PERANCANGAN IDENTITAS VISUAL REBRANDING CITRA PERUSAHAAN CEMARA CERAMICS (DESIGN OF CEMARA CERAMICS VISUAL REBRANDING IDENTITY)

2021 ◽  
Vol 4 (1) ◽  
pp. 1
Author(s):  
Anak Agung Ngurah Gede Marhendra ◽  
Agung Eko Budiwaspada ◽  
Sangayu Ketut Laksemi Nilotama
Keyword(s):  
Design Thinking ◽  
Corporate Identity ◽  
Corporate Image ◽  
Visual Design ◽  
Stage Design ◽  
The Core ◽  
Visual Identity ◽  
The Creation ◽  
Strategy Design ◽  
Core Problem

<p>Abstract Design of Cemara Ceramics Visual Rebranding Identity aims to produce a concept strategy and visual rebranding of the Cemara Ceramics company and produce a Cemara Ceramics rebranding visual identity design in order to encourage the creation of a new identity image. The method in this design uses a 5-stage Design Thinking approach, namely Empathize, Define, Ideate, Prototype and Test. The result achieved is the design of the new Cemara Ceramics corporate identity. With the use of the design thinking method in this research, various problems related to the company image of Cemara Ceramics can be found. The core problem obtained is how to design a strategy and concept of visual identity rebranding to encourage the creation of a new corporate image of Cemara Ceramics.</p><p>Keywords: visual rebranding identity, concept strategy, design thinking</p><p>Abstrak Perancangan Identitas Visual Rebranding Citra Perusahaan Cemara Ceramics ini bertujuan untuk menghasilkan strategi konsep dan visual rebranding perusahaan Cemara Ceramics serta menghasilkan rancangan identitas visual rebranding Cemara Ceramics dalam rangka mendorong terciptanya citra identitas yang baru. Metode dalam perancangan ini menggunakan pendekatan 5 tahapan Design Thinking yaitu Empathize, Define, Ideate, Prototype dan Test. Hasil yang dicapai yaitu rancangan corporate identity Cemara Ceramics yang baru. Dengan adanya penggunaan metode design thinking pada penelitian ini dapat menemukan berbagai permasalahan terkait citra perusahaan Cemara Ceramics. Permasalahan inti yang didapat yaitu mengenai bagaimana merancang strategi dan konsep identitas visual rebranding untuk mendorong terciptanya citra baru perusahaan Cemara Ceramics.</p><p>Kata kunci: identitas visual rebranding, strategi konsep dan visual, design thinking</p>

scholarly journals PERANCANGAN IDENTITAS VISUAL REBRANDING CITRA PERUSAHAAN CEMARA CERAMICS (Design of Cemara Ceramics' Visual Rebranding Identity)

2021 ◽  
Vol 4 (1) ◽  
pp. 1
Author(s):  
Anak Agung Ngurah Gede Marhendra ◽  
Agung Eko Budiwaspada ◽  
Sangayu Ketut Laksemi Nilotama
Keyword(s):  
Design Thinking ◽  
Corporate Identity ◽  
Corporate Image ◽  
Visual Design ◽  
Stage Design ◽  
The Core ◽  
Visual Identity ◽  
The Creation ◽  
Strategy Design ◽  
Core Problem

<p><strong><em>Abstract</em></strong></p><p><strong><em>Desig</em></strong><strong><em>n of Cemara Ceramics' Visual Rebranding Identity </em></strong><em>aim</em><em>s to produce a concept strategy and visual rebranding of the Cemara Ceramics company and produce a Cemara Ceramics rebranding visual identity design in order to encourage the creation of a new identity image. The</em></p><p><em>metho</em><em>d in this design uses a 5-stage Design Thinking approach, namely Empathize, Define,</em></p><p><em>Ideate</em><em>, Prototype and Test. The result achieved is the design of the new Cemara Ceramics corporate identity. With the use of the design thinking method in this research, various problems related to the company image of Cemara Ceramics can be found. The core problem obtained is how to design a strategy and concept of visual identity rebranding to encourage the creation of a new corporate image of Cemara Ceramics.</em></p><p><strong><em>Keywords</em></strong><em>: Visual Rebranding Identity, concept strategy, Design Thinking</em></p><p> </p><h1>Abstrak</h1><h3>Perancangan Identitas Visual Rebranding Citra Perusahaan Cemara Ceramics ini bertujuan</h3><p><em>untu</em><em>k menghasilkan strategi konsep dan visual rebranding perusahaan Cemara Ceramics serta menghasilkan rancangan identitas visual rebranding Cemara Ceramics dalam rangka mendorong terciptanya citra identitas yang baru. Metode dalam perancangan ini menggunakan pendekatan 5 tahapan Design Thinking yaitu Empathize, Define, Ideate, Prototype dan Test. Hasil yang dicapai yaitu rancangan corporate identity Cemara Ceramics yang baru. Dengan adanya penggunaan metode design thinking pada penelitian ini dapat menemukan berbagai permasalahan terkait citra perusahaan Cemara Ceramics. Permasalahan inti yang didapat yaitu mengenai bagaimana merancang strategi dan konsep identitas visual rebranding untuk mendorong terciptanya citra baru perusahaan Cemara Ceramics.</em></p><p><strong>Kat</strong><strong>a kunci: </strong><em>Identita</em><em>s Visual Rebranding</em>, <em>strateg</em><em>i konsep dan visual, Design Thinking</em></p>

scholarly journals Darkness on Screen: Subjectivity-Inducing Mechanisms in Contemporary Estonian Art Film

2014 ◽  
Vol 2 (1) ◽  
pp. 76-95
Author(s):  
Martin Oja
Keyword(s):  
Film Studies ◽  
Theoretical Background ◽  
External Information ◽  
Art Cinema ◽  
The Core ◽  
The Creation ◽  
Art Film ◽  
Creating Meaning ◽  
Core Problem

Abstract The main purpose of the article is to bring more clarity to the concept of art film, shedding light on the mechanisms of subjective reception and evaluating the presence of subjectivity-inducing segments as the grounds for defining art film. The second aim is to take a fresh look at the littlediscussed Estonian art cinema, drawing on a framework of cognitive film studies in order to analyse its borders and characteristics. I will evaluate the use of darkness as a device for creating meaning, both independently of and combined with other visual or auditory devices. The dark screen, although not always a major factor in the creation of subjectivity, accompanies the core problem both directly and metaphorically: what happens to the viewer when external information is absent? I will look at the subjectivity- inducing devices in the films of two Estonian directors, Sulev Keedus and Veiko Õunpuu. For the theoretical background, I rely mostly on Torben Grodal’s idea about the subjective mode as a main characteristic of art film, and the disruption of character simulation as the basis for the film viewer’s subjectivity.

scholarly journals Developing a corporate image model

1999 ◽  
Vol 2 (3) ◽  
pp. 492-508 ◽  
Author(s):  
C. H. Van Heerden
Keyword(s):  
Customer Service ◽  
Current Literature ◽  
Corporate Identity ◽  
Corporate Image ◽  
Image Model ◽  
Visual Identity

A survey of current literature and corporate identity manuals may create the impression that corporate identity consists solely of visual identity cues. In this paper the view is explored that corporate identity consists of both visual and behavioural cues. Most corporations strive towards a positive corporate image. This can be attained only by taking into account also such aspects as customer service and employee behaviour, and not just creating attractive buildings, uniforms, logos and slogans. An analysis of selected literature and the results of four independent studies are reported to support the proposal of a Corporate Image Model that needs further research and refinement.

Rhetorical Resources for Innovation in Communication Through the Design of Brand Marks of Corporate Identity

2020 ◽  
pp. 145-153
Author(s):  
Leire Fernández Iñurritegui ◽  
Eduardo Herrera Fernández
Keyword(s):  
Graphic Design ◽  
Visual Rhetoric ◽  
Communication Strategies ◽  
Effective Communication ◽  
Corporate Identity ◽  
Discursive Construction ◽  
Visual Identity ◽  
Brand Marks ◽  
The Creation ◽  
Linguistic Basis

Without a doubt, visual rhetoric constitutes a fundamental paradigm for recognizing resources that can guarantee an innovative and more effective communication in our essentially competitive corporate communicative environment. In this chapter, the authors reflect on graphic design from a linguistic basis to a particular approach to rhetorical principles. This is presented as a paradigm of an innovative creative model in the discursive construction of brands marks of corporate visual identity. In short, this chapter formulates a proposal of rhetorical variants in which graphic designers can find graphic resources and communication strategies that are essential for the creation of innovative messages.

scholarly journals PERANCANGAN CORPORATE IDENTITY SEBAGAI MEDIA PROMOSI KOPERASI NUSA SEJAHTERA

2020 ◽  
Vol 2 (1) ◽  
pp. 27
Author(s):  
Anies Choirunnisa
Keyword(s):  
Design Thinking ◽  
Design Method ◽  
Corporate Identity ◽  
The Creation ◽  
A Company ◽  
Method Of Design

Logo adalah salah satu media pembeda identitas dari suatu perusahaan, selain itu logo juga menjadi ciri untuk membedakan khas perusahaan dari satu sama lain. Corporate Identity merupakan tanda pengenal identitas dari perusahaan sebagai media pembeda dengan perusahaan lain. Perancangan Corporate Identity mampu mewakili karakter dan identitas perusahaan yang diaplikasikan berbentuk logo, merchandise dan media promosi lain. Koperasi Nusa Sejahtera merupakan perusahaan yang bergerak dibidang perbankan. Koperasi Nusa Sejahtera bertugas untuk menyediakan bantuan berupa finance yang nantinya akan digunakan kepada calon nasabah untuk kebutuhan mereka. Target dari Koperasi Nusa Sejahtera adalah para pensiun. Terdapat kekurangan pada logo Koperasi Nusa Sejahtera yang berupa gambar berlian dilanjutkan dengan nama Koperasi Nusa Sejahtera. Logo tersebut juga belum dipatenkan. Untuk mengatasi hal tersebut penulis membuat perancangan Corporate Identity Koperasi Nusa Sejahtera. Perancangan ini meliputi pembuatan logo baru Koperasi Nusa Sejahtera dan dapat diaplikasikan baik ke media promosi maupun merchandise. Tujuan perancangan ini untuk lebih mengenalkan dan membentuk identitas Koperasi Nusa Sejahtera secara luas dan juga meningkatkan minat pasar para pensiun dan berkembangnya produk – produk koperasi dengan baik. Metode perancangan ini menggunakan metode Design Thinking, metode ini melakukan beberapa tahapan yaitu, Emphatize, Define, Ideate, Prototype, dan Testing. Hasil dari perancangan ini, berupa logo baru untuk Koperasi Nusa Sejahtera. Logo tersebut akan diaplikasikan ke beberapa media promosi seperti brosur, spanduk, dan X- Banner.Logo is one of the identification of identity from a company, in addition, the logo also became a characteristic to distinguish the typical of the company from each other. Corporate Identity is a sign of identity of the company as a medium of differentiates with other companies. The design of Corporate Identity is able to represent the character and identity of the company applied in the form of logo, merchandise and other promotional media. Koperasi Nusa Sejahtera is a company engaged in banking. Koperasi Nusa Sejahtera is in charge of providing assistance in the form of finance to be used to the propective customers for their needs. The target of the Koperasi Nusa Sejahtera is the pensions. There is a shortage of the Koperasi Nusa Sejahtera logo in the form of diamond images followed by the name of Koperasi Nusa Sejahtera. The logo has not been patented. To overcome this author the designer Corporate Identity Koperasi Nusa Sejahtera. This design includes the creation of new Koperasi Nusa Sejahtera logo and can be applied to promotional media as well as  merchandise. The purpose of this design to better introduce and from an identity of the Koperasi Nusa Sejahtera widely and also increase market interests ot retirement and the development of product cooperative products well. This design method uses the thinking method of design, this method performs several stages that is, Emphatize, Define, Ideate, Prototype, dan Testing. The results of this design, a new logo Koperasi Nusa Sejahtera. The logo will be applied to some promotional media such as, brochures, banners, and x-banners.

scholarly journals Perancangan dan Implementasi Perencanaan Bisnis dan Strategi Promosi bagi Kelompok Rintisan Usaha Mandiri Sanggar Batik Jenggolo dan Sekar Arum di Kota Yogyakarta

2017 ◽  
Vol 2 (2) ◽  
pp. 216-234
Author(s):  
Karina Rima Melati
Keyword(s):  
Community Service ◽  
Municipal Government ◽  
Business Plan ◽  
Corporate Identity ◽  
Target Market ◽  
Service Program ◽  
The Core ◽  
The Creation ◽  
A Priority ◽  
Yogyakarta City

This Community Service program is funded by DIPA scheme of RISET DIKTI No. DIPA-042.06-0.1.401516/2016, which implicated two entrepreneurship groups of empowering woman: Sanggar Jenggolo in Pandean District who produce batik and Sekar Arum (then called ‘Code Arum’) in Cokrodiningratan district who produce jumputan or tie-dye, both in Yogyakarta city. The two groups had been incubated and assisted by The Office for Women and Society Empowerment (Kantor Pemberdayaan Perempuan dan Masyarakat—abbreviated as KPMP) of Yogyakarta Municipal Government for three years. After the accompaniment they face declining of production since it does not fulfill with the business and promotion assistance. Therefore this Community Service program aims to encourage the sustainability of the group with the creation of a Business Plan and Strategy of Promotion to penetrate the target market. We were conducting the training, providing with supporting tools based digital, and producing attributes for their promotion. Furthermore there were outcomes achieved; (A) the core of a Business Plan so that each groups has a priority of their business as well as a guideline for evaluating the development of its business during period of Business Plan. (B) The attributes of corporate identity is implemented through a variety of promotion sale. 

Design Elements and Principles for Maintaining Visual Identity on Websites

2010 ◽  
pp. 995-1001 ◽  
Author(s):  
Sunghyun R. Kang ◽  
Debra Satterfield
Keyword(s):  
Web Sites ◽  
Corporate Identity ◽  
Visual Design ◽  
Design Elements ◽  
Cross Media ◽  
Visual Hierarchy ◽  
Visual Identity ◽  
The Look ◽  
Design Factors ◽  
The Web

The visual design of a website is critical when establishing a strong corporate identity on the web. The look and feel of a website will quickly influence a user with regard to how they perceive the image of the business. It will determine whether they feel comfortable or included in the site’s target audience and whether or not they feel the business is professional or trustworthy. If at a first glance, the visual design does not connect on these levels with the user the likelihood of them using the site or purchasing products is greatly diminished. Therefore, the site must quickly capitalize on a known and trusted pre-existing corporate identity, or establish a new corporate identity that is professional and appropriate. The purpose of this chapter is to examine design factors and determine which of these factors affect people’s ability to identify and perceive information on web sites. This chapter discusses how design elements can cross media boundaries and create a consistent and effective user experience between the physical business and its presence on the web. This chapter explains branding elements such as logos, color systems, typography, grid structure, photography, graphic style, and the visual hierarchy of information with regard to how they can be used in static and dynamic applications.

In a word, I’ve been there

2019 ◽  
pp. 246-256
Author(s):  
A. K. Zholkovsky
Keyword(s):  
The State ◽  
Female Characters ◽  
Political Situation ◽  
The Core ◽  
The Relationship ◽  
Core Problem ◽  
Typical Solution

In his article, A. Zholkovsky discusses the contemporary detective mini-series Otlichnitsa [A Straight-A Student], which mentions O. Mandelstam’s poem for children A Galosh [Kalosha]: more than a fleeting mention, this poem prompts the characters and viewers alike to solve the mystery of its authorship. According to the show’s plot, the fact that Mandelstam penned the poem surfaces when one of the female characters confesses her involvement in his arrest. Examining this episode, Zholkovsky seeks structural parallels with the show in V. Aksyonov’s Overstocked Packaging Barrels [Zatovarennaya bochkotara] and even in B. Pasternak’s Doctor Zhivago [Doktor Zhivago]: in each of those, a member of the Soviet intelligentsia who has developed a real fascination with some unique but unattainable object is shocked to realize that the establishment have long enjoyed this exotic object without restrictions. We observe, therefore, a typical solution to the core problem of the Soviet, and more broadly, Russian cultural-political situation: the relationship between the intelligentsia and the state, and the resolution is not a confrontation, but reconciliation.

Systematicity and Normative Justification

2017 ◽  
Author(s):  
Kevin Thompson
Keyword(s):  
Political Philosophy ◽  
Unique Form ◽  
The Core ◽  
The Creation ◽  
Normative Justification ◽  
The Way

This chapter examines systematicity as a form of normative justification. Thompson’s contention is that the Hegelian commitment to fundamental presuppositionlessness and hence to methodological immanence, from which his distinctive conception of systematicity flows, is at the core of the unique form of normative justification that he employs in his political philosophy and that this is the only form of such justification that can successfully meet the skeptic’s challenge. Central to Thompson’s account is the distinction between systematicity and representation and the way in which this frames Hegel’s relationship to the traditional forms of justification and the creation of his own distinctive kind of normative argumentation.

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