Chimaera a portfolio of Rinaldo Hartanto
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Daftar Isi Table of Contents Riwayat Singkat Resume
Proyek Pribadi Personal Projects
Proyek Akademis Academic Projects
Proyek Profesional Professional Projects
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Riwayat Singkat Resume 5
“A fledging graphic designer and illustrator with great passion in art, culture, and history. Eager to learn in new things.�
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Nama Lengkap | Full Name Rinaldo Hartanto Tempat & Tanggal Lahir | Place & Date of Birth Magelang, April 14th 1988 Telepon | Phone +62 819 086 11 838 +62 812 155 02 95
Bahasa Bahasa Indonesia, Inggris (medok), Jawa, Sunda Minat Desain grafis, seni rupa, seni pertunjukan, wayang, ornamen, kebudayaan, mitologi, sejarah, semiotika, komik, literatur, film
Email | Email azuric_revolution@yahoo.com valgranaire@gmail.com Situs Pribadi | Personal Websites Portfolio: reidge.deviantart.com Moodboard: valgranaire.tumblr.com Blog: kalasastra.tumblr.com
Language Spoken Indonesian, English (Javanese accent), Javanese, Sundanese Interests Graphic design, fine art, performing art, wayang, ornaments, culture, mythology, history, semiotic, comic, literature, film
Keahlian Pemikiran konseptual, ilustrasi, tipografi, copywriting, pengoperasian Adobe (Photoshop, Illustrator, InDesign), trivia pop culture, humor garing
Skills Conceptual thinking, llustration, typography, copywriting, Adobe programs mastery (Photoshop, Illustrator, InDesign), pop culture trivia, corny jokes
Inspirasi & Pengaruh Yoshitaka Amano, Inoue Takehiko, Alphonse Mucha, Aubrey Beardsley, Utagawa Kuniyoshi, Will Eisner, David Beauchard, Teguh Santosa, Reza Abedini
Inspiration & Influences Yoshitaka Amano, Inoue Takehiko, Alphonse Mucha, Aubrey Beardsley, Utagawa Kuniyoshi, Will Eisner, David Beauchard, Teguh Santosa, Reza Abedini
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pendidikan formal formal education 1992-1994
TK Bentara Wacana, Muntilan
Bentara Wacana Kindergarten, Muntilan
1994-2000
SD Bentara Wacana, Muntilan
Bentara Wacana Elementary School, Muntilan
2000-2003
SLTP Bentara Wacana, Muntilan
Bentara Wacana Junior Highschool, Muntilan
2003-2006
SMU Kolese De Britto, Yogyakarta
Kolese De Britto Highschool, Yogyakarta
2006-2007
Fakultas Seni Rupa dan Desain, Institut Teknologi Bandung, Bandung
Faculty of Art and Design, Bandung Institute of Technology, Bandung
2007-2011
Desain Komunikasi Visual, Universitas Pelita Harapan, Lippo Karawaci
Visual Communication Design Major, University of Pelita Harapan, Lippo Karawaci
pengalaman kerja & organisasi work & organizational experience
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2005
•Lomba Pidato Bahasa Jawa SMU Kolese De Britto, Seksi Acara
•Kolese De Britto Highschool Javanese Speech Competition, Event Committee
2007
•Re-mural Siliwangi Bandung, Peserta •Pameran Akademis ‘Akar’, Seksi Acara
•Re-mural Siliwangi Bandung, Participant •‘Akar’ Academic Exhibition, Event Committee
2008
•Artbound DKV UPH, Seksi Acara •Himpunan Mahasiswa Jurusan DKV UPH, Seksi Pameran •Kelas Ilustrasi 1 DKV UPH, Asisten Mahasiswa
•DKV UPH Artbound, Event Committee •DKV UPH Student Comittee, Exhibition Committee •DKV UPH Illustration 1 Class, Student Assistant
2009
•Artbound DKV UPH, Seksi Acara •Kelas Ilustrasi 1 DKV UPH, Asisten Mahasiswa •Kelas Ilustrasi 2 DKV UPH, Asisten Mahasiswa •Kelas Sejarah dan Apresiasi Desain 1 DKV UPH, Asisten Mahasiswa •Studi Tur Bali DKV UPH, Ketua Panitia
•DKV UPH Artbound, Event Committee •DKV UPH Illustration 1 Class, Student Assistant •DKV UPH Illustration 2 Class, Student Assistant •DKV UPH History and Appreciation of Design 1 Class, Student Assistant •DKV UPH Bali Study Tour, Committee Chairman
2010
•Kelas Cross-Cultural Design DKV UPH, Asisten Mahasiswa •Kelas Gambar 2 DKV UPH, Asisten Mahasiswa •Pameran Ilustrasi ‘Daydream,’ Seksi Acara •Pameran Lukisan ‘Eskapis,’ Ketua Panitia •Indonesia Graphic Design Award 2009, Volunteer •DesignEko, Intern Desain Grafis
•DKV UPH Cross-Cultural Design Class, Student Assistant •DKV UPH Drawing 2 Class, Student Assistant •‘Daydream’ Illustration Exhibition, Event Committee •‘Eskapis’ Painting Exhibition, Committee Chairman •Indonesia Graphic Design Award 2009, Volunteer •DesignEko, Graphic Design Intern
2011
•Kelas Cross-Cultural Design DKV UPH, Asisten Mahasiswa •Kelas Sejarah dan Apresiasi Desain 2 DKV UPH, Asisten Mahasiswa •Kelas Desain Komunikasi Visual 1 DKV UPH, Asisten Mahasiswa
•DKV UPH Cross-Cultural Design Class, Student Assistant •DKV UPH History and Appreciation of Design 2 Class, Student Assistant •DKV UPH Visual Communication Design 1 Class, Student Assistant
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pameran pilihan selected exhibition 2007 Pameran Akademis ‘Akar,’ Gedung
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Serba Guna, Institut Teknologi Bandung
‘Akar’ Academic Exhibition, Gedung Serba Guna, Bandung Institute of Technology
2008
Pameran Akademis UPH Festival XIV, Ruang B242, Universitas Pelita Harapan
UPH Festival XIV Academic Exhibition, Room B242, University of Pelita Harapan
2010
Pameran Ilustrasi ‘Daydream,’ Galeri Gedung B Universitas Pelita Harapan ‘Bark #2,’ Pameran Online Project Bark Pameran Lukisan ‘Eskapis,’ Studio Lukis, Universitas Pelita Harapan
‘Daydream’ Illustration Exhibition, Bulding B Gallery, University of Pelita Harapan ‘Bark #2,’ Project Bark Online Exhibition ‘Eskapis’ Painting Exhibition, Painting Studio, University of Pelita Harapan
2011
‘Bark #9 - 1st Anniversary,’ Pameran Online Project Bark
‘Bark #9 - 1st Anniversary,’ Project Bark Online Exhibition
once, there was a Wiseman one day, the Wiseman was deep in his contemplation profound was his thought magnificent was his musing but troubled was his heart amidst the silence, The Great Entity, The All-Embracing came and spoke to him gently, “what troubled you Wiseman?” “O Great Entity, I have seen myriads of men and beasts, countless stars and sand, but I know none of the greatest I could learn from” “worry not, Wiseman, I shall show you the greatest of creatures fly to the dawn as the sun rise to-morrow” high was the art of the Wiseman, and he soared to the radiant daybreak
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bright was the sun red as blood zephyr blew under the Wiseman’s wings as he saw a tremendous garuda crimson was its plume and noble were its talons wind bowed to its herculean wings thus spoke the Wiseman, “Greetings, Great Garuda, what are you doing?” answered the garuda, “I am flying to the sun too long I have been gliding in such low heights now it is my time to conquer the sun” so mighty the crimson garuda in its flight to the sun
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Proyek Pribadi Personal Projects 13
Mahagaruda, 2008, 21cmx29,7cm, digitally inverted pencil on paper
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tipe: ilustrasi | tahun: 2008 - 2010 type: illustration | year: 2008 - 2010
Sugeng Natal, 2010, 21cmx29,7cm, ink on paper, edited on Photoshop
Menggambar adalah salah satu kesenangan saya sejak kecil. Ketika masuk bangku perkuliahan, ilustrasi menjadi bidang favorit saya. Kisah, tokoh dan makhluk mitologi, khususnya dari Indonesia adalah subjek utama dalam karya saya.
Drawing has been my hobby since I was young. Even as an university student, illustration was my favourite subject. Indonesian mythological stories, characters and creatures, are main subjects in my works.
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Meskipun saya lebih suka bekerja dengan satu warna atau hitam putih, saya juga mencoba bereksperimen dengan warna. Warna psikedelik dan etnik adalah palet yang sering saya gunakan.
Satriya Kaliyan Naga, 2009, 30cmx30cm, mixed media on paper
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Even though I prefer working with one-color and black and white palette, I like experimenting with colors too. Psychedelic and ethnic colours are my favourite palette to work with.
Self-Deification and Antagonized Others, 2010, 29,7cmx42cm, mixed media on paper
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Ratu Adil, 2010, 21cmx29,7cm, ink on paper
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Angananganjing Anganangasu, 2010, 21cmx29,7cm, ink on paper
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tipe: fotografi | tahun: 2007 - 2010 type: photography | year: 2007 - 2010
Foto-foto ini diambil pada rentang waktu 2007-2010. Saya suka mengambil fotografi seni pertunjukan dalam format hitam-putih. Lanskap yang mistis dan puitis juga memikat saya.
These work are taken from 2007 to 2010. I particularly enjoy to take black and white photography with performance art as subject. Mystical and poetic landscapes amaze me too.
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tipe: eksperimen grafis | tahun: 2010 - 2011 type: graphic experiments | year: 2010 - 2011
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Saya juga tertarik pada sastra dan puisi visual. Berikut adalah beberapa eksperimental saya dalam mengeksplorasi semantika dan korelasi elemen visual dengan verbal.
I’m also interested in literature and visual poetry. These are some of my experimental work in exploring semantic and correlation between visual and verbal elements.
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tipe: logo personal | tahun: 2010 - 2011 type: personal logo | year: 2010 - 2011
Ini adalah eksplorasi untuk logo personal saya. Jagad Walikan adalah konsep dunia ideal dan spiritual dalam filosofi Jawa, menyerupai konsep dunia ide Plato. Logo ini menawarkan ide kesatuan, dualisme, dan idealisme. These are my exploration for my personal logo. Jagad Walikan is a concept of spiritual and ideal world in Javanese philosophy, not unlike Plato’s world of idea. This logo offers idea of unity, dualism, and idealism.
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alas, the sun was too bright and brilliant the noble, arrogant garuda burnt and fell to the earth the flame blazed its beautiful feathers and bones anly a crimson teardrop of essence left from the ashes as the Wiseman caught it, he thought, “such a poor, conceited garuda it was foolish to challenge the sun O Great Entity, I dare not to say that this is the greatest creature?” thus answered The Great Entity, “I shall show you in time keep the crimson essence and dive to the ocean” deep was the art of the Wiseman, and he dived to the depth of the ocean
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dancing fishes and wave among the colourful coral wonder filled the thought of the Wiseman as he saw a prodigous serpent azure were its scales and grandiose was its crown unyielding wisdom sparked in its eyes thus spoke the Wiseman, “Greetings, Great Serpent, what are you doing?” answered the serpent, “I am deep in my meditation eschewing the meaning of the world and learning from the universe” so still the azure serpent in its dignified curlicue
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Proyek Akademis Academic Projects
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tipe: poster tipografi | tahun: 2008 & 2010 type: typographic poster | year: 2008 & 2010 Poster Type Conference 2008 ini mengemulasikan gaya Josef-Muller Brockmann. Warna merah dan putih melambangkan Swiss (negara asal Muller-Brockmann) dan Indonesia (tempat acara fiktif ini diselenggarakan).
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This Type Conference 2008 poster was created by emulating Josef-Muller Brockmann’s style. The red and white color symbolize both Swiss (the origin of MullerBrockmann) and Indonesia (the place where this fictional event took place).
Poster Type Conference 2010 ini mengemulasikan gaya Reza Abedini, Tulisan Hanacaraka di tengah berbunyi “Rembug Aksara,” yang dalam bahasa Jawa berarti Type Conference. Kata-kata yang berpotongan menyimbolkan ‘pertemuan.’
This Type Conference 2010 poster was created by emulating Reza Abedini’s style. The Hanacaraka phrase in center is read as “Rembug Aksara,” Javanese equivalent for Type Conference. Interlaced words suggests a ‘meeting.’
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tipe: desain typeface | tahun: 2008 type: typeface design | year: 2008
Gadung A B C D E F G H I J K L M N O P QR S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 1 2 3 4 5 6 7 8 9 340 . , ! ? ( ) ‘ ’ “ ” _ &
Tujuan dari projek ini adalah mendesain typeface yang orisinal. Saya memilih tema kultural dengan motif batik Megamendung sebagai konsep untuk typeface saya.
The objective of this project is to design an original, brand new typeface. I chose cultural theme with Megamendung batik ornament as basic concept for my typeface.
Nama Gadung yang dipilih berasal dari Megamendung. ‘Gadungan’ juga menyimbolkan sifat eksperimental dari typeface ini.
The name Gadung was originated from Megamendung. ‘Gadungan’ also suggests experimental nature of this typeface.
Elemen unik dari typeface ini adalah bagian menyerupai awan yang terdapat pada terminal setiap karakter dengan beberapa perkecualian.
The unique element of this typeface is the cloud-like part at terminal of each character with some exceptions.
Hasil akhir dari proses desain ini adalah display type dengan tampilan kultural namun modern. Typeface ini cocok diaplikasikan untuk logotype dan nameplate untuk produk bernuansa Indonesia
The final result of the design is a display type with cultural yet modern look and feel. This typeface is suitable for logotype and nameplate of products with Indonesian flavor.
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tipe: desain editorial | tahun: 2010 type: editorial design | year: 2010
Brief proyek ini adalah meredesign majalah yang memiliki layout yang kurang menarik dan sistematis. Majalah yang dipilih adalah Gong, majalah seni budaya yang berbasis di Yogyakarta.
The brief of this project is to redesign a magazine with uninteresting and unsystematic layout. The magazine chosen was Gong, an art and culture magazine based in Yogyakarta.
Gambar-gambar di atas dan samping adalah eksplorasi typeface untuk nameplate majalah. Pada versi final, Anke Calligraphic dipilih karena swash-nya yang fluid dan elegan, sesuai dengan konsep seni-budaya yang luwes terhadap perubahan jaman. Those are typefaces explorations for nameplate. In the final exploration , Anke Calligraphic was chosen for its fluid and elegant swashes, suitable for art and culture concept which fleible against the changes of time.
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Gambar-gambar di atas adalah contoh layout baru. Sistem 7 grid digunakan untuk membangun tampilan eksperimental dan asimetris. Adobe Garamond Pro dan Avenir LT digunakan sebagai typeface utama.
Here are some examples of the new layout. 7-grid system columns are used to convey experimental and asymmetrical looks. Adobe Garamond Pro and Avenir LT are used as main typefaces.
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Kebanyakan halaman majalah ini didesain dengan mengeksploitasi elemen hitam-putih seperti citra fotografis dan ilustrasi, mengikuti tampilan majalah asli.
Most pages are designed by exploiting the black and white elements such as photographic images and illustrations, after the original.
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tipe: identitas visual | tahun: 2009 type: visual identity | year: 2009
Proyek ini bertujuan meredesain identitas visual Museum Wayang yang berlokasi di Jakarta. Gambar-gambar di samping adalah mindmap brainstorming untuk konsep visual awal. Kata kunci yang dipilih adalah etnik, bersahabat, dan edukatif. Kata etnik dipilih atas pertimbangan konten kultural dalam Museum Wayang. Sebuah museum juga harus membangun kesan ramah dan nyaman. Selain itu museum juga harus memberikan konten edukasi pada pengunjungnya. This project objectives is to redesign the visual identity of Museum Wayang which located in Jakarta, Indonesia. Those are brainstorming mindmaps for the initial visual concept. The keywords are ethnic, friendly, and educative. Ethnic was chosen for cultural content in Museum Wayang. A museum also should build friendly and comfortable mood. Last but not least, a museum should alse be educative to its visitors.
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Gambar-gambar di atas adalah studi dan sketsa praeliminasi untuk logo berdasarkan kata kunci. Konsep-konsep abstrak dan aspek-aspek grafis wayang dieksplorasi di sini. Those are studies and preeliminary thumbnail sketches of the logo based on keywords. Abstract concepts and graphic aspects of the wayang were explored there.
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Gambar-gambar di samping adalah sketsa final logo yang berwarna. Sketsasketsa ini dikembangkan berdasar sketsa-sketsa sebelumnya. Those are final coloured thumbnails of the logos. Those thumbnails are developed concept from previous sketches.
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Logo versi final untuk proyek ini. Logogram Mata menyimbolkan museum sebagai tempat untuk melihat-lihat, juga tempat untuk membuka pandangan pengunjung terhadap wayang.
Final logo of the project. The Eye logogram suggests the museum’s nature as a place for sightseeing, as well as place to open the visitor mind-eye of wayang.
Warna coklat melambangkan aspek natural dan etnik. Coklat melambangkan pepohonan dan tanah yang mengayomi makhlukmakhluk yang hidup di atasnya
The brown color suggests natural and ethnic aspects. Brown represents trees and soil, which nurture the lives above them.
Typeface yang dipilih adalah Fertigo Pro. Typeface ini dipilih karena merepresentasikan ketiga kata kunci (bersahabat, etnik, dan edukatif) secara visual.
The typeface used for logotype is Fertigo Pro. This typeface is chosen because it visually represents 3 earlier mentioned keywords: friendly, ethnic, and educative.
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Gambar-gambar di samping adalah contoh aplikasi Company Profile Museum Wayang dengan sistem identitas visual yang baru. Sistem warna korporat serta elemen supergraphic yang merupakan potongan dari logogram diaplikasikan di sini.
These are example from Museum Wayang’s Company Profile fith brand new visual identity system. Corporate’s color system with supergraphic which is taken from logogram are applied here.
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Berikut adalah contoh brosur untuk keperluan promosional museum
Those are examples of brochure for museum’s promotional purpose
Ini adalah contoh aplikasi identitas visual pada halaman website resmi This is an example of visual identity application on official website page
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tipe: tugas akhir - novel grafis | tahun: 2011 type: final project - graphic novel | year: 2011
Proyek Tugas Akhir ini mengangkat novel Anak Bajang Menggiring Angin karangan Sindhunata dan mengadaptasinya ke dalam bentuk novel grafis. Tujuan akhirnya adalah menciptakan visualisasi yang akurat, menarik, dan persuasif. This Final Project discussed about Anak Bajang Menggiring Angin, a novel written by Sindhunata, and adapted it into graphic novel form. The final objective is to create an accurate, intriguing and persuasive visualization.
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Proses pertama adalah brainstorming, perencanaan proses kerja, dan riset. Diagram di bawah menggambarkan alur kerja yang sistematis dari keseluruhan proyek ini. The first steps taken were brainstorming, work planning, and researching. The diagram below depicts a systematic workflow of the whole project.
Berbagai studi visual maupun literatur dilakukan setelahnya. Referensi visual yang digunakan antara lain novel grafis Epileptik oleh David Beauchard dan wayang orang Sriwedari. Numerous visual and literary research was committed. The example of visual references used were Epileptic (a graphic novel by David Beauchard and wayang orang (theater) of Sriwedari.
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Gaya visual yang akhirnya dipilih adalah stilasi wayang kulit Gagrag Solo. Gagrag ini memiliki anatomi yang lebih ramping dan anggun daripada Gagrag Yogyakarta. Lengan-kaki yang panjang dimanfaatkan untuk mendramatisir adegan dan cerita. Stylized wayang kulit Gagrag Solo (Solonese style shadow puppet) was chosen for visual style. This gagrag has slimmer and more elegant anatomy compared to Gagrag Yogyakarta. Elongated limbs were exploited to dramatizes action and story.
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Langkah selanjutnya adalah mengilustrasikan gambar secara digital berdasar naskah yang telah disusun dari novel asli. Ilustrasi dikerjakan dengan Photoshop sedangkan bingkai dan teks dilayout secara digital juga dengan menggunakan InDesign.
The next step is to digitally visualize the illustration based on the script. The script itself was an adaption of the original novel. Illustrations were made in Photoshop while frames and text were also layouted digitally with InDesign.
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Buku dicetak hitam putih pada Japanese Book Paper 160gsm. Total jumlah halaman sebanyak 64. The book was printed in black and white on Japanese Book Paper 160gsm. This book comprised of 64 pages.
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Berikut adalah sketsa dan desain untuk sampul buku. Ilustrasi secara simbolis menggambarkan garis besar edisi buku yang bersangkutan. Proyek ini hanya mencakup edisi ke-7 (yang diadaptasi dari bab ke-7 novel asli). Sampul edisi ke-6 dan ke-8 juga didesain untuk menyampaikan sebuah sistem visual yang jelas.
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These are preeliminary sketches and designs for book cover. The illustrations symboliize the general plot of respective issue. This project only cover the 7th issue (which adapted from the 7th chapter of the original novel). 6th and 8th issue’s cover were also designed, in order to convey a clear visual system.
Tema utama untuk edisi 7 adalah dualisme. Siang dan malam, naga dan garuda, kebaikan dan kejahatan adalah subtemasubtema yang dipertentangkan dalam edisi ini. Keseluruhan tema itu ditampilkan dalam desain sampul di samping.
The main theme of the 7th issue is dualism. Day and night, naga serpent and garuda bird, good and evil are opposed subthemes in this issue. All of these theme and subthemes are visually presented on the final cover design in the next page.
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Setiap edisi juga memiliki palet warna khas yang menyimbolkan tema-tema utama. Integritas sistem visual dicapai dengan tipografi, mandala, dan fotografi hitam-putih sebagai latar belakang. Every issue also has its own colour palette which symbolize main themes. Visual system integrity was achieved with typography, mandala and black and white photography as background.
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alas, it had been thousands of years since the serpent ingested its last sustenance the weakened old serpent coiled and perished in starvation only an azure teardrop of essence left from the cadaver as the Wiseman approached it, he thought, “such a poor, weak serpent it suffered for nothing after all these years O Great Entity, I dare not to say that this is the greatest creature?” thus answered The Great Entity, “I shall show you in time Keep the azure essence and go to the kingdom of men” cunning was the art of the Wiseman, and he walked to the kingdom of men
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bustling crowd in the citadel of men a colossal army marching by the Wiseman as he saw a capacious hound golden was its coat and elegant was its posture vibrance emanated from its flesh thus spoke the Wiseman, “Greetings, Great Hound, what are you doing?” answered the hound, “I am on my way to the war for I am guardian of my master it is my duty to serve him in the battleground” so proud the golden hound in the march of the the army
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Proyek Profesional Professional Projects 61
tipe: poster | tahun: 2011 type: poster | year: 2011
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Matah Ati adalah pentas teatrikal epik historis yang diciptakan oleh Atilah Soeryadjaya dan Jay Soebiakto. UPH bekerja sama dengan mereka untuk mengadakan seminar kultural tentang pembuatan Matah Ati di kampus UPH.
Matah Ati is an epic historical theatrical show created by Atilah Soeryadjaya and Jay Soebiakto. UPH in collaboration with them planned to hold an cultural seminar on the making of Matah Ati which take place in UPH Campus.
Brief dari proyek ini adalah membuat poster untuk mempromosikan seminar tersebut. Elemen utama seperti foto tokoh utama Rubiyah dan logotype Matah Ati harus disertakan.
The brief of this project is to create a promotional poster for the seminar. The main visual elements like photo of Rubiyah (the main character) and Matah Ati’s logo type should be incorporated.
Karena keterbatasan kualitas stok gambar asli yang dapat digunakan, foto asli dari pentas diilustrasikan ke dalam format yang cukup besar.
Because the lack of highquality stock images, onstage photo was illustrated into big printable format.
Selanjutnya ilustrasi dan logotype beserta informasi dikomposisikan ke dalam poster. Warna coklat yang monoton digunakan untuk membangun kesan klasik dan kultural.
The illustration, logotype and every information were layouted into poster format. Monotone dark brown color was used to engage classic and cultural mood.
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tipe: desain t-shirt | tahun: 2011 type: t-shirt design | year: 2011
Submisi untuk lomba World of Wayang 2011. Brief dari lomba ini adalah untuk mendesain t-shirt untuk anak muda yang menampilkan elemen wayang dari Mahabharata/ Ramayana. Tokoh Ekalawya dipilih karena masih kurang dikenal, namun mewakili nilai-nilai yang luhur.
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Submission for World of Wayang 2011 contest. The brief is to design a t-shirt targeted for youth which depicts elements from Mahabharata/Ramayana. Ekalawya was chosen. He was an obscure character, yet embodied high moral values.
Ini adalah desain t-shirt untuk acara We Love Indonesia! di UPH yang batal dipakai. Konsep utama desain ini adalah kasih sayang. Desain ini menampilkan motif batik Sido Asih yang merupakan lambang kasih sayang. Makna motif ini diparalelkan terhadap kecintaan pada Indonesia. These are unused t-shirt design for We Love Indonesia! event in UPH. The main concept of these designs is love. These designs displays Sido Asih batik ornament which is the symbol of love. The meaning of this ornament was parallelized to love for Indonesia.
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tipe:logo | tahun: 2011 type: logo | year: 2011
Oatlen adalah lini produk makanan baru yang terbuat dari oat. Produk ini menargetkan anak muda sebagai target pasar utama. Sebagai brand yang baru, produk ini membutuhkan sebuah logo sebagai identitas visual.
Oatlen tasty way for better health
Oatlen r way fo tasty
Oatlen is a line product of food made of oat. The main target market for this product is youth. As a new brand, this product needed a logo as visual identity.
Oatlen
lth r hea
bette
Oatlen
tasty way for better health
tasty w ay for better health
Oatlen tasty way for better health
tasty way for better health
Oatlen tasty way for better health
Brief dari proyek ini adalah membuat logo yang membangun kesan sehat, muda, dan fun. Tagline yang digunakan adalah tasty way for better health. Elemen dari tumbuhan oat harus digunakan dalam logo
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The brief of this project is to design a logo that imply healthiness, youth, and fun. The tagline used is ‘tasty way for better health.’ Part(s) from oat plant should be visually incorporated in logo.
Berikut adalah beberapa konsep awal dasar untuk logo Oatlen. Warna oranye dipilih untuk membangun kesan sehat, muda, dan fun.
Those are first concepts for Oatlen logo. Orange was chosen to represent health, youth, and fun.
Pada prosesnya, klien meminta agar warna emas lebih diperkuat untuk merepresentasikan ladang oat.
In the process, client asked that golden hue should be enhanced to represent oat field.
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Ini adalah logo versi akhir yang diterima oleh klien.
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This is the final version of logo which approved by client.
alas, so young was the hound verdant and proud was it in battleground blood was spilled and bones were crushed only a golden teardrop of essence left from the carcass as the Wiseman took it, he thought, “such a poor, young hound Inexperience and naivety brought death after all O Great Entity, I dare not to say that this is the greatest creature?” thus answered The Great Entity, “I shall show you in the time Keep the golden essence and go back to your haven” confused was the mind of the Wiseman as he went back to his haven
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there sat the Wiseman in his haven quiet in his pensiveness amidst the silence, The Great Entity, The All-Embracing came and spoke to him gently, “Wiseman, now you hold three essences of greatest beasts meld them in your kiln and behold the greatest creature shall be born” so the Wiseman did as he told he put three teardrops of essence into his kiln and lit a grand flame but nothing happened thus spoke The Great Entity again, “wait and see, Wiseman, for you shall get what you deserve”
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it was young morning in the third month since the Wiseman melded the three essence with a loud roar, a great Chimaera emerged from the kiln a magnificent creature with three heads crimson were its wings azure were its scales and golden was its coat thus spoke the Wiseman, “O Great Entity, is this the greatest of all creatures?” and answered The Great Entity, “it has the potentials to be but it is your task to guide and learn from it” the Wiseman understood the Chimaera bowed to the Wiseman and The Great Entity and with another loud roar it leapt to the sky the Wiseman smiled and said, “I shall guide and learn from you, my newborn friend” so faraway the stars on the horizon
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This Portfolio is Authorized by Rinaldo Hartanto All Artworks Belongs to Rinaldo Hartanto All Photographs by Rinaldo Hartanto No part of this publication may be reproduced, stored in any retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or other wise, without prior permission in writing from the author. Rinaldo Hartanto Š 2011
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