What is graphic design?

What is graphic design?

Suppose you want to announce or sell something, amuse or persuade someone, explain a complicated system or demonstrate a process. In other words, you have a message you want to communicate. How do you “send” it? You could tell people one by one or broadcast by radio or loudspeaker. That’s verbal communication. But if you use any visual medium at all—if you make a poster; type a letter; create a business logo, a magazine ad, or an album cover; even make a computer printout—you are using a form of visual communication called graphic design.

Graphic designers work with drawn, painted, photographed, or computer-generated images (pictures), but they also design the letterforms that make up various typefaces found in movie credits and TV ads; in books, magazines, and menus; and even on computer screens. Designers create, choose, and organize these elements—typography, images, and the so-called “white space” around them—to communicate a message. Graphic design is a part of your daily life. From humble things like gum wrappers to huge things like billboards to the T-shirt you’re wearing, graphic design informs, persuades, organizes, stimulates, locates, identifies, attracts attention and provides pleasure.

Graphic design is a creative process that combines art and technology to communicate ideas. The designer works with a variety of communication tools in order to convey a message from a client to a particular audience. The main tools are image and typography.

Image-based design
Designers develop images to represent the ideas their clients want to communicate. Images can be incredibly powerful and compelling tools of communication, conveying not only information but also moods and emotions. People respond to images instinctively based on their personalities, associations, and previous experience. For example, you know that a chili pepper is hot, and this knowledge in combination with the image creates a visual pun.

In the case of image-based design, the images must carry the entire message; there are few if any words to help. These images may be photographic, painted, drawn, or graphically rendered in many different ways. Image-based design is employed when the designer determines that, in a particular case, a picture is indeed worth a thousand words.

Type-based design
In some cases, designers rely on words to convey a message, but they use words differently from the ways writers do. To designers, what the words look like is as important as their meaning. The visual forms, whether typography (communication designed by means of the printed word) or handmade lettering, perform many communication functions. They can arrest your attention on a poster, identify the product name on a package or a truck, and present running text as the typography in a book does. Designers are experts at presenting information in a visual form in print or on film, packaging, or signs.

When you look at an “ordinary” printed page of running text, what is involved in designing such a seemingly simple page? Think about what you would do if you were asked to redesign the page. Would you change the typeface or type size? Would you divide the text into two narrower columns? What about the margins and the spacing between the paragraphs and lines? Would you indent the paragraphs or begin them with decorative lettering? What other kinds of treatment might you give the page number? Would you change the boldface terms, perhaps using italic or underlining? What other changes might you consider, and how would they affect the way the reader reacts to the content? Designers evaluate the message and the audience for type-based design in order to make these kinds of decisions.

Image and type
Designers often combine images and typography to communicate a client’s message to an audience. They explore the creative possibilities presented by words (typography) and images (photography, illustration, and fine art). It is up to the designer not only to find or create appropriate letterforms and images but also to establish the best balance between them.

Designers are the link between the client and the audience. On the one hand, a client is often too close to the message to understand various ways in which it can be presented. The audience, on the other hand, is often too broad to have any direct impact on how a communication is presented. What’s more, it is usually difficult to make the audience a part of the creative process. Unlike client and audience, graphic designers learn how to construct a message and how to present it successfully. They work with the client to understand the content and the purpose of the message. They often collaborate with market researchers and other specialists to understand the nature of the audience. Once a design concept is chosen, the designers work with illustrators and photographers as well as with typesetters and printers or other production specialists to create the final design product.

Symbols, logos and logotypes
Symbols and logos are special, highly condensed information forms or identifiers. Symbols are abstract representation of a particular idea or identity. The CBS “eye” and the active “television” are symbolic forms, which we learn to recognize as representing a particular concept or company. Logotypes are corporate identifications based on a special typographical word treatment. Some identifiers are hybrid, or combinations of symbol and logotype. In order to create these identifiers, the designer must have a clear vision of the corporation or idea to be represented and of the audience to which the message is directed.

Start a Freelance Business With No Professional Examples

So you want to freelance? What should you do if you have no professional examples to place in your portfolio?

When I got out of college. I had an entire portfolio full of Bryce 3-D graphic images. Believe it or not, I was trying to get a graphic design job with these images. The problem was, it did not matter how good these images were, they were not "Graphic Design" images, they were "computer graphics" images. There is a big difference. No matter what type of freelancer you want to be, whether it is a graphic designer, web designer, writer, or whatever, find out what your niche is first.

I am going to use graphic design as an example, but this also goes for writers, programmers, etc. No matter what job you are applying for, only place examples in your portfolio that correspond with what job you are applying for. For example, if you decide that you want to apply for a graphic design position, place examples of brochures, newsletters, mailers, catalogs, and other examples that correspond with the job that you are applying for. You wouldn't want to fill your portfolio with illustrations, 3D renderings, sketches, etc. It is okay to have one example of your illustrative skills, and one of your 3D rendering skills, but that is all that I would add.

There are several ways that you can build up your portfolio:

Dummy Samples - Create fictitious examples of your work. Create dummy brochures, newsletters, logos, and other pieces to demonstrate your range of skills. Even though this seems such a waste of your time, you can use these documents as templates for real projects that you will have in the future.

Non-Profit Organizations - Volunteer your services for free to local community organizations where you live. This is a great way to build up your portfolio. Look in your phone book for religious, educational, social, and political organizations. Make sure that you inform the client that as payment you insist on having your business name and phone number on the finished piece (and if you have a website url, this should be printed on the finished product too). This is very fair. Hopefully you will reach potential clients with your first publication.

Friends - Surely you must have relatives or friends that have a small business. Volunteer your skills out to your friend or family member. Make sure not to get yourself into a situation where this friend expects you always to work for free. Explain up front that this is for free only with the first project. Again, insist that your business name, phone number, and website url are printed somewhere on the finished product.

Web Search - Do a search on the web for websites that you feel could use your service. Look for bad design layouts. If you consider yourself a web designer offer to redesign the website for free. If you are a graphic designer, offer to design this company's brochure or flyers. Don't offer your free services out to everyone until you get a "yes" or "no" response; otherwise you might get ten "yes" answers.

Place Your Profile on Freelance Sites - In another few weeks we are starting a service where we will place your profile on all of the freelance sites with one form .... keep your eye out for this. We also are going to launch a freelance jobs search engine so you can search all freelance job sites with one form. We will keep you posted.

Things to remember about freelancing

The most important thing to remember when freelancing is to be honest. If you are not honest in saying that you have the ability to do a job well, then your reputation could be tarnished. If you are in an interview for a freelance opportunity or "gig", do not tell your future contractor that you have no problem doing that project for them, when in reality you have never done this type of work before. Not only will you be putting your reputation and credibility as a freelancer on the line, but also you will be jeopardizing the credibility of the company that has hired you. If you provide false information or produce a project in an incorrect manner from which the company is accustomed to, then you could be causing some serious heartache down the road.

Another thing to keep in mind when freelancing is obtaining a stable client base. You must remain in constant contact with your clients. Always check with them even if you are not working on a project for them. "Get noticed", not so much that you become a nuisance and they won't want to hire you, but be there enough that they can never quite forget about you. Also, when special occasions come around, like birthdays or holidays, drop a little something in the mail to them. This will let them know that you are willing to go that extra mile to maintain a friendship and standing relationship with them.

Freelancing is a risky, yet exciting, industry to get into. You must have plenty of self-confidence that you are the best at what you do. But don't become over confident, always remember there is room for growth, learning and a better understanding of the industry. When you are working with a client, be sure to learn the accounts you are assigned inside and out, ask for any extra helpful materials that can boost your knowledge. If you are uncertain of how something is done, ask; never be afraid to ask questions. You want to get it done correctly the first time. Again this will be a great reflection on your reputation and your ability to do a good job. Freelancing is hard to get into, but once you have established yourself as knowledgeable and reliable in your area of expertise, then you will be the top name in the drawer every time.

Graphic design occupations

Production artist

A production artist is a technical and often considered an entry level job position in a creative profession. The job title originated at advertising agencies, assigning what was known as paste-up work (now prepress production) to the position. It's often assumed to be a graphic designer or art director in training position, similar to an apprenticeship. Production artists work closely with the designer and art director to execute the design. What distinguishes "production art" from design is the lack of opportunities to utilize creativity and design training in the work involved. Although the position may be treated as low-skilled labor, the degree of technical knowledge required for some production art work may be comparable to higher skilled engineering, especially with computers.

Art director

The art director serves a variety of similar job functions in advertising, publishing, film and television, the Internet, and video games.

Creative director

The creative director is generally the person in charge of a creative department in an advertising agency. They are in charge of leading the creative direction of a campaign.

Advertising & Marketing

Art directors in advertising aren't necessarily the head of an art department although the title may suggest it. In modern advertising practice, they typically work in tandem with a copywriter. Together, or the art director and copywriter work on a concept for commercials, print advertisements, and any other advertising medium. Individually, the art director is mostly responsible for the visual look and feel of the creative product, and the copywriter has ultimate responsibility for the product's verbal and textual content. Both are responsible for coming up with big, effective and persuasive ideas.

Film

An art director, in the hierarchical structure of a film art department, works directly below the production designer, in collaboration with the set decorator, and above the set designer. A large part of their duties include the administrative aspects of the art department. They are responsible for assigning tasks to personnel, keeping track of the art department budget and scheduling, as well as overall quality control. They are often also a liaison to other departments; especially the construction department. In the past, the art director title was used to denote the head of the art department (hence the Academy Award for Best Art Direction).

Publishing

Art directors in publishing typically work with the publications editors. Together they work on a concept for sections and pages of a publication. Individually, the art director is mostly responsible for the visual look and feel of the publication, and the editor has ultimate responsibility for the publications verbal and textual content.

Gigposter Design: The New Sex

Tutorial Introduction:

A lot of people are making them. A lot of people suck. We don’t suck, and neither do you. This tutorial requires NO drawing talent… so don’t trip folks. You will however need Adobe Photoshop 7.0 or higher and Illustrator CS2 or higher. My name’s Dave, and this is my first ever solo tutorial. I’m very unorthodox and direct… so forgive me if I lose you guys during any part of this. I’ll do what I can to answer questions for people who think my tutorial is too confusing.

So we’re going to make a gig poster! Subject matter: Deftones and The Fall of Troy in Cleveland, Ohio at the House of Blues on May 30th. Why are the Deftones not first, you ask? Because I like The Fall of Troy better… and this is an unofficial poster, so who cares?

Let’s get to business.

So what to make? Hmmm… something fierce. Maybe something militaristic? Considering the legendary event of the fall of Troy… we’ll go that route. After searching through some public domain photos from WWII, I found a picture of Dwight D. (Ike) Eisenhower on D-day lecturing some troops.

We’re going to use this as the base of our initial illustration… but the hand, it lacks emotion. It’s ok. We’re all designers and we can fix this, right guys?

Istockphoto.com (a lifesaver for all stock photo needs) will be our resource. If you do not have an account, get one. If you would rather go the free route – www.sxc.hu, better known as Stock Exchange, has a slick selection of free stock photos. You’ll still need an account, but it’s free.

I found this chick holding a gun on istock. We’re gonna get the cheapest one because the resolution doesn’t matter so much in this tutorial yet. Her hand will become Ike’s hand… holding a gun.

Next we have to cut out Ike and the girl’s gun so we can combine these different pieces into the same image. We’re going to use the pen tool to cut these out. I trust we can all accomplish this through knowledge gained in previous tutorials. WARNING: Using the pen tool in Photoshop is tricky… to keep your anchor points from drifting off into oblivion, you have to alt+click them (The same way you would click your anchor points in Illustrator). Make sure your shapes fill color is an obnoxious color so you don’t lose it in the photo.

Once you have the shapes made to cut them out (and it’s ok if it took 3000 shapes and layers to make it) you’re going to merge them all to one layer. Ctrl+click your “shape layer” to make a selection and then click the actual image’s layer. Press Ctrl+C to copy and then press Ctrl+V to paste it into it’s own layer. Do the same for the girl’s gun. Save your PSD’s in case you fumble up. The hardest part is over.

Now take both shapes and tastefully combine them on a fresh canvas. Some airbrushing or cutting may be needed to make it look real. It’s up to you. The rotating of the hand will be needed to make it fit on Ike’s arm. Make your image 300 dpi (image>image size) and don’t worry about the image quality. Merge the hand layer with the Ike layer and make it gray scale.

You now have Ike pissed off and holding a gun.

Here is where it gets a little interesting and it might be hard to follow here. Create three files in Photoshop that overcompensate in size for the Ike-shape - you don’t have to save them or anything. They’re there for copying purposes only. Throw a copy of Ike into each of them. Make sure they all remain on their own layers. We’ll be playing with the contrast next.

Above are the setting you’re going to make Ike the first two files. The third will be -100% on both Brightness and Contrast. It will result in just a shape of him in solid black. Now open Illustrator and make a new file at 11×17 portrait orientation.

Size down the Photoshop window and drag over each of the layers that have been brightness/contrast-adjusted into Illustrator. Line them up horizontally and start Live Tracing them one-by-one using the “Black and White logo” option. The option is located on the top tool bar once your photo is selected. Copy these attributes in the photo below.

Live Trace is basically Illustrator’s tool for deciphering and creating graphics into vector art automatically. It was a new feature in CS2 and it’s way cool, but can have some backlashes. Like all automated solutions to things done best by hand, there are sacrifices made with the result. A lot of times, your Live Traced images get lossy. Having them at a high resolution most times solves this but not always. In our case though… the dirtier, the better.

Now make sure each image is expanded. Use your magic wand tool and select the white areas that Illustrator assumed when you dragged in the Photoshop layer. They’re there, trust me. Once all selected – delete them. They’re not needed. Now’s your time to start figuring out a color scheme for this big project. Here’s what I chose.

Having 1 dark color, 1 to 3 medium tones, a light color, and a wild-card color is pretty mandatory when making 4 to 6 color prints. They work better. Although this wouldn’t be a silk screened poster, following this limited color rule assists in giving it an authentic gig poster appearance.

Doodads are always the hot ish in your designs, so we’re using some from our arsenal, the Go Media Vectorpacks. Along with a few we’ll be making from scratch. Below is what we’ll be using from the packs. (side note: we’ll be using a bunch of stuff from Go Media’s Arsenal. If you haven’t any cash to purchase some of the packs, we’ve got some samples here).

We’re using 5 splatters from the various Splatter packs and one wheel-type doodad from Set 5’s Decorative Ornaments pack. Now we’re going to get all these shapes ready and drag em over into our Illustrator file. Mind you we have not touched Ike yet… don’t worry about him or the colors. Let’s get trendy.

Make a long, skinny rectangle and duplicate it about 80 times (alt+click and drag it to copy it once, and then press Ctrl+D over and over again until you get a lot of bars) or more depending on your preference. Align them to the center and space them evenly. Now use the add function in your pathfinder box and expand the selection. Now that it’s own shape – rotate it 45 degrees (holding shift + rotate will rotate the shape in increments of 45 degrees). Duplicate that shape about 3 or 4 times.

Now duplicate/take a splatter from the vector art we’ll be using and place it on top of that shape you made. Select both objects and intersect them (it’s an option in the pathfinder box as well). Expand the appearance of your object.

You now have a distressted pattern of diagonally running lines. It’s a pretty neat trick to add some organized distress to your designs. Do this a few times with different splatters. That is why I’m encouraging duplicating your objects and not just dragging and dropping. A lot of these shapes need to be kept preserved because they’ll be used over and over again throughout this project.

Now make sure your actual poster area is clear of any objects. Moving them to the sides of the artboard and separated is always a good thing to do so you can just drag in what you need when you need it. Make a rectangle in the 11×17 area. Bleed of the edges a little bit for good measure. Now fill it with a gradient of color 1 and 2. Throw a medium color in there if you want it to blend smoother (I added some earthy-red in the middle). It might help, or it might not, who knows. Experiment and be different.

Now we turn to the Go Media Texture Packs. I want a concrete-looking surface to start this off with. We’re going to use Concrete8.jpg. It’s a nice and has lots of good grainy tones. Place it into your file (file>place).

Stretch the image to fit the poster size. Now go to your transparency settings and choose the multiply setting. All the dark ridged areas of the texture are now accented onto the gradient. Drop the opacity down to like 30% or so. Lock these two objects in place at the very bottom and we’re onto designing the focal piece of the poster.

So now back to good ole’ Ike. Make the Solid shape of his body Color 3, The medium-detailed shape Color 4, and the least detailed shape Color 2. Align them in this order – Color 3, Color 4, Color 2. You have your focal image almost intact. Add a stroke of the same color to Color 3’s shape to bring it all in. Expand the stroke if you need to, in case we do any abnormal sizing to the figure. Group the three objects, and there you have Ike.

Take the wheel object we chose from Set 5’s Decorative Elements pack and place it right in the middle of the poster (above the gradient/texture combo). Size it up huge if you have to. It will accentuate Ike’s figure in the design. Fill it with Color 1 and drop the opacity down to 30%. We’re done with that.

Grab all those crazy diagonal line objects we made and fill them with color 3 or 4′ (your call, color 3 was too strong for my liking – I chose 4). I duplicated them and threw them in the middle-area of the poster, kinda outlining where Ike will be. Grab Ike and throw him in the mix. Make sure he’s the top layer. We’re almost there.

Let’s play with our text options. I want something nice and organized, but already beaten up with some grunge. I don’t want it a grungy impact font because those are way too common for post-hardcore bands nowadays… Luckily we created the Affliction font (located at our Arsenal site). It’s styled well and beat up tastefully. We’re using it!

So we’re gonna play with the font and sizing. After a few options, I think stacking the text all the same size by breaking up “THE FALL” and “OF TROY”and adjusting the tracking and leading should do it. Check out the settings I used below.

Duplicate that in case it gets messed up and right click the text and create outlines. Color it with color 3 and place it right above Ike in the poster. Add the Deftones with a larger tracking size and smaller font size and we’re in business.

I added a rectangle at the bottom for the venue information. I applied a stroke to the rectangle, broke up Ike’s group, and wedged it between the Color 4 object of him and the Color 2. Since we won’t be moving Ike at this point, we’ll leave him ungrouped, but the effect just created makes Ike’s figure look almost like a part of the rectangle; eliminating the look of the area being an afterthought. Now add your venue’s information and all that good stuff. Adjust your bleeds, save it out… and you are DONE!

Thanks for reading my first tutorial, I hope you learned something. I’m now going to go eat a hot dog.

Photoshop Tutorial: Design Tiger / Leopard Style Character

Few readers were asking if I’ll release a guide on creating the furly tiger / leopard skinned "X"Leopard wallpaper. Well, if you want it I’ll try my best to illustrate the guide on creating them. But first, I’d like to declare that this isn’t an original idea of mine, rather a design I pickup when browsing through a Photoshop book in some store couple of months back. The steps should be similar, although I can’t remember much of the details in the book. Full tutorial after jump. I’ve used in the

Step 1

Create a new document at your preferred size and create an alphabet in the middle. For your reference, I’m using a canvas at the size of 500 x 400 pixels, Adobe Garamond font.

Step 2

Change the alphabet’s color to orange color [#ffa70e]. Choose Lasso Tool, hold SHIFT key, and randomly highlighting small portions within the alphabet.

Step 3

Create a new layer on top of your alphabet, name it spots. Select black color [#000000] and fill up the highlighted parts. Your design should look something like this image below.

Step 4

We are going to get rid of the black spots outside the alphabet. Select the alphabet’s outline by holding Control key (mac - command key) + left click alphabet’s layer thumbnail. With the outline selected, do a Control Shift + I (mac - Command Shift + I) to reverse the selection. Select spotsdelete to remove the outter parts. layer, hit

Step 5

Select both alphabet and spots layer, merge them using Layer -> Merge Layers. Then duplicate another copy of the layer by selecting the layer, right click -> Duplicate layer.

Step 6

Hold Control key (mac - Command key), select the first layer to highlight the outline. Select Lasso Tool, hold Alt key (mac - Option key) and draw away the top right and bottom left portion of the alphabet.

Step 7

With the selection still highlighted, go to Filter -> Noise -> Add Noise. Insert these following settings:

• Amount: 50%
• Distribution: Gaussian
• Monochromatic checked.

Step 8

Maintaining the selection, now go to Filter -> Blur -> Motion Blur. Insert the following settings:

• Angle: -53
• Distance: 10

Step 9

Now on the same layer, repeat Step 6,7 and 8 for the other side of the alphabet. Just make sure that on Step 8, you have the Angle set to 43 or any angles you feel right. Your image should look something like this.

Step 10

Select the furly "X" layer, right click -> Blending Options and insert the following styles.

1. In Bevel and Emboss, set Size to 13px

Hold Control key (mac - Command), left click to highlight the selection. Go to Select -> Modify -> Contract, insert 1 pixel, then Control Shift + I (mac - Command Shift + I) to invert. Hit Delete key.

Step 11

Swap both alphabet "X" layers, bottom to up, and up to bottom. On the new top layer, change the layer setting to Soft Light and opacity to 70%.

Step 12

Your output should look like something below. An alphabet tiger / leopard skin style.

Systematic Problem-Solving Techniques

Challenge your assumptions. For example, if you aren't making enough money and you assume you need another job, ask "do I really need a better job?" Maybe you can get a raise, or you can make the job that you already have better. A business on the side might be another option. Don't let your assumptions limit your possible solutions.

Break big problems down into smaller ones. Buying a house is a big move that is really a bunch of small steps. This is true of many problems. Start by addressing all of the components of a problem individually, and it may not seem so overwhelming. This makes it easier to motivate yourself.

Ask three people for their opinions and/or advice. They may have good ideas, but in any case this helps you be sure that you are not overlooking anything obvious.

Write down the problem. Then find another way to express it and write that down. Continue with all the possible solutions and any ideas that come to mind. Write EVERYTHING, then come back to it later to pick the diamonds out of the dirt.

Change your perspective. Pretend you are very rich, very poor, a child, a visitor from another planet. How would you see the problem from this new perspective. Einstein imagined riding on a beam of light to come up with his theory of relativity, so this technique has been known to work.

Kisah Di Balik Desain Sebuah Logo

Logo itu harus mencerminkan banyak hal yang berkaitan dengan institusi yang diwakilinya. Berikut sedikit trik sederhana mendesain logo yang gampang-gampang susah itu.

Membuat logo perusahaan atau institusi seringkali menjadi satu permasalahan yang cukup pelik, karena begitu banyak kepentingan dan konten yang harus diwakili dalam desain logo tersebut.

Ada beberapa hal penting yang harus diperhatikan saat kita menentukan desain logo tersebut layak atau tidak:

• Filosofi, visi dan misi perusahaan atau institusi

• Brand Image yang ingin dibangun

• Brand color

• Bidang usaha corporate dan anak usahanya, bila yang didesain adalah anak usaha.

Setelah ide mengkristal dan mulai ada beberapa desain, step selanjutnya adalah membuat beberapa contoh desain dengan mode full color, black and white, serta one color. Apabila komposisi warna menggunakan mode gradasi, ada baiknya dibuat juga mode tanpa gradasi. Tujuannya adalah untuk melihat tingkat visibility logo saat diletakkan di berbagai tempat dan latar belakang.

Beginilah Nasib Kalo Jadi Anak Seorang Desainer Grafis…

foto anaknya dijadikan bahan untuk berkreasi….

Dijadiin HULKDijadiin HITLER
Dijadiin TENTARA
Dijadiin seperti HANTU
Dijadiin SHREK
Dijadiin MASTER KUNGFU
Dijadiin BILL GATES
Dijadiin BATMAN

Proses Kreatif Berwirausaha

Kita berani berpikir kreatif.
Itu berarti kita sudah berani mengambil risiko

SALAH satu tugas kita sebagai pengusaha, selain memiliki ketrampilan interpersonal, leadership, dan managerial, juga harus mampu melakukan tugas kreatif. Kreativitaslah, unsur penting eksis dan berkembangnya sebuah usaha. bagi entrepreneur, seolah tiada hari tanpa kreativitas. Saatnya kita terus kreatif. Apalagi, kalau di bagian sebelumnya, kerap disebut-sebut angka luar biasa pertumbuhan kewirausahaan di Amerika Serikat, di Indonesia sendiri, keragaman usaha maupun jumlah wirausahawannya, belum sebanyak di Amerika Serikat ataupun di negara lain.

Di Amerika Serikat misalnya, ada bisnis yang masih langka dan belum memasyarakat di Indonesia, yakni bisnis menyewakan pakaian dan perlengkapan bayi. Jadi sebenarnya banyak macam usaha yang bisa kita kerjakan, asal kita mau kreatif. Dalam hal apa saja, kita harus kreatif? Kreatiflah dalam beberapa hal, antara lain, memilih jenis usaha dan memilih waktu untuk memulainya.

Maka, jangan ragu menciptakan kondisi yang memungkinkan setiap unsurnya bisa kreatif. Jadikan setiap sudut, setiap suasana dalam usaha Anda, kondusif bagi munculnya ide-ide kreatif. Kreativitas itu sendiri, memang memerlukan proses, yakni proses kreatif. Jadi pada awalnya, untuk kreatif itu perlu persiapan, meski secara tidak formal. Tinggal, bagaimana kita sendiri membuat suasana kerja itu kreatif.

Dalam prosesnya, ternyata kreatif itu juga membutuhkan konsentrasi kita. Padahal, yang kerap terjadi, saat kita melakukan konsentrasi, malah menemui jalan buntu. Akibatnya, kita tak bisa berbuat apa-apa, dan berangsur-angsur menjadi frustrasi. Dan, sebenarnya frustasi itu merupakan bagian dari proses kreatif itu sendiri.

Dalam kondisi inilah, menurut saya, sebaiknya kita tidak menyerah atau putus asa. Jangan berhenti sampai di situ. Yakinlah, pada saatnya, wawasan atau iluminasi akan muncul. Kemudian, kita melewati proses kreatif berikutnya: inkubasi atau pengendapan masuk ke dalam alam bawah sadar. Pada saatnya, yaitu pada kondisi yang tidak disengaja, bisa saja muncul iluminasi itu artinya ide kreatif telah kita temukan.
Langkah penting untuk ini, mengolah atau menjalankan ide kreatif menjadi konkret, demi kemajuan bisnis kita. Bahkan menurut kami, demi kepuasan pelanggan pun, perlu pendekatan kreatif. Kreatif, juga kata kunci dalam urusan mencari modal atau dana pengembangan usaha, peningkatan kegiatan produksi, perbaikan desain, pemasaran, dan lain sebagainya.

Orang kreatif, adalah orang yang berani mengambil risiko. Hanya tinggal seberapa besar sebenarnya kualitas kreativitas itu akan mempengaruhi risiko usaha yang dijalankan. Bahkan, seseorang yang berani berpikir kreatif, berarti dia sudah berani mengambil risiko. Kami pun yakin, hanya pengusaha yang berani mengambil risiko itulah yang usahanya dapat berkembang maju, baik untuk saat ini ataupun untuk masa depan.

yang perlu di ingat adalah setiap orang punya kesempatan yang sama,
jadi mana kreatifitas anda

DKV VS PERIKLANAN

Judul yang klise sejak munculnya fakultas desain komunikasi visual di era 1990an. Terasa malas untuk memikirkannya, tetapi hal ini yang menjadikan bidang studi desain grafis (sekarang menjadi DKV) di Indonesia kehilangan arah bentuk pendidikan yang sesungguhnya. Fetisme orang-orang di bidang periklanan memang menarik sekali secara realitas, menantang, terlihat nyeleneh, dibayar mahal dll. Secara keilmuan bidang periklanan yang berkembang dari ilmu komunikasi memang sudah mapan dengan pondasi bidang keilmuannya sendiri dimana metodologi yang digunakan sudah semakin menemukan jatidirinya sebagai bidang ilmu yang kaya akan sudut pandang dan ajeg.

Kita menengok kembali kepada DKV sebagai jurusan yang masih seumur jagung di negeri ini, terlihat sangat memiliki prospek yang begitu gemilang….eiitt tunggu dulu ternyata dalam perkembangannya muncul sebuah pertentangan yang tak habisnya, terutama dikalangan mahasiswa baru, notabene mereka selalu mengagungkan bahwa mereka adalah bagian dari komunitas periklanan, yang dapat menciptakan iklan-iklan unik nan menarik dengan komunikasi yang efektif tentunya????…..

wawawaw…terlena sekali mereka

ada dua pertanyaan bagi saya apakah mereka sadar dengan kemampuan mereka? atau pengetahuan tentang studi DKV yang tidak mereka pahami sejak masuk jurusan tersebut…saya cenderung melihat pertanyaan kedua yang lebih relevan, sebab apa yang secara akademis saya pelajari telah membuka wawasan saya akan bidang studi DKV yang semakin saya bandingkan dengan studi lainnya, …..

secara keilmuan bidang DKV boleh dibilang bidang studi yang miskin dan masih anak bawang, masih mencari jatidiri yang layak di percaturan bidang studi di tanah air ini. Betapa tidak dari tools keilmuan untuk membedah permasalahan-permasalahan di bidangnya (komunikasi visual), saya tidak menemukan metode keilmuan yang benar-benar mewakili bidangnya. Saya hanya menemukan pendekatan semiotika yang relevan untuk membedah permasalahan di bidang komunikasi visual yang itu juga adaptif dari bidang ilmu komunikasi (fakultas Komunikasi), yang mereka kembangkan dari ilmu linguistik…….ilmu presepsi dari jurusan psikologis dan sisanya saya melihat DKV mengadopsi pendekatan dari ilmu marketing atau PR.

Kita tengok kembali studi di fakultas komunikasi, dimana terdapat bidang studi periklanan, mereka tidak hanya belajar cara membuat iklan sebagai salah-satu saluran komunikasi yang efektif, tetapi juga belajar memecahkan berbagai permasalahan komunikasi dari sudutpandang keilmuan yang sudah mapan. Mulai dari cara berkomunikasi verbal yang efektif untuk berbagai target audience, menggunakan bahasa simbolis (tanda) yang tepat untuk entitas tertentu, sampai dengan mempelajari perilaku dari sasaran komunikasinya. Secara konseptual mereka sangat kaya akan berbagai pendekatan dalam memecahkan masalah komunikasi yang rumit dan kompleks, sehingga sangat tepat sekali bagi mereka untuk me-reset mindset khalayak lewat komunikasi efektif dalam upaya merubah perilaku khalayaknya (what to say & how to say)………sekarang pertanyaan saya, secara kurikulum dan bobot keilmuan, apakah jurusan DKV layak menjadi bagian dari bidang periklanan?? kalo ya, mungkin bagi personal yang memiliki wawasan luas yang dapat bersaing di bidang tersebut. Tetapi kalau tidak layak berarti memang bidang DKV tidak jelas secara tujuan keilmuan. Saya melihat dari sudut keilmuan, karena bila yang menjadi parameter adalah kurikulum yang dihadirkan di DKV, maka hal tersebut bisa membuktikan bahwa jurusan DKV tidak bisa disamakan dengan jurusan komunikasi. Lihatlah apakah di DKV diajarkan pendekatan-pendekatan komunikasi untuk semua bentuk? adakah metode yang diajarkan untuk menciptakan sebuah konsep pesan yang akan merubah perilaku khalayak??….dari situ saya akhirnya menyadari bahwa bidang DKV lebih layak sebagai bidang ilmu yang berpondasikan proses kreatifitas yang mendelivery pesan-pesan secara imaginatif dalam bentuk visual, yang lebih teridentifikasi sebagai graphic design (desain grafis)…saya setuju dengan istilah graphic design untuk bidang ini.

Saya melihat banyak sekali kebutuhan di bidang marketing yang relevan dengan pengembangan keilmuan grafis, mulai dari permasalahan identitas baik personal, corporate, sampai dengan commersial product, bahkan Brand sekalipun. Proses kreatif kita dapat lebih memecahkan berbagai kendala identitas visual daripada memecahkan pesan verbal. Persoalan bentuk, warna, tipografi, scale dan space lebih cocok dengan bidang tersebut. Contoh nyata adalah dengan melihat pertumbuhan hypermarket di negara kita, dimana beribu-ribu identitas produk masuk kesana, dan harus dapat tampil lebih menonjol dari identitas lainnya. Banyak program Branding produk dijalankan, dan sudah selayaknya bidang grafis mengambil peranan penting disana. Dengan pendekatan kreativitas dalam memunculkan pesan visual yang imaginatif, dengan sedikit sentuhan “Gestalt” presepsi mata, kita dapat membuat sebuah identitas produk akan tampak menonjol di Hypermarket-hypermarket…..inilah kenyataannya……

jadi kenapa kita masih berdebat DKV vs Periklanan????

Adu Kreasi 2008 - Departemen Pertanian

LATAR BELAKANG

Dalam 10 tahun terakhir telah terjadi penyusutan lahan pertanian rakyat hingga mencapai 1,1 juta ha. Hingga kondisi tersebut berpengaruh pada produksi hasil-hasil pertanian, terutama di Pulau Jawa yang selama ini telah menjadi sentra pertanian pangan.Maka pada PJP II ini Departemen Pertanian melakukan reorientasi dari pendekatan produksi ke pendapatan petani dengan konsep AGRIBISNIS.

Berdasarkan hal tersebut maka visi pertanian 2020 adalah mewujudkan sector pertanian yang tangguh, modern dan efisien dengan ciri:
1. pemanfaatan sumber daya pertanian secara optimal dan berkelanjutan
2. penerapan diversifikasi pertanian yang komprehensif
3. penerapan rekayasa teknologi spesifik local yang dinamis
4. peningkatan efisiensi usaha dengan system agribisnis

Memasukki abad 21 pertanian di Indonesia sudah mampu menguasai teknologi tinggi, padat modal dan memiliki nilai tambah untuk bersaing. Sehingga pertanian tidak lagi dipandang kotor, jauh dari kota, kelompok ekonomi lemah dan tidak memiliki masa depan yang bagus.

Dalam rangka upaya peningkatan kehidupan petani dan pertanian Indonesia sangat dibutuhkan dukungan berupa apresiasi masyarakat terhadap kehidupan petani yang modern dan professional, maka pada kesempatan ini Departemen Pertania RI menyelenggarakan kegiatan APRESIASI PROGRAM PEMBANGUNAN PERTANIAN.

Tema:

AKU BANGGA MENJADI PETANI

1. Topik Lomba Menggambar untuk tingkat SD dan SMP
1. Petani Yang Rajin
2. Bangganya menjadi Petani

2. Topik Lomba Penulisan untuk tingkat SMA dan Mahasiswa
1. Jasa Petani dalam Kehidupan Kita
2. Jasa Pertanian dalam Pembangunan Ekonomi Indonesia yang Berkelanjutan

3. Lomba Penulisan, Foto dan Peliputan untuk tingkat Wartawan
1. Peran pertanian dalam revitalisasi pembangunan social ekonomi bangsa
2. Pembangunan pangan Indonesia menuju bangsa yang lebih mandiri dan kuat.
3. Pertanian, langkah pasti menuju kemandirian Indonesia secara global
4. Peran Pertanian dalam pengukuhan Indonesia di percaturan global

4. Lomba Cerpen untuk tingkat SMA dan Mahasiswa
1. KEbanggan Petani, KEbanggan Kita
2. Pertanian Organik, cara bijak untuk Pembangunan Ekonomi Indonesia yang ramah lingkungan

5. Lomba Poster
1. Pertanian kuat, bangsa kuat
2. Kebanggan Petani, Kebanggan Kita

SASARAN:
1. Pelajar : SD, SMP dan SMA
2. Mahasiswa dari berbagai Fakultas dan Jurusan
3. Pers (wartawan) semua media baik cetak maupun elektronik
4. Masyarakat Luas

TARGET:
1. Menciptakan citra petani, pertanian dan aparatur pertanian
2. Meningkatkan peran aktif masyarakat
3. Meningkatkan apresiasi masyarakat terhadap pertanian

HASIL YANG DIHARAPKAN:
Dengan kegiatan ini diharapkan mampu menghasilkan gagasan-gagasan dan pemikiran-pemikiran yang komprehensif dari masyarakat untuk peningkatan citra petani dan pertanian kita.

KATEGORI PESERTA
Terdiri dari 5 macam lomba dan 11 kategori, yaitu:
1. Lomba Menggambar kategori Pelajar SD
2. Lomba Menggambar kategori Pelajar SMP
3. Lomba Penulisan kategori Pelajar SMA
4. Lomba Penulisan Pertanian kategori Mahasiswa
5. Lomba Penulisan Pertanian kategori Wartawan
6. Lomba Foto kategori Wartawan
7. Lomba Peliputan kategori Wartawan Media Cetak
8. Lomba Peliputan kategori Wartawan Media Televisi
9. Lomba Peliputan kategori Wartawan Media Radio
10. Lomba Poster Promosi untuk Mahasiswa
11. Lomba Penulisan Cerpen kategori Pelajar SMA/Mahasiswa

SYARAT LOMBA
1. Peserta lomba belum pernah mempresentasikan hasil karyanya yang sama pada lomba lain atau mempublikasikan dalam bentuk apapun.
2. Mencantumkan nama, tempat tanggal lahir, alamat lengkap, e-mail, nomor telpon yang dapat dihubungi, serta lampirkan foto copy identitas diri dengan jelas.
3. Dikirim melalui pos ke alamt panitia lomba, paling lambat pada 5 September 2008 ke alamat :
PANITIA ADU KREASI'08 DEPARTEMEN PERTANIAN RIPO BOX 1619 JKS 12016
atau ke alamat e-mail: adukreasi08@deptan.go.id
4. Tidak melayani surat menyurat kecuali pengiriman hasil karyanya.
5. Keputusan juri tidak dapat diganggu gugat
6. Hak publikasi hasil karya peserta menjadi milik Departemen Pertanian RI.

PENILAIAN
1. UNSUR-UNSUR PENILAIAN
1. Kedalaman/ketajaman analisis materi – kesesuaian dengan tema dan topic
2. Kreativitas dan inovasi
3. Ketentuan lomba:
a. Lomba Menggambar kategori SD dan SMPBahan kertas gambar (karton putih) ukuran A3
b. Lomba karangan cerpen dan penulisan esai Pertanian untuk SMA. Mahasiswa dan Pers : maksimal 8000 ketikan
c. Lomba peliputan untuk pers (media Cetak) : berupa copy naskah yang sudah dimuat di media dan melampirkan surat keterangan dari Pimpinan Redaksi. Lomba peliputan untuk pers media Televisi dan Radio: Mengirimkan copy CD yang sudah tayang/siar dan melampirkan surat keterangan dari Pimpinan Redaksi.
d. Untuk Lomba Poster, poster berisi gagasan, pesan dan harapan (bukan publiksi suatu kegiatan) Peserta menyerahkan mengirimkan dalam format JPEG ke alamat e-mail panitia – adukreasi08@deptan.go.id, dan karya-karya yang masuk dalam nominasi akan dihubungi untuk mengirimkan soft copy dalam bentuk CD.

4 .Karya bersifat asli (bukan jiplakan dan duplikasi) dan belum pernah dipublikasikan.
5 .Tidak menyinggung SARA atau mendiskripsikan suatu golongan atau kelompok
6. .Setiap peserta diperbolehkan mengirim maksimal 2 buah karya
7. Seluruh hasil karya peserta yang telah dikirim tidak akan dikembalikan dan menjadi dokumentasi
8. Karya Pemenang sepenuhnya menjadi hak milik Departemen Pertanian dan akan dipublikasikan untuk umum.
9. Pemenang akan diumumkan pada minggu ke-3 bulan September 2008.

HADIAH
Hadiah bagi para pemenang :
1. Lomba Menggambar kategori Pelajar SD
1. Juara I : Rp. 5.000.000,-
2. Juara II : Rp. 3.000.000,-
3. Juara III : Rp. 2.000.000,-
4. Hadiah hiburan untuk
5 karya terpilih masing-masing mendapatkan Rp. 250.000,-

2. Lomba Menggambar kategori Pelajar SMP
1. Juara I : Rp. 5.000.000,-
2. Juara II : Rp. 3.000.000,-
3. Juara III : Rp. 2.000.000,-
4. Hadiah hiburan untuk 5 karya terpilih masing-masing mendapatkan Rp. 250.000,-

3. Lomba Penulisan kategori Pelajar SMA
1. Juara I : Rp. 6.000.000,-
2. Juara II : Rp. 4.000.000,-
3. Juara III : Rp. 3.000.000,-
4. Hadiah hiburan untuk 5 karya terpilih masing-masing mendapatkan Rp. 250.000,-

4. Lomba Penulisan kategori Mahasiswa
1. Juara I : Rp. 7.500.000,-
2. Juara II : Rp. 5.000.000,-
3. Juara III : Rp. 3.000.000,-
4. Hadiah hiburan untuk 5 karya terpilih masing-masing mendapatkan Rp. 300.000,-

5. Lomba Penulisan kategori Wartawan
1. Juara I : Rp. 10.000.000,-
2. Juara II : Rp. 7.500.000,-
3. Juara III : Rp. 5.000.000,-
4. Hadiah hiburan untuk 5 karya terpilih masing-masing mendapatkan Rp. 400.000,-

6. Lomba Foto kategori Wartawan
1. Juara I : Rp. 10.000.000,-
2. Juara II : Rp. 7.500.000,-
3. Juara III : Rp. 5.000.000,-
4. Hadiah hiburan untuk 5 karya terpilih masing-masing mendapatkan Rp. 400.000,-

7. Lomba Peliputan kategori Wartawan Media Cetak
1. Juara I : Rp. 10.000.000,-
2. Juara II : Rp. 7.500.000,-
3. Juara III : Rp. 5.000.000,-
4. Hadiah hiburan untuk 5 karya terpilih masing-masing mendapatkan Rp. 400.000,-

8. Lomba Peliputan kategori Wartawan Media Televisi dan Radio
1. Juara I : Rp. 10.000.000,-
2. Juara II : Rp. 7.500.000,-
3. Juara III : Rp. 5.000.000,-
4. Hadiah hiburan untuk 5 karya terpilih masing-masing mendapatkan Rp. 400.000,-

9. Lomba Poster
1. Juara I : Rp. 10.000.000,-
2. Juara II : Rp. 7.500.000,-
3. Juara III : Rp. 5.000.000,-
4. Hadiah hiburan untuk 5 karya terpilih masing-masing mendapatkan Rp. 400.000,-

10. Lomba Penulisan Cerpen kategori Pelajar SMA
1. Juara I : Rp. 6.000.000,-
2. Juara II : Rp. 4.000.000,-
3. Juara III : Rp. 3.000.000,-
4. Hadiah hiburan untuk 5 karya terpilih masing-masing mendapatkan Rp. 250.000,-

11. Lomba Penulisan Cerpen kategori Mahasiswa
1. Juara I : Rp. 7.500.000,-
2. Juara II : Rp. 5.000.000,-
3. Juara III : Rp. 3.000.000,-
4. Hadiah hiburan untuk 5 karya terpilih masing-masing mendapatkan Rp. 300.000,-•

Bagi peserta yang berhasil memenangkan Juara I akan diberikan Thropy dan Sertifikat Penghargaan dari Departemen Pertanian.

Selamat Berkreasi :)

Perkawinan Tipografi dan Nirmana dalam Ranah Readibilitas Legibilitas

Ketika seseorang berbicara kepada orang lain, sesungguhnya orang tersebut sedang melafalkan beberapa lambang bunyi yang arti dan maknanya telah disepakati bersama.

Lambang bunyi, dalam konteks ini, divisualkan dalam bentuk simbol-simbol yang disusun sedemikian rupa sehingga dapat dibaca dan dimengerti maksudnya. Dalam peradaban modern, lambang bunyi yang berbentuk huruf memiliki peranan penting dalam sebuah proses komunikasi antarmanusia.

Huruf dan tipografi dalam perkembangannya menjadi ujung tombak guna menyampaikan pesan verbal dan pesan visual kepada seseorang, sekumpulan orang, bahkan masyarakat luas yang dijadikan tujuan akhir proses penyampaian pesan dari komunikator kepada komunikan atau target sasaran.

Huruf dan tipografi merupakan soko guru tunggal yang tidak bisa dipisahkan antara satu dengan lainnya. Banyak orang sudah melek huruf, sudah pasti mengenal lambang bunyi tersebut. Mereka sudah pasti dapat mengeja, membaca, dan menuliskan lambang bunyi itu untuk berbagai kepentingan dan keperluannya masing-masing. Tetapi tidak sedikit yang buta tipografi. Mengapa demikian? Karena tipografi senantiasa terkait dengan tatasusun, tatakelola, dan tatapilih huruf untuk kepentingan komunikasi visual.

Sementara itu, perkawinan antara tipografi dengan nirmana merupakan sebuah perkawinan agung. Keduanya diyakini sebagai pasangan kinasih yang tidak bisa dipisahkan oleh ruang dan waktu. Dalam hubungannya dengan desain komunikasi visual, tipografi dan nirmana adalah elemen penting yang sangat diperlukan guna mendukung proses penyampaian pesan verbal maupun visual.

Meski nirmana dipahami sebagai sebuah bentuk yang tidak berbentuk. Dalam konteks desain komunikasi visual, nirmana memegang peranan penting perihal bagaimana menata dan menyusun elemen dasar desain komunikasi visual . Peranan penting lainnya, di dalam nirmana mensyaratkan tatasusun dan tatakelola unsur desain komunikasi visual dalam sebuah perencanaan komposisi yang serasi dan seimbang di dalam setiap bagiannya.

Huruf yang telah disusun secara tipografis dengan mengedepankan konsep harmonisasi nirmana merupakan elemen dasar dalam membentuk sebuah tampilan desain komunikasi visual. Keberadaannya diyakini mampu memberikan inspirasi untuk membuat suatu komposisi yang menarik, persuasif dan komunikatif.

Dengan demikian, keberadaan tipografi dalam rancangan karya desain komunikasi visual sangat penting. Sebab melalui perencanaan dan pemilihan tipografi dalam perspektif nirmana yang tepat baik untuk ukuran, warna, dan bentuk, diyakini mampu menguatkan isi pesan verbal dan pesan visual karya desain komunikasi visual tersebut.

Berdasarkan hal tersebut di atas, maka ketika desainer komunikasi visual mahir menguasai tipografi dan nirmana untuk dipergunakan menyampaikan informasi yang bersifat sosial ataupun komersial, maka sejatinya sang desainer tersebut mampu memposisikan dirinya menjadi kurir komunikasi (visual) yang bertanggung jawab kepada masyarakat luas yang dijadikan target sasaran. Dengan menjadi kurir komunikasi yang baik - berkat pemilihan tipografi yang tepat dengan mengedepankan aspek readibilitas (dipengaruhi oleh ukuran huruf, jarak antarhuruf, dan jarak antarbaris yang terlalu dekat atau jauh) dan legibilitas (dipengaruhi oleh kerumitan desain huruf, penggunaan warna, tinta, dan kertas) yang akurat - maka masyarakat luas tidak akan terjebak pada perkara-perkara atau kasus-kasus mengarah pada belantara perbedaan persepsi yang akan menimbulkan bencana miscommunication!

GAGAS AWARD 2008 (Lomba PSA - Kurangi Penggunaan Kantong Plastik)

Bisnis Indonesia, mengadakan lomba membuat PSA tentang lingkungan, dengan tema "Kurangi Penggunaan Kantong Plastik". Kegiatan ini diberi nama Bisnis Indonesia Gagas Awards 2008 "Saatnya mengurangi penggunaan kantong plastik".

Insight :
Isu lingkungan hidup kembali mencuat seiring fenomena pemanasan global (Global Warming). Diyakini, fenomena ini merupakan efek revolusi industri pada akhir abad 18, sebuah revolusi yang pada akhirnya menciptakan teknologi dan dunia modern.

Ketentuan:

1. Karya Harus mengikuti creative brief
2. Tidak sedang diikutsertakan di ajang lomba lainnya
3. Belum pernah dipublikasikan di media mana pun
4. Tidak menyinggung SARA dan/atau bermuatan pornografi
5. Tidak melecehkan lambang negara RI
6. Ditujukan untuk terbit di koran
7. Ukuran Iklan: 177mm x 270mm atau 267mm x 180mm
8. Peserta boleh dalam bentuk tim (maks. 2 orang)
9. Karya dikirim dalam bentuk print out ditempel di karton hitam dengan marjin 3 cm setiap sisi. Disertai dengan versi digital dalam CD, minimal 300 dpi, file image dalam bentuk TIFF (ukuran sebenarnya), teks dikonversi dalam bentuk vektor, menggunakan aplikasi Freehand, Illustrator, CorelDraw atau Photoshop.
10. Karya dilampiri FORM PESERTA dan LEMBAR PERNYATAAN
11. Karya dikirim dalam amplop tertutup ke:
    Panitia Bisnis Indonesia Gagas Awards 2008, Wisma Bisnis Indonesia Lt. 5, Jl. KH Mas Mansyur No. 12A Karet Tengsin Jakarta Pusat, 10220
12. Karya harus sudah diterima oleh Panitia paling lambat tanggal 31 Oktober 2008.
13. Materi dan hak siar akan menjadi milik PT Jurnalindo Aksara Grafika, Penerbit Harian Bisnis Indonesia.
14. Peserta tidak dipungut biaya apa pun.
15. Keputusan Juri mutlak, tidak dapat diganggu gugat!

Kompetisi iklan cetak layanan masyarakat ini terbuka untuk umum dan mahasiswa. Peserta bisa berbentuk tim, dengan maksimal anggota tim 2 (dua) orang. Hadiahnya, uhmmm...

Kategori Umum
Terbaik I: Rp.20.000.000,-
Terbaik II: Rp.15.000.000,-
Terbaik III: Rp.10.000.000,-

Kategori Mahasiswa
Terbaik I: Rp.15.000.000,-
Terbaik II: Rp.10.000.000,-
Terbaik III: Rp.7.000.000,-

Info selengkapnya disini. Brief-nya disini.