The Role of Biomimicry on Visual Design Education

The change and increasing diversity in communication tools with globalization have ensured the universal presentation of visual elements shaped by local cultural patterns. Today, design products have turned into a strategic tool for many countries in order to reach higher competitive power. As the visual design industry contributes as an important visual communication and marketing tool for different industries within and outside the creative sector, its role in ensuring sustainability becomes even more important. Graphic design is much more effective, direct, and fast than other means of information in order to develop environmental awareness and motivate desired behaviors. The biomimetic graphic is a design process and style that has been spread and passed along throughout today’s culture and society via various channels and networks of communication. In today's world, where globalization and associated social and environmental problems are increasing, design education plays an important role in the development of sustainable design products. In design education, the students should be taught the concepts of ecological material selection, environmentally friendly energy use, recycling, reconsideration, and reuse. In this study, the role of biomimicry in visual design education will be examined with sample applications. In addition to new skills and knowledge in design education, sustainability will emerge as an important feature sought in designers soon.

Pendampingan Kegiatan Pelatihan Desain Grafis Untuk Warga Desa Ciputri Di Kecamatan Kaduhejo Kabupaten Pandeglang

Pondok Pesantren, is an educational institution that provides formal education to students aged children. There are many Islamic boarding schools scattered in various villages in Ciputri Village. The low design ability of santri and students is very unfortunate even though they are the successors to the next civilization. Besides that, in Ciputri village there is no course institution for graphic design training, so graphic design training is held within 1 day. The purpose of this activity is to increase the creativity of students and students in the world of design. Make students and students independent so that they can make designs such as pamphlets, banners or banners themselves and do not use the services of a printing company. This training is carried out by delivering material and direct practice for students and students. Participants can get to know graphic design and can practice the applications used to create the graphic design.

Pelatihan Editing Gambar dan Text menggunakan Photoshop sebagai bentuk Ekspresi Kreatifitas

Abstract- Graphic design is a form of work produced by art workers, with the development of increasingly advanced technology now can also be done by everyone, as long as they want to learn, because there are so many applications that can help someone to produce an interesting work. one of them is by using the photoshop application. Photoshop itself is one of the most popular applications today. So that the community service team provides training in the use of Photoshop applications. This service was carried out by providing video tutorials for the participants to practice directly. After this training was able to increase students' understanding by 53.72%, and students are able to express their creative ideas in editing images and text. Keywords — Photoshop, Student, Creatifity Abstrak- Desain grafis adalah satu bentuk hasil karya yang dihasilkan oleh para pekerja seni, dengan perkembangan zaman teknologi yang maju saat ini, hal itupun juga bisa dilakukan oleh setiap orang, selama mau belajar, karena sudah banyak aplikasi yang bisa membantu seseorang untuk menghasilkan sebuah karya yang menarik salah satunya menggunakan aplikasi photoshop. Photoshop sendiri adalah salah satu aplikasi yang populer saat ini. Sehingga tima pengabdian memberikan pelatihan penggunaan aplikasi photoshop. pada pengabdian ini dilakukan dengan memberikan video tutorial untuk bisa di praktekkan langsung oleh peserta.Setelah dilakukan pelatihan ini mampu meningkatkan pemahanaman siswa sebesar 53,72%, dan siswa mampu menuangkan ide-ide kreatif nya dalam editing gambar dan text. Kata kunci—Photoshop, Siswa, Kreatifitas

GRAPHIC DESIGN IN THE AGE OF DIGITAL TRANSFORMATION

In the midst of economic and consumer competition between companies and industrial ‎institutions, graphic design emerges as an active actor in the sustainability of the ‎advertising and media cycle alike, a role that would not have been important without the ‎tireless work carried out by designers in various design activities, especially after entering ‎into the digital experience. He benefited from it and kept pace with the new ‎developments of quality, and it is useful to point out that the motives of digital ‎development have reinforced the values that the design worked on, and today it is ‎witnessing many transformations in a digital world that is constantly evolving, ‎transformations related to the core of the designer’s work and what he offers in work ‎sites based on Decades of traditional experiences that designers have been working with, ‎and the trend towards traditions and modern digital frameworks that have been ‎reinforced by the increase in related digital applications and software in a remarkable ‎qualitative shift that indicates an important stage in the design process that extends to ‎centuries of work and technical development.‎ The current research explores some of the turning points of this procession with ‎important articulated transformations, based on the question that:‎ What is the status of graphic design in the age of digital transformation? The ‎importance of the research lies in the following:‎ ‎-Theoretical dimension: It can be useful in enhancing the theoretical framework of the ‎graphic design process and the transformations it has witnessed in the digital age.‎ ‎-Applied dimension: it can benefit those interested and working in the matter of graphic ‎design, and the research aims to: Identify the problems of graphic design in the age of ‎digital transformation. The theoretical framework includes the following topics:‎ ‎-What is digital transformation?‎ ‎-A brief history of graphic design ‎-Graphic design from traditional to digital The impact of digital technologies on graphic design.

Metacognitive Transcendence in the Learning of the Project Activity of Design through the Sketchbook Visuality

This article aims to report the transition from intuitive to intentional projective activities in design recorded in the visual modes of sketchbook to analyze the metacognitive processes of design students. Phenomenography was used as an empirical sampling method to diagnose the sketchbooks of industrial design and graphic design students. The observation criteria focused on describing the metacognitive characteristics of the students with respect to the way they recorded their ideas visually, which showed design-specific projective actions. This research demonstrated and codified how students externalize intentional approaches in their sketchbook iterations, which can be grouped into three representation strategies: technical, methodological, and reflective; they are related to their experiences in projective activity. Consequently, we propose a new category called metacognitive transcendence, which refers to a strategy for controlling and regulating cognitive processes to transform an intuitive action into an intentional action mediated by a cognitive artifact: the design sketchbook. Three ways of metacognitive transcendence are suggested: instrumental (technical aspects), procedural (related to projection), and comprehensive (own reflection about the project itself).

Zobo Tea Package Design Prototype Allied with Product Onomastics

The purpose of this design is to create a Zobo tea package design prototype allied with African indigenous onomastics. African indigenous products are effective in terms of functionality; however, industrialized products gained more attention because of aesthetics, safety, hygiene, and other advanced technology put into consideration during production. This seems to boost the inferiority of indigenous products. Hence, the present study focuses on indigenous Zobo tea in terms of creating a conceptual package design prototype enhanced with product onomastics. Twenty-two names are derived for indigenous Zobo tea by making use of linguistics techniques. These names are used as label for designing a conceptual package prototype for indigenous Zobo tea. A Delphi technique is adopted for the evaluation of this creative process. The findings show that homonym as an onomastics will enhance the branding and development of indigenous Zobo tea even in the international market. This will remodel the inferiority of the aesthetics of Zobo indigenous products. Hence, research on the choice of an appropriate name for a particular product should be a contemporary research area to improve the present situation of our indigenous product branding and graphic design. It is believed that the outcome of this research could provide guidelines for effective naming in product package design for indigenous product development; as creative designers must not only understand the vocabulary of graphic design but be aware of extraneous constraints that could affect their designs.

Development of Body Painting 3D Printing Techniques Using Fractal Design

With development of advanced technologies, the field of beauty is under strong pressure to try new approaches in line with the highly increasing interest in advance 3D printing based on 3D graphic design data. An increasing number of researches have been conducted to develop beauty and art design object using computer design programs. As part of this, three works were presented in this paper in which body painting designs and object were applied to mannequins by producing them with help of 3D printing techniques based on the motive of fractal that started from nature. This study examined how the generation principle of fractal geometry appears in the form of nature. The generation principle of fractal geometry models nature, fibonacci, and crystalline pattern by non-linearity, irregularity, and randomness around the iterative rule of self similarity. The present study is thought to be meaningful in that it suggests the possibility and practical value of a design method that can be technically and easily accessible to those majoring in beauty by means of its utility as a low-end 3D printing object.