<p>Environmental problems are not new to us. In the past, environmental problems arose due to natural<br />events that occurred outside human control, for example the eruption of Mount Tambura on Sumbawa<br />(1815) and the Krakatau Mountain in the Sunda Strait (1883). Green design is often interpreted as<br />an environmentally sound design, or design that friendly to the environment. In other words, green<br />design is a design that integrates the entire process in one unit by considering the consequences for the<br />environment. One of the local young Indonesian designers, alumni from Mercu Buana University, made<br />an innovative work that was creative and extraordinary, he made a product that greatly influenced the<br />environment. The products he made were hanging pot planting media, planting media made of plastic<br />waste, the main ingredient was plastic plastic in which plastic can be found everywhere Rizal Tropical<br />Wall products have implemented the principles of sustainability of a product in the field of design with<br />pay attention to environmental factors, or better known as the concept of eco-design or green design.<br />Achieving an ecologically conscious society must begin with ‘habits’ in every action. The ‘habit’ must<br />be started from and fostered so that it can develop. Starting and nurturing must be together. Remind<br />each other, admonish each other, and teach one another, togetherness is needed to succeed. All of these<br />applications are based on when there is a feeling of caring for nature, aware of the effects that are very<br />dangerous for us because we just ignore the environment.</p>

The existence of memes on social media has become a visual culture because it can meet the information and pleasure needs of visual technology users. The meme is considered effective for conveying messages to audiences with humorous visual language. However, meme creativity often also uses visual objects that tend to demean other people, such as exploit a woman's body. This is very contrary to ethics, the moral obligation of humans as social-cultural beings, by carrying out acts of gender discrimination and the tendency to make pornographic photos. This has been regulated in UU No. 7 of 1984 concerning the elimination of discrimination and UU No. 44 of 2008 concerning pornography. Quantitatively, this study presents the results of a survey of design student respondents who showed that most memes on social media tend to display sexual exploitation and demeaning others. Whereas qualitatively, this study discusses the deconstruction of ethics in meme design, according to an ethic of responsibility of the 20th Century from Hans Jonas, using sociology of design approach, that is reading the function of visual signs. The results of this study are expected to be able to invite the audience to better understand the visual language of memes, and be critical of the visualization of memes that connote violating moral norms. This study can also be a reference to the visual culture of memes based on more responsible ethics.

Nowadays, the role of social media influencer in introducing a brand and raising brand awareness through social media is quite significant. Even though most of the social media influencers are not celebrities who have previously been famous in conventional media, they hold the same significant role in influencing the society. In the world of Wayang, there exist characters who have roles akin to the social media influencers that introduce messages from sponsors or brands within the Wayang performances. These characters are called the Punakawan, four Wayang characters that have a more fluid and comedic dialogue in Wayang performances. The audience of Wayang performances always eager to see the Punakawan to appear on the performance even though they are not the central figure of the story. With the increasing use of social media and the important role of social media influencer in this digital era, it is imperative to understand how these Punakawan characters carried themselves out in Wayang performances to better understand the way personal branding can be used to enhance the role of social media influencers. This article will analyze the characters of four Punakawan by using personal branding strategy approach based on eight main concepts of personal branding to understand the image of the Punakawan and the way they represent themselves within the society. The result is that the social media influencer and the Punakawan Characters have a similar role that is to deliver messages through the way that already becomes almost every person's favorite. The difference is a social media influencer could have just deliver any positive and negative impact to the audience. However, the Punakawan would always deliver a positive impact due to their presence is already being a part of the cultural heritage that always brings values of humanity and kind-heartedness

Social media touch the ethic folklore as a pedagogical tool to deliver the moral value messages to young generation is an inspiring issue to study. This study aims to analyze the contrast between the traditional folklore versus modern media social as pedagogical and communication tools using for a young generation. Folklore, an amazing traditional tool to teach and deliver moral messages to the young generation is changeable by a creative modern communication tool, social media. Drawing on deep experiences and expertise, we compare both media by study the literature to analyze the contrast between them. The method that is used in this study is a qualitative descriptive. The descriptions to show the contrast between using folklore and social media, and also implied the significant current trend between folklore touch and social media touch for the young generation. The result also shows that social media, finding resources and folklore were creative ways to deliver the messages for the young generation. As a pedagogical and communication tools, both social media and folklore allowed multiple literacies. The contrast between them expressed the ideas that both the tools of social media and folklore can create and encourage collaborative learning and mutual support to deliver moral value for the young generation.

Interest on the world of statues, chiseling art, and children’s toys have birthed a new concept in theindustry: toys for display, also known as action figures. In this era, children’s toys is in the peak of itsglory, taking the shapes of humans, animals, and vehicles, and from it, a line of thought to make statuebasedchildren’s “toys” was born. Funko is an American toy-making company that produces licensedpop-culture toys. Founded in 1988 by Mike Becker, this company produces various nostalgia-themedlow-technology toys. Pop creation nowadays is a deconstruction of its own past. Postmodernism maybe controversial to many people, but that’s where the aesthetics lie. This study uses the Kitsch theory onpostmodernism. Funko follows the basic rules in making urban toys, but at the same time they challengeexisting interpretations because Funko needs to follow the market’s demands instead of the wishes ofits own artists. In this industry, Funko is positioned as an art that was born from and controlled by themarket. The consumers just passively accepts it.Keywords: Funko pop, postmodern, urban toys AbstrakKetertarikan pada dunia patung, seni pahat, dan mainan anak, melahirkan sebuah konsepbaru dalam industri ini, yakni sebuah mainan pajangan atau disebut juga action figure. Padaera kini mainan anak-anak juga berada di puncak kejayaannya dengan bentuk manusia,binatang, dan kendaraan, sehingga lahirlah sebuah pokok pikiran untuk menciptakansebuah patung ”mainan” yang cocok untuk koleksi anak- anak. Funko adalah perusahaanmainan asal Amerika yang memproduksi mainan pop culture berlisensi. Didirikan pada tahun1998 oleh Mike Becker, perusahaan ini menciptakan berbagai mainan bertema nostalgiaberteknologi rendah. Karya pop yang ada saat ini merupakan dekonstruksi dari apa yangtelah dihadirkan di masa lalu. Posmodernisme mungkin mengundang kontroversi banyakpihak, tapi di sanalah nilai estetikanya. Pembahasan menggunakan pendekatan teori Kitschdalam posmodernisme. Funko mematuhi aturan-aturan dasar sebuah urban toys, namun disaat yang bersamaan juga menentang intrepretasi yang ada karena apa yang Funko produksi,harus sesuai dengan keinginan pasar, bukan keinginan murni para senimannya. Funkodalam industri dan bidang ini diposisikan sebagai sebuah seni yang lahir karena dibuatdan dikendalikan oleh kebutuhan pasar. Masyarakat atau peminat hanya bertindak sebagaikonsumen pasif yang menerimanya.Kata kunci: Funco Pop, postmoderen, urban toys