Digital technology influences all aspects of life, making global information highly accessible and competitions unavoidable. To stand out in competition, it is necessary to understand our strength, which derived from local heritage. Indonesia is culturally diverse and rich in heritage, untouched and forgotten, especially by young generations. By applying quantitative method, research is conducted to study traditional textiles and culinaries, focusing to Jakarta, Bandung, Yogyakarta, Semarang and Surabaya, big cities in Java. Digital visual documentation chosen for its close ties with Visual Communication Design (VCD) roots. The goal is to have a deeper understanding of Indonesian culture through cultural color analysis. A series of cultural color morphologies for each city and analysis of their relation using Johannes Itten color theory will be the result of the research.

<strong>Abstract</strong><br />Tenun Doyo is a type of woven connective made by a live fibers doyo (Curliglia Latifolia). Doyo is a plant kind of a strong pandanus fibrous and growing wild in the Kalimantan’svillage, such as in Tanjung Isuy, Jempang-West Kutai. Weaving is famous not only forusing a basic source of some natural fibers, but also because it tinged with a natural dye.<br />The research focus on experiment composition a variaton of color based on a naturaldye of West Kutai and new motives or patterns based on the surrounding environment.<br />Used qualitative method that based on Research Through Design method. Design as research is known more as Practice Based Research or Action Research, involvingsystimatic research through practical activity. By using the Practice Based Research,the results could be some new things in infomation form to open the insight, possibilityof forms, process, concept and knowledge. The outcome intended to create the colors<br />variantions for the pattern or motive, which comes from the nature objects in WestKutai, so the woven doyo’s colors have had more range and finally they have had manyvarioations. Hopefully, the colors’s variations have the meaning that reflecting the valueand culture of West Kutai in general and villages nearby in particular. The existence ofcolors and motives are expected to revitalise the Dayak Benuaq tribe in West Kutai to<br />increase the willing for weaving in order that the expertise not extinct and sustainableheredity. It can maintain the Tanjung Isuy local indigous and increase the communityproductivity.<br /><div> </div><div> </div><div><strong>Abstrak</strong></div>Tenun doyo merupakan jenis tenun ikat berbahan serat daun doyo (Curliglia latifolia). Doyo adalah tanaman jenis pandan yang berserat kuat dan tumbuh liar di pedalaman Kalimantan, diantaranya di desa Tanjung Isuy, Jempang, Kutai Barat. Tenun doyo tidak hanya terkenal karena menggunakan bahan dasar serat alami, namun juga karena diwarnai dengan pewarna alami. Penelitian ini fokus pada eksperimen komposisi variasi warna berdasarkan pewarna alami dari Kutai Barat sendiri dan motif baru berdasarkan lingkungan sekitarnya. Menggunakan metode kualitatif di mana metode research through design menjadi dasarnya. Design as research lebih dikenal dengan nama practice based research atau action research, melibatkan riset sistimatis melalui aktivitas praktis. Di mana<br />hasilnya dapat merupakan hal-hal baru dalam bentuk informasi untuk membuka wawasan, kemungkinan bentuk-bentuk, proses, konsep, dan pengetahuan. Hasil penelitian ditujukan untuk membuat variasi warna-warna bagi motif yang bersumber dari objek-objek alam di Kutai Barat, sehingga warna tenun doyo

This article is based on a research aiming to contextualize the fundamental principles of art and design to current setting in which analog media are no longer chosen as the ultimate hardware/tools. It is important considering digital hardware becomes more and more prevalent even preferred by students, whereas analog tools are getting harder to obtain, expensive and less ecological friendly. The goal of this research is to produce method analysis and the creation of two-dimensional basic design through digital media (Camera) followed by conventional drawing tools, documented and conducted by the lecturers and the students. So far, almost 100% of the studies concerning basic design could only be found in foreign publications, with visual work examples that cannot be used freely in Indonesian local education due to copyright issue. Therefore, a literature study is conducted to examine the formal objects of this research which are the elements and fundamental principles in design, followed by ideation and visualization processes carried by the students in basic design classes through the semester. The visualization itself will integrate analog and digital media to generate the material objects of the research, which is a series of two dimensional design compositions. These compositions are then analyzed and classified to taxonomic category of fundamental principles of two-dimensional design as an integral part of teaching-learning process (self-evaluation class for future improvement).

Integration of many fields of human endeavor including art and design into academic system is not at all surprising in our modern world that continues to modernize itself in the quest for ever increasing welfare of humanity. The backbone of modern welfare is unmistakably techno-scientific academic research, explaining current expansion of its ‘standardized’ paradigm, regulation and infrastructure without exception into the field of art and design. This is where the problem precisely arises, since their own nature, art and design as ‘creative’ fields, are incompatible with scientific paradigm which emphasizes a uniform reproducibility of research findings. ‘The heart of the arts’, in contrast, is its singularities. The industry actually has recognized the difference by assigning ‘patents’ to technological invention and ‘copyright’ to singular artworks. The question is then how to incorporate such creatively plural fields into uniform academic research system. Fortunately within the past 20 years, there were developments within international art and design academia that came up with a keystone principle called practice-based research. It relies upon philosophical underpinnings of phenomenology and hermeneutics which has been critically acclaimed in showing inadequacies of positivistic (natural science-based) paradigm in understanding cultural phenomena exemplified by art and design. It is the intention of this article to briefly explain this new principle and its philosophical underpinnings in order to let us appreciate its positive contribution for our understanding of art and design. This understanding in turn would allow us to cultivate those creative fields within academic context in a more appropriate way.

Analysis of cultural color was an approach to a better understanding color from cultural stand point, unlike the others color studies which looked at the psychological aspect of color. Johannes Itten’s theory of color served as a thinking base in this study. The theory was reflected in the cultures of Indonesia and represented by island of Sumatera (Aceh Darussalam, Medan, Padang, Bengkulu, Palembang, and Lampung). The scope of the subject matters was limited to traditional textile products such as traditional costumes, bridal apparel, and culinary. The textile products were chosen because they became reflection of a culture whose place was close to society and this color became the its own identity. The research method was qualitative that consisted of doing literature study, interviewing experts (historians and artists), and visiting cultural centers especially the ones associated with textile and culinary product. The result of this study is presented in the form of morphological matrix on cultural color. The matrix of analysis is supported with arguments and a classroom experiment, which allows students to use, cultivate, and maximize the method of applying color in visual communication to achieve harmony and contrast.