adalah suatu simbolik dari sebuah mimpi yang menjadi realita di mana banyak seorang pemimpi yang mewujudkan mimpi2nya dalam sebuah maha karya sehingga suatu objek akan menjadi objek disaat realita bukanlah realita dan mimpi adalah realita di dalam edisi ini getart menyuguhkan suatu karya yang bisa dibilang mimpi2 para seorang PSK ( PEKERJA SENI KOMERSIL ) dan atau seorang SENIMAN yang ingin menjadikan suatu impiannya menjadi sebuah kenyataan ilustrasi cover mempunyai makna dan simbolik bahwa seorang laki laki menjelma menjadi seorang wanita karena adanya sebuah impian yang besar untuk merasakan dan memahami ke 2 jenis subjek dan objek.
di sini getart berperan untuk menjadi jalan tengah dimana curahan para seniman untuk memvisualisasikan karyanya dalam bentuk ebook yang kami suguhkan untuk mempromosikan dan memperkenalkan karya2 yang sangat eksotis gambar sebuah pelangi yang ada didalam ilustrasi cover menyimbulkan bahwa kehidupan manusia itu sangat berwarna dan beraneka ragam bentuk dan henisnya sehingga perbedaan dari indonesia itu jika di susun dan di satukan dalah sebuah harmoni menjadi sangat indah dan terbentuklah suatu pola dan garis nirmana namun mempunyai keondahan dan kekuatan.
ilistrasi pohon menyimbulkan bahwa kehidupan manusia di dunia ini tidak luput dari sebuah rangkaian daun batang ranting dan akar yang memberikan sebuah kekuatan dan spririt untuk berdiri tegak melawan pemberontakan serta memberikan sebuah kekuatan baru untuk berkarya seni
I popped along to the swish environs of The Royal Society of Arts building on John Adam Street in London last night to check out the Ravensbourne College of Design and Communication's Graphic Design degree show's London leg. The show was in the basement where the lighting was poor (the bad photography is my own, apologies) and each graduate only had little over a square metre to show off their work. Here are some projects that caught my eye...
First up is Charlie De Grussa's 3 minute project - a response to a brief set by ISTD (International Society of Typographic Designers). "The brief asked to explore the meaning of 3 minutes," De Grussa explains. "I decided to look into 3 minutes in two jobs that have the same principles of handling calls and dealing with the public: A 999 call handler and a cold caller." The only restriction imposed by the brief was that the response should be restricted to a single A1 sheet of paper, which was folded to present the information in a magazine-like format.
As I checked out the show, the next piece of work to grab my attention was the hand drawn type posters by Matt Goss created for his Curious Fiend project. "The idea behind Curious Fiend," Goss told me, "was to create a handmade, independently published magazine that showcases new alongside already established artists and designers - as well as curating exhibitions to further showcase the artists involved."
Goss's portfolio further showed off his love of illustrative, hand drawn type. In it I found type samplers for each of the fonts he drew up specially for titling in the Curious Fiend magazines.
..whose work on display had a distinctly tactile theme. She had screenprinted illustration work onto a T-shirt, produced a journal entitled Touch issue 1 - complete with a punch cut black card cover, and she had also screenprinted her business card details onto colourful pieces of felt.
What better way to start the year than with a little typographic inspiration. Last year I published 15 Excellent Examples of Web Typography, and owing to its popularity and people’s sateless appetite for lists, here are another 15. I’ve decided to make this a regular feature and will publish this list every quarter (3 months [for those living on Mars, that’s every 5.7 months]).
Some of the designs are here for their simplicity, and they demonstrate that sometimes less really is more. Others made it onto the list simply because they use text well, or they demonstrate how the grid should be used. Although I’m sure that a number of these sites are very accessible and validate against HTML99 and the like, they exist here not because of that and not because they are pretty (though sometimes they are), but because of their treatment of text—their typography. Well, here they are (in no particular order). Enjoy.
Webstock—mixing it up:
Happy Cog—note how the main menu items are incorporated in the opening paragraph:
The Morning News—transferring that magazine or newspaper look to the screen is sometimes disastrous. This one gets it right:
SpiekermannPartners—this is how you use a grid (note: no footers):
Rainfall Daffinson—the not-so-invisible grid:
Porchez Typofonderie—typetastique:
AIGA NY—clean and simple:
Fray—a nice slab of serif:
Cameron i/o—just text. I’m rarely a fan of light text on a dark background, but…
Upstart Blogger—web typography gone Swiss. A white-space feast:
Frieze—I’m sure you’ll recognise the logo font:
Freelance Switch—organised and structured:
Monday by Noon—another simple one, and fluid to boot:
A Brief Message—nice use of sIFR:
Words are Pictures—nice text and gorgeous illustration; shame about the silly scrolling thing:
30 Juli, 31 Juli dan 1 Agustus 2009. Pukul 10.00—17.00 WIB. Cendrawasih Room, Jakarta Convention Center.
—> SEBUAH PERAYAAN INSAN KREATIF-INTELEKTUAL INDONESIA Adgi’ INDONESIA DESIGN CELEBRATION 2009 adalah sebuah acara design conference yang merayakan semangat kebersamaan komunitas kreatif dan sumber daya insan kreatif Indonesia untuk saling menginspirasikan kegairahan dalam membangun keunggulan kompetitif industri kreatif Indonesia.
—> 100% INDONESIA HEBAT Adgi’ INDONESIA DESIGN CELEBRATION 2009 mengangkat tema “100% Indonesia Hebat”. Terinspirasi dari lagu “Indonesia Memang Hebat” milik musisi Indonesia—KadriJimmo the Prinzes of Rhythm (KJP) yang menyiratkan tantangan “Katanya bangsa kita hebat? Katanya negeri kita kaya?”. Tema “100% Indonesia Hebat” direpresentasikan dalam acara ini melalui para kreatif-intelektual—anak bangsa berprestasi yang tampil sebagai para pembicara dalam acara Adgi’ INDONESIA DESIGN CELEBRATION 2009.
—> Adgi’ INDONESIA DESIGN CELEBRATION 2009 Menghadirkan 24 pembicara dalam 3 hari conference, terdiri dari para pakar industri kreatif Indonesia, mulai dari konsultan branding, konsultan humas, senior periklanan, desainer grafis, desainer produk, desainer fashion, sinematografer, kartunis, fotografer, animator, arsitek hingga tokoh creativepreuneur Indonesia.
—> Adgi’ INDONESIA DESIGN CELEBRATION 2009 Harga tiket terjangkau, nilai investasi yang begitu berharga.
—> Adgi’ INDONESIA DESIGN CELEBRATION 2009 Beragam door prize setiap harinya, mulai dari iPod, hand phone, buku-buku karya desainer Indonesia, CD musik “Indonesia Hebat” hingga poster eksklusif dari desainer ternama Indonesia.
—> HARGA TIKET __________________________________________________
Normal: Rp. 200.000,- per hari. __________________________________________________
3 days pass: Rp. 400.000,- untuk 3 hari. __________________________________________________
Early bird: Rp. 150.000,- per hari mulai tanggal 29 Juni 2009 hingga 14 Juli 2009. __________________________________________________
Catatan: Acara dirancang dengan konsep casual floor-seating, tidak termasuk paket lunch dan coffee break. Harga tiket di atas sudah termasuk tiket masuk ke acara FGD Expo 2009.
Printer indonesia Design Award 2009 design competition is a national children's creativity mewadahi power of the nation through the contest graphic design posters about the shape BANGSA Luhur VALUE AS OF priceless treasure with a total prize Rp. 100,000,000.00. The competition ends this date 20 July 2009 and the results will be displayed on the printer stand Indonesia FGD Expo 2009, July 30 - August 2 and winner announcement on 2 August 2009 stand at IP.
PURPOSE & MISSION.
IPDA aims to empower visual communication design profession through activities sayembaranya, stretch wing design and visual communication to the public through exhibitions and competitions that dihasilkannya product. IPDA mission is carried not only the visual competition of creativity, but challenging for designers to be active in catalytic communicate issues of social and cultural critical, in the hope that products could competitions menmancing changes mean.
L DESIGN THEMES OMBA poster.
This time IPDA2009 a poster competition with the goal of the creative re-excavate and communicate the values of noble succession we build the nation. Value of sterling is very diverse, due to diversity of tribes that colorific Indonesia. However, the gist is that the value of sterling mengakar with awareness throughout the nation. For example, such as: Gotong Royong, Sharing Respect, Maintain harmony, Helping Please, grace Pain, Low heart, polite, and more. Value is not just noble heritage, but attitudes that determine the character of the nation's image and the typical man of Indonesia. Therefore, in the global kekinian, technologist, and the plural, only the noble values that we close the data binding as the nation with dignity.
IPDA2009 challenging the designers to excavate and re-presenting the values in a glorious visual communication bermedia posters that creative, unique, communicative and persuasive, to target youth on the city, especially the more-soluble and tersaturasi with the foreign culture as well as dependence on technology - thinking, uphold, re-apply the value of our glorious nation, Indonesia. IPDA event has become a competition routine visual communication design, this time to a-2, every 2 years in line with the Forum Graphic Digital.
IPDA2009 held by Indonesia Printer Forum and supported by Graphic Design India, Versus Magazine, Graphic Design and site of Indonesia.
Scope WORK AND PARTICIPANTS competition.
Poster design competition in digital form to the public (professionals and academics (students, university students, and lecturers) Poster is an effective communication medium to convey the message that a short but solid, and impressive as its size is relatively large. Design is a digital poster is a poster paper made using the program in computer graphics, or made / drawn manually and then scanned (scanned) difoto digital or digital to be substantial. The purpose of digitizing is to make this speed, simplify and reduce the cost of printing. Although the derivative is digital, but participants are encouraged to race do the back of the actual size of the poster is, that is equivalent to 60 x 90 cm.
Objective competition.
a. Themes poster:
"The Value Luhur Wealth is invaluable"
b. Target poster:
communication is the main target for the city's young people, ages 17-25, men and women. Secondary target: general.
c. Goal poster:
- Communicate the theme;
- Observer to arouse the spirit of the nation's pride;
- The value of love akan noble nation;
- Arouse awareness of the youth in order to implement the nation's glorious return value, so that the dignity and berperkehidupan Indonesia.
d. Suggestion:
Race participants are encouraged to deepen the theme of the competition reference, build the essence and objectives of communication (especially how the selection of words that are appropriate for young people in contemporary Indonesia), and the benefits of the design and function of posters. Do not use the visual language and the vulgar with the norms and ethics.
TECHNICAL DETAIL competition.
a. Poster paper format:
- The original paper: made with the RGB format, tiff, size 3543 x 5315 pixels (equivalent to A2 42x 59.4 cm, 150 pixels / inch), vertical position,
- Thumbnails (perkecilan) paper: made with the RGB format, jpg, size 534 x 800 pixels (equivalent to 9 x 13.5 cm, 150 pixels / inch), vertical position, the file size <> b. Terms of the paper:
- Technical and style visualization free, original, genuine 100% home-made and does not use elements that violate copyright and ethics of making copyrighted works (not a copycat or plagiarism),
- If there is any violation of this verification, the paper akan dianulir and / or canceled penghargaannya,
- Participants can send more than one paper and all sent in one envelope, with the attached form for each paper,
- The paper can be a result of individual or collaborative work with mengatasnamakan one of the individuals involved and fully meet the requirements as a participant,
- The paper can be made using a graphics program on a computer or made / drawn manually and then scanned (scanned) or difoto digital, so the shape of digital,
- All copyright works that are owned by the committee received each participant. Committee, the organizers and sponsors reserve the right to publish the paper with the information / credit the copyright owner.
c. Terms of the content of the package / envelope of the paper:
- 1 pieces CD (compact disc) contains the original paper and paper thumbnail
- 1 computer printout paper ditempel to A4 paper or on the thick
- 1 race registration form (print / printout / copy), which is filled full (Bios and explanation / rationalization paper)
- 1 copy of the ID card
- 1 copy of the student or student card
- 1 letter stating the student or students who are still active.
- Write "IPDA Poster Design Festival 2009" in the upper left corner of the envelope and the envelope does not roll / folded.
d. Time and work address:
- The package / envelope paper received later than the date the committee at the address: 20 July 2009, hours 17:00 wib (NOT CAP POS)
- The paper sent directly / via post to address the committee.
JURY
.
Sent all the paper will have the opportunity votes by jury, only one name participants have the opportunity to receive one award. Juries consist of the Board of practitioners / senior designers, teachers / lecturers and representatives from DKV organizers and sponsors.
It is used as basic assessment panel are:
- Work of originality,
- Suitability of the design themes and concepts,
- The scope and depth of exploration communicative theme in his message,
- The innovation and artistic visual presentation.
Awards
Winners of this competition will get prizes and appreciation certificates, in form as follows:
a. Winner of the first: Rp money. 10,000,000,-and additional prizes from the sponsor
b. Winner of the second currency IDR. 7.500.000, - and additional gifts from the sponsor
c. Winner of the third: Rp money. 5.000.000, - and additional gifts from the sponsor
d. 9 finalists who each receive Rp. 1.500.000, - and additional gifts from the sponsor
d. Some of the other finalists will receive prizes from sponsors.
Finalists will be 20 works exhibited in the event FGDexpo2009, dated 30 July - 2 August 2009 in Stand IP Jakarta Convention Center, will be given a certificate and sign the participation exhibitions and publications internationally. Announcement of winners will be held at the event on 2 August 2009. Paper finalists will also be running from 28 July 2009 at the Internet site address: www.desaingrafisindonesia.co.cc. - Www.versusmagz.com - www.fdgi.info.
Works that go into the property and documentation of the committee. Not held any communication with the committee.
Setiap akan diadakannya Pemilihan Umum Legislatif atau Presiden, perhatian, pikiran dan enerji para elit politik dicurahkan untuk menyiapkan kampanye politik, mengadakan konsolidasi, mengunjungi tempat-tempat umum, menemui rakyat kebanyakan, membagikan pamflet dan kartu nama, memasang foto diri di jalanan, mengirim pesan singkat ke masyarakat, mengaktifkan website, berbicara di radio-radio dan memasang iklan diri di media elektronik.
Dalam politik abad informasi, citra politik seorang tokoh, yang dibangun melalui aneka media cetak dan elektronik—terlepas dari kecakapan, kepemimpinan, dan prestasi politik yang dimilikinya—seakan menjadi sebuah ‘mantra’ yang menentukan pilihan politik. Melalui ‘mantra elektronik’ itu persepsi, pandangan dan sikap politik masyarakat dibentuk bahkan dimanipulasi. Politik kini menjelma menjadi ‘politik pencitraan’, yang merayakan citra ketimbang kompetensi politik—the politics of image.
Terkait dengan itu, Sumbo Tinarbuko menyusun tulisan seputar iklan politik yang dibukukan oleh penerbit Jalasutra Yogyakarta dengan judul ‘’Iklan Politik dalam Realitas Media’’. Buku ketiga Konsultan Desain dan Dosen Desain Komunikasi Visual FSR ISI Yogyakarta ini akan diluncurkan pada 13 Maret 2009, jam 15.00 di gedung JEC Yogyakarta, bersamaan dengan pameran buku tingkat nasional yang diselenggarakan oleh IKAPI.
Berikut ini tulisan Yasraf Amir Piliang yang merupakan guru bangsa sekaligus sahabat Sumbo Tinarbuko yang berkenan menuliskan kata pengantar bukunya, sebagai berikut:
Narsisisme Politik: Banalitas, Simplisitas dan Minimalitas Oleh Yasraf Amir Piliang
Bagaimanakah kecenderungan narsisisme, simplisitas dan nihilisme dalam dunia politik bangsa di atas, memberikan implikasi pada iklan politik—baik iklan cetak maupun televisi—sebagai bentuk komunikasi politik dominan abad informasi, serta bagaimana ia berkaitan dengan aspek-aspek desain komunikasi visual? Jelas, desain komunikasi visual mempunyai peran sangat sentral dalam merumuskan komunikasi politik abad informasi, karena melalui citra-citra visual itulah pesan-pesan politik secara efektif dapat disampaikan.
Akan tetapi, di dalam iklim komunikasi politik yang penuh muatan manipulasi, retorika, seduksi, narsisisme, simplisitas, banalitas dan ‘sampah visual’ macam itu, konstituen politik dan masyarakat politik pada umumnya cenderung dimanfaatkan sebagai ‘alat’ perburuan kekuasaan semata, dengan memanipulasi pikiran, kesadaran, emosi dan persepsi mereka, tetapi sama sekali tidak ada reward bagi mereka, berupa pencerdasan, pengetahuan dan pencerahan politik. Dalam kondisi asimetris macam ini, massa politik digiring untuk menjadi ‘mayoritas tak-kritis’ (uncritical majorities).
Dalam kondisi politik tanpa pencerahan dan daya kritis di atas, kehadiran buku Sumbo Tinarbuko, Iklan Politik Dalam Realitas Media, mempunyai peran yang sangat penting dalam membangun kembali ‘kesadaran kritis’ (critical consciousness) tersebut, yang secara sistematis dirusak dan dihancurkan dalam wacana politik mutakhir yang penuh manipulasi. Hanya melalui kesadaran kritis itulah, masyarakat politik dapat lebih cerdas membedakan antara kebenaran dan kepalsuan, citra dan substansi, penampilan luar dan kapasitas diri, ilusi dan realitas politik.
Iklan politik, sebagaimana dikemukakan dengan menarik di dalam buku ini, tidak ada bedanya dengan iklan komersial, yang di dalamnya antara gemerlap citra-citra yang ditampilkan dan realitas yang sesungguhnya terdapat jurang yang dalam. Citra-citra tentang ‘cinta rakyat kecil’, ‘peduli orang miskin’, ‘sahabat petani’, ‘peduli pendidikan’ atau ‘pembela nurani bangsa’ tak lebih dari citra-citra indah dan menyilaukan, yang berputar-putar di dalam ruang pertandaan dan semiotik (the semiotic space), tetapi tak pernah menyentuh dan direalisasikan di dunia kehidupan nyata.
Buku ini secara cerdas mencoba merelasikan iklan politik sebagai sebuah ‘realitas kedua’ (second reality) dengan aspek-aspek komunikasi visual yang berperan membangun citra-citra di dalamnya, serta relasi-relasi sosial dan kultural yang terbangun. Penyertaan pandangan beberapa pakar komunikasi politik tentang iklan politik di dalam buku ini, dapat mempertegas lukisan realitas komunikasi politik yang ada. Melalui lukisan komprehensif itulah, pada akhirnya, penulis buku ini mengajak kita untuk mengembangkan imajinasi prospektif tentang iklan politik yang ideal, yang bila tak mampu dilakukan akan menggiring pada kondisi ‘kematian iklan politik’. Selamat berimajinasi!.
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