VCD UPH with the Management of Scientia Square Park
On Tuesday, December 19, 2023, students from the Visual Communication Design (VCD) program at UPH visited Scientia Square Park to present their analysis and proposals regarding environmental graphic design at Scientia Square Park. This project is part of the final examination for the course “Graphic Design in Space,” held in the Odd Semester of 2023/2024. Through this project, which involves industry stakeholders, VCD UPH aims to provide students with real-world experience to enhance their learning.
VCD UPH Students Presenting Their Studies and Designs to the Management of Scientia Square Park
My name is Jeff Daniel Riyanto. I graduated from Visual Communication Design (DKV) at UPH with a concentration in Graphic Design, belonging to the batch of 2018-2022. Currently, I own a creative design studio that predominantly focuses on social media design. We manage brands and designs related to the food and beverage industry and have expanded into fashion and lifestyle as well.
My experience studying DKV was both exciting and challenging. Meeting new friends with diverse backgrounds and interests in design was a highlight. Among the courses I took at UPH, especially in the Graphic Design department, the most impactful was the main studio course. There, I learned design principles that have proven to be incredibly useful in my professional endeavors.
The rapid development of Industry 5.0 has significantly influenced the creative workforce. During my time at UPH, the learning process evolved to keep pace with the times, providing an added advantage for us as students. I highly recommend UPH because, in my opinion, it offers an environment where you can develop exceptionally well, and the faculty is very supportive of its students. For instance, my classmates and I were required to participate in a typeface design competition, which resulted in us winning second place on an international scale.
Develop success from failures. Discouragement and failure are two of the surest stepping stones to success.
Senior Designer for CONDE NAST JAPAN( Wired Japan, GQ Japan, Vogue Japan )
Head of Creative / Partner for Open Quarter Tailor
In the earlier years of my academic journey, the field of Design and Visual Communication (DKV) was characterized by a more holistic approach, predating the nuanced subcategories that exist today, such as cinematography and animation. Back then, DKV encompassed a comprehensive spectrum, requiring us to delve into every facet from A to Z.
Despite initially perceiving this broad approach as a challenge, it ultimately became my forte. Acquiring knowledge across the entirety of the discipline, akin to comprehending every graph in a pizza-graph, proved to be an invaluable asset.
Following graduation, I dedicated two years to a small design studio in Jakarta, named Table 6. During my tenure, I collaborated with clients from diverse sectors, including fashion, law, F&B, art exhibitions, etc. This multifaceted experience was a cherished chapter in my professional journey. Subsequently, I resigned from the position, driven by the ambition to establish a prominent presence in Japan—an aspiration I had harbored for years. A year of Japanese language study paved the way for a subsequent year working with a Japanese design studio, culminating in my current role as a Senior Designer/Art Director at Conde Nast Japan. Beyond my responsibilities at Conde Nast, I co-own a small design studio with my wife and a business partner. Additionally, I am a co-owner and head of creative at the Indonesian tailoring brand “Open Quarter Tailor.”
Reflecting on my university years at UPH, I hold fond memories of both enduring friendships and the privilege of learning from some of the industry’s brightest minds. UPH instilled in us the importance of critical thinking, transcending mere technical proficiency. This emphasis on critical thinking emerged as a cornerstone of our industry strength. While every subject at UPH was enjoyable, I particularly relished the “DKV Subject,” where we undertook the rebranding of selected companies—a task that resonated with my specialization in branding.
The knowledge and skills cultivated during my time at UPH have significantly contributed not only to my professional journey but also to my personal development. I unequivocally recommend UPH to prospective students, as my experience there was truly transformative and life-changing.
Photo of Vanessa Leoni. Photo Provided by Vanessa.
Hello, let me introduce myself. I’m Vanessa Leoni, an alumna of the 2019 class of DKV UPH, specializing in Graphic Design. Currently, I work as a Packaging Designer at a company in the FMCG industry.
During my time at UPH, I felt my design skills develop significantly, thanks to the guidance of the DKV UPH professors who always supported me during the learning process. When I initially joined DKV, I faced some challenges in adapting to the assigned tasks, but over time, I became more accustomed to it and learned to manage my time effectively. As the semesters progressed, I realized that the course material started with fundamental concepts and gradually became more complex, resembling real-world projects in the industry.
One of the courses that had a significant impact on me was the main studio 3. During a full semester, DKV students collaborated with students from the food technology program to create innovative product packaging. The design process started with product analysis, selecting the appropriate packaging materials, designing brand identities, creating packaging designs, and developing social media and e-commerce product sales designs. Throughout this course, I learned numerous new aspects, such as how to create packaging designs that not only prioritize aesthetics but are also producible and represent the concept of the product being sold.
My education definitely helped me in the industry. Because the steps taken to complete assignments provide a real-world glimpse of what you’ll do in the industry. With each passing semester, projects were not only individually resolved but also involved external parties to provide design objectives, test the effectiveness of the design, and evaluate it.
Studying at DKV UPH is not limited to classroom learning. There are many design-related activities outside of class that can be participated in. For example, joining the “BEDA’KAN” (Redesigning Packaging) initiative where students redesign packaging for selected MSMEs. This not only adds to your experience but also teaches students how to communicate directly with MSMEs, known as clients in the professional world. Furthermore, DKV UPH maintains high standards, allowing students to produce high-quality work.
There’s no such thing as limitations in design; that’s why you should unleash all your ideas and continue creating work that can be seen by many people!
On Friday, October 20, 2023, the Graphic Design specialization at UPH conducted the Typolog 3 Webinar with an alumni speaker from VCD UPH itself, Fredella Agatha. In this event, Fredella shared her experience in designing the ‘Pantjoran’ lettering as her final project. Fredella explained the process and also shared tips on lettering design with all the webinar participants.
Fredella Agatha, The Speaker for the Webinar, and Yolanda Tumilisar, The Moderator for the Webinar
In addition to Fredella’s sharing session, the Typolog 3 Webinar also featured the announcement of the winners of the Typolog 2023 competition. The Typolog 2023 competition challenged participants to create designs in the Tote Bag format, which would later be produced as merchandise by VCD UPH. The grand winner of the Typolog 2023 competition was Tiara Kiatama, a student of VCD UPH from the 2022 batch. Meanwhile, the favorite winner of the Typolog 2023 competition was Joshlyn Tee from UPH College.
“Berbeda-beda Tetapi Tetap Satu” by Tiara Kiatama
This work emerged from the exploration of the definition of “Nusantara,” which is a synonym for describing the unity of the Unitary State of the Republic of Indonesia introduced by Ki Hajar Dewantara in 1950. Nusantara refers to the unity of several islands, which I combined with Indonesia’s official motto, “Bhineka Tunggal Ika,” which means “Diverse But One.” The diversity of Indonesia, comprising various provinces, ethnicities, cultures, and religions, is the uniqueness of the Indonesian nation itself.
This concept resulted in this work, a collection of diverse typefaces, yet still displaying the number one. Diversity was also achieved through the use of different colors, but there was still a unifying element, including its placement within a text “box.”
This is my interpretation of the theme ‘Nusantara’ provided.
“The title of this work is Nusantara. This typographic work is inspired by the cultural diversity of Indonesia and draws inspiration from the art of wayang puppetry. Each letter in the word ‘Nusantara’ is inspired by the different shapes and styles of wayang characters. I attempted to incorporate the unique features and characteristics of various wayang characters into each letter. I also used wayang puppet heads in some of the letters. I played with the thin and thick aspects of the wayang figures and used them in letter composition to create an engaging design.
I created each letter’s sketch individually and drew inspiration from the trendy ‘molten chrome typography’ and sharp typography seen on various social media platforms because I believed this style was suitable for the wayang aesthetics. In the modern world, we often get caught up in new trends and things happening around us, and we tend to forget our rich and diverse culture. So, I incorporated trendy typography styles like combining different font styles into one text and experimenting with the typography composition to make Indonesian culture modern and trendy.”
Thank you to all participants, organizers, and everyone who participated during the Typolog 2023 event. Hopefully, we can meet again in Typolog or other activities.
Photo of Glory Josephine Immanuela. Photo Provided by Glory Josephine Immanuela.
Hi, let me introduce myself. My name is Glory Josephine Immanuela, but I’m commonly called Goi. I’m an alumna of DKV UPH, specializing in Graphic Design, from the class of 2016. Up to this day, I’m working on a business that my friend and I founded back in 2018 during our time at university, which is a custom artwear venture called Rupa Cerita (located in Bogor).
My current opportunities and abilities are closely tied to the 3.5 years of education I received at DKV UPH. I’ve always considered my time in college as an incredible blessing from God because the knowledge, activities, opportunities, and campus facilities equipped me from various aspects. This included a highly comprehensive design discipline, knowledgeable professors, a library with quality reference books, insights into job opportunities for designers in the current design industry (both nationally and internationally), the opening of connections and job prospects, well-equipped design labs and computers, and simulations of the role of design within the broader community.
While nearly all the courses I took were memorable, and I still recall the ups and downs, there’s one moment in the Experimental Typography course that I’ll never forget. During my studies, I went through an identity crisis, finding it challenging to follow and adapt to the main task of graphic designers, which is to systematically, structurally, and measurably address communication problems with visuals. Perhaps my visual style was more dynamic, and not all creative briefs suited my approach. This created the impression that I might never meet the industry’s needs, and I felt that the industry would forever be boring and stressful. However, in the Experimental Typography class, the emphasis was on the level of exploration of typography, layout, and animation. And at one point, when the Head of the Department, Mr. Alfiansyah Zulkarnain, visited the class, he uttered a simple sentence, “Wow, this font is so Goi.” That’s when I felt understood and accepted. Finally, my self-confidence began to grow, allowing me to explore my own design character.
I’m grateful for the knowledge of Graphic Design that I gained at DKV UPH. It not only influenced my visual work but also my everyday life and work. Project and time management skills were greatly honed when working in teams, preparing me to deal with various individuals in the industry.
I will always recommend DKV UPH to young creatives who want to study design because at DKV UPH, you can learn from highly experienced professors who are still active in the design industry. The supportive facilities and environment are among the key factors in the development of students.
“For me, success isn’t about meeting the standards the world sets, but about developing one’s talents and fulfilling one’s own God-given calling to the best of one’s ability. That alone is sufficient.”
On Tuesday, October 17, 2023, VCD UPH (Visual Communication Design at the University of Pelita Harapan) welcomed Mr. Nico Antonio Santoso (PT. Paperina Dwijaya) and Mr. Jaya Atmaja (PT. Heidelberg Indonesia) to the Printing Production class. Both of them attended as guest speakers in a lecture by industry practitioners. Thank you, Mr. Santoso and Mr. Atmaja, for your time in sharing your experiences at VCD UPH.
Produksi Cetak Class with Mr. Santoso and Mr. Atmaja
Typolog 2023 is hosting its third webinar of the year titled “Behind the Scenes of the ‘Pantjoran’ Display Type Design with Fredella Agatha.” Fredella Agatha is one of the alumni from VCD UPH who chose a type design project as her final project. Now, she’s returning to share her experiences in the Typolog 2023 webinar.
This webinar will take place on October 20, 2023, from 7:00 PM to 9:00 PM WIB (Western Indonesia Time). Please register through https://bit.ly/RegistrasiTypologSesi3.
Photo of Tiffany Wong. Photo Provided by Tiffany Wong
My name is Tiffany Wong. I’m an alumna of DKV UPH, with a concentration in DG, from the batch of 2017-2021. Currently, I am working as a freelance graphic and book designer while also pursuing my passion for print through “sore sore,” an indie publishing platform. My practice explores how personal experiences and emotions are represented by tangible objects alongside written language.
I entered DKV UPH with little to no knowledge of the graphic design world. As far as I knew, I only wanted to have the ability to communicate with visuals, as their brochure advertised that academic year. With only a basic skill in drawing typography, I was amazed when I learned that this skill was just the tip of the iceberg in the graphic design world. Nevertheless, I was thoroughly guided through it, with classes and programs that taught me more than enough to thrive in the industry.
Looking back at my days in DKV UPH, I can’t choose a favorite class as I see them all as a holistic experience that I cherish. However, two that were particularly momentous for me are Main Studio 1 and Experimental Typography. Main Studio 1 was when I first discovered my passion for book design, which I now pursue wholeheartedly. Experimental Typography, on the other hand, was when I delved deeply into the essence of graphic design. It was probably when I achieved the ability to communicate with visuals, fulfilling my freshman dream.
I must say that not only did I gain knowledge and new skills, but my time studying in DKV UPH was also a journey of self-discovery. As I learned the many elements of the graphic design world in my classes, I was also guided to nurture my passion. The lecturers and the learning environment at DKV UPH were nothing but supportive. I hope that many more students can experience this once-in-a-lifetime journey, as I did.
Tiffany Wong currently lives and works in Jakarta as a graphic designer, art director, and visual artist. She previously worked as a graphic designer for Artnivora and Jakarta Film Week, as well as the visual communication designer for Orasis Art Space. Her work has been featured on Behance in the InDesign and Editorial section and in Madrid Grafica 2021.
Tiffany specializes in editorial and book design, where she explores language and words in relation to the book as an object. Her deep admiration for individual experiences and the natural world has led her to create works deeply rooted in romanticism, described by some as ‘poetic,’ ‘raw,’ and ‘whimsical.’
“At the end of the day, it isn’t where I came from. Maybe home is somewhere I’m going and never have been before.” ― Warsan Shire
IMATYPE: Journal of Graphic Design Studies, Volume 2, Number 2, has just been published. This academic journal is a collaborative effort between the Graphic Design concentration and the Editorial & Publication Design Lab of Universitas Pelita Harapan (LABDEhttps://labdep.uph.edu/P).
This publication contains seven articles, with three of the articles written by students and lecturers of UPH VCD. Here are the articles:
Peran Tipografi Eksperimental Terhadap Visualisasi Lagu Dalam Album Sinestesia
Angel Cristina (Graphic Design 2018), Ferdinand Indrajaya
Translated abstract:
Typography in the field of Visual Communication Design is generally understood as a means of communication in the form of a collection of letter characters that are composed in such a way as to convey a message. The message conveyed is not only informative, where typography is positioned merely as an instrument (as a arrangement of words) that functions to explain other visual communication media such as illustration or photography. Typography can also be understood more than just the arrangement of explanatory text for images (both illustrative or photographic). Its existence can be understood as a dramatic and expressive visual medium. As stated by Rob Carter, the anatomy of typographic forms can be further explored with the aim of achieving a more expressive form. This exploratory approach is applied to challenge traditional views of typography as instrumental and functional. The manipulation of form, space, texture, and color in typography is explored to go beyond traditional understanding. Such typographic exploration is usually understood under the title of experimental typography. This experimental effort will be applied to the Sinestesia album redesign project, where typography engages in a dialogue with the songs as content without forgetting its role in conveying the message. The visual design process stages will refer to Robin Landa’s design methodology.
Perancangan Desain Kemasan Untuk Origami Coffee Filter Kaldi Kraftware
The UMKM Kaldi Kraftware brand is a social-preneur brand with the goal of creating products derived from the processing of waste, particularly plastic bottles found on beaches and rivers, especially in the Nusa Tenggara Barat region. Currently, Kaldi Kraftware is in the process of launching a new product, the Origami Coffee Filter, using recycled and processed plastic bottles. The challenge faced in the design process lies in storytelling, where the brand encounters difficulties in disseminating their story to the audience. In this academic work, the focus will be on the packaging design process for the Kaldi Kraftware brand, from data collection to design evaluation, along with the methodology used in the design process. Additionally, the discussion will delve into the design process, outlining various alternatives provided and direct evaluation results given by the owner.
Perancangan Desain UI/UX untuk Aplikasi Restoran Makanan Sehat Grains of Glory
The busy lifestyle has led to demands for convenience and practicality in various aspects. Almost every industry leverages technology to sustain its business, resulting in an increase in online food ordering through smartphone applications. Recognizing this, Grains of Glory aims to utilize technology to encourage and facilitate the community in adopting a healthier lifestyle. To achieve this goal, Grains of Glory plans to design a smartphone-based food ordering application.
