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Semiotika Visual Logo RSU.Surya Husadha Denpasar Jayanegara, I Nyoman
Jurnal Bahasa Rupa Vol 1 No 1 (2017): Jurnal Bahasa Rupa Oktober 2017
Publisher : LPPM STMIK STIKOM Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (549.877 KB) | DOI: 10.31598/bahasarupa.v1i1.138

Abstract

The logo is a picture mark that depicts the identity and image for the entity, where the image and corporate character are communicated with the audience by using the element of writing and image. Images and writing as a logo forming element is a sign system that aims to communicate messages about the type of business, image, or even the companys character to the public. The signs used in a logo are easily understood and conventionally agreed to be able to communicate quickly with the audience. RSU.Surya Husadha as an entity seeks to communicate the message about the type of business as well as the image of the company by using the sign system to the community. Visual signs used in the form of writing and drawing elements in the RSU.Surya Husadha logo, analyzed using semiotic theories expressed by Ferdinand de Saussure and Charles Sander Peirce. The results obtained are RSU.Surya Husadha logo has a deep philosophy about a life depicted through water and seed symbols. Life and exixtence require a balance of all the realities and consequences that exist where the philosophy is portrayed through logotype and logogram as forming elements of the company logo.
Perancangan Game Jalak Bai Berbasis Android Jayanegara, I Nyoman; Yasa, I WayanAdi Putra
Jurnal Nasional Pendidikan Teknik Informatika (JANAPATI) Vol 4, No 1 (2015)
Publisher : Jurusan Pendidikan Teknik Informatika Universitas Pendidikan Ganesha

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Abstract

Jalak Bali merupakan burung endemik Indonesia yang hanya ada di Bali dan bahkan burung ini telah menjadi maskot dari pulau Dewata (Bali). Burung Jalak Bali mengalami penurunan populasi dan dikategorikan ke dalam satwa langka dan nyaris punah, sehingga keberadaannya dilindungi oleh Undang-Undang. Untuk itu perlu upaya untuk pelestarian Jalak Bali dengan langkah menumbuhkembangkan kecintaan anak-anak terhadap hewan ini melalui sebuah permainan (game). Game ini ditujukan pada anak-anak usia 9-12 tahundan bersifat edukasi, yang berisi pengenalan dari burung Jalak Bali khususnya tentang ciri-ciri, habitat, makanan dan pemangsanya.Game ini berbasis Android, dimana sistem operasi ini cukup besar pengggunanya di Indonesia.
TRADISI OMED-OMEDAN DALAM PERSPEKTIF INDUSTRI BUDAYA Jayanegara, I Nyoman
Bali Membangun Bali: Jurnal Bappeda Litbang Vol 2 No 2 (2019): Teknologisasi untuk Bali yang Lebih Baik : Analisis Daya Saing Daerah
Publisher : Badan Riset dan Inovasi Daerah Provinsi Bali

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Abstract

The Omed-omedan tradition is one of the unique traditions in the city of Denpasar, precisely in Banjar Kaja, Kelurahan Sesetan. The Omed-omedan tradition is a mythology accepted as a cultural heritage of the Banjar Kaja community, Sesetan, has been passed down from the older generation to the present. That's why this tradition is said to be unique and rare as cannot be found elsewhere. The Omed-omedan tradition was originally a tradition that was carried out spontaneously by the Banjar Kaja community, but in its development it has transformed into a cultural festival which certainly has a fairly high selling value. The transformation of a tradition which was initially carried out spontaneously by the community into a festival showed that the cultural industry with its capitalist ideology was able to influence most people to agree that the implementation of this tradition was packaged into a festival. The Banjar Kaja Sesetan community feels that they need a new model in the implementation of this tradition so that it has more selling value and is better known than before. The Banjar Kaja community, Sesetean, has unconsciously been hegemony by capitalist ideology so that it has unconsciously agreed to transform the tradition from spontaneity into a festival. By reason of the progress of the era and tourism, this tradition is considered to have high economic value so that it should be used as a cultural festival. The cultural industry does not eliminate the sacred value of this tradition, but by turning into a festival with various packages that satisfy the people present, resulting in the loss of the authenticity of the tradition, there has been an unconscious uniformity in the implementation of this tradition. 
BALIK LAYAR MEDIA VISUAL TRADISI OMED-OMEDAN Setiawan, I Nyoman Anom Fajaraditya; Putra, Putu Satria Udyana; Jayanegara, I Nyoman; Setiawan, I Ketut
An1mage Jurnal Studi Desain Vol 1 No 2 (2018): An1mage Jurnal Studi Desain
Publisher : an1mage

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Abstract

Omed-omedan merupakan salah satu tradisi yang masih eksis sampai dengan saat ini. Tradisi ini bertempat di Desa Sesetan, Banjar Kaja, Denpasar dan saat ini telah masuk sebagai bagian dari warisan budaya tradisi di Desa Sesetan yang mendapatkan pengakuan dari Pemerintah Kota Denpasar. Tradisi ini selalu diadakan pada hari raya Ngembak Gni atau sehari setelah hari raya Nyepi di Bali.     Kegiatan omed-omedan diikuti oleh kaum muda-mudi desa setempat yang didukung oleh komponen desa adat serta perangkatnya termasuk pemerintah daerah dan masyarakat. Beberapa tahun terakhir, kegiatan dari tradisi ini dijadikan wadah festival yang menghadirkan pula hiburan rakyat pada acara tersebut. Statusnya kini sebagai ajang festival maka menjadi lebih meluas untuk kebutuhan media-media pendukung guna menyemarakkan acara. Saat ini tidak hanya penampilan omed-omedan, namun komponen hiburan tambahan juga menjadi agenda yang ditunggu pengunjung. Oleh sebab itu event omed-omedan dianggap sebagai peluang usaha kreatif dan bahkan agenda pengabdian pada masyarakat bagi akademisi terkait. Beragam media sebagai sarana visual menjadi elemen penting dalam menyemarakkan acara ini. Tentunya di balik itu, terdapat desainer yang melakukan suatu riset sehingga tak terlepas dari konsep festival dari tradisi ini.