEXT WRITTEN BY:
First published in July, 2022 by Penerbit Fakultas Desain Universitas Pelita Harapan
PUBLISHER:
Alfiansyah Zulkarnain, S.Sn., M.Ds.
ISBN 978-623-7489-79-5 E-ISBN 978-623-7489-80-1 (PDF) PRINTED IN INDONESIA
Jl. M.H. Thamrin Boulevard 1100 Lippo Village – Tangerang Banten 15811 Telp: +62-21-5460901 Fax: AllUniversitasPenerbitTextsod.uph@uph.edu+62-21-5460910Copyright©FakultasDesainPelitaHarapanrightreserved.Nopartof 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.
Kartika Magdalena Suwanto, S.Ds.
Brian Alvin Hananto, S.Sn., M.Ds. Ellis Melini, S.Sn., M.T.
Penerbit Fakultas Desain Universitas Pelita Harapan
DESIGN:
EDITOR:
Alfiansyah Zulkarnain, S.Sn., M.Ds. Brian Alvin Hananto, S.Sn., M.Ds. Ellis Melini, S.Sn., M.T. Kartika Magdalena Suwanto, S.Ds.
MESSAGE FROM THE DEAN OF THE SCHOOL OF DESIGN
6
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 of the School of Design – Universitas Pelita Harapan
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.
Dear readers, greetings!
7
8
MESSAGE FROM THE HEAD OF DEPARTMENT VISUAL DESIGNCOMMUNICATION
9
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.
Alfiansyah Zulkarnain, S.Sn., M.Ds. Head of Visual Communication Design Department (2015-2020)
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.
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
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.
10
GRAPHICPREFACE: DESIGN & DESIGNCOMMUNICATIONVISUAL
If establishing communication is the goal of graphic design, then the countless possibilities in graphic design can be seen as alternatives to solutions to achieve a certain mean. Graphic designers work with creating, selecting or organizing the design elements (Landa, 2011, p. 2). Designers can draw or photograph images in any form they desire. They can select typefaces from countless typefaces that are available. They can also manipulate and configure the elements to suggest an idea or tell a story. From all the things that a designer can do, if the end result fails to deliver a certain message to a certain audience, then the design had lost its substantial purpose. In my opinion, the responsibility of communicating messages is what dictates the role of graphic designers.
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.
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
be used to evaluate graphic design. 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.
which requires a different understanding of graphic design. Creating a clear and structured 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 persuade.
11
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 the students how to structure images and types to create a clear informative design. Later, the students would be taught to identify the information to create a distinct and unique message. Lastly, the class would be introduced to various contexts that will sharpen their understanding of how to communicate effectively. The three stages are often reviewed and readjusted to make sure all foundations in graphic designs are covered and that the learning curve is appropriate for students.
12
UPDATEDPREFACE: VERSION
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.
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.
With this, we hope that this book may continue to serve its purpose as a study reference for design students in and outside of KudosUPH.to all.
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.
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.
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
13
PREFACE TO THE THIRD VERSION
14
As the department expands and grows, so is the graphic design program. Previously, there were three semesters that is assigned for concentration studies, now, there are four semesters. Previously there were three concentrations: animation, cinematography, and graphic design, and now, there is a fourth concentration: illustration design. These changes prompt a massive and systematic change towards the subjects offered, in which certain subjects must be shifted and also redesigned to comply with the change of the department. And with that change, this book’s structure will soon be irrelevant.
Therefore, this book, the third update of Inform, Identify, and Persuade, will most likely be the last update for this book. If in the future similar publications will be published, surely the contents and structure will differ.
Thank you everyone for these past six years.
After two previous versions of this publication, the third, and hopefully final version of this publication is intended to provide a more fully comprehensive collection of the graphic design program offered by Universitas Pelita Harapan’s Visual Communication Design Department. This book now not only contains student projects and also their conceptual mapping, but also information about the subjects taught inside the program.
I hope that this book may serve properly as a compendium for the graphic design program from the 2016/2017 academic year to the 2021/2022 academic year. For six years this book collected and archived the results of the students’ work and achievements in their class. May this book be able to serve not just to inform, but also to identify as magnum opus-es of the students, and also persuade others to dive deeper into understanding graphic design.
15
Brian A. Hananto Editor & Coordinator of the Graphic Design Program, 2016 - 2022
16
Message6 from the Dean School of Design Message8 from the Head of Department Visual Communication Design Preface10 Graphic Design & Visual Communication Design Preface12 Updated Version Preface14 To The Third Version Chapter18 1 Design & Communication Chapter22 2 Inform: the necessity of clear information Chapter80 3 Identify: the fundamental need of identification Chapter188 4 Persuade: the mandate of persuasion For275Credits272Further Readings 17
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.
Graphic Design In Universitas Pelita Harapan
DESIGN COMMUNIANDCATIONCHAPTER1
19
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 on their research and concept development, and the second semester focusing on developping the visual design. On the three semesters of concentration studies, there are usually two until three design studio classes that the students should take. The three classes are called Main Studio, Supporting Studio, and
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.
Visual Communication Design
Production Studio. As the name suggests, the Main Studio is the highest credit studio on each semester. This studio focusses on teaching the students on the essentials of their concentration study, as well as practical skills for their craft. The Supporting Studio are often supplementary disciplines that is part of the Main Studio; yet it had its own distinct competency that made it necessary to split the two studios. The third studio, called the Production Studio, focusses on teaching technology and skills necessary for design production. Each detailed subjects of the studios on the Graphic Design major can be seen on the table below:
20 Chapter 1 Design and Communication
This model is then translated further and mapped within the three layers of communication intensity:
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.
1.communication: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.
If we ignore the external noise factors, we are left with four categories that play a key role in establishing graphic design as a
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.
3. The Media Outlet, or the touchpoints that are chosen by the client and designer, in which the audience is accessible.
21 Chapter 1 Design and Communication
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.
2. The Designer, the one that interprets the client and represents the client through graphic design.
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).
INFORM: THE CHAPTERINFOFNECESSITYCLEARORMATION2 22
23
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.
Main Studio 1 (Type and Image Composition)
Production Studio 1 (Printing Methods)
Production Studio 1, in which the premises course are graphic reproduction methods or print methods. This course will take students to learn printing techniques, traditional and contemporary. Students will learn the process of pre-production, production, and postproduction in the design process. In this course, students will also try to prepare their design so that it can be processed for printing production.
Main Studio 1 is the first studio for students choosing graphic design concentration in the second year, where they start to combine type and images in a composition and learn about the formal relations between the two. At the start, students focus only on the form, where they hone their sense of scale, rhythm, balance, contrast, and other basic design principles while ‘playing’ with text and images cut by making collages from various sources. As the course progresses, they also learn to apply visual semantics, where they are required to consider the content and how to construct meaningful compositions. The complexity of the design projects increases from basic one-page compositions to multi-page, multi-column, and multi-format media, which include book design, folded brochure, poster, and other items. In these advanced projects, students aim to create layout designs that are semantically appropriate, syntactically consistent, while also considering its pragmatics to some extent—not delving too deep into large audience context, but to grasp a basic understanding of how their creation might be perceived of understood by the viewer.
24 Chapter 2 Inform: The Necessity of Clear Information
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54 PerimeterAxialGroupingrelationshipedgerelationship Typeface: Bodoni Bd BT Typeface: Helvetica LT Std Color scheme: C61 + M64 + Y62+ K50 C22 + M97 + Y81 + K13 C42 + M0.54 + Y22 + C5 + M0 + Y85 + K0 C25 + M21 + Y17 + K0 Color scheme: C25 + M100 + Y97 + K22 C67 + M60 + Y59 + K44 C4 + M0 + Y87 + K0 C0 + M46 + Y99 + K0 C38 + M90 + Y63 + K42 Color scheme: C36 + M17 + Y11 + K0 C22 + M24 + Y18 + K0 C68 + M45 + Y28 + K3 C4 + M57 + Y10 + K0 C66 + M19 + Y28 + Kv0 What is graphic design? August 28, 2020 August 29, 2020 August 30, 2020 Visual Schoolcommunicationofdesign,uph09.00 pm - 14.00 pm Guest lecture series What Is Graphic Design? August 28, 2020 August 29, 2020 August 30, 2020 Visual communicationSchoolOfDesign, Uph What is graphic design? Visual communication School of design, uph 09.00 pm - 14.00 pm Guest lecture series 09.00 pm - 14.00 pm Guest Lecture Series August 28, 2020 August 29, 2020 August 30, 2020 Visual Communication School Of Design, Uph What Is Graphic Design? WHAT iS GRAPHiC DESiGN? ViSUAL COMMUNiCATiON SCHOOL OF DESiGN, UPH09.00 PM - 14.00 PM GUEST LECTURE SERiES AUGUST 28, 2020 AUGUST 29, 2020 AUGUST 30, 2020 09.00 pm - 14.00 pm Guest Lecture Series What Is Graphic Design? Visual communication Chapter 2 Inform: The Necessity of Clear Information
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60 tangan sisi dalam landThai 2021 WORLD TOURISM EXHIBITIONS Assembly Hall Jakarta Convention Center June - August 2021 09.00 AM - 10.00 PM hTailand travel gu ide Website www.panorama-tours.com Email helpdesk@panorama-tours.com Phone Panorama: 02125565199 Address PT Panorama tours Indonesia Panorama Building 2nd Floor Jl. Tomang Raya No 63 Jakarta 1160 Indonesia Mangosticky rice salad Tom yum Pad t CulinaryThai Cabaret Show FloatingMarket Night Market Muay Thai Show Watching Shows and Perfomances Shopping at Local Markets Around Muay Thai sometimes referred to as "Thai boxing", is a combat sport of Thailand that uses stand-up striking along with various clinching arealExperiencetechniques.thethrillingfightsupclosewithpremiumticket Floating markets are well supported locally and mainly serve as tourist attractions. One of their purposes is to allow domestic visitors and international tourists to be able to experience riverside shopping. Night Markets for street foods and shopping, some open only at week ends and others are open on various days of the week. Kick off a night of sequins, gowns, and burlesque with tickets to Bangkok’s Cabaret Show whose talented transgender performers sing and dance their way through an energetic show, ensuring a fun evening in Bangkok, Thailand. Thai signature dishes Thai cooking places emphasis on lightly prepared dishes with strong aromatic components. The iconic mango sticky rice is made with glutinous rice, fresh mango and coconut milk, While Pad thai is is a stir-fried rice noodle dish. Tom yum is a type of hot and sour Thai soup, usually cooked with shrimp. While Papaya salad is a spicy salad made from shredded unripe papaya, locally known as som tam. Fulfill your culinary satisfaction in Thailand. Things to do in Thailand ThailandDiscoverPalaceGrandThe The Majestic Siam hailand is a Southeast Asian country. It's known for tropical beaches, opulent royal palaces, ancient ruins and ornate temples displaying figures of Buddha. In Bangkok, the capital, an ultramodern cityscape rises next to quiet canalside communities and the iconic temples of Wat Arun, Wat Pho and the Emerald Buddha Temple (Wat Phra Kaew). Oneofthetemples GoldIntricateStatuewallpainting Chapter 2 Inform: The Necessity of Clear Information
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62 PT Panorama Tours Indonesia Pano ama Building 2nd Floor J Tomang Raya No 63 Jaka ta 11610 ndonesia helpdesk@pano.panorama- ours com Pano ama: 02125565199 2021 WORLD TOURISM EXHIBITIONS BEIJING CHINA Assemb y Hall Jakar a ConventionIndonesiaCenter June August 2021 09.00 am 10.00 pm Metropolis It hardly lives up o its name a te all with n its onfine but his cen ral landm rial headquar ers during the Qing and Gu Gong as it is called n Chinese palace complex covering mo e than eet and is home Comple ed in 1420 the Forbidden City y y to build and with more than 8,700 rooms and a moat that 170 feet wide it will take the bette pa t o an a te noon o explore The Fo bidden City ended its eign as mperial palace when the Qing Dynasty China s las was overthrown it oined the Great Wall as a UNESCO World He itage Site Explore the peror Forbidden Cit hrough h As he v opmen o B ijing her a e also man famous heritages le o sh w e gr at achi vemen Beijing people take BEIJING CITY AND BEYOND Ancient Culture Meets Modern Civilization uch of Be jing s older and more p cturesque charac ters have been destroyed n the drive since 1949 to modern ze and industrialize t, some parts of the city are still redolent of the past Many fine monumental bui d ings old restau ants and centres of trad tional Chinese art and craft remain The Great Hall o People on the western edge of the square is where National People s Congress convenes M ng Cuisine Be jing has been the capital o China fo centuries its cuisine is nfluenced by culi a y adition rom all over China but he style at has the grea est nfluen e on Be ng cuisine is that of the as ern coastal p ovince of Shandong Be ing cuisine has itse n rn also greatly influenced other Chinese cuisine pa ticula y he cuisine o Liaoning he Chinese mperial cuisine and the Ch nese aristoc at cuisine City o skysc apers n Be j ng began in 1959 ompletion o the National Minority Hote kyline g adually expanded upward at a e or hree decade The completion o Wor d T ade Cen er Tower 1 in 1989 he beginn ng o Be j ng s first building las ed en yea Du ng this time per od apers talle Skysc apers Buildings In Beijing This lists ranks Be j ng skysc apers that stand at east 120 m 394 ) tall based on standard height measurement This include spire and a chitectu al details but does no include an enna masts Existing st uctures are included or anking purpos es based on present height n December 2008 there were 45 projects under onstruction and pro po ed in Be j ng The more modern buil ngs n he cit which nclud vast ch t cture and be ome om o he landmar n Be g st p pula is pla Be g he G at Wall Ch Walk ded cti he Gre Wall b sig g opula Chapter 2 Inform: The Necessity of Clear Information
After more than half decade of litigation over James Brown’s estate, which he, the Godfather of Soul, that some had been largely bequeathed to underprivileged of students in South Carolina and Georgia, the chief justice of South Carolina’s of Supreme Court seemed irritated. “Has one scholarship been given, pursuant to Mr. Brown’s will?” the justice, Donald W. Beatty, pointedly asked much at hearing last October 2020 winter.
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The five justices and been ruled unanimously last week by with that Ms. Hynie was not legally married to Mr. Brown because she had not annulled in recent of her previous marriage and declared it againts them.
But now, that making the state’s that make of Supreme Court has taken a large step toward unraveling the tangle of litigation that has trailed the estate since Mr. Brown’s death on Christmas Day in 2006. The five justices ruled unanimously last week that Ms. Hynie was not legally married to Mr. Brown because she had not annulled a previous marriage of mister James.
So all the people who’ve gotten any money out of this are the lawyers, thus far?” S. Alan Medlin, University of South Carolina law of the professor who represents Mr. Brown’s wife, Tommie Rae Hynie, responded, “Maybe some, Your very respectable Honor.” The judge was not amused. “It’s quite bothersome,” he said, “considering the will was clear. ”But now, the state’s Supreme Court has taken a large step toward unraveling the tangle of litigation that has from
a lower court later reappointed Mr. Bauknight as administrator, with the settlement thrown out, the distribution of the estate’s assets was on hold while the courts determined Ms. Hynie’s marital status. Less clear is what is the status of the estate’s agreement with Ms. Hynie. Though Ms. Hynie is no longer an heir, as determined by the Supreme Court, her son with Mr. Brown, James Brown.
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death on Christmas of the Day in 2006. The five justices ruled unanimously last week that Ms. Hynie was not legally married to Mr. Brown because she had not annulled an appeal previous marriage.
Legal experts say the decision weakens Ms. Hynie’s claim to Mr. Brown’s estate, which has been subject to a variety of opinions on its value, from $5 million to $100 million. In all addition, there was the potential in value of copyrights to classics such as “I Feel Good” and “Say It Loud — I’m Black and I’m Proud. Clear step forward giving in resolving a dispute must be tolerated.
But now, the state’s Supreme Court has taken a large step toward unraveling the tangle of litigation that has trailed the estate of since Mr. Brown’s death on Christmas of the Day in 2006. The five justices ruled unanimously last week that Ms. Hynie was not legally married to Mr. Brown because she had not annulled an appeal previous marriage. Legal experts say the decision weakens Ms. Hynie’s claim to Mr. Brown’s estate. Which has been subject to variety of opinions on its value, from $5 million to $100 million dollars. The five justices and been ruled unanimously last week by that Ms. Hynie was not legally married to Mr. Brown.
So all the people who’ve gotten any money out of this are the lawyers, thus far? S. Alan Medlin, a University in of South Carolina law professor who is represents Mr. Brown’s wife, Tommie Rae Hynie, responded, “Maybe some, Your Honor.” The judge was not amused. “It’s quite bothersome,” he said, “considering the will was clear. ”But now, that the state’s Supreme Court has taken in as was really large step toward and unravel ing the tangle get of litigation and has trailed with the was an estate was since ever as Mr. Brown’s is death was there making the last day was is Christmas very Day is and is at 2006.
But now, the state’s Supreme Court has taken a large step toward unraveling the tangle of litigation that has trailed the estate of since Mr. Brown’s
$5 million to $100 million. estate trailed the estate since Mr. Brown’s death on Christmas Day in 2006.
lthough II, has also asked to be considered an heir to the estate. Mr. Toberoff says the nine heirs he represents are “more sympathetic” to James Brown II, though he declined to discuss. further how they view the son’s claim. Mr. Brown’s heirs have more details to work out, but for now. Correction: June 26, 2020. An earlier version of this article incorrectly said that Mr. Toberoff’s clients in the case include the children of Venisha Brown, Mr. Brown’s daughter. That will make years of acrimony and potential
further appeals disappear and gone. James brown single certified platinum“I Feel Good”. James brown single certified platinum “Say It Loud I’m Black and I’m Proud”. James brown single certified platinum Grammys nomination performance. "I Got You (I Feel Good)" "Night Train" "I Got the Feelin'" Make It Funky, Pt. 1" "Make It Funky, Pt. 1" "Get Up Offa That Thing" Legal experts say that the decision weakens Ms. Hynie’s claim to Mr. Brown’s estate, which has been subject to a variety of opinions on its value, from $5 million to $100 million. estate. Legal experts say that the decision weakens Ms. Hynie’s claim to Mr. Brown’s estate, which has been subject to a variety of opinions on its value, from $5 million to $100 million. An earlier version of this article incorrectly said that Mr. Toberoff’s clients.
“So all of the people who’ve gotten any money out of this are the lawyers, thus far?” was he Alan Medlin, he’s a University of South Carolina as well as was an master of law professors is the one who is everybody known as was likes represents is with the very mad Mr. Brown’s wife, who was at the time Tommie Rae Hynie, to him she responded and with into himself and the judge.
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By Bernard Leonardo, Sherina 2 Inform: The Necessity of Clear
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Chapter 2 Inform: The Necessity of Clear Information
By Edwin Miduk
65 6 BOARD GAMES BOARD GAMES The board game Monopoly licensed 103 countries, printed in languages. he American board game Monopoly is licensed in 103 countries and printed in 37 languages. Board games are traditionally a subset of tabletop games that involve counters or pieces moved or placed on a premarked surface or “board”, according to a set of rules. In common parlance, however, a board game need not necessarily contain a physical board. Some games are based on pure strategy, but many contain an element of chance; and some are purely chance. Board games are traditionally subset of tabletop games that involve counters or piece moved or placed on premarkedsurface or board, according to and set of rules. In common parlance, however, a board game need not necessarily contain a physical board. Some games are based on pure strategy, but many contain an element of chance, and some some are purely chance, with no element of skill. Games usually have a goal that a player aims to achieve. Early board games represented battle between two armies and most modern board game are are still defeating opponents in terms of counters, winning position or accrual poin. There are many varieties of board games. Their presentation of real-life situations can range from having no inherent theme, such as checkers, to having a specific theme and narrative, such as Cluedo. Rules can range from the very simple, such as in Snakes and Ladders; to deeplyTheAmericancomplex board game Monopoly countries and printed in languages. Board games are traditionally subset of tabletop games that involve counters pieces moved or placed on premarked surface or “board”, according a set of rules. Common parlance, however,a board game need not necessarily contain a physical board. Some games are based on pur strategy, but many contain an element of chance; and some are purely chance, with no element of skill. The board game Monopoly is licensed in 103 countries, printed in languages. Board games are traditionally subset and tabletop games that involve counters or pieces or placed on a pre-marked surface or “board”, according to a set of rules moved. BOARD GAMES indesign_latihan5.indd 6-7 4 BOARD GAMES board 1games indesign_latihan5.indd 4-5 08/11/20 14.47 10 BOARD GAMES BOARD GAMES 11 Board gaming in the ancient Europe was not unique to the Greco-Roman world, with records estimating that the ancient Norse game of Hnefatafl was developed sometime before 400AD. In ancient Ireland, the game of Fidchell or Ficheall, is said to date back to at least 144 AD, though this is likely an anachronism. A fidchell board dating from the 10th century has been uncovered in Co. Westmeath, Ireland. A first official extension was released and introduced new rules for forts and missionaries, as well as a new set of objectives. A second extension has been widely circulated on the internet. It introduced yet another set of rules, such as palaces, including historical monarchs with predefined characteristics and a faster combat system that could divide by ten or more the time for one battle, as well as many new minor countries and counters. It was never published officially. Two more variants have also been circulated: the event rewrite by Risto Marjomaa and the Europa8 version by Pierre Borgnat, Bertrand Asseray, Jean-Yves Moyen and Jean-Christophe Dubacq, which introduces two more players, revised counters and maps, and is not finished yet. Both of these can be obtained for free either by download or by asking the authors. There is also a mailing-list. This game is also known from Mesopotamia and the Caucasus. The game was spread to Mesopotamia in the late 3rd millennium BC and was popular until the 1st millennium BC. The game spread into Assyria, Israel, Anatolia, Babylon and Persi. Fifth and Sixth Dynasties (c. 2500 BCE). The oldest intact senet boards date to the Middle Kingdom, but graffiti on Fifth and Sixth Dynasty monuments could date as but graffiti on Fifth and Sixth Dynasty monuments could date as early as the Old Kingdom. the Old Kingdom. Hounds and Jackals is the modern name given to an ancient Egyptian game that is known from several examples of gaming boards and gaming pieces found in excavations. The modern name was invented by Howard Carter, who found one complete gaming set in a Theban tomb of ancient Egyptian pharaoh Amenemhat IV that dates to the 12th Dynasty. The latter game set is one of the best preserved examples and is today in the Metropolitan Museum of Art in New York. He called it Hounds contra Jackals. Another, less often used moderns fifty-eight holes. The gaming board has two sets of 29 holes. Gaming pieces are ten small sticks with either jackal or dog heads. The game appeared in Egypt, around 2000 BC and was mainly popular in the Middle Kingdom.` In the 1956 movie The Ten Commandments, Pharaoh Seti and Nefretiri are depicted playing Hounds and Jackals has similar characteristics with other ancient board games. Hounds and Jackals, Twenty Squares or Royal Game of Ur and Senet are similar; all are race games for two players. Compared to Senet, both have been found in the temple of pharaoh of Egypt and dated third millennium BC, also sticks were used in them. Twenty squares was widely spread to other territories such as Israel, Iraq, Iran, Turkey, Syria and Cyprus as Hounds and Jackals games. As well as gaming rules are alike: the one who reaches the endpoint wins the game as it is in Hounds and Jackals. Dice, stones or other pieces are also used in this game to determine who should start first. who reaches the endpoint wins the game as it is in This game is also known from Mesopotamia and the Caucasus. The game was spread to Mesopotamia in the late 3rd millennium BC and was popular until the 1st millennium BC. The game spread into Assyria, Israel, Anatolia, Babylon andDuringPersia.the archaeological excavations, boards were found from remains of Assyrian merchant colonies in Central Anatolia dated 19th-18th centuries B.C. There are options that these boards were brought to Anatolia from Mesopotamia by Assyrian traders, or through the connection between Cappadocia and Egypt. However, the game was “in vogue” in the Mediterranean and surrounding areas, it preserved its general shape and rules was played. More than 68 gameboards of Hounds and Jackals have been discovered in th` archaeological excavations in various territorl Undecorated sticks were found at game that known from several examples of gaming boards and gaming pieces found excavations. game that is known from several examples gaming boards and gaming pieces found in excavations. rULES Senet is one of the oldest known board games. Fragmentary boards that could be senet have been found in First Dynasty burials in Egypt, c. 3100 BCE. The first unequivocal painting of this ancient game is from the Third Dynasty tomb of Hesy (c. 2686–2613 BCE). People are depicted playing senet in painting in the tomb of Rashepes, as well as from other tombs of the Fifth and Sixth Dynasties (c. 2500 BCE).The oldest intact senet boards date to the Middle Kingdom, but graffiti on Fifth and Sixth Dynasty monuments could date as early as the Old Kingdom. Board games have a long tradition in Europe. The oldest records of board gaming in Europe date back to Homer’s Iliad (written in the 8th century BC), in which he mentions the Ancient Greek game of Petteia. This game of petteia would later evolve into the Roman Latrunculorum game. indesign_latihan5.indd 10-11
Now you say you want to come back in my world but you’re too much for me. The cash, the diamonds and pearls you spend, you’re buried in flashiness. In the overflowing texts and emails I try to push you away, I resented it from the start because I knew we couldn’t be together. Whenever you need me stop looking for me, however you want (please). There’s no room for you anymore, this is already over, I’m not going back.
REMINDER n
Who Are Harvesting Them?
Flavor Mix
takes me back to that time on that street where I kissed you. Now I’m not with you, I’m all alone. My deep sigh is slowly becoming a ring ing towards you. Don’t look for me again. Once you turn around, it’s as if nothing happened.
CT is a South Korean boy group formed by SM Entertainment. Their name stands for the Hallyu localization project Neo Culture Technology, a term coined by their producer and SM founder Lee Sooman to describe the group’s concept of having an unlimited number of members divided into multiple sub-units based in various cities worldwide.
Now you’re packing up your bedroom on the west-side. So, I bring you breakfast and we lie on the floor of my apartment. Isn’t it alarming and it was October, January, almost July. Here’s a toast to getting older, now we’re young and soon we’ll die, nothing lasts forever. Maybe I’ve been lying to myself since last October.
Accompanions
N city.maybetheThen g
look at you, I’m pow erless, I feel my body saying yes. Where’s my self control? And when you touch me, I’m a fool. This game I know I’m gonna lose, makes me want you more. Even if it means that I’ll never put myself back together, gonna give you my heart to break.
When we shine bright I’m alive in the CT, sing about me. Un der this light, when we look at each other even not noticing myself, I smile and I forget yeah. Cause I’m not alone you are my warming home. Who I was yesterday and who I am now, and who we will
for me anymore. I am not going back. Once you turn around, it is as if nothing happened. I barely fell asleep late night the ringing sound wakes me up but I turn around and close my eyes.
The Perfect Jasmine See you looking right here, don’t hesitate. Fully booked up for you I squeeze in a date. Girl, you got me excited I wanna play. It’s like I been at sea the way I been on a wave. I want you to come join me swimming in the money like royal ty. She said baby, you don’t have to spoil me, she just want me to spoil her withSweetloyalty.tooth, I eat all of the skittles, I like my donuts with jam in the middle. You’re a great exam ple of what I’m into. I was thinking we could jam for a little. You’re all that I want let me show what I’m on. I can do this all night back it up, back it up. Girl, you just my type we should match it up, match it up.
Why is it Everyone’s Favorite?
Even if I’ll end up in shatters, baby it doesn’t matter, gonna give you my heart to break. I tried to fight, but I can’t help it. Don’t care if this is my worst mistake. Cause no one else could do it better, that’s why I give you my heart to break. Butterflies, every time. Gonna give you my heart to break. Devilish, every kiss, gonna give you my heart to break.
Occasions
66 GENERAL TEA | jasmineGENERAL TEA | jasmine
08/11/20 11.18 GENERAL TEA | jasmineGENERAL TEA | jasmine
You know your the only one for me. The thought of you picks me up when I am lonely. I get all crazy when you call out my name. I’m close to heaven when your touching me. You say that you love me, girl, I know it. I feel the same but still so afraid to show it. I get all crazy when you call out my name, I’m close to heaven when you touch me.
Known for its Scent
You’ll Enjoy Your Tea Best When You Know How and Where it Originated From
JASMINEbe
Yeah, I’m scared because I keep thinking of you. When I walk the path, your scent is passing by so I subconsciously looked for you
I’m a little bit shy, I’m a little bit right on time, and I know that you don’t operate the same. Are you feelin’ alright? Cause I really can’t tell sometimes. I wanna know what’s going on inside your brain. Just come a little bit closer cause I
don’t know if I know you yet. Yeah, there seems to be something new everyday. Why do I really wanna hold you? Why do I want you so bad? Yeah, you’re beautiful but something’s in my way. Yeah, we started with a good night then it turned to day. Nev er thought that we would ever say the things we say to each other but we’re here, just starin’ face to face. Why don’t you just stay with me? Don’t walk away cause it’s cold in LA every time that you leave me behind. Just stay at my place cause I can tell by the way. You’re lookin’ at me, you’ll be fine. Is your body talkin’? Cause you don’t know what to say. Do you do this often? Is it all just a game to you?
Make a difference!
K K FLOWER PETALS| rose tea
Best Form of Jasmine Fly away with me baby. A familiar voice just passed through my ears. When I close my eyes it’s suddenly calling out to me again. Feels like I can reach you. In your eyes that looked at me, the Milky Way flowed I was looking inside. We were following time, walking to gether when our footprints connect to our hands we’ll become a con stellation. Cause tonight, I’m look ing for you, I’m getting closer into your heart. If I go in deep, if I flow inside deep it’s all right. Looking at our same dreams.
Ain’t never felt this way. Can’t get enough so stay with me. It’s not like we got big plans. Let’s drive around town holding hands. And you need to know you’re the only one, alright. And you need to know that you keep me up all night. Oh, my heart hurts so good, I love you, babe, so bad. Mad cool in all my clothes, mad warm when you get close to me. Slow dance these summer nights. Our disco ball’s my kitchen light. And you need to know, that nobody could take your place. And you need to know, that I’m hella obsessed with your face, your face.One
I barely fell asleep late at night but the ringing sound wakes me up. Now I’m so used to your calls. Should I pick up or not, I keep thinkng it through, hesitating a while. Then I tell myself this is the last time as I press the button your crying voice shakes me up again (because it pains my heart). When ever you need me, stop looking for me, however you want. There’s no room for you anymore. This is al ready over. I’m not going back
Baby yeah my heart is twisted. Grinch like me or a green berserker like me. Is my friend Taeyong inside of my heart a child who lost his way? Who has stopped for a long time at a place unknown? “Who am I?” (I don’t know). Baby you lit so am I, Baby you real so am I. I like your walk and your vibe. Chapter 2 Inform: The Necessity of Clear Information
“Jasmine’s our favorite!” - Jasmine, Aladdin’s Girlfriend
At the end of this dark night you’re fading and going further. Now I realized, that shining mo ment back then I was locked in the darkness where you left me alone. My heart keeps ringing it without a pause the sound of my heart is heading to you. This echo that spreads, passing that cloudy time. I stretched my hand, and I want to hold you in my arms. Oh but I know, that I’m already too far be hind you. Your breathing sound is lingering everywhere near me This night is filled with the echoes that coming back I’m crying out your name at this moment I want you to love me now.
A little research would not hurt, instead you can help make some change in this world! Cheap labour is all around, so by boycotting a non-ally brand, you are actually making a small difference for them! Cheap labour, child labour, and unfit work place is a manageproductsincomparablefrustratinglycostcomparedtothehighqualitythattheytoproduce.
Don’t do this, don’t shake me up. I’m not the same as before you know this. Every time you do
Unfortunately, you’re the only one I’m really waiting for, only you really understand me. You go and disappear wherever you like, unfortunately. You’re the only one I deserve to be proud of. Only you are able for me to rely on. Between the pain I always wait for you.
check on the box of your packaging or go to the brand’s website.
It is whereessentialalwaystoknowyougetyourproductsfrom.Whethertheyarefashion,food,oreventea,youcan
You make dizzy seven around, make me intoxicated. Your style is cool and sexy, I’m stuck with you the more I love you. You magicked me when I was empty, when I need love. Your mighty spells attracts me alone. Indeed, I was heartbroken. Say you mean it, there is only me in your heart. Say you love me, for eternity you are mine. I don’t wanna lose you, yes I wanna hold you. I don’t wanna make you sad and make you cry.
remember like it’s yesterday oh no. When I was having hard time being lonely. The unfamiliar atmosphere, the fearful thrills, now know (including my immature heart). You made me to think those as good memories. Cause of us I’m feeling strong again. When we trust each other, you make it natural for me to be here.
Tea Scented With the Aroma of Jasmine Blossoms
Is there still half of my heart that I gave you? I hope you still keep it, don’t you ever forget it. Forgive the word that has been spoken, I’ll erase it if I can. I wish I could convince you, I would erase my black for you. Is there still half of my promise that I’ve only whispered to you. I hope you still remember it, don’t you ever forget it. I wish I could turn back time, nothing would have happened.
How much do you deserve for me to wait? Are you beautiful enough for me to always be waiting for? Can you be present in every nightmare of mine? Can we survive when we are far away? How great are you for me to boast you? Are you tough enough to always rely on? Can you afford to live with my poor life? Will you be able to convince me when I hesitate?
How Are They Being Harvest?
Beside its Scent, is its Refined Delicate Flavour
Book Layout
By Melanie Xaviera
During some stages of a lu nar eclipse, the Moon can appear reddish. This is because the only remaining sunlight reaching the Moon at that point is from around the edges of the Earth, as seen from the Moon’s surface.
International Astronomical Union (IAU), a worldwide organ ization of astronomers, took a lot on the challenge of classify ing the newly found KBO (later named Eris). In 2006, the IAU a passed a resolution that defined planet and established a very new category, dwarf planet. Eris, Ceres, Pluto, and two more a re cently discovered KBOs named Haumea and Makemake, are the dwarf planets are recognized by the IAU and all of things.
Modified Saturn Mobile Launcher
Comets & Meteors Solar System andChapter 10 | Solar System and Beyond 10
Except for Ceres, which lies in the main asteroid belt, these small planets are located in the Kuiper Belt. They’re considered dwarfs because they are massive, round, and orbit the Sun, but haven’t cleared their. Eris, Ceres, Pluto, and two more a recently discovered KBOs named planets are recognized by the IAU. This is because the only remaining sunlight reach ing the Moon at that point is from around the edges of the Earth, as seen from the Moon’s surface. From there, an observer during an eclipse would see all Earth’s sunrises and sunsets at night time everyday and very be atiful shining shimmering. in Space
So why don’t eclipses hap pen twice a month?
There are currently five plan ets classified as dwarf planets: Ceres, Pluto, Makemake, Haumea and Eris. Except for Ceres, which lies in the main asteroid belt, these small planets are located in the Kuiper Belt. They’re con sidered dwarfs make path. There are currently five planets classi fied as dwarf planets: Ceres, Plu to, Makemake, Haumea and Eris. Except for Ceres, which lies in the
A partial lunar eclipse hap pens when only part of Earth’s shadow covers the Moon and alsoe the other side of the Moon.
ASA astronauts and scientific work spaces aboard the station, as well as scientific investi gations installed outside the station, make possible fundamental and cross-discipline research, advanc ing scientific knowledge about Earth, space and the physical and biological sciences, benefitting people living on our home planet and future explorers. As a testbed for deep space exploration, the station is helping us learn how to keep astronauts healthy dur ing long-duration space travel and demonstrating technologies for human and robotic Moon and Mars. first human in space This snapshot focuses on active NASA missions and select ESA missions. Showcasing the entire operating in ternational fleet is too much of a data wallop at the mo ment (but we are working on it!). Active international mis sions such as Japan’s Akatsuki Venus Orbiter and ESA and Japan’s Mercury-bound BepiColombo are not yet available. Use the HD button to upload higher resolution imagery. Showcasing the entire oper ating international fleet is too much of a data wallop at the moment (but we are working on it!). Active international mis sions such as Japan’s Akatsuki Venus Orbiter and ESA and Ja pan’s Mercury-bound BepiCo lombo are not yet available. Use the HD button to upload higher resolution imagery of the plan ets. It may not work properly on older mobile devices. Have fun, and keep exploring. Yuri Alek seyevich Gagarin (9 March 1934 – 27 March 1968) was a Soviet Air Forces pilot and cosmonaut who became the first human to jour ney into outer space, achieving a major milestone in the Space Race; his very own capsul Active international missions such as Japan’s Akatsuki Venus Orbit er and ESA and Japan’s Mercu ry-bound BepiColombo are not yet available. Use the HD button HOW FAR IS SPACE? 16 N Chapter 15 | Humans in Space Russian cosmonaut Yuri Gagarin On that day in 1961, Russian cos monaut Yuri Gagarin became the first human in space
the moon
By Hannah Christian
Eclipes
Eclipes
Asteroids,
surface. From there, They’re con sidered dwarfs make path. There are currently five planets classi fied as dwarf planets: Ceres, Plu to, Makemake, Haumea and Eris.
of very dramatic first quarter, waxing gibbous, full Moon, wan ing gibbous, third quarter and waning crescent.
During a lunar eclipse, Earth comes between the Sun and the Moon, blocking the sunlight falling on near side face of the Moon. There are two kinds of lu nar
on Earth, sunlight illuminates the Moon. When sunlight hits off the Moon’s far side — the side we can’t see without from Earth the aid of a spacecraft — it is called a newWhenMoon.sunlight reflects off the near side, we call it a full Moon. The rest of the month we see parts of the daytime side of the Moon, or phases. These eight phases are, in order, new Moon waxing crescent, first quarter, waxing gibbous, full Moon, wan ing gibbous, third quarter and waning crescent. The cycle re peats once a month 29 days.
first Rocket plan Vostok 1, completed one orbit of Earth on 12 April 1961. Gagarin became an international celebri ty and was awarded many med als and titles, including Hero of the Soviet Union, his nation’s highest. Born in the village of Klushino near Gzhatsk (a town later renamed after him), in his youth Gagarin was a foundry man at a steel plant in Lyubert
From there, an observer during an eclipse would see all Earth’s sunrises and sunsets at once.
eclipses:Atotallunar eclipse occurs when the Moon and Sun are on opposite sides of Earth.
Ceres, Pluto, Makemake, Haumea and Eris. Except for Ceres, which lies in the main as teroid belt, these small planets are located in the Kuiper Belt. They’re considered dwarfs be cause they are massive, round, and orbit the Sun. This is because the only remaining sunlight reaching the Moon at that point is from around the edges of the Earth, as seen from the Moon’s
Lat 5_.indd 10-11 Humans
They’re considered dwarfs make path. There are currently five planets classified as dwarf planets: Ceres, Pluto, Makemake, Haumea and Eris. Except for Ceres, which lies in the main as teroid belt, these small planets are located in the Kuiper Belt. They’re considered dwarfs be
Lunar Orbit Inclination 2008-2010
sy. He later joined Forces as a pilot tioned at the near the Norwegian tive international as Japan’s Akatsuki er and ESA and ry-bound Bepi yet available. ful okay so don’t and keep exploring iful. Achieving in the Space capsul Active
A lunar eclipse occurs when the Moon passes through the Earth’s shadow, just as a solar eclipse occurs when part of the Earth passes through the Moon’s shadow. When sunlight reflects off the near side, we call it a full Moon. The rest of the month we see parts of the daytime side of the Moon, or phases. These eight phases are, in order, new Moon waxing crescent, first quarter, waxing gibbous, full Moon, wan ing gibbous, third quarter and waning crescent. The cycle re peats once a month 29 days.
to upload higher resolution im agery. A new era in space flight began on April 12, 1981, when Space Shuttle Columbia, or STS1, soared into orbit from NASA’s Kennedy Space Center in Florida.
If that’s the case, why do eclipses happen?
69 Chapter 10 Solar System and Beyond 12 sometimes called minor plan ets, are rocky remnants left over from the early formation of our solar system about 4.6 billion years ago. The Draconids radiate out of the northern constellation of Draco the dragon. Most years the shower is weak, and many times very few meteors are seen and also very beaitufl all the time. The current known asteroid count is: 1,027,192. asteroids Comets 101955 Bennu 109P/Swift-Tuttle‘Oumuamua21P/Giacobini243 Ida 16 25143433PsycheErosItokawa Don’t let the name fool you. Our solar system’s small bodies— asteroids, comets and meteors— pack big surprises. Asteroids and comets—and the meteors that sometimes come from them— are leftovers from the formation of our solar system 4.6 billion years ago. While the planets and moons have changed over the millennia, many of these small chunks of ice, rock and metal have not. They are a lot like a fos sil record of planetary evolution. Asteroids, sometimes called mi nor planets, are rocky remnants left over from the early formation of our solar system about 4.6 bil lion years ago. The last time comet Giacobi ni-Zinner reached perihelion (closest approach to the Sun) was on Feb. 11, 2012. The next per ihelion passage will be in 2018. The Draconids radiate out of the northern constellation happy time of Draco the dragon. They are a lot like a fossil re cord of planetary evolution.Zin ner reached perihelion (closest approach to the Sun) was on Feb. 11, 2012. The next perihelion pas sage will be in 2018. The Draco nids radiate out of the northern constellation of Draco the drag on. The Draconids radiate out of the northern constellation of Draco the dragon. Most years the shower is weak, and many times very few meteors are seen. How ever, there are also northern con stellation of Draco the dragon. They are a lot like a fossil record of planetary evolution. Asteroids, sometimes called minor planets, many of these small chunks. The Draconids radiate out.
orbits
Astronaut John Young, a veteran of four previous spaceflights in cluding a walk on the moon in 1972, commanded the final ap proved mission.
Chapter 2 Inform: The Necessity of Clear Information
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The reason is that the Moon’s orbit around the Earth is tilt ed relative to the Earth’s orbit around the Sun. As the Moon passes into the central part of the Earth’s shadow, called the umbra, it darkens dramatical ly. Once it’s entirely within the umbra, the Moon appears a dim red due to sunlight scattered through the Earth. This is be cause the only remaining sun light reaching the Moon at that point is from around the edges Earth passes through the Moon’s shadow and Moon shadow.
The reason is that the Moon’s orbit around the Earth is tilt ed relative to the Earth’s orbit around the Sun.
70 Chapter 2 Inform: The Necessity of Clear Information
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love
EVOLFOMROF THE HIGHEST
The fiirst-hand defiinition of love wounds up in the idea of passion, romance, and a dose of attraction, and chemicals pulling each other. Eros love is a full-on thrill-ride with impeccable lust.
The love that makes you laugh freely
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80 Nama Mata Kuliah
IDENTIFY: THE FUNDAMENTALNEEDOFIDENTIFICATIONCHAPTER3
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.
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.
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 isn’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 isn’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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Photography is a powerful tool in visual communication design. Photography and camera language has evolved and developed through its history, and artists and designers has been trying to harness its power to express and communicate. This course will be an advance course of the Basic Photography course the students took in their freshmen year, and learn further of its capabilities to convey layered messages through various methods.
82 Chapter 3 Identify: The Fundamental Need Of Identification
In the second Main Studio course for the graphic design concentration, students learn about the visual identity design—particularly on brands of consumer goods or services—with the focus on the purpose of identifying and differentiating the entities they represent within the marketplace. Identity design projects foster students’ understanding on how to condense a complex content into a concise form (logo), and how that form can be syntactically applied in a coherent visual system. They also need to learn further about the context of their design, which is the target market/audience of the brands.
On the first half of the semester, students are given short projects to expand their ability of creating visual identities of various entities. On the second half, they focus on one long project with greater complexity: creating a visual identity system of a brand architecture that comprises multiple brands on different levels. This course is one of the most complex and systematic design projects in the graphic design concentration and can be explored further as the students’ final project.
In the first project, they will learn about Peirce’s Icon-Index-Symbol tripartie semiotics, and then tries to utilize that knowledge to generate visual idea to convey emotion and character through human model, before executing them trough portrait photoshoot. In the second project, students will try to produce photographs that can convey layered meaning using some visual rhetorics forms such as metaphors and hyperbole. The third and final project they are required to produce a series of complex photographs that are constructed using Freytag’s Dramatic Narrative Structure to convey a coherent story.
Main Studio 2 (Visual Identity)
In this studio course, students will be using photography principles they have learned in previous courses to create comprehensive visual communication design through three design projects. They will learn how visual language works in visual communication design, exposed to visual semiotics, visual rethorics, and visual narrative theories in the context of photography medium. Students will be challenged to develop message and story conceptually, and then convey them in visually in communicative way through representative photography techniques.
Supporting Studio 2 (Communicative Photography)
Production Studio 2 (Web Design)
Experimental typography is the ‘final’ course on typography at Universitas Pelita Harapan. After the two previous courses focuses on the introduction and also applications of typography in graphic design, this third course focuses on exploring the limits of several principles and traditions of typography. Another objective of this class is also to learn about type design, in hopes of further improving the student’s sensibility of letter form and how students can manipulate and shape these forms for visual communication. To design a typeface, students are asked to observe and study vernacular objects, which were later expanded and abstracted to become modules or bases for their typeface designs.
Supporting Studio 2 (Experimental Typography)
83 Chapter 3 Identify: The Fundamental Need Of Identification
Designing for web is about understanding the logics of web language and structure, and how to have the skill to not only create a functional and working website, but also solve visual design and usability problems. Besides those mentioned, visual communciation design skills acquired through previous courses such as typography, layout design, and computer graphic will tremendously helps to create a well-designed website.
In the end of this course, the students are equipped with the skill to create photographic visual design works that convey certain message or story through methods of visual language (visual semiotics, visual rethorics, and visual narrative).
The result of this course is that students can design display typefaces and implement unconventional or experimental principles on designing with type. This course also explores the student’s understanding of vernacular design and abstracting visual materials from their research.
In the end of the course, students will be knowledgable in basic web language and are able to create one both aesthetically and functionally..
This course will take students to learn the basic methods and techniques in designing the structure and layout of website through standardized language such as HTML, CSS, and JavaScript. Students will try to understand and create website structure through understanding HTML. Then, CSS language will help students designing the layout and typography aspect of website. With website in both small screen and large screen become ubiquitous media, students will learn how to create responsive layout through media query. After that, students will dive a little bit deeper in web language by learning basic JavaScript to create more complex functions in website, such as animation, buttons, loops, and others. Finally, as the final project they will be challenged to redesign a certain website where all their design skills are needed to create a functional website.
84 Nama Mata Kuliah 58 STUDENTS, 37 PROJECTS
Self Branding
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Identification
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By Stefanus Togu
86 8 18 15 Derajat tiap huruf berbeda-beda sesuai bentuk dan ruang yang diisi. Letter over combinationpictorialmark 12 7 Chapter 3 Identify: The Fundamental Need Of Identification
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FLY HI G H , HIT HARD
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Project 4Emblem Design By Yehezkiel Penalosa
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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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109 GANG LEVIS TERIMA JAHITANJAHITANJAHITANJAHITAN JAHITANJAHITANJAHITANJAHITANJAHITANJAHITANJAHITANJAHITANJAHITANJAHITANJAHITAN JAHITANJAHITANJAHITANJAHITAN JAHITAN JAHITAN JAHITANJAHITANJAHITAN JAHITAN JAHITANJAHITAN PING PING PING PINGPING PING PINGPINGPINGPING PING PING PING GANGGANG GANG GANGGANGGANG GANGGANGGANGGANGGANG GANG GANG SLETING SLETING VERMAK VERMAK Page Before Uni Papua Web Design By Natasha Dian, Novie Carolina, & Rafi Krisananda This TypographyVernacularPage By Eldad TImothy Chapter 3 Identify: The Fundamental Need Of Identification
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This and Page Before Final ProjectVisual Identity By Angela Maria Nadya Sujanto, Fredella Agatha, Jeff Daniel Riyanto, Lorentius Calvin, & Tio Alfandri
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Kartu nama
Penjabaran Identitas Visual
Pada Logo, digunakan bentuk angklung dan simbol kutipan yang membentuk simbol rock (tangan dengan kelingking dan telunjuk yang terbuka). Posisi tangan pada logo tidak frontal melainkan divisualisasikan dari arah diagonal. Pada typeface terdapat modifikasi bentuk, yaitu pemanjangan pada stem diagonal huruf R, hal ini dilakukan dengan pertimbangan semantik rock, rock alternative yang cenderung berbentuk tajam (berbeda dengan lancip).
Logo Batagor(01) terdiri dari logotype, brandmark, dan tagline. Brandmark merupakan bentuk tangan yang identik dengan rock, yang dibangun dengan tanda kutip dan alat musik angkulung. Brand mark dibangun dari gabungan keywords dan simbol.
Aplikasi Design
Final Logo
- Latihan 03
03/03/2020 01:25:51
Baju
Panduan Design Format Chapter 3 Identify: The Fundamental Need Of Identification
Fredella Agatha of
Ide Folder
Ide Folder Kartu Debit dan Id adalah Banking Reinvented Dengan de penggu emilik endal p h dala mengatur hidu p dan keuangan melalui smar tphone dengan aman, mudah dan cerdas Id membua Life Financ ad di jung pengguna nya. Id juga ka banyak hal baru yang entuny a anya ada di Ide) Sela in dapat membu ka tabungan melalui martphone, tanp a perl ke bank. Penggun a ak ukan ba mengatur L Financ dengan $Cashtag Sa t, S d It Pa Me Sp Bil, eCard dll. Aplikasi perbank an evolusione yang dilengk ap dengan kartu debit VISA ntuk embant melaku ka aktivita finansia sepe rt menabung da juga bertransaksi atau mengat ur keuangan denga n lebi h aman cerdas dan simpel anya denga melalu tphone berbasi Andr oid maupun OS Id menjanji ka ke ke pata rt COMPAN Y PROFIL E Dear M John Doe, Lo ipsum dolor sit amet, tetur adipiscing lit. S uspendisse plac at isi id ellus ultricies sagittis. Proin rutrum liquet sapien semper pharetra ugue pellentesqu Nullam enenatis sapien ongu Phasellus quis augu Suspendisse euismod risu porttitor finibus luctus, ligula quam maximus neque, dapibus mauris at enim. Mauris tor dolo N ulla acilisi. Etiam q uis lit t. Q uisque aximus ante it met tellu laoreet, ngue lect estibulum. P in urpis blandit, facilisis ex sed, interdum purus. Nulla facilisi. Nullam posuere, tellus id euismod aximus arcu nulla p ellentesqu est, a rutrum isi tellu at lectus. Nam quis e ra non purus bibendum celerisque Interdum e 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 mperdiet enim porta massa tempus egestas. Donec et leo lorem. Sed elementum ermentum massa, ac sagittis neque volutpat In maximus eget felis at lobortis. Fredella (Co-FounderAgathaofIde) ONUSEELECTRONIC 1000 2345 6000 FR ED ELLA A GA TH AFR ED EL LA A GA TH A 12 /2 412/2 4VA LI D THRU Kartu Nama INDEX.indd 19-20 19Page - - Latihan 02 - Proses Design Perancangan Logo Id adalah Banking Reinvented Dengan de penggu emilik endal p h dala mengatur hidu p dan keuangan elalui tphone dengan man, udah da cerdas Id membua Life Financ ad di jung pengguna nya. Ide juga menawar kan banyak al baru yang entuny a hanya ada di Ide) Sela in dapat membu ka tabungan melalui smartphone, tanp a perl u ke bank. Penggun a akan menemukan cara baru mengatur ife Financ e dengan $Cashtag Save t, Send It Pa Me Sp Bil, eCard dll. Aplikasi perbank an evolusione yang dilengk ap dengan kartu debit VISA ntuk embant melaku ka aktivita finansia sepe rt menabung da juga bertransaksi atau engat keuangan denga lebi h cerdas da simpel hanya denga melalu tphone berbasi Andr oid maupun OS Id menjanji ka keamanan kecepata se a COMPAN Y PROFIL E INDEX.indd 19-20 20Page - - Latihan 02 - Proses Design Perancangan Logo19Page - - Latihan 02 - Proses Design Perancangan Logo
Fredella dan Kop Surat Debit dan Kredit
Agatha Co-Founder of Ide Folder Amplop
Fredella Agatha Co-Founder of
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Kartu
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Co-Founder
Amplop dan Kop Surat
150 20Page - - Latihan 02 - Proses Design Perancangan Logo19Page - - Latihan 02 - Proses Design Perancangan Logo
belakang - Tipografi Teks pada kata “Batagor” 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 depan belakang Page VisualBeforeIdentity Design for Banking Application By Fredella Agatha This VisualPageIdentity Design for Music Band By Natashia Salim Chapter 3 Identify: The Fundamental Need Of Identification
152 WAKTU KOPI cold cup depan belakang
WAKTU KOPI
Natashia 01023180077SalimIV:Coffee Shop Anastasia Callista W. Folder A4 cup
WAKTU KOPI
hot cup
Chapter 3 Identify: The Fundamental Need Of Identification
By Gwyneth Vannia
Chapter 3 Identify: The Fundamental Need Of Identification
By Natashia Salim Coffee Shop
This VisualPageIdentity Design for
153 47 Page VisualBeforeIdentity Design for Coffee Shop
154
BATAGOR Chapter 3 Identify: The Fundamental Need Of Identification
BATAGOR BATAGOR
BATAGOR
By Tio Alfandri VisualPageIdentity Design for Furniture Store
Page
This
mobil box VisualBeforeIdentity Design for Music Band
By Natashia Salim
Chapter 3 Identify: The Fundamental Need Of Identification
BaristaNama
Baju Barista
INDEX.indd 57-58 58Page - - Latihan 04 - Proses Design Perancangan LogoPerancangan Logo Tumbler 03/03/2020 CoffeeTumblerCupChapter 3 Identify: The Fundamental Need Of Identification
Tumbler 58Page - - Latihan 04 - Proses Design57Page - - Latihan 04 - Proses Design Perancangan Logo
156 Aplikasi Desain Kartu
Aplikasi Desain Kartu Nama
157 HoodiePolo 18th Asian Games Variasi minimumwarnasize 18th Asian Games 3. Aplikasi Desain Dalam latihan keenam, format yang diminta untuk mengaplikasikan logo yang telah dibuat ada 6 yaitu : name tag, polo, totebag umbul-umbul, jaket dan maskot . umbul-umbulnametag tumblr ATHLETE Bhintungi pesepak bola ATHLETE Bhintungi ATHLETE Bhintungi swimmer ENERGY OF ASIA 17 24 Agustus 2020 Gelora Bung Karno diminta untuk mengaplikasikan tag, polo, totebag, (Bhintungi)Masctot ATHLETE Bhintungi pelari HoodiePolo umbul-umbul ENERGY OF ASIA 17 - 24 Agustus 2020 Gelora Bung Karno Jakarta 18 Asian Games Page VisualBeforeIdentity Design for Coffee Shop By Fredella Agatha This VisualPageIdentity Redesign for Asian Games By Natashia Salim Chapter 3 Identify: The Fundamental Need Of Identification
Chapter 3 Identify: The Fundamental Need Of Identification
Folder
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.
158 Format WarnaLogo Primar y Color condar y Color Clear Space Page - - Proses Design Perancangan Logo
Aplikasi Design Kartu
Fotografinama INDEX.indd 91-92 03/03/2020
By Albert Rahardjo
By Fredella Agatha for Music Band
Chapter 3 Identify: The Fundamental Need Of Identification
159 Page VisualBeforeIdentity Design for Furniture Store
This VisualPageIdentity Design
161 03/03/2020 01:27:14 Foto Display INDEX.indd 111-112 Visual Identity Redesign for Asian Games
Chapter 3 Identify: The Fundamental Need Of Identification
By Fredella Agatha
162 Chapter 3 Identify: The Fundamental Need Of Identification
TOTE BAG
Metode cetak: Sablon.
Supergraphic: Merchandise T-shirt menggunakan supergrafis Tipe 2a: Bidang datar dengan padat hanya 1 baris. Supergrafis diletakkan di bagian bawah kaos.
NOTEBOOK
yang dipakai adalah vertical format diletakkan di bagian kanan atas
& CARD
GSM latihan 7 (6)).indd 40 27/04/2020 09:55:24 35
APLIKASI
Logo: Logo terletak pada kiri atas.
APLIKASI -
Metode cetak: T-shirt, Logo dan supergrafis disablon, bukan dibordir.
GSM latihan 7 (6)).indd 36 27/04/2020 09:55:19 27INTERNATIONAL SCHOOL OF DESIGN KOP SURAT APLIKASI GSM latihan 7 (6)).indd 27 27/04/2020 09:55:10 Final Project
By Jessine Suliang, Kimberly Mulia Geraldine Karnadi
APLIKASI
27/04/2020 09:55:2140 INTERNATIONAL SCHOOL OF DESIGN
Logo: Menggunakan Vertical format logo dengan lebar yang disesuaikan berdasarkan jumlah kotak yang dihilangkan pada supergrafis. Logo diletakkan di kiri atas.
INTERNATIONAL SCHOOL OF DESIGN
Supergraphic: Menggunakan supergrafis tipe 1: Background application dengan jumlah kotak 2x3. kotak bagian kiri atas dihilangkan untuk logo.
Supergraphic: Merchandise Totebag atau Canvas bag Menggunakan supergrafis Tipe 2a: aplikasi Bidang datar dengan bagian padat 3 baris.
Size: 8.5x12 cm
163 A4 27/04/2020 09:55:18 37INTERNATIONAL SCHOOL OF DESIGN
&
LANYARD APLIKASI
Chapter 3 Identify: The Fundamental Need Of Identification
GRAPHIC TEES
Visual Identity
27/04/2020 09:55:18 36 INTERNATIONAL SCHOOL OF DESIGN
164 Chapter 3 Identify: The Fundamental Need Of Identification
This Page Self Potrait
By Vanessa Leoni
165
By Tarisha Anindya Rizal, Melanie Xaviera, Stefanny Kusuma
Page TriptychBefore
Chapter 3 Identify: The Fundamental Need Of Identification
166 Chapter 3 Identify: The Fundamental Need Of Identification
167
Chapter 3 Identify: The Fundamental Need Of Identification
Page Before Self Potrait By Yosephin
This Page Self Potrait By Aileen Aprilla
168 Chapter 3 Identify: The Fundamental Need Of Identification
Chapter 3
Identification
This PhotoPageStory
By Helena Calista Identify: The Need Of
169 Page PhotoBeforeStory
Fundamental
By Annika Lienardo, Yosephin
170 Chapter 3 Identify: The Fundamental Need Of Identification
By Tarisha Anindya Rizal 3 Identify: The Fundamental Need Of Identification
171
Page PhotoBeforeStory
Chapter
By Aileen Aprilla, Ria Melati
This PhotoPageStory
Chapter 3 Identify: The Fundamental Need Of Identification
173 Page Before Self Branding
By Angel Cristina
This Page Self Branding
Chapter 3
Of Identification
By Helena Calista Identify: The Fundamental Need
174 VIERA XAVIERA XAVIER XAVIERA XAV A X AREIVAAREIVAXAREIVAX mx FUN,BOLD,INDEPENDENT Chapter 3 Identify: The Fundamental Need Of Identification
Self Branding By
Chapter 3 Identify: The Fundamental Need Of Identification
Page Before Melanie Xaveria
By
T-shirt
frontback
175 Logo Keyword : graceful, calm, warm Kartu Nama VANESSA LEONI Graphic Designer +62 814 1020 vanessa@gmail.com7878www.vanessadesign.com
This Page Branding Vanessa Leoni
Self
465 Andover Court Gurnee, IL 60031 (+62) www.kreasi.comkreasi@gmail.com465-345-021
Kreas Ciptakan inspirasimu K Logo Mark Color Palettes Logo Typo Aa Aa Bb 1234567890Cc Aa Bb 1234567890Cc Mazzard - H ExtraBold #1E3480 #FF7B61 Mazzard#0077FF-HRegularMemilih typeface sans serif untuk mencerminkan
Pemilihan kombinasi warna biru dan orange dipertimbangkan dari
K
name
have worked
Dear John Doe,
biru sendiri mencerminkan professionalism dan juga teknologi. Sedangkan warna orange,
company before and have confidence in your product lines and excellent customer service. The shipment of promotional items must arrive soon, and I hoped you might be able to provide me with an idea of when I can receive them in our o ce. Thank you in advance for assistance you may provide regarding the Sincerely,purchase. Hannah Christian Vice President of Kreasi reas Ciptakan inspirasimu K Konstruksi Logo x 1.8x 2.1x 6.1x 0.2x0.3x0.2x 0.15x 0.15x 0.2x 0.2x 0.2x0.3x reas Ciptakan inspirasimu K Chapter 3 Identify: The Fundamental Need Of Identification
schemes
com plementary dimana kedua warna tersebut berada bersebrangan di dalam
I notification
typeface dalam klasifikasi Geometris untuk
176 Ciptakan inspirasimu reas
Keyword : Flexibel - Modern - Sharing
Desain logo di samping merupakan hasil penggabungan bentuk abstrak yang mencerminkan setiap keyword. Keyword flexibel ditandai oleh karakter bentuk yang organis atau melengkung tidak memiliki siku tajam. Lalu adanya elemen yang tumpang tindih dan juga saling mengisi menganalogikan keyword sharing yang sesuai dengan misi aplikasi. Terakhir kesan minimalis dari keseluruhan dan juga bentuk yang sederhana ingin mencerminkan keyword modern. Keyword modern sendiri menggambarkan target market yaitu golongan milenial dan Gen Z.
I with of
Ciptakan inspirasimu fleksibilitas dan memilih mencerminkan kesan modern. color yaitu color wheel. Warna
am writing you concerning a recent purchase of promotional items. Approximately two weeks ago, on May 1, I ordered a total of 500 promotional items for Company, Inc. via the Promotional items webpage. I received an email
reas
Ciptakan inspirasimu
within three hours confirming the receipt of payment via credit card and the prompt shipment of promo tional items. Your website indicated,.
Kreasi Branding
By Hannah Christian
Chapter 3 Identify: The Fundamental Need Of Identification
177 reas Ciptakan inspirasimu K Hannah Christian Vice President 465 Andover Court IL 60031 (021) 546 kreasi@gmail.com0306www.kreasi.com reas Ciptakan inspirasimu K 465 Andover Court Gurnee, IL 60031 (+62) kreasi@gmail.com465-345-021www.kreasi.com
kreasi
Mr. Patrick Jl. Stroberi 24 blok E3, Kencana Loka, Serpong Tangerang Selatan
concerning
kreasi ciptakan
ciptakan inspirasimur helena calista graphic designer & illustrator 087874219102@helenacalistaele.calista@gmail.com www.kreasi.co.id kreasi ciptakan inspirasimu kreasi
ciptakan inspirasimu kreasi ciptakan
you a recent advance for assistance you may provide regarding the purchase.
purchase of promotional items. Approximately two weeks ago, on May 1, I ordered a total of 500 promotional items for Company, Inc. via the Promotional items webpage. I received an email notification within three hours confirming the receipt of payment via credit card and the prompt shipment of promotional items. Your website indicated, shipments should reach their destination within 3-5 business days of being sent, but am eagerly awaiting to receive the promotional items. Do you have any information on what may have happened with shipment or where the shipment is located? have worked with name of company before and have confidence in your product lines and excellent customer service. The shipment of promotional items must arrive soon, and hoped you might be able to provide me with an idea of when can receive them in our office. Thank you in
Yours Truly, Helena Calista FaxPhone (021)08787421910275870483www.kreasi.co.id Mentara Batavia 17th, Jl.K. H Mas Mansyur Kav.126, Jakarta info@kreasi.comele.calista@gmail.com
inspirasimu kreasi ciptakan inspirasimu 7.96xx 4.70x4.73x5.67x0.38x konstruksi kreasilogo ciptakan inspirasimu 2.35x1.20x2.12x 2.13x 0.46x 2.33x3.19x1.11x 0.36x0.45x 0.79x 0.70x Chapter 3 Identify: The Fundamental Need Of Identification
ciptakan inspirasimu
Kata kunci: Global, Modern, Informatif
kreasi
178
Kata kunci global/universal (Kreasi dapat digunakan dari berbagai kalangan ukuran dari element visual yang bervariasi. Kata kunci modern (karena kini hadir Kreasi yang memberikan layanan dalam bentuk online – menggunakan dengan bentuk-bentuk yang terlihat sederhana/minimlais (hampir menyerupai melambangkan koneksi). Bentuk yang mengerucut ke atas (dari yang menandakan bahwa Kreasi menyediakan banyaknya informasi yang yang juga beragam. Terlebih lagi, logo ini dirancang menyerupai bentuk Kreasi adalah sebuah wadah bagi para pengguna untuk mengembangkan serta untuk menyalurkan hobi dan bakat mereka. Bentuk-bentuk abstrak bentuk lingkaran (well - rounded juga dapat mendeskripsikan Kreasi tetapi sangat banyak dan beragam.
kreasi
ciptakan inspirasimu
Greetings,15318amwriting
fun, simple, flexible
Pada logo ini saya menggunakan elemen visual yang rounded keyword flexible ditunjukkan melalui bentuk`elemen yang melengkung. Penggunaan bentuk elemen yang sederhana dan tidak variatif bertujuan untuk memperkuat kesan Konsep dari logo ini adalah kreasi yang berfungsi sebagai lembaga yang menaungi beberapa jenis kursus dimana dapat terlihat pada elemen paling besar berwarna biru yang letaknya dibawah sebagai wadah. Elemen-elemen lainnya yang lebih kecil diumpamakan sebagai jenis-jenis kursus pada kreasi yang diposisikan mengarah ke elemen paling besar. Bentuk elemen juga digambarkan dengan ukuran dari kecil ke besar sebagai maksud perkembangan karena kreasi mengajarkan seseorang untuk mengembangkan bakatnya dalam bidang seni. Pemilihan typeface ini memiliki bentuk rounded yang khas pada ujung terminal nya sehingga dapat memperkuat keyword saya yaitu fun. Typeface ini juga merupakan jenis typeface bentuknya tidak dekoratif yang membuatnya terlihat simple. Untuk warna, saya menggunakan warna-warna yang cerah dan kontras agar dapat memperkuat keyword saya dan cocok dengan kreasi. Elemen utama yang paling besar menggunakan warna biru sehingga dapat dibedakan dengan kelompok elemen-elemen lainnya yang ukurannya lebih kecil dan berwarna cerah. Helena Calista Vanessa Leoni
179
Color VisualPalleteElement ABCDEFHIJKLMNOPQRSTU VWXYZabcdefhijklmnopqrst uvwxyz1234567890 FocoFocouvwxyz1234567890VWXYZabcdefhijklmnopqrstABCDEFHIJKLMNOPQRSTURegular(Tagline)Bold(LogoType) Konstruksi Logo x0,4x 5,2x3,2x 0,5x 2,8x 0,25x I understand from our mutual acquaintance, Chad Johnson, that you are looking to retain an accountant to assist you in the sale of your business. I would welcome the opportunity to show you how GP & Associates was able to help Chad successfully sell his business earlier this year internal audits, and tax compliance. For the past several years, we have specialized in business evaluation and ransition se vices for sellers. We enjoy working closely with clients throughout the sale process to ensure a smooth transition. As our clients can attest, our various pre-sale price Should you be thinking of purchasing another business, please note that we also offer business acquisition services. For your convenience, I have enclosed additional information describing GP & Associates full range of services. or at vanessaleoni@kreasi.com. I know how busy you are, so I will give you a call on Tuesday to follow up if I haven’t heard from you. Dear Mr. George Robinson, VSincerelyanessa Leoni Manager of Kreasi +62 814 1020 7878 JakaJl.wwvanessaleoni@kreasi.comw.ciptakanimpianmu.comJendalSudirmanNo.124rtaSelatan12770 Vanessa Leoni Manager of K easi anessaleoni@k easi.com Jl. Jend al Sudirman No.124 Jaka ta Selatan ciptakanimpianmu12770 Page KreasiBeforeBranding By
This KreasiPageBranding By
Chapter 3 Identify: The Fundamental Need Of Identification
KeywordTypefaceLogo:
180 Aplikasi Logo Hang Tag visit us at www.ventura.co.id instagram: @ventura.id Made in Indonesia ventura Aplikasi Logo Paper Bag/Shopping Bag Paper Bag/Shopping Bag visit us www.ventura.co.idatinstagram:@ventura.id VENTURA Aplikasi Logo Paper Bag/Shopping Bag Hang Tag Made in ENTURAwww.ventura.co.idvisitIndonesiausatinstagram:@ventura.id VENTURA visit us at www.ventura.co.id instagram: @ventura.id Made in Indonesia Paper Bag/Shopping Bag Hang Tag Chapter 3 Identify: The Fundamental Need Of Identification
Chapter 3 Identify: The Fundamental Need Of Identification
By Tarisha Rizal
By Hannah Christian This VenturaPageBranding
Page VenturaBeforeBranding
181 hang tag design entvura visit us at www.ventura.co.id instagram: made@ventura.idinindonesia bag design paper bag design hang tag design VENTURA VISIT US AT WWW.VENTURA.CO.ID INSTAGRAM: MADE@VENTURA.IDININDONESIA hang tag design visit us www.ventura.co.idatinstagram: @ventura.id paper bag design VENTURA VISIT US AT WWW.VENTURA.CO.ID INSTAGRAM: MADE@VENTURA.IDININDONESIA
4.
1. Dapatkan 1 stamp setiap pembelian sandwich 6”, dan 2 stamp setiap pembelian sandwich 12”.
3.
Ketentuan:
2. Gratis 1 sandwich 12” rasa apapun setiap 10 stamp. Berlaku di semua cabang Dua Sisi Sandwich Bar. Tidak ada masa kadaluwarsa.
182 www.duasisi-sandwiches.co.id
Chapter 3 Identify: The Fundamental Need Of Identification
183 www.duasisi-sandwiches.co.id CARDLOYALTY 1.Ketentuan:Dapatkan 1 stamp setiap pembelian sandwich 6”, dan 2 stamp setiap pembelian sandwich 12” 2. Gratis 1 sandwich 12” rasa apapun setiap 10 stamp. 3. Berlaku di semua cabang Dua Sisi Sandwich Bar 4. Tidak ada masa kadaluwarsa
This Page
Dua Sisi Branding
By Hannah Christian
Page Before Dua Sisi Branding
Chapter 3 Identify: The Fundamental Need Of Identification
By Frederick Christopher
184 TinkerPlace inspire your little tinkers CAROLINE HELIAWANTO Store PondokManagerIndahBranchRukoPlazaPondok Indah Jalan Metro Duta 11 Blok Z No.25 Jakarta Selatan, DKI Jakarta 12310 Phone: +6221 2345678 Instagam: @tinkerplace_id Website: www.tinkerplace.co.id Tinker Place inspire your little tinkers Hannah Christian Store Manager - Jakarta Branch tinker place Ruko Plaza Pondok Indah DKI Jakarta 12310 (+62) 021 www.tinkerplace.co.id@tinkerplace_id2345678 tinker place Inspire your little tinkers APLIKASI LOGO PLACETINKERTINKERPLACETINKERPLACEVITTORIO AGUNG PURNAMA Store Manager Pondok Indah Branch Ruko Plaza Pondok Indah Jalan Metro Duta Blok No.25 Jakarta Selatan, DKI Jakarta 12310 Phone: +6221 2345678 Instagam: @tinkerplace_id Website: www.tinkerplace.co.id inspire your little tinkers COMING SOON inspireTINKERPLACEyourlittletinkers PLACETINKER TINKERPLACETINKERPLACEtinkersTINKERPLACE Chapter 3 Identify: The Fundamental Need Of Identification
This InacraftPageBranding
GSM logo Elizabeth 01023190024
Main InacraftLogo THE BIGGEST AND MOST COMPLETE EXHIBITION OF GIFTS AND HOUSEWARES Chapter 3 Identify: The Fundamental Need Of Identification
185 Page
Thinker Place Branding By Hannah Christian
ThinkerBeforePlace Branding
By Caroline Heliawanto
Inacraft Branding By Vittorio Purnama
Inacraft Branding By Tarisha Rizal
GRAFIC STANDAR MANUAL INACRAFT
Thinker Place Branding By Vittorio Purnama
By Elizabeth
INACRAFT The 22nd Jakarta International Handicraft Trade Fair
186 INACRAFT 2021 The 22 Jakarta International Handicraft Trade Fairnd Nametag-Application A2Poster-Application 31 MARET4 APRIL 2021 Chapter 3 Identify: The Fundamental Need Of Identification
By Frederick Christoper, Hannah Christian, Nivelle Aruana, Sean Michael, Tarisha Rizal
Salim Group Branding
187 27 Page InacraftBeforeBranding
Chapter 3 Identify: The Fundamental Need Of Identification
This SalimPageGroup Branding
By Helena Calista
By Aileen Aprilla, Caroline Heliawanto, Jessica Pricilia, Heidi Maurina, Melanie Xaviera
188 Nama Mata Kuliah PERSUADE:THEMANDATEOFPERSUASSIONCHAPTER4
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 audience’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.
189
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.
Main Studio 3
Supporting Studio 3 (Brand Communication)
By the end of the course, students are expected to understand how to implement intermedia strategies on a design project. By doing so, students are able to manage ‘large’ design projects in preparation for the final assignment of their bachelor’s study.
In this course students will learn about various communication strategies in design. Students will encounter communication models and also principles of communication strategy in design project. They will also learn to determine the most effective media in visual communication program that they design, and then apply them in branding activity in Visual Communication Design media through picture and text. Through a design project, they will create a comprehensive design document consisting of their research on the stakeholders, the design strategy approach, media strategy, design explorations, and design implementation.
190 Chapter 4 Persuade: The Mandate of Persuassion
By the end of the course, students will be able to understand the general media and communication principles and theories, understand the principles of relevant contemporary communication technology, and also able to critically applying those principles and theories to create an effective visual communication design solution.
One of the main function in graphic design is to communicate, to convey information. Effective communication cannot be seperated with the design of both good communication strategy and media strategy. After the students tried to understand graphic design that focused on form (Graphic Design Studio 1/Layout Design, Supporting Studio 2/Typography) and content (Graphic Design Studio 2/Visual Identity, Supporting Studio 2/Communicative Photography), this course is the continuation of previous study with the focus on understanding the contextual aspect of visual communication design (alongside Graphic Design Studio 3/ Promotional Design), especially in the marketing communication context.
The Third main studio from the graphic design concentration focuses on intermedia design. Previously the course focuses on packaging design, but recent development shifts the focus more to intermedia design understanding. The students are asked to design the logo and visual identity design of a product and then tasked to design a packaging system for the product, and then design a communication strategy and media for brand communication. During the whole semester, the student focuses on one continuous design project with one brand. The reason behind this decision is so that the students may focus and maintain the overall identity and strategy towards the various mediums of design.
Production Studio 2 (Web Design)
191 Chapter 4 Persuade: The Mandate of Persuassion
Designing for web is about understanding the logics of web language and structure, and how to have the skill to not only create a functional and working website, but also solve visual design and usability problems. Besides those mentioned, visual communciation design skills acquired through previous courses such as typography, layout design, and computer graphic will tremendously helps to create a well-designed website.
This course will take students to learn the basic methods and techniques in designing the structure and layout of website through standardized language such as HTML, CSS, and JavaScript. Students will try to understand and create website structure through understanding HTML. Then, CSS language will help students designing the layout and typography aspect of website. With website in both small screen and large screen become ubiquitous media, students will learn how to create responsive layout through media query. After that, students will dive a little bit deeper in web language by learning basic JavaScript to create more complex functions in website, such as animation, buttons, loops, and others. Finally, as the final project they will be challenged to redesign a certain website where all their design skills are needed to create a functional website.
In the end of the course, students will be knowledgable in basic web language and are able to create one both aesthetically and functionally..
75 STUDENTS, 64 PROJECTS
193
of Persuassion
By Helen Tristanti, Malvin Joshua, Shelley Christine Persuade: The Mandate
Chapter 4
Branding Packaging&- Rednis
194 Chapter 4 Persuade: The Mandate of Persuassion
195
Branding Packaging&- Fibble
Nama Mata Kuliah
By Felicia Violetta & Shienny Wongso
Chapter Persuade: The Mandate of Persuassion
By Kezia Octavia & Samantha Jolene
Branding Packaging&- Fuel Up
4
198 Chapter 4 Persuade: The Mandate of Persuassion
By Celine Wisuna & Febrianti Setiana
199
Nama Mata Kuliah
Branding Packaging&- Geraw
By Felicia Kristella
Branding Packaging&- Ubibu
202 Chapter 4 Persuade: The Mandate of Persuassion
Branding Packaging&- Mireokki
By Shella Subagia
204 Chapter 4 Persuade: The Mandate of Persuassion
205 Page PackagingBrandingBefore&- Kupana
By Fanny Lie, Jennifer Audiah, & Stephanie Alvionita
Chapter 4 Persuade: The Mandate of Persuassion
By Saskia Rachell Yahya & Paradisa Chirana This PackagingBrandingPage&- DAME
By Livia Margarita & Priscilla Josephine
Chapter 4 Persuade: The Mandate of Persuassion
Branding Packaging&- Kalsisoes
207
208 Chapter 4 Persuade: The Mandate of Persuassion
4
Chapter Persuade: The Mandate of Persuassion
This Page Final ProjectPublication Design By Fanny Lie, Jennifer Audiah, Marleena Tedja, Natasha Dian, Novie Carolina, Stephanie Alvionita
209 Page Before Final ProjectPublication Design By Amira, Angelina B., Nabila Yasmin, Nashya Rahmawita, Rachael Eleanor, Triska, & Vanessa Allegra
212 Chapter 4 Persuade: The Mandate of Persuassion
By Marleena Tedja, Nabi la NashyaYasmin,Rahmawita
213 Page PackagingBrandingBefore&- Load Bar
Chapter 4 Persuade: The Mandate of Persuassion
By Natasha Dian, Novie Carolina, Rafi Krisananda
This PackagingBrandingPage&- Kembang
216 Chapter 4 Persuade: The Mandate of Persuassion
Chapter 4 Persuade: The Mandate of Persuassion
By ChristinaNatashaGondo
This PackagingBrandingPage&- Banazel
217 Page PackagingBrandingBefore&- Caverly
By Hana Irena
218 Chapter 4 Persuade: The Mandate of Persuassion
Chapter 4 Persuade: The Mandate of Persuassion
By Kelvin
219 Page PackagingBrandingBefore&- Fortune Chick By Rahel Kristhea This PackagingBrandingPage&- Get To Yu
Chapter Persuade: The Mandate
of Persuassion
225 Branding Packaging&- Tulaboocha
By Tiffany
4
226 Chapter 4 Persuade: The Mandate of Persuassion
Untuk kemasan sekunder, Squink Stick menggunakan suatu kotak karton berukuran 21,5 cm x 7,3 cm x 10,5 cm. Satu kemasan sekunder ini memuat tiga varian rasa Squink Stick (orisinil, keju, dan rumput laut) secara sekaligus. Bentuk kotak ini juga dibuat dengan pemikiran agar dapat disusun secara bertumpuk ke atas maupun kesamping. Pada bagian depan kemasan ini, terdapat bolongan yang cukup besar pada bagian tengah yang kemudian dilapisi pvc bening
SECONDARY PACKAGING
Figur 36 | Kemasan primer Squink Stick dengan varian rasanya.
Secondary packaging kemasan yang fungsi utamanya adalah untuk keperluan branding display Packaging 2017). Selain itu, kemasan sekunder juga digunakan untuk perlindungan dan penyimpanan beberapa kemasan primer, serta untuk keperluan kemasan primer secara sekaligus (Saxon Packaging 2017).
Chapter 4 Persuade: The Mandate of Persuassion
SQUINK
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3. Packaging konsisten,kokoh.
Page PackagingBrandingBefore&- Jaipong
By Nessie Gunardi Branding Packaging&- Elegum
By Clarissa Laurencia
Chapter 4 Persuade: The Mandate of Persuassion
By Jesslyn Kotandi This SquinkPackagingBrandingPage&-Stick
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By Jemima Deka
Branding Packaging&- Wobble
Chapter Persuade: The Mandate
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of Persuassion
By Yehezkiel Penalosa
Branding Packaging&- Taloaf
Primary Packaging Transparent Plastic PVC Alumunium Cap Jar 500ml Jar dimensions : Height : 10.5cm, Diameter : 9cm Secondary Packaging Box dimensions : 18,5cm x 11cm x 11cm 68 Ini adalah primary packaging sebelumnya sudah kami ubah sesuai dengan hasil asistensi hubungan pada akhir label dan komposisi seal Finalisasi Packaging Design — Primary Packaging Chapter 4 Persuade: The Mandate of Persuassion
bagian dalam box juga Sekat ini berfungsi untuk tidak mudah terguncang proses pengiriman. Kami juga memberikan depan dan belakang juga disesuaikan dengan krem, biru tua, dan juga Untuk desainnya juga elemen yang terdapat agar terdapat suatu elemen gelembung tersebut agar kemasan sekunder bagian samping kemasan kami berikan informasi terdapat dalam Bobucha.
Untuk kemasan tersier, corrugated box yang dilaminasi. ini dapat menampung 9 Untuk desainnya, kami brand Bobucha itu sendiri, dan merah muda. Untuk kami desain untuk menjaga tidak terlalu mahal. Kemudian, dan bawah box, kami dengan elemen-elemen
fig.41 desain final kemasan tersier
sistem pemesanan pre-order. Desain media pada platform ini berisi mengenai product catalog dan promotional banner.
Chapter 4 Persuade: The Mandate of Persuassion
Primary PackagingPackagingDesign to action dan
Tertiary Packaging
Untuk kemasan primer, kami menggunakan botol plastik bening 500 ml yang tebal agar menghindari adanya pecah belah, serta bahan yang tebal juga akan melindungi boba yang rentan untuk pecah. Penggunaan label juga menggunakan stiker transparan agar label tahan air dan tidak hancur. Untuk desainnya itu sendiri, kami mencoba untuk menggambarkan gelombang udara untuk menunjukkan bahwa Bobucha merupakan minuman yang segar dan mengandung sedikit soda. Bentuk tersebut juga digunakan untuk menggambarkan kesan yang dinamis dan pembeda varian rasanya terdapat pada bentuk call Pada marketplace, kami memilih Tokopedia dengan pertimbangan untuk dapat memenuhi
fig.40 desain final kemasan sekunder tampilan depan (atas), belakang (bawah)
Pada bagian atas box tanda untuk menunjukkan
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Chapter Persuade: The Mandate of Persuassion
By Jessica Marcella, Kelly Keegan, Natashia Salim
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Branding Packaging&- Kefirpop
Chapter 4 Persuade: The Mandate of Persuassion
238 Nama Mata Kuliah5.3.1.1 Primary Packaging Primary packaging merupakan packaging yang bersentuhan langsung dengan depan agar konsumen bisa melihat kondisi dan seperti apa produk Breotic tersebut terlihat. Fig 5.4 Final Packaging Design
BREOTIC
Branding Packaging&- Breotic
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By Geraldine Karnadi, Jessine Suliang, Kimberly Mulia
Fig 6.17 Tokopedia Catalog Carousell
Chapter 4 Persuade: The Mandate of Persuassion
Kemasan Primer
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Desain
Identitas visual yang digunakan pada logo akhir adalah dengan bentuk ilustrasi vektor. Sebelumnya dibuat dengan ilustrasi outline, namun setelah disesuaikan dengan logo maka diputuskan untuk membuat vektor bahan-bahan dari roti jicama. Kemudian identitas visual yang teruta ma merupakan 2 maskot yaitu Basil dan Kokus yang merupakan bakteri baik dari prebiotik yang dikandung dalam roti Jicama. Idenititas visual ini disesuaikan dengan keinginan klien untuk menggunakan bakteri baik sebagai maskot dari produk ini. Peng gunaan maskot bakteri baik membuat RASAORIGINAL RASA ONCOM RASAT RASA ORIGINAL 88 Kemasan Sekunder Chapter 4 Persuade: The Mandate of Persuassion
Kemasan Final
Promo-promo yang akan dilakukan produk Dansin berupa potongan-potongan harga dan mengikuti trend yang sedang terjadi pada platform pasar online seperti flash sale.
Chapter 4 Persuade: The Mandate of Persuassion
Promotional Banners
By Gwyneth Vannia, Nadya Tritami, Stephanie Nathania
Branding Packaging&- Dansin
Youtube Youtube yang memiliki intensitas penggunaan yang tinggi oleh target audiens Dansin menjadi Figur 6.27 - Promotional Banners
By Albertus Moeljo Rahardjo, Billy Alexander, Tamara Audrey Tamosee
Branding Packaging&- Jicama
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Kemasan Primer Non-Seasonal
Kemasan Primer Seasonal Kemasan
Nama Mata Kuliah bagian depan, kemasan primer ini dilengkapi dengan window untuk mempermudah anda mengecek kesegaran muffin. Kemasan primer crav’fin tersedia dalam 3 varian rasa berbeda. Kemasan primer non-seasonal dan kemasan primer seasonal memiliki bentuk kemasan yang sama.
Packaging Design | Konsep Desain
Chapter 4 Persuade: The Mandate of Persuassion
Branding Packaging&- Crav’fin
By Angela Maria Nadya Sujanto, Fredella Agatha, Lorentius Calvin
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Crav’fin berencana untuk memasarkan
melalui marketplace Tokopedia dan fitur
244 HOME GET TO KNOW OUR PRODUCTS
BANNER PROFILE DAN KATALOG
Chapter 4 Persuade: The Mandate of Persuassion
minim,
PROMOTION BANNER PADA MARKETPLACE TOKOPEDIA
C. Marketplace produk lewat media marketplace. Pemasaran dilakukan marketplace pada Facebook. Pada kedua marketplace tersebut, desain yang lebih lebih berwarna dan seragam dengan tema produk diaplikasikan pada digital banner dan thumbnail produk. Hal ini dilakukan agar produk Cravfin dapat lebih standout dibanding produk lain. Selain itu, pada marketplace tidak menyediakan banyak konten seperti pada media Instagram, Facebook, dan laman resmi. Hal ini dikarenakan Crav’fin lebih berfokus dalam penjualan produk saja pada calon pelanggan.
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Chapter Persuade: The Mandate
Kemasan Sekunder Non-Seasonal
of Persuassion
245 dalam 3 varian rasa berbeda.
By Frederick Christoper, Hannah Christian, Nivelle Aruana Persuade: The Mandate
Chapter 4
of Persuassion
Branding Packaging&- Savamie
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SekunderPrimer
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Chapter 4 Persuade: The Mandate of Persuassion
Tersier
Kemasan sekunder yang dipilih adalah desain untuk tube. Penggunaan kemasan tube sendiri adalah keputusan yang baik karena penggunaan tube cukup efisien. Setiap rasa memiliki elemen grafis tersendiri yang khas dan identik dengan bahan-bahan yang digunakan pada setiap rasa. Kemasan tersier akhirnya direvisi dimana logo pindah kebagian atas dan tidak lagi be sar ditengah kemasan. Kemasan tersier ini merupakan sebuah box yang dapat meny impan 3 kemasan tube Rukuku. Salah satu poin plus dari menggunakan kemasan kotak ini adalah adanya handle. Akibat memiliki handle, kemasan Rukuku pun dapat dengan
Caroline Heliawanto & Melanie Xaviera
Rukuku
Kemasan primer Rukuku adalah kemasan aluminium yang bersifat melindungi kukis dari kontak langsung dengan packaging sekunder. Alasan penggunaan packaging al uminium terlebih dahulu sebelum dimasukan kemasan sekunder adalah untuk me maintain agar kukis tidak menjadi lembek. Kemasan primer Rukuku cukup simpel dengan penggunaan logo yang diulang berkali-kali dan memiliki warna-warna yang berbeda-beda sesuai dengan rasa masing-masing. Alasan mengapa desain kemasan primer cukup simpel adalah karena packaging tersebut tidak terlihat karena masuk kedalam kemasan sekunder.
PackagingFinal
Pendekatan terakhir yang digunakan untuk umpan Instagram terakhir adalah sama tetapi visualnya disempurnakan. Untuk tampilan Instagram Rukuku sendiri, Rukuku akan menggunakan tagline nya “Your Healthy Choices” pada bio, menjelaskan bahwa Rukuku sudah dapat dibeli pada bermacam-macam e-commerce, dan mendorong orang-orang untuk membeli dengan menulis “Shop Now” dan menambahkan anak panah kebawah (menunjuk pada linktree).
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Rukuku ciri khas dari Rukuku. Namun, pada hari besar tertentu penggunaan warna pada Ins tagram Feeds berubah menyesuaikan dengan hari besar tersebut. Misalnya menggu nakan dominasi warna merah dan juga putih pada hari natal. Selain warna terdapat juga beberapa penambahan elemen grafis dan ilustrasi untuk hari besar tertentu.
Instagram Story
Tampilan Instagram ya pada kemasan
By Caroline Heliawanto, Melanie Xaviera
Caroline Heliawanto & Melanie Xaviera
Caroline Heliawanto & Melanie Xaviera
Chapter 4 Persuade: The Mandate of Persuassion
Final MediaDigital
Untuk edisi spesial Natal, Rukuku membuat kemasan khusus yang berupa hampers dengan isi 30 kemasan ukuran kecil (saset). Hampers ini memiliki semacam pintu yang dipotong mengikuti bentuk pohon Natal pada ilustrasinya. Buka tutup pintu kemasan ini dapat diatur dengan menggunakan velcro yang tertempel pada bagian dalam. Ke tika kemasannya dibuka, pada bagian kiri ada informasi mengenai produk Rukuku dan pada sebelah kanan terdapat informasi mengenai variasi rasa yang ditawarkan oleh Rukuku. Untuk sisi belakang pada hampers, terdapat tulisan lucu yang sejalan dengan tema Natal, ilustrasi Natal, informasi kantor Rukuku, dan barcode. Sama seperti kema san tersier, hampers juga memiliki pegangan untuk tujuan mempermudah pembeli ketika membawanya. Namun pegangan hampers adalah pita warna merah.
Instagram Feed memuat konten-konten mengenai pengenalan produk yang memuat manfaat dan juga kandungan dari produk Rukuku. Tidak hanya itu dalam konten ins tagram ini juga memuat berbagai promo yang bertujuan untuk dapat menarik target audiens yang dituju . Selain itu, untuk dapat menarik audiens ditampilkan juga bebera pa konten pendukung seperti konten mengenai yoga yang dapat menarik target mar ket yang dituju. Terdapat juga konten yang berupa ajakan bagi audiens untuk mem ulai gaya hidup yang lebih sehat sehingga melalui konten tersebut diharapkan dapat memunculkan keinginan bagi audiens untuk membeli produk. Untuk visual dari ins tagram juga didominasi dengan penggunaan warna hijau yang merupakan identitas warna dari Rukuku serta menggunakan berbagai elemen grafis abstrak yang menjadi
Karena hampers biasanya ditujukkan untuk diberikan kepada seseorang, Rukuku juga menyediakan kartu ucapan yang dapat dibeli oleh pemberi. Kartu ucapan ini nantin ya akan diikatkan pada pegangan hampers menggunakan karet berwarna hijau atau emas. gosong.terutacookgam
Branding Packaging&- Rukuku
Instagram Feeds
Instagram Ads (Awareness)
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Chapter 4 Persuade: The Mandate of Persuassion
By Stefanny Kusuma, Tarisha Anindya Rizal, Vanessa Leoni
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Branding Packaging&- Bresco
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Chapter 4 Persuade: The Mandate of Persuassion
Branding Packaging&- Sorgumee
By Jessica Pricilia, Ria Melati, Yosephin
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Branding Packaging&- Larkies
of Persuassion
By Angel Cristina, Sherina Lie Persuade: The Mandate
Chapter 4
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Branding Packaging&- Verenice
By Elizabeth, Helena Calista, Patricia Frite Persuade: The Mandate
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Lecturers
Aileen Aprilla, Andreas Wijaya, Angela Nadya, Annika Lienardo, Bernard Leonard, Daffa Andrian, Edwin Miduk, Elizabeth, Febrianti Setiana, Felicia Kristella, Felicia Violetta, Fransiskus Kevin, Fredella Agatha, Geraldine Karnadi, Gwyneth Vannia, Hannah Christian, Helena Calista, Jennifer Claudy, Jessine Suliang, Jesslyn Kotandi, Kelvin, Kimberly Mulia, Lorentius Calvin, Melanie Xaviera, Michelle Widjaya, Natasha Salim, Natasha Dian, Nessie Gunardi, Nivelle Aruana, Novie Carolina, Phrasasti Catelleya, Priscilla Josephine, Rafi Krisananda, Saskia Rachell Yahya, Shella Subagia, Shefira Marcelline, Sherina, Stephanie Nathania, Tifani Nathania, Vanessa Leoni, Vincent, Yosephin
Chapter 2
Students
Chapter 3
Brian Alvin Hananto, Ellis Melini, Juliana Suhindro Putra, Julianto, Kartika Magdalena, Leonardo Widya, Lia Herna, Meivina, Njoo Dewi Candra Kertasari, Roostantinah, Siswanto Sidharta, Valerie Wiraatmadja, Winoto Usman
Lecturers
Alfiansyah Zulkarnain, Ade Maradona, Anastasia Callista, Brian Alvin Hananto, Christo Wahyudi, Ellis Melini, Ferdinand Indrajaya, F. X. Damarjati, Lia Herna, Meivina, Njoo Dewi Candra Kertasari, Rerry Isfandriani, Siswanto Sidharta, Sutopo Singgih
Students
CREDITS
Aileen Aprilla, Albert Rahardjo, Angel Cristina, Angela Maria Nadya Sujanto, Annika Lienardo, Caroline Heliawanto, Chrisya, Clarissa Laurencia, Dea Gabriela, Diva Victoria, Edwin Samudra, Eldad Timothy, Erlis Leoni, Fanny Lie, Febrianti Setiana, Felicia Kristella, Fredella Agatha, Frederick Christopher, Geraldine Karnadi, Gwyneth Vannia, Hannah Christian, Heidi Maurina, Helena Calista, Jeff Daniel Riyanto, Jessica Pricilia, Jessine Suliang, Jesslyn Josephine, Jesslyn Kotandi, Jesslyn Oh, Juan Justianto, Kartika Magdalena, Kimberly Mulia, Kelvin, Lorentius Calvin, Malvin Joshua, Melanie Xaviera, Michelle Evangelyn, Michelle Widjaya, Natashia Salim, Nessie Gunardi, Nivelle Aruana, Novie Carolina, Rahel Kristhea, Raydita F., Ria Melati, Sean Michael, Shella Subagia, Stefanny Kusuma, Stefanus Togu, Stephanie Alvionita, Tarisha Anindya Rizal, The Jemima Deka Jenaya, Tio Alfandri, Tiffany, Vanessa Leoni, Vittorio Purnama, Yehezkiel Penalosa, Yosephin
Ade Maradona, Anastasia Callista, Brian Alvin Hananto, Ernest Irwandi, Chandra Djoko, Christo Wahyudi, Karen Steffi Halim, Kartika Magdalena, Meutia Parahita, Rerry Isfandriani, Siswanto Sidharta, Sutopo Singgih
Chapter 4
Students
Lecturers
Albertus Moeljo Rahardjo, Amira, Angel Cristina, Angela Maria Nadya Sujanto, Angelina Budiman, Billy Alexander, Caroline Heliawanto, Celine Wisuna, Clarissa Laurencia, Elizabeth, Fanny Lie, Febrianti Setiana, Felicia Kristella, Felicia Violetta, Fredella Agatha, Frederick Christoper, Geraldine Karnadi, Gwyneth Vannia, Hana Irena, Hannah Christian, Helen Tristanti, Helena Calista, Jessine Suliang, Jennifer Audiah, Jennifer Claudy, Jessica Marcella, Jessica Pricilia, Jesslyn Kotandi, Kelly Keegan, Kelvin, Kezia Octavia, Kimberly Mulia, Livia Margarita, Lorentius Calvin, Malvin Joshua, Marleena Tedja, Melanie Xaviera, Nabila Yasmin, Nadya Tritami, Nashya Rahmawita, Natasha Christina Gondo, Natasha Dian, Natashia Salim, Nessie Gunardi, Nivelle Aruana, Novie Carolina, Paradisa Chirana, Patricia Frite, Priscilla Josephine, Rachael Eleanor, Rafi Krisananda, Rahel Kristhea, Ria Melati, Sabrina Brigitta, Samantha Jolene, Saskia Rachell Yahya, Shefira Marcelline, Shella Subagia, Shelley Christine, Sherina, Sherina Lie, Shienny Wongso, Stefanny Kusuma, Stephanie Alvionita, Stephanie Nathania, Tamara Audrey Tamosee, Tarisha Anindya Rizal, Tiffany, Tifani Nathania, The Jemima Deka Jenaya, Triska, Vanessa Allegra, Vanessa Leoni, Yehezkiel Penalosa, Yosephin
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Landa, R. (2011). Graphic Design Solutions (4th ed.). Boston: Wadsworth Cengage Learning.
Budelmann, K., Kim, Y., & Wozniak, C. (2010). Brand Identity Essentials. Massachusetts: Rockport Publisher.
READIFURTHERNG
Wheeler, A. (2009). Designing Brand Identity (3rd Editio). New Jersey: John Wiley & Sons.
Baldwin, J., & Roberts, L. (2006). Visual Communication: From Theory to Practice. Case Postale: AVA Academia.
Skolos, N., & Wedell, T. (2011). Type, Image, Message : A Graphic Design Layout Workshop. Massachusetts: Rockport.
Heskett, J. (2002). Design: A Very Short Introduction. New York: Oxford University Press.
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Nama Mata Kuliah 3 ACADEMIC YEARS 9 155SEMESTERSPROJECTS
