Pub Date : 2019-09-16DOI: 10.34010/artic.v4i0.2416
Siska Udilawaty
This study aims to examine the Visual Molapi Saronde Dance Dress. The Saronde dance is a typical Gorontalo regional dance that has been inherited and patented as a non-fine heritage. Molapi dance saronde is a dance performed on the engagement night by the groom to see prospective wives. The results of this study are to explain the meaning of the molonde dance clothing starting from materials, clothing colors and motifs as well as the accompanying accessories and explain the meaning of the choreography of the Molapi saronde dance along with creative saronde dance. The approach used in this study is a qualitative descriptive approach. The technique of collecting data is done through observation, interviews, documentation studies and document studies. So, the conclusion of this study is that there is a meaning contained in the molapi saronde dance clothes, one of which is the meaning of headdress, namely Baya lo boute is a special headband for women's hair that gives a symbol, that women who wear it have been bound with a responsibility. As for Saronde dance, it is an innovation from Molapi Saronde dance, but the dance still has meaning or meaning that is maintained and cannot be changed. Although there was a slight change from movement, clothing, and musical accompaniment.
本研究旨在检验视觉Molapi Saronde舞蹈服。萨隆德舞是典型的戈龙塔洛地区舞蹈，作为非优秀遗产被继承并申请了专利。Molapi dance saronde是新郎在订婚之夜表演的一种舞蹈，用来接见未来的妻子。本研究的结果是从材料、服装颜色和图案以及伴随的配饰来解释摩洛德舞服装的意义，并解释摩洛皮萨隆德舞的编舞以及创意萨隆德舞的意义。本研究使用的方法是定性描述方法。收集数据的技术是通过观察、访谈、文献研究和文献研究来完成的。因此，本研究的结论是，molapi saronde舞蹈服装包含着一种意义，其中之一就是头饰的意义，即Baya lo boute是一种特殊的女性头发的头饰，它赋予了一种象征，佩戴它的女性被束缚着一种责任。至于萨隆德舞，它是对莫拉皮萨隆德舞的一种创新，但这种舞蹈仍然有意义或意义，这种意义是保持不变的，不能改变的。虽然在动作、服装和音乐伴奏上有细微的变化。
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Pub Date : 2019-09-16DOI: 10.34010/artic.v4i0.2448
Endah Riana Endarini
Penelitian ini bertujuan untuk mengidentifikasi aspek visual dan kepribadian Levi dan Mikasa yang menjadikannya sebagai idola. Metode yang digunakan ialah kualitatif-analisis deskriptif, dengan pendekatan desain untuk mengkaji aspek visual pada bagian wajah, rambut, dan pakaian, serta pendekatan psikologi dan sinematografi yang mengkaji kepribadian tokoh melalui adegan di dalam film. Hasil dari penelitian ini menunjukkan bahwa tokoh idola pada film Shingeki No Kyojin lebih dipilih berdasarkan kepribadiannya daripada tampilan visualnya. Tokoh yang dijadikan idola ialah tokoh yang memiliki kepribadian yang tenang, dingin, dapat mengesampingkan perasaan namun masih memiliki rasa kepedulian, tidak banyak bicara, kuat dan kekuatannya diakui oleh banyak orang, pemberani, dan cekatan. Secara visual tokoh idola ditampilkan melalui tema warna yang cenderung hitam, putih, dan abu, juga bentuk mata dan bibir yang memiliki makna kekuatan. Aspek lain seperti pencahayaan, pewarnaan, ukuran pengambilan gambar, sudut pengambilan gambar, dan garis-garis tambahan berpengaruh dalam memperkuat kepribadian tokoh yang ditampilkan dalam adegan film.
这项研究的目的是确定利未和米卡萨最受欢迎的视觉和个性方面。采用的方法包括描述性分析、设计方法来分析面部、头发和衣服的视觉方面，以及心理学和电影场景来分析角色性格的心理和电影摄影方法。这项研究的结果表明，电影《Shingeki No Kyojin》中的偶像更受其个性而不是视觉效果的选择。一个受人尊敬的角色是一个性格冷静、冷静、能把感情放在一边却仍然关心他人、沉默寡言、力量和力量被许多人、勇敢和敏捷的人所承认的人物。偶像形象通过颜色主题的颜色倾向于黑色、白色和灰烬，以及眼睛和嘴唇的形状具有力量。其他方面，如灯光、染色、拍摄规模、拍摄角度和额外的线条，都有助于加强电影场景中人物的个性。
{"title":"REPRESENTASI IDOLA FILM ANIMASI SHINGEKI NO KYOJIN PADA TOKOH LEVI DAN MIKASA","authors":"Endah Riana Endarini","doi":"10.34010/artic.v4i0.2448","DOIUrl":"https://doi.org/10.34010/artic.v4i0.2448","url":null,"abstract":"Penelitian ini bertujuan untuk mengidentifikasi aspek visual dan kepribadian Levi dan Mikasa yang menjadikannya sebagai idola. Metode yang digunakan ialah kualitatif-analisis deskriptif, dengan pendekatan desain untuk mengkaji aspek visual pada bagian wajah, rambut, dan pakaian, serta pendekatan psikologi dan sinematografi yang mengkaji kepribadian tokoh melalui adegan di dalam film. Hasil dari penelitian ini menunjukkan bahwa tokoh idola pada film Shingeki No Kyojin lebih dipilih berdasarkan kepribadiannya daripada tampilan visualnya. Tokoh yang dijadikan idola ialah tokoh yang memiliki kepribadian yang tenang, dingin, dapat mengesampingkan perasaan namun masih memiliki rasa kepedulian, tidak banyak bicara, kuat dan kekuatannya diakui oleh banyak orang, pemberani, dan cekatan. Secara visual tokoh idola ditampilkan melalui tema warna yang cenderung hitam, putih, dan abu, juga bentuk mata dan bibir yang memiliki makna kekuatan. Aspek lain seperti pencahayaan, pewarnaan, ukuran pengambilan gambar, sudut pengambilan gambar, dan garis-garis tambahan berpengaruh dalam memperkuat kepribadian tokoh yang ditampilkan dalam adegan film.","PeriodicalId":72417,"journal":{"name":"Birth defects original article series","volume":"293 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77617442","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-09-16DOI: 10.34010/artic.v4i0.2457
Almer Hassan Ali
This research generally aims to gain knowledge about the traditional values of the Bantayo Po 'Boide Traditional House by trying to express the cultural values of the people of Gorontalo Regency. Specifically: First describe the architectural components of the Bantayo Po' Boide Traditional House of Gorontalo Regency including the roof, parts of the body and the bottom of the building; and second Expressing the meaning of the symbols in the Bantayo Po 'Boide Traditional House of Gorontalo Regency. This research uses descriptive method by collecting various qualitative and quantitative data relating to the form and symbolic meaning of the Bantayo Po' Boide Traditional House of Gorontalo Regency, while the data collection uses the method of Observation, Documentation, Interview and Literature Study. The results of this study are: 1) Total of poles house supporting totaling 32 is known as the symbol of 32 directions of the compass. This means that the leaders must have attention to all aspects of people's lives without knowing favoritism; 2) Total of the front steps that amounted to 8 as a symbol of 8 small kingdoms that helped so that the kingdom of Limutu became large; 3) The main pillars, total 2, are embedded directly into the roof frame, as a symbol of the pledge of unity between the kingdoms of Hulonthalo and Limutu; 4) 6 pillars have 6 main characteristics of the Gorontalo people, namely: Tinepo (tolerance), Tombulao (respect), Tombulu (devotion to the government), Wu'udu (according to fairness), Adati (obedient to regulations), and Buto'o (obedient to judges decisions). In addition to the meaning of construction, the writer also found a variety of decorative meanings found in the Bantayo Po' Boide traditional house. 1) The front of the house there is a stylized ornament of lotus and breadfruit plants and grouse. Symbol of lotus ornament of leaders who love democratic life. The meaning of breadfruit plants as protectors, while the grouse described as Gorontalo people who are small but agile and smart. 2) Ornaments on the edge of the banyan and triangular tree ceiling. The meaning of the banyan tree is strength and unity, while the triangle is the 3 elements of life (God, King, People). 3) Ornaments in the ventilation of doors and windows are stylized in the form of spears and shields, which have the meaning of guardianship or vigilance. 4) The living room ceiling ornament is a combination of lotus flowers and chains. Where the lotus means the leader of the people while the chain means the kinship ties of the kingdoms of Hulonthalo and Limutu. 5) Ornaments on lyst plank are stylized from jasmine plants which have the meaning of glory and friendliness.
本研究的总体目的是通过试图表达Gorontalo摄政人民的文化价值观来了解Bantayo Po 'Boide传统住宅的传统价值观。具体来说:首先描述了Gorontalo摄政Bantayo Po' Boide传统住宅的建筑组成部分，包括屋顶、部分主体和建筑底部;二是表达Gorontalo摄政Bantayo Po 'Boide传统住宅中符号的含义。本研究采用描述性的方法，收集了关于Gorontalo摄政Bantayo Po' Boide传统住宅的形式和象征意义的各种定性和定量数据，数据收集采用观察法、文献法、访谈法和文献研究法。研究结果表明:1)房屋支撑点共计32个，称为罗盘32个方向的标志。这意味着领导者必须关注人民生活的方方面面，而不知道偏袒;2)前面台阶的总数为8，象征着8个小王国，这有助于利木图王国变得更大;3)主柱共2根，直接嵌入屋顶框架中，象征着休伦萨罗王国和利穆图王国之间的团结承诺;4) 6根柱子有戈龙塔洛人的6个主要特征，分别是:Tinepo(宽容)、Tombulao(尊重)、Tombulu(忠于政府)、Wu'udu(公平)、Adati(服从法规)和Buto'o(服从法官判决)。除了建筑意义之外，笔者还在Bantayo Po' Boide传统民居中发现了多种装饰意义。1)房子的前面有莲花、面包果和松鸡的风格化装饰。象征热爱民主生活的领导人的荷花点缀。面包果的意思是植物的保护者，而松鸡则描述为戈龙塔洛人，他们身材矮小但敏捷而聪明。2)榕树和三角树天花板边缘的装饰品。榕树的意思是力量和团结，而三角形是生命的三要素(上帝，国王，人民)。3)门窗通风处的装饰物以长矛和盾牌的形式进行风格化，具有守护或警戒的意义。4)客厅天花板装饰是莲花和链条的组合。其中莲花意味着人民的领袖，而链条意味着休伦塔洛和Limutu王国的亲属关系。5)lyst木板上的装饰是由茉莉花植物设计的，具有光荣和友好的含义。
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Pub Date : 2019-03-15DOI: 10.34010/artic.v3i0.2484
A. Arianti
Comics are one of popular storytelling media which combines images and text, and is read through spesific order. Far before it was known as “comic”, Indonesia already has several forms of storytelling, such as Wayang Beber and relief on Borobudur’s temple. This forms are later known as comics, which evolve through times in Indonesia. Indonesian comics received many influences from other countries. Indonesian comics received most influences from America and Japan. These influences are seen on its storytelling, and also, its drawing style. The comics being analyzed on this thesis are those with action genre, also known as “komik silat” in the past, because this genre is one of the most popular genre. There are two titles picked to be analyzed, one is “Pandji Tengkorak”, which represents older generation comic, and “Raibarong”, which represent a more modern comic. To understand how indonesian comics grows throughout times and the factors behind its growth, this research uses qualitative analysis and descriptive-comparative along with study case as its approach. The result shows the differences between drawing style of the two comics, caused by the trends existing on their respective eras. Internal factors such us the authors personal preferences and media used to create the comics also further influences their drawing styles.
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Pub Date : 2019-03-15DOI: 10.34010/artic.v3i0.2506
Apsari Dj. Hasan
This study aims to examine the decorative types of Gorontalo karawo fabrics in aesthetic and symbolic elements. Researchers want to know as made in the research design, aspects that are present in the decoration of fabrics in aesthetic and symbolic elements. This study uses a number of related theories to get results, and as a determinant, the authors use aesthetic theory, as well as historical approaches. With this theoretical basis, the author seeks to describe the aesthetic aspects and symbolic meanings that exist in Gorontalo karawo fabric. Through the data collection of the chosen motif and provide a classification of motives, the part is used as a reference for research material. The results showed that Gorontalo filigree had an aesthetic value consisting of unity formed from the overall decorative motifs displayed, complexity formed by complexity in the manufacturing process, and intensity of seriousness in the manufacturing process or the impression displayed on the filigree motif. The aesthetic form also reflects the diversity of meanings for communication, such as the symbol of a leader with his noble instincts, a symbol of cultural cooperation, which is worth maintaining, and ideas about nature conservation. This research proves that the decoration in Gorontalo filigree cloth (karawo) does not only act as a visual value, but also as a communication of cultural meanings and social status. Of all these distinctive motifs show a relationship between humans and humans and humans with nature. The influence of culture from the Philippines is also known to have a strong influence on the emergence of the Gorontalo filigree namely manila filigree.
{"title":"STUDY OF DECORATIVE VARIETY IN GORONTALO KARAWO FABRIC IN AESTHETIC AND SYMBOLIC ELEMENTS","authors":"Apsari Dj. Hasan","doi":"10.34010/artic.v3i0.2506","DOIUrl":"https://doi.org/10.34010/artic.v3i0.2506","url":null,"abstract":"This study aims to examine the decorative types of Gorontalo karawo fabrics in aesthetic and symbolic elements. Researchers want to know as made in the research design, aspects that are present in the decoration of fabrics in aesthetic and symbolic elements. This study uses a number of related theories to get results, and as a determinant, the authors use aesthetic theory, as well as historical approaches. With this theoretical basis, the author seeks to describe the aesthetic aspects and symbolic meanings that exist in Gorontalo karawo fabric. Through the data collection of the chosen motif and provide a classification of motives, the part is used as a reference for research material. The results showed that Gorontalo filigree had an aesthetic value consisting of unity formed from the overall decorative motifs displayed, complexity formed by complexity in the manufacturing process, and intensity of seriousness in the manufacturing process or the impression displayed on the filigree motif. The aesthetic form also reflects the diversity of meanings for communication, such as the symbol of a leader with his noble instincts, a symbol of cultural cooperation, which is worth maintaining, and ideas about nature conservation. This research proves that the decoration in Gorontalo filigree cloth (karawo) does not only act as a visual value, but also as a communication of cultural meanings and social status. Of all these distinctive motifs show a relationship between humans and humans and humans with nature. The influence of culture from the Philippines is also known to have a strong influence on the emergence of the Gorontalo filigree namely manila filigree.","PeriodicalId":72417,"journal":{"name":"Birth defects original article series","volume":"17 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77193055","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-03-15DOI: 10.34010/artic.v3i0.2521
I. Pratama
This research was compiled based on a visual design study on the revitalization of the Mesatua Bali culture which was divided into 3 (three) periods, namely: the first Balinese Mesatua (oral) culture, the second period Mesatua Balinese culture (written literature), and the third period Mesatua Bali culture (digital visual). The Mesatua Bali culture is an oral tradition culture carried out by parents to their children. In this study begins by sharpening the substance and structure of research problems designed through the structure of the thinking of researchers. The design of the structure of thought focuses on the purpose of research, namely, to find out the causes and consequences of changes in the revitalization of Balinese Mesatua culture. The method used in this study is descriptive qualitative method, in order to meet objective data needs in conducting studies on the revitalization of Balinese Mesatua culture, this study uses data collection techniques through observation, interviews, and documentation. Surgery for object research is carried out starting from observing aspects of actors, technology and targets. Furthermore, an analysis of the stimuli generated starting from space, time and atmosphere (desa-kala-patra) and the human sensory field. In the final stage a study of visual elements in visual objects is carried out starting from the composition of balance, continuity, combination, unity, typography to color. Then it is compared based on each period of the object of research with 3 (three) levels of values, namely, essential, important, and desirable to analyze aspects that influence the revitalization of the Balinese Mesat culture and dissect what are new, what remains, what was lost, and what changed from the 3 (three) periods to the revitalization of the Balinese Mesatua culture. The results of this study indicate that there is a phenomenon of change in each period from the revitalization of Balinese Mesatua culture. The phenomenon of changes occurring in the revitalization of the Balinese culture from oral to become a visual form (design) is influenced and dilaterbelak by several factors, namely: factors of actors, target factors, technological factors along with factors of space, time, atmosphere (desa-kala-patra) different in each period.
{"title":"REVITALIZATION OF MESATUA BALI CULTURE THROUGH THE DIGITAL MEDIA","authors":"I. Pratama","doi":"10.34010/artic.v3i0.2521","DOIUrl":"https://doi.org/10.34010/artic.v3i0.2521","url":null,"abstract":"This research was compiled based on a visual design study on the revitalization of the Mesatua Bali culture which was divided into 3 (three) periods, namely: the first Balinese Mesatua (oral) culture, the second period Mesatua Balinese culture (written literature), and the third period Mesatua Bali culture (digital visual). The Mesatua Bali culture is an oral tradition culture carried out by parents to their children. In this study begins by sharpening the substance and structure of research problems designed through the structure of the thinking of researchers. The design of the structure of thought focuses on the purpose of research, namely, to find out the causes and consequences of changes in the revitalization of Balinese Mesatua culture. The method used in this study is descriptive qualitative method, in order to meet objective data needs in conducting studies on the revitalization of Balinese Mesatua culture, this study uses data collection techniques through observation, interviews, and documentation. Surgery for object research is carried out starting from observing aspects of actors, technology and targets. Furthermore, an analysis of the stimuli generated starting from space, time and atmosphere (desa-kala-patra) and the human sensory field. In the final stage a study of visual elements in visual objects is carried out starting from the composition of balance, continuity, combination, unity, typography to color. Then it is compared based on each period of the object of research with 3 (three) levels of values, namely, essential, important, and desirable to analyze aspects that influence the revitalization of the Balinese Mesat culture and dissect what are new, what remains, what was lost, and what changed from the 3 (three) periods to the revitalization of the Balinese Mesatua culture. The results of this study indicate that there is a phenomenon of change in each period from the revitalization of Balinese Mesatua culture. The phenomenon of changes occurring in the revitalization of the Balinese culture from oral to become a visual form (design) is influenced and dilaterbelak by several factors, namely: factors of actors, target factors, technological factors along with factors of space, time, atmosphere (desa-kala-patra) different in each period.","PeriodicalId":72417,"journal":{"name":"Birth defects original article series","volume":"11 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88596915","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-03-15DOI: 10.34010/artic.v3i0.2489
Triandi Purnama Ramadhan
Usaha Mikro, Kecil, dan Menengah (UMKM) merupakan kelompok bisnis yang apabila dilihat dari aset dan omzet berada di bawah Usaha Besar. Namun produk UMKM biasanya memiliki kriteria yang unik, baik dari segi bahan baku, jumlah produksi, maupun target pasar. UMKM masih dinilai memiliki kelemahan dalam hal desain kemasan. Salah satunya yaitu terbatasnya kemampuan dalam penggunaan tools dan teknologi dalam membuat desain kemasan yang unik dan mewakili identitas merek. Maka solusi para pelaku UMKM adalah memilih jenis kemasan siap pakai yang tersedia di pasaran, sehingga besar kemungkinan satu bentuk kemasan dapat digunakan oleh banyak merek. Fruits Up dan Mon Chérie merupakan contoh pelaku UMKM di Bandung yang sama-sama membuat produk minuman rasa buah. Dengan kategori produk dan target pasar yang sama, akan dilihat bagaimana visualisasi label kemasan yang mereka ciptakan ditinjau dengan bagan teori ‘estetika terapan’. Berdasarkan hasil analisis dengan metode campuran dengan strategi eksploratoris sekuensial, diketahui bahwa peran visualisasi pada label kemasan merupakan elemen utama untuk membedakan identitas mereka dengan produk lain, serta sebagai sarana untuk menyampaikan tujuan dan keunikan dari masing-masing produk UMKM. Unsur-unsur visual yang baik pada label harus memenuhi kaidah estetik, mudah dibaca (readable), mudah dimengerti (understandable), dan tepat sasaran. Suatu desain kemasan dapat dipengaruhi oleh maker (keunikan produk, kapasitas produksi, permodalan, penggunan teknologi, tools, dan skill) dan juga end user (need, will, lifestyle), yang kemudian dapat menghasilkan impact pada aspek estetik, praktis, dan simbolik konsumennya. Kesimpulan dari interpretasi konsumen diketahui bahwa komposisi warna dan ilustrasi lebih efektif dibandingkan unsur visual lainnya dalam membantu konsumen untuk mempermudah dalam pengambilan keputusan pembelian.
{"title":"PERAN VISUALISASI LABEL KEMASAN PRODUK MINUMAN USAHA MIKRO KECIL MENENGAH (UMKM) TERHADAP PENGAMBILAN KEPUTUSAN KONSUMEN","authors":"Triandi Purnama Ramadhan","doi":"10.34010/artic.v3i0.2489","DOIUrl":"https://doi.org/10.34010/artic.v3i0.2489","url":null,"abstract":"Usaha Mikro, Kecil, dan Menengah (UMKM) merupakan kelompok bisnis yang apabila dilihat dari aset dan omzet berada di bawah Usaha Besar. Namun produk UMKM biasanya memiliki kriteria yang unik, baik dari segi bahan baku, jumlah produksi, maupun target pasar. UMKM masih dinilai memiliki kelemahan dalam hal desain kemasan. Salah satunya yaitu terbatasnya kemampuan dalam penggunaan tools dan teknologi dalam membuat desain kemasan yang unik dan mewakili identitas merek. Maka solusi para pelaku UMKM adalah memilih jenis kemasan siap pakai yang tersedia di pasaran, sehingga besar kemungkinan satu bentuk kemasan dapat digunakan oleh banyak merek. Fruits Up dan Mon Chérie merupakan contoh pelaku UMKM di Bandung yang sama-sama membuat produk minuman rasa buah. Dengan kategori produk dan target pasar yang sama, akan dilihat bagaimana visualisasi label kemasan yang mereka ciptakan ditinjau dengan bagan teori ‘estetika terapan’. Berdasarkan hasil analisis dengan metode campuran dengan strategi eksploratoris sekuensial, diketahui bahwa peran visualisasi pada label kemasan merupakan elemen utama untuk membedakan identitas mereka dengan produk lain, serta sebagai sarana untuk menyampaikan tujuan dan keunikan dari masing-masing produk UMKM. Unsur-unsur visual yang baik pada label harus memenuhi kaidah estetik, mudah dibaca (readable), mudah dimengerti (understandable), dan tepat sasaran. Suatu desain kemasan dapat dipengaruhi oleh maker (keunikan produk, kapasitas produksi, permodalan, penggunan teknologi, tools, dan skill) dan juga end user (need, will, lifestyle), yang kemudian dapat menghasilkan impact pada aspek estetik, praktis, dan simbolik konsumennya. Kesimpulan dari interpretasi konsumen diketahui bahwa komposisi warna dan ilustrasi lebih efektif dibandingkan unsur visual lainnya dalam membantu konsumen untuk mempermudah dalam pengambilan keputusan pembelian.","PeriodicalId":72417,"journal":{"name":"Birth defects original article series","volume":"43 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77936189","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-03-15DOI: 10.34010/ARTIC.2019.3.2504.113-120
A. Fauzi
Penelitian ini mengkaji objek desain yang dapat berubah berdasarkan waktu, tujuannya yaitu untuk menguji aspek apa saja yang mendorong perubahan desain mobil Toyota Kijang generasi ke-1 (1977-1981), Toyota Kijang generasi ke-2 (1981-1986) dan Toyota Kijang generasi ke-3 (1986-1992). Metode analisis yang digunakan adalah menggunakan Prinsip Totalitas, Prinsip Waktu, dan Prisip Nilai yang di kemukakan oleh W. H. Mayall dan di kembangkan oleh Dr. Ahadiyat Joedawinata untuk menganalisis fitur-fitur yang terdapat pada komponen eksterior dan interior mobil Toyota Kijang, dan membedah faktor-faktor apa yang hilang, apa yang berubah, apa yang tetap, dan apa yang baru dari ke-3 generasi Toyota Kijang. Dari hasil penelitian dapat disimpulkan bahwa pada sebuah desain aspek fungsi (performance) dan estetika (form) saling berkaitan satu sama lain, terjadinya perubahan pada salah satu aspek mempengaruhi aspek yang lain. Adapun perubahan yang terjadi pada sebuah desain dipengaruhi oleh aspek-aspek non – desain. Dalam kasus perubahan bentuk mobil Toyota Kijang perubahan yang terjadi dilaterbelakangi oleh 3 (tiga) faktor yaitu: Faktor Manusia (need, will dan capability), Faktor Ekonomi dan Faktor Teknologi.
这项研究的目的是测试第一代(1977-1981年)、第二代鹿丰田(1981-1986)和第三代鹿丰田(1981- 1992)的设计方面。使用的分析方法是使用整体原则,原则提出的时间,Prisip价值由W . H . Mayall和在开发Ahadiyat博士Joedawinata来分析的特点在于外部组件和丰田汽车内饰、鹿和解剖因素少了什么,改变了什么,稳固的基础上,有什么新的第三代丰田的羚羊。从研究中可以得出结论，在功能方面和美学方面的设计中，一个方面的变化会影响另一个方面。至于设计的变化，则受到非设计方面的影响。如果一辆丰田车是一辆由3(需要、will和capability)、经济和技术因素等因素组成的车型。
{"title":"FENOMENA PERUBAHAN BENTUK MOBIL TOYOTA KIJANG GENERASI I (1977), GENERASI II (1981) DAN GENERASI III (1986) SEBAGAI REPRESENTASI DARI KEINGINAN, KEBUTUHAN, DAN DAYA BELI MASYARAKAT PENGGUNANYA DI INDONESIA","authors":"A. Fauzi","doi":"10.34010/ARTIC.2019.3.2504.113-120","DOIUrl":"https://doi.org/10.34010/ARTIC.2019.3.2504.113-120","url":null,"abstract":"Penelitian ini mengkaji objek desain yang dapat berubah berdasarkan waktu, tujuannya yaitu untuk menguji aspek apa saja yang mendorong perubahan desain mobil Toyota Kijang generasi ke-1 (1977-1981), Toyota Kijang generasi ke-2 (1981-1986) dan Toyota Kijang generasi ke-3 (1986-1992). Metode analisis yang digunakan adalah menggunakan Prinsip Totalitas, Prinsip Waktu, dan Prisip Nilai yang di kemukakan oleh W. H. Mayall dan di kembangkan oleh Dr. Ahadiyat Joedawinata untuk menganalisis fitur-fitur yang terdapat pada komponen eksterior dan interior mobil Toyota Kijang, dan membedah faktor-faktor apa yang hilang, apa yang berubah, apa yang tetap, dan apa yang baru dari ke-3 generasi Toyota Kijang. Dari hasil penelitian dapat disimpulkan bahwa pada sebuah desain aspek fungsi (performance) dan estetika (form) saling berkaitan satu sama lain, terjadinya perubahan pada salah satu aspek mempengaruhi aspek yang lain. Adapun perubahan yang terjadi pada sebuah desain dipengaruhi oleh aspek-aspek non – desain. Dalam kasus perubahan bentuk mobil Toyota Kijang perubahan yang terjadi dilaterbelakangi oleh 3 (tiga) faktor yaitu: Faktor Manusia (need, will dan capability), Faktor Ekonomi dan Faktor Teknologi.","PeriodicalId":72417,"journal":{"name":"Birth defects original article series","volume":"3 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84169718","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-03-15DOI: 10.34010/artic.v3i0.2504
Ahmad Nurzaeni Fauz
Penelitian ini mengkaji objek desain yang dapat berubah berdasarkan waktu, tujuannya yaitu untuk menguji aspek apa saja yang mendorong perubahan desain mobil Toyota Kijang generasi ke-1 (1977-1981), Toyota Kijang generasi ke-2 (1981-1986) dan Toyota Kijang generasi ke-3 (1986-1992). Metode analisis yang digunakan adalah menggunakan Prinsip Totalitas, Prinsip Waktu, dan Prisip Nilai yang di kemukakan oleh W. H. Mayall dan di kembangkan oleh Dr. Ahadiyat Joedawinata untuk menganalisis fitur-fitur yang terdapat pada komponen eksterior dan interior mobil Toyota Kijang, dan membedah faktor-faktor apa yang hilang, apa yang berubah, apa yang tetap, dan apa yang baru dari ke-3 generasi Toyota Kijang. Dari hasil penelitian dapat disimpulkan bahwa pada sebuah desain aspek fungsi (performance) dan estetika (form) saling berkaitan satu sama lain, terjadinya perubahan pada salah satu aspek mempengaruhi aspek yang lain. Adapun perubahan yang terjadi pada sebuah desain dipengaruhi oleh aspek-aspek non – desain. Dalam kasus perubahan bentuk mobil Toyota Kijang perubahan yang terjadi dilaterbelakangi oleh 3 (tiga) faktor yaitu: Faktor Manusia (need, will dan capability), Faktor Ekonomi dan Faktor Teknologi.
这项研究的目的是测试第一代(1977-1981年)、第二代鹿丰田(1981-1986)和第三代鹿丰田(1981- 1992)的设计方面。使用的分析方法是使用整体原则,原则提出的时间,Prisip价值由W . H . Mayall和在开发Ahadiyat博士Joedawinata来分析的特点在于外部组件和丰田汽车内饰、鹿和解剖因素少了什么,改变了什么,稳固的基础上,有什么新的第三代丰田的羚羊。从研究中可以得出结论，在功能方面和美学方面的设计中，一个方面的变化会影响另一个方面。至于设计的变化，则受到非设计方面的影响。如果一辆丰田车是一辆由3(需要、will和capability)、经济和技术因素等因素组成的车型。
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Pub Date : 2018-09-14DOI: 10.34010/artic.v2i0.2523
Miraci Kartiyani
Jawa Barat adalah salah satu provinsi yang memiliki masyarakat agamis dengan kekayaan warisan budayanya serta nilai-nilai luhur tradisionalnya. Sebagai salah satu contoh budaya Jawa Barat adalah tarian, terdapat berbagai macam tarian di Jawa barat. Salah satu tarian yang banyak dikenal oleh masyarakat adalah Tari Merak. Tari Merak merupakan seni tari yang berasal dari Jawa Barat dan diciptakan oleh Raden Tjetje Somantri tahun 1955. Namun berbeda dengan Tari Merak yang sering dijumpai saat ini adalah karya Irawati Durban yang dibuat ulang kostum dan koreografinya pada tahun 1965. Oleh sebab itu peneliti memilih “Studi Komparatif Pada Kostum Tari Merak Karya Rd. Tjetje Somantri dan Karya Irawati Durban Ardjo Melalui Pendakan Estetika”. Penelitian ini menggunakan metodologi penelitian kualitatif deskriptif dengan menggunakan teori estetika. Teknik alasisis yang dilakukan yaitu studi pustaka, observasi, wawancara dan dokumentasi. Pada bentuk visual tari merak ditemukan beberapa perbedaan dan persamaan pada kostum Tari Merak Tjetje dan kostum Tari Merak Irawati. Begitupun dengan koreografi yang memiliki aspek-aspek yang sama, berbeda, dan ditambahkan, sehingga kedua tari merak tersebut di komparasikan. Penelitian fokus terhadap unsur-unsur estetika pada bentuk visual kostum tari merak dan koreografinya.
{"title":"STUDI KOMPARATIF PADA KOSTUM TARI MERAK KARYA RADEN TJETJE SOMANTRI DAN KARYA IRAWATI DURBAN ARDJO MELALUI PENDEKATAN ESTETIKA","authors":"Miraci Kartiyani","doi":"10.34010/artic.v2i0.2523","DOIUrl":"https://doi.org/10.34010/artic.v2i0.2523","url":null,"abstract":"Jawa Barat adalah salah satu provinsi yang memiliki masyarakat agamis dengan kekayaan warisan budayanya serta nilai-nilai luhur tradisionalnya. Sebagai salah satu contoh budaya Jawa Barat adalah tarian, terdapat berbagai macam tarian di Jawa barat. Salah satu tarian yang banyak dikenal oleh masyarakat adalah Tari Merak. Tari Merak merupakan seni tari yang berasal dari Jawa Barat dan diciptakan oleh Raden Tjetje Somantri tahun 1955. Namun berbeda dengan Tari Merak yang sering dijumpai saat ini adalah karya Irawati Durban yang dibuat ulang kostum dan koreografinya pada tahun 1965. Oleh sebab itu peneliti memilih “Studi Komparatif Pada Kostum Tari Merak Karya Rd. Tjetje Somantri dan Karya Irawati Durban Ardjo Melalui Pendakan Estetika”. Penelitian ini menggunakan metodologi penelitian kualitatif deskriptif dengan menggunakan teori estetika. Teknik alasisis yang dilakukan yaitu studi pustaka, observasi, wawancara dan dokumentasi. Pada bentuk visual tari merak ditemukan beberapa perbedaan dan persamaan pada kostum Tari Merak Tjetje dan kostum Tari Merak Irawati. Begitupun dengan koreografi yang memiliki aspek-aspek yang sama, berbeda, dan ditambahkan, sehingga kedua tari merak tersebut di komparasikan. Penelitian fokus terhadap unsur-unsur estetika pada bentuk visual kostum tari merak dan koreografinya.","PeriodicalId":72417,"journal":{"name":"Birth defects original article series","volume":"45 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85957434","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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