Visual Communication Morphology Study in Stall Banner of Street Vendors in Lamongan
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Advances in Social Science, Education and Humanities Research, volume 391 International Conference on Business, Economic, Social Science, and Humanities – Humanities and Social Sciences Track (ICOBEST-HSS 2019) Visual Communication Morphology Study in Stall Banner of Street Vendors in Lamongan Gema Arifrahara Departemen Desain Interior Universitas Komputer Indonesia Bandung, Indonesia [email protected] Abstract—The tent stalls are one of the small merchant banner paintings of street stalls can be one of the distinctive businesses in Indonesia to survive the current economic hipness. features that can be used as one of the supporter’s Tourism Migrating to the city by opening a large roadside field is a industry, especially in Surabaya. The study positioned the trader's strategy to get customers. This research aims to object as one part of the tourism industry, especially in discover the uniqueness of street vendors through visual Surabaya. The banner painting is a work that has been analysis of visual identity as a symbolism of resistance to modern visual development. This research pays more attention hereditary used as a cover of the entire side of the tent as well to the visual side, especially in the banner of the tent stall as an information instrument or the identity of the type of dish typical of Lamongan, East Java. The method used in a offered by each tent stall. Other research is also related to qualitative descriptive that took 50 samples of tent stalls of street traders who have a good brand to be a tourist attraction, visual form or morphology materialized. The results of this especially in Tainan in Taiwan [4]. In previous research research indicate the power of visual identity with showed the role of street food as a tourism commodity that morphological forms that are depicted realistically in the became one of the added value of a place. This research banner of Lamongan's tent stalls. The distinctive visual identity focuses more on the role of visualization and in the flow of of each banner of the typical tent stall of Lamongan has existed visual communication can be formed from the visual display since the beginning of the regional traders came to town. To date, it remains preserved and maintained as a form of identity in the banner of the tent stalls. as well as a form of resistance to modern commercial visuals. From the functioning of vernacular painting in the banner The results of this research became one of the sources of a study retained because it has a technical advantage such as glass highlighting the distinctive vernacular of Lamongan to know painting [5], among them is fabric base material it will avoid the visual development of a country. reflections from the light of vehicles or street lamps. Besides, the effect of the basic color of white cloth has light effects Keywords—Visual, Morphology, Tent Stalls, Visual Identity such as lanterns from the lights hung above. This will provide a contrasting effect, so it draws attention to the rider. I. INTRODUCTION Spotlight colors Add to the appeal of the banner because of Indonesia is rich with cultures including culinary culture. the visible color contrast of bright colors even in the dark of One of the famous culinary is Pecel Lele or seafood (seafood) the night. which is a folk dish that is suitable to the tastes of Indonesian Globalization has been happening in all sides of life and it people. Pecel Lele and seafood are famous as a typical street raises gaps especially in developing countries. The inclusion dish of five legs that are sold on the way and only at night. of global-themed foods becomes a competitor that shifts local Although it seems less hygienic because it is sold in roadside food. In other studies, it was revealed that street food was the tents with sidewalk surface base but still crowded at night. local community's move against global food, although it was Previous research focuses on hygiene in the management of a different view because it came from a low capital to be street culinary that concludes that the very needs of the trader intended for the lower middle-class community [6]. The from the following customers to the knowledge of food interesting thing on street traders, especially merchants from hygiene [1]. The culinary of this street has known since the Lamongan that scattered in major cities in Indonesia remain time in the generations conducted by merchants generally consistently maintain a distinctive and unique visualization in come from the area of Lamongan, East Java. the banner stall of his tent. Already 50 years more visual This study more focused on the visual communication concept and visualization and technology used unchanged related to visual morphology which is the basic form of visual and retained. identity in the banner media that serves as a tent cover screen One of the functions of identity in brand strategy as a or the privacy limit of end also tool Identity. Visual special mark that distinctive and deliberately made to morphology is part of the form of disclosure of the visual distinguish from its competitors. The identity used by street language [2]. This is important because the visual identity vendors not in the form of logos or brand images, but rather contained in these five-foot banners has a visual uniqueness through writing, distinctive typography that has different by combining elements of traditional and modern elements in fonts and decorative creations. It is also through the paintings a single space. Discussion of this problem is very rare when of several living animals that will be served as a differentiator the characteristic is found only in this country and still strong element with other street vendors. Color, layout, and other survive until now. visual elements used with a vernacular approach by a painting In a previous study conducted by (Wardani, Susandari & artist who has been known and trusted in creating a banner Wahyurini, 2013)[3] emphasized how visual identity in visual painting typical of Lamongan street food. Copyright © 2020 The Authors. Published by Atlantis Press SARL. This is an open access article distributed under the CC BY-NC 4.0 license (http://creativecommons.org/licenses/by-nc/4.0/). 75 Advances in Social Science, Education and Humanities Research, volume 391 This study conducted to uncover visual communication Lamongan. The relationship of a village kinship from contained in visual morphology of painting as visual identity generation to generation makes the trader determine its own as a form of visual communication that has been done in operating area. Some areas of operation such as citizens of generations by street traders, especially in Indonesia as a Siman Sindurun Sub-district ruled Jabodetabek, residents of research case study in the city of Bandung. The purpose of Maduran ruled Makassar, Sulawesi, residents of Kedungpring this disclosure is to know the depth of visual that formed on conquered Timika, Papua, and the citizens of Jabung control the banner painting of street food tent as a communication Maluku and Tidore. effort made by street vendors to its target audience. The network trading system of Pecel Lele and seafood is The method in the study used qualitative and samples of not in the cantilage but on the entire operating system on its random research to some street merchant tents in Bandung. trading pattern. In modern systems better known as frenchise, The method is taken to visually observe the morphologist and this modern system is applied to traders pecel Lele and see the visual communication that awakens from the seafood traditional from the preparation of raw materials and vernacular visual artifact. The result of this research is a fact cookware, cuisine menu, table layout in the interior of the tent related to the development of visual literacy that exists in and lamps, to the exterior form of tent including the banner Indonesian society that is still used as a tool and how to do Pecel Lele and Seafood. visual communication. The creation of banners done by one worker to have the The development of culture currently exists especially in same quality results. Generally, merchants ordered a direct Indonesia is dominated by global culture. An acculturation identity banner to Lamongan although had to wait for a long affects the development of the design, especially in visual time due to many orders from different regions. There are communication. Culinary is one of the symbols of global also traders who turn the profession into the artist banner civilization such as; McDonald's, KFC, Wendys, Bento, Pizza identity Pecel Lele and seafood as done by Hartono di [11] is Hut, and others. However, the local culinary culture still an identity banner painter Soto and Pecel Lele and seafood favored one of them pecel Lele is a form of resistance from Lamongan in the Bekasi area. The paintings are made the suburbs on the development of urban culture. The form is manually by promoting the quality of cotton tetoron fabric to visualizing in the banner of the tent stalls on the street side the type of screen printing paint and amplifier paint (binder) every night. The morphological characteristic of the image that can last up to five years. form provides a communication aspect aimed at attracting Identity banner painters generally work with two attention which is also a form of identity communication approach techniques for drawing and illustration animals specifically to the fans. using a temporary manual technique for writing using Cultural developments include all aspects of community technical screen printing. The technical maintained not to life including food. Previous studies shown that the formal come out of the Pakem traditions.