The term ‘signage’ sometimes has been confused with the term ‘sign or symbol’, although the term signage is actually a theme which has consistency and also covers an area from a specific environment and mood. Signage has been designed to inform about location and direction of interior and exterior environment. In general, design system and the use of signage, such as graphic standard, material and the positioning, has been organized by international standardization from every country in the world. One of the most important categories of signage is the application of signage in highways. The study is about signage from historical background, category, color scheme, design and human factor approach; from psychological physics, social culture, to the connectivity with the value and products’ characteristic. Human factor comprehension is also one of the most important elements in signage design process. Each perspective or perception from highway user and their reaction about the signage has been conditioned by a specific characteristic of human, such as from biophysics-psyche, socio-culture, spiritual cosmologis transcendental with its five senses. Human factor as a user has an important role to obtain the best solution or good design solution for the community who use that signage.
<p>Nowadays, during this intercultural era and global challenge, film can be interpreted as a practical strategy to develop meaning and Indonesian cultural identity. Through many singers of audiovisual creation, film has not only served as entertainment, but can also act as an instrument to reflect local values and traditional perspective through the storytelling that has been presented by film director. This role is a significant point to develop local insight and cultural value as the identity of Indonesian film. Although, at some point, this strategy still becomes a problem in Indonesian film fields. <em>Sang Pencerah</em> film that was directed by Hanung Bramantyo is one of Indonesian films that attempted to deliver local identity in its storytelling. This research is an endeavour to identify Indonesian cultural identity that has been represented through <em>Sang Pencerah</em> film. By applying cultural studies and interdisciplinary as their methods, the researchers acquired some interesting findings. Firstly, aesthetic and thematic elements in the film narrative had a significant relation to traditional and cultural values of Javanese society. Secondly, the meaning of cultural identity also had a linear proportion to spiritual values in life, such as determination, peacefulness, gloriness, tolerance, as well as social understanding. Therefore, it can be concluded that the <em>Sang Pencerah</em> film is a manifestation of Hanung Bramantyo regarding to the meaning of Indonesian culture that is based on Javanese society’s local wisdom.</p><p><strong>How to Cite:</strong> Puspitasari, D. G., Sabana, S., & Ahmad, H. A. (2016). The Cultural Identity of Nusantara in a Movie Entitled <em>Sang Pencerah</em> by Hanung Bramantyo. <em>Harmonia: Journal of Arts Research And Education</em>, 16(1), 57-65. doi:http://dx.doi.org/10.15294/harmonia.v16i1.6768</p>
This paper aims to describe the structure and pattern of narratives in art, which in this case Indonesian fine art is used as a case study. This topic is important considering that the assumption that works of fine art have narrative characteristics has become common knowledge, but the structure and narrative patterns within the genre of work of fine art that can be used as a reference have not yet been formulated. By using a structural semiotic approach, studies in this paper have found that narrative patterns in fine art are a combination of denotative visual sign units presented as works on the syntagmatic axis of language (visual) interrelated to form associations or groups of narrative connotations on the paradigmatic axis (community knowledge system). This proposition, as well as several other formulations found in the analysis, has a significant contribution to the development of fine art, both theoretically and practically, both in Indonesia and the world.
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).
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