2ND CREARD'S

MULTIDISCIPLINARY
RESEARCH CLINIC
CONCEPTUALIZING CONTEMPORARY
ARTS AND DESIGN MEDIA PRACTICES
30th October 2023
TABLE OF CONTENT

» Welcome Speech
» Introduction
» Objectives
» Theme of 2nd CREARD’s
Multidisciplinary Research
Clinic
» Organizing Committee
» Event Rundown
» Presentation Session 1
» Presentation Session 2
» Abstract Session 1
» Abstract Session 2
» Research Poster Session 1
» Research Poster Session 2

In the realm of creativity, where
innovation meets imagination, the
Centre for Creative Arts Research
and Design (CREARD) stands as
a beacon of inspiration. It is with
great pleasure that I welcome you
to the CREARD Multidisciplinary
Research Clinic, a platform that
is the culmination of tireless
dedication and enthusiasm from
the academic community at the
Faculty of Communication and
Creative Industries (FCCI) at
Tunku Abdul Rahman University
of Management and Technology
(TAR UMT), Kuala Lumpur.
We are thrilled to present the
CREARD Multidisciplinary Research
Clinic with the captivating
theme, “CONCEPTUALIZING
CONTEMPORARY ARTS AND
DESIGN MEDIA PRACTICES.” This
theme not only reflects the current
state of the creative industry
but also serves as a catalyst for
exploration and innovation. It is
an invitation to engage in a rich
tapestry of ideas and perspectives,
to discover the intricate threads
that weave together contemporary
arts and design media practices.
This event is a testament to the
collaborative spirit that thrives
within the Department of Creative
Industries (DCIN) and FCCI. It
is a gathering of like-minded
FOREWORD
individuals, brought together
by a shared passion for creative
research. It is an opportunity
to spark connections, inspire
profound discussions, and harness
the collective wisdom of our
creative research community.
We hope this event will offer you a
unique opportunity to delve into
the world of creative research,
to share your discoveries,
experiences, and creative
interpretations. Alongside these,
you will find a vibrant display of
research posters that promise
to push the boundaries of
creativity and contribute to the
advancement of our field.
I extend my deepest gratitude to the
dedicated team behind CREARD for
their unwavering commitment to
making this event a reality. I also
thank all the academics, students,
and participants who have
embraced the spirit of creativity
and contributed to this endeavor.
Thank you.
By Ms. Dearna Kee June Chen
Dean,
Faculty of Communication and
Creative Industries (FCCI),
CREARD Advisor
INTRODUCTION
In the essence of creativity, the Centre for Creative Arts
Research and Design (CREARD) put forth a CREARD's
Multidisciplinary Research Clinic, an engaging research
platform supported by academics and students
from the Faculty of Communication and Creative
Industries (FCCI). In the creation and growth of
knowledge, the aim of CREARD is to ignite interest and
passion in the area of creative research to promote
ideas worth sharing. The goal is to highlight roles of
creative media in education and society throughout
various practices of today’s creative industries.
This season CREARD multidisciplinary research clinic is
themed with "CONCEPTUALIZING CONTEMPORARY
ARTS AND DESIGN MEDIA PRACTICES". This event
offers academics and students a unique opportunity
to share research discoveries, experience, and
creative interpretations on multiple aspects
presented alongside with research posters to
bring advancement in the field of creativity.
The Centre for Creative Arts Research and Design
(CREARD) is held and hosted by a research team from
the Department of Creative Industries (DCIN), Faculty of
Communication and Creative Industries (FCCI), Tunku
Abdul Rahman University of Management and Technology
(TAR UMT), Kuala Lumpur, an academic-based research
conference event that bring like-minded people together,
in light of sharing creative research experience to spark
connection, to inspire deep discussions, to converge
and leverage creative research thoughts together.
 OBJECTIVES
MULTIDISCIPLINARY
RESEARCH CLINIC
The objectives of CREARD is:
To emphasise on strengthening academic
community through roles of research
contributions in which advances the
development of creative media within education,
industry, and society.
To provide educators and students unique
opportunity to exchange knowledge and share
research experiences through a forum which
supports various context and disciplines of the
creative industries' practises, technology, and
infrastructure.
To foster educators and students in the field
of professional academic research that allows
explorative of new ideas, skills and development
needed for future academic careers.
THEME OF 2ND CREARD'S
Main Theme >>>
CONCEPTUALIZING CONTEMPORARY
ARTS AND DESIGN MEDIA PRACTICES
Sub-Theme >>> CONTEMPORARY ARTS
(Education, Arts, Culture, Heritage, Photography,
Performing Art, Music, Product Design,
Illustration Book, Fashion Design, Textile
Fashion, Industrial Design, etc.)
Sub-Theme >>> DESIGN MEDIA
(Multimedia, Game Design, Animation, Video,
Film, Screen Studies, Video Mapping, Graphic
Design, Visual Communication, etc.)
 ORGANIZING
COMMITTEE

Advisor
Ms. Dearna Kee June Chen

Centre Chair Moderation Team

Dr. Kendy Mitot Ms. Nurul Hazliana Binti Noridin - Sub-Theme: CONTEMPORARY
ARTS (Education, Arts, Culture, Heritage, Photography,
Co-Centre Chair Performing Art, Music, Product Design, Illustration Book,
Dr. Maithreyi Subramaniam Fashion Design, Textile Fashion, Industrial Design, etc.)

Editorial Team
Mr. Yong Fen Yu, Ms. Tan Yar Shi, Mr. Oliver Chu Choong Mr. Yong Cheng Fei - Sub-Theme: DESIGN MEDIA (Multimedia,
Hoe, Ms. Nurul Hazliana Binti Noridin Game Design, Animation, Video, Film, Screen Studies, Video
Mapping, Graphic Design, Visual Communication, etc.)
Design Team
Emcee/Moderator of the Event
Ts. Teng Sok Hooi, Mr. Edwin Chien Min Kee, Ms. Phoon
Gar Chi, Mr. Tham Chen Tong, Ms. Ooi Siew Fong Ms. Tan Yar Shi

Publicity Team Administration

Mr. Yong Cheng Fei, Mr. Jamalruddin Zamahuri Ms. Soong Su Ping

Event Management Team Special Task

Mr. Mohamad Shahrizan Mohamad Sidik, Ms. Siti Nurul Hidayah Hassannudin Department of Creative Industries Lecturers, FCCI & CREARD Team

Reviewer Team
Dr. Kendy Mitot, Dr. Maithreyi Subramaniam, Mr. Yong Cheng Fei, Ms. Tan Yar
Shi, Mr. Jamalruddin Zamahuri, Ts. Teng Sok Hooi, Mr. Edwin Chien Min Kee,
Mr. Don Tham Chen Tong, Mr. Yong Fen Yu, Ms. Phoon Gar Chi, Mr. Oliver
Chu Choong Hoe, Mr. Mohamad Shahrizan Mohamad Sidik, Ms. Siti Nurul
Hidayah Hassannudin, Ms. Nurul Hazliana Binti Noridin, Ms. Ooi Siew Fong
 EVENT
RUNDOWN

TIME + ACTIVITIES
» Date: 30th October 2023
08:55 am — 09:00 am
» Day: Monday Registration

» Time: 9 am – 1 pm 09:00 am — 09:05 am

Opening by Emcee + Short Teaser Recap on 1st
» Venue: Google Meet with Online CREARD’s Multidisciplinary Research Clinic

Platform (Google Meet) with Panel
Discussion
09:05 am — 09:10 am
Welcome Speech by Dean of Faculty of Communication and
Creative Industries, Ms. Dearna Kee June Chen
09:10 am — 11:00 am
Presentation Session 1 (Google Meet Sharing Room):
Research Poster Presentation (5 Participants)

11:00 am — 11:10 am
Break (10 minutes)

11:10 am — 12:40 pm
Presentation Session 2 (Google Meet Sharing Room):
Research Poster Presentation (4 Participants)

12:40 pm — 01:00 pm
Networking Session + Closing by Emcee and End of Programme
 PRESENTATION
SESSION 1 09:10 am — 09:30 am
Activities Description:
Presenters will send in a “Video Recording Presentation” of not more
than 15 minutes on their research expertise. Video recordings of
each presenter will be played on a well-timed virtual conference.
After each video, the Q & A (Question & Answer) session shall be
open to virtual responses where presenters are given 5 minutes
to attend questions. Sequence of the activity as follow:
1. Poster Presentation inclusive within *Video Recording
Presentation (Presenters are allowed 15 minutes
Presentation, and 5 Minutes of Q & A)
2. Each presenter will share their research poster according
to the topics: Background and Problem Statement,
Objectives, Methods, Results or/and Discussion,
Conclusions or/and Recommendation and References.
Ending with a Q & A session after the presentation.
Sub-Theme:
CONTEMPORARY ARTS (Education, Arts, Culture, Heritage,
Photography, Performing Art, Music, Product Design, Illustration
Book, Fashion Design, Textile Fashion, Industrial Design, etc.)
Moderator:
Ms. Nurul Hazliana Binti Noridin
Presenter: Mr. Lim Yong Jia*
Paper Title >>> Cross-Fade: Reflecting on Remote-Collaboration
Betwween Composers and Performers Amidst the COVID-19 Pandemic
INSTITUTION >>> Tunku Abdul Rahman University of
Management and Technology, Kuala Lumpur, Malaysia
09:30 am — 09:50 am Presenter: Dr. Maithreyi Subramaniam*
Paper Title >>> Teaching for Art Appreciation in Visual
Communication Subject: A Study on First Year Graphic and
Multimedia Program Students at A Private University
INSTITUTION >>> Tunku Abdul Rahman University of
Management and Technology, Kuala Lumpur, Malaysia
09:50 am — 10:10 am Presenter: Ms. Wan Norazreen Binti Wan
Mohd Zamree*
Paper Title >>> Converting Textile Waste Materials: Exploration of
Fashion Upcycling for Women’s Casual Wear Design in Malaysia
INSTITUTION >>> Tunku Abdul Rahman University of
Management and Technology, Kuala Lumpur, Malaysia
10:10 am — 10:30 am Presenter: Dr. Agus Budi Setyawan*
Paper Title >>> Implementation of The Visual Identity of Gandrung Dance
in Branding Activities, Banyuwangi Regency, East Java, Indonesia
INSTITUTION >>> Universitas Mercu Buana, Jakarta, Indonesia
10:30 am — 10:50 am Presenter: (1) Ms. Niken Savitri Anggraeni*
(2) Mr. Joachim David Magetanapuang
Paper Title >>> Indonesia’s Endemic Animals as A Source of
Inspiration for Contemporary Batik Design for Millenials
INSTITUTION >>> (1) Universitas Ciputra, Makassar, Indonesia
(2) Universitas Persada Indonesia YAI, Jakarta, Indonesia
 PRESENTATION
SESSION 2
Activities Description:
Presenters will send in a “Video Recording Presentation” of not more
than 15 minutes on their research expertise. Video recordings of
each presenter will be played on a well-timed virtual conference.
After each video, the Q & A (Question & Answer) session shall be
open to virtual responses where presenters are given 5 minutes
to attend questions. Sequence of the activity as follow:
1. Poster Presentation inclusive within *Video Recording
Presentation (Presenters are allowed 15 minutes
Presentation, and 5 Minutes of Q & A)
2. Each presenter will share their research poster according
to the topics: Background and Problem Statement,
Objectives, Methods, Results or/and Discussion,
Conclusions or/and Recommendation and References.
Ending with a Q & A session after the presentation.
Sub-Theme:
DESIGN MEDIA (Multimedia, Game Design, Animation, Video, Film, Screen
Studies, Video Mapping, Graphic Design, Visual Communication, etc.)
Moderator:
Mr. Yong Cheng Fei
Presenter: Associate Professor Dr. Christian
11:10 am — 11:30 am Anggrianto*
Paper Title >>> Guerilla Marketing Evolution and
Innovation in the New Media and Technology Age: A
Case Study of Marvel’s “Secret Invasion” Campaign
INSTITUTION >>> Universitas Ciputra, Surabaya, Indonesia
11:30 am — 11:50 am Presenter: (1) Mr. Ahmad Ade Nugraha*
(2) Dr. Alvanov Zpalanzani Mansoor
Paper Title >>> Designing Lontara script flashcard Board Game for
Children of the Bugis Tribe Through DDE Framework Approach
INSTITUTION >>> (1) Universitas Ciputra, Surabaya, Indonesia
(2) Institut Teknologi Bandung, Indonesia
11:50 am — 12:10 pm Presenter: Mr. Quina Reivaldi Limantara*
Paper Title >>> Design Thinking for Srimulat: Introduction
to Indonesia’s Intangible Cultural Heritage
INSTITUTION >>> Universitas Ciputra, Surabaya, Indonesia
12:10 pm — 12:30 pm Presenter: Mr. Bilyan Putra Sari*
Paper Title >>> Augmented Reality Information Media for
Revitalization Bantimurung Maros Butterfly Museum
INSTITUTION >>> Universitas Ciputra, Surabaya, Indonesia
ABSTRACT SESSION Sub-Theme

CONTEMPORARY
ARTS
(Education, Arts, Culture,
Heritage, Photography,
Performing Art, Music, Product
Design, Illustration Book, Fashion
Design, Textile Fashion, Industrial
Design, etc.)

1
 1.1

“Cross-Fade: Reflecting
on Remote-Collaboration Abstract
Between Composers and Many studies explore the emergence of creativity collaboration deal with

Performers Amidst the the relationship between musicians, the traditional composer-performer
relationship in classical music practice is so distinct that a classical music
performance often lacks collaborative emergence, this is due to the constant
COVID-19 Pandemic” input and the tradition of “obeying” the music score of the composer. This
paper looks into the collaborative process and discusses the phenomena of
collaborative emergence, and reflects on a commissioned composition from
a collaborative project that was initiated during the COVID-19 pandemic
– “Duo with Odyssey Trio”. The commissioned composer Chow Jun Yan
was residing in Singapore and was unable to travel due to the pandemic
Lim Yong Jia [1]* restrictions, so as the traditional methods of real-time interaction were
[1] Department of Creative Industries, Faculty of Communication and disrupted, musicians are to rely on their own expertise and interpretive skills
Creative Industries, Tunku Abdul Rahman University of Management while collaborating with the composer remotely. This led to an exploration
and Technology, Jalan Genting Kelang, 53300 Kuala Lumpur, Malaysia of possible emergent results. In this study, a semi-structured interview was
conducted to reflect on the project and discuss the collaborative process.
*Corresponding Author: limyj@tarc.edu.my Through the interview, the composer showed an understanding of the
Co-Author(s): - difficulty of the collaboration and how he utilises his understanding and
practice of improvisation in the piece itself to allow musicians the space for
interpretation and creative emergence; musicians also discusses how the tight
deadline of a project paired with remote-collaboration affects some decision
making during the rehearsal and recording of the work. Through the semi-
structured interview, we acquire valuable insights into both the collaborative
process and the dynamics inherent to the composer-performer relationship,
all viewed from the lens of navigating through an unprecedented challenge.

Keywords

Creativity Collaboration, Classical Music Practice, Collaborative Emergence,

Remote Collaboration, Composer-Performer Dynamics
 1.2

“Teaching for Art

Appreciation in Visual Abstract

Communication Subject: A This study was developed by combining several art education theories
to build a conceptual framework to teach art appreciation to 35 (n=35)

Study on First Year Graphic students enrolled in a visual communication program, a unit from the
graphic design and multimedia program in the first year. In this study, a
quantitative research design and methodologies were used. To analyze a
and Multimedia Program group of students’ achievements, the researcher employed experimental
research--a quasi-experimental design that is a single-group interrupted

Students at A Private
University”
Maithreyi Subramaniam (Ph.D.) [1]*
[1] Department of Creative Industries, Faculty of Communication and
Creative Industries, Tunku Abdul Rahman University of Management
and Technology, Jalan Genting Kelang, 53300 Kuala Lumpur, Malaysia
*Corresponding Author: maithreyi@tarc.edu.my
Co-Author(s): -
time series design. The data was gathered using two instruments: a tertiary
level visual communication module and five sets of test questions. Means,
standard deviations, and percentages were used in the descriptive statistics
to determine the students’ achievements. The repeated measure inferential
statistics ANOVA was used to investigate changes in mean scores over five
times period for both five sets of test questions mean scores and lessons
(studio art production) mean scores. The findings revealed that the module
influenced the quality of students’ development of a variety of skills in visual
perception and artistic response, historical, cultural, and social context
investigations, engaging students in the art-making process and enhancing
their critical and aesthetic inquiry for a better understanding, aesthetic
appreciation, and an increase in self-expression. The effectiveness of the
module using conceptual framework demonstrated students’ improved
understanding and fostered proficiency in implementing thinking in their
five sets of test questions and lessons (studio art production). To conclude,
the emphasis on cognitive skills has already been preserved as one of the
blueprint important prerequisites set by the Ministry of Education (MOE)
Malaysia for the undergraduate programs in both public and private
institutions for each of the art and design programs.

Keywords
Teaching, Art Appreciation, Visual Communication, Graphic and
Multimedia Program
 1.3
Abstract

“Converting Textile Waste Upcycling is one of the sustainable techniques for fashion designer to
upcycle any type of textiles and materials, whether using pre-consumer or
Materials: Exploration post-consumer waste into fashion. Sustainability is a one of staple diet in
fashion industries. Sustainability is involving the use of natural products and

of Fashion Upcycling for

energy in a way that does not harm the environment. Malaysia is one of the
developing countries that also generating waste products, but awareness and
education of “upcycle or upcycling” are deficiencies among Malaysia citizens.
Women’s Casual Wear Upcycling is one of the most sustainable possessions people can execute in
fashion. Moreover, upcycling is the process of converting waste materials or

Design in Malaysia”
Wan Norazreen Binti Wan Mohd Zamree [1]*
[1] Department of Creative Industries, Faculty of Communication and
Creative Industries, Tunku Abdul Rahman University of Management
and Technology, Jalan Genting Kelang, 53300 Kuala Lumpur, Malaysia
*Corresponding Author: wannorazreen@tarc.edu.my
Co-Author(s): -
useless products into new materials or products of better and higher quality
or for better environmental value. However, in comparison with recycling,
research has consistently showed deficiencies understanding of fashion
upcycle awareness among Malaysian citizens. This study is important to
identify the types of textiles waste materials that can be applied on fashion
design. This study explored the relevant features of design characters and
appearances of fashion upcycling and to offer appropriate upcycled fashion
design samples for casual wear design among women in Malaysia. This
research was conducted through interview, observation, visual analysis,
text research and survey. Hence, this analysis is based on sample from
renowned and uprising fashion designer around the world who applied and
practicing upcycling. Interview was made to cast around for opinions by
senior fashion designer and academicians related to fashion industry. In this
study, the sample of the design appearances were identified. Furthermore,
the characteristics that represented upcycled fashion are classified through
the other existing upcycled model from different countries. Information
and guideline from findings can be use as a reference for Malaysian fashion
designer and fashion enthusiast in fashion industry in the future. This study
proves to be significant in providing a guideline focusing on the fashion
industry in Malaysia complete with project samples of outfits. This in turn
will benefit the local fashion scene to consider their working ethics and other
applicable textile and materials that emphasizes environmentally friendly.

Keywords
Upcycling, Fashion, Sustainability, Design, Character, Environment, Malaysia
 1.4

“Implementation of The
Visual Identity of Gandrung Abstract

Dance in Branding Activities, Globalization presents a situation of competition between local

governments in attracting tourists and investors. Until the end of 2022, of

Banyuwangi Regency, East the 514 districts and cities in Indonesia, only 113 places have carried out
branding. Characteristics and local identity in arts and culture, the natural
environment, agricultural commodities, marine flora, endemic animals,
Java, Indonesia” services and trade, architecture, and history are often used as inspiration.
Banyuwangi is one of the districts that utilizes the potential of dance as a
source of ideas in its branding activities. Utilizing dance to shape the image
of a city is not an easy process, bearing in mind that many other places still
have similar potential but have not been well articulated. This study aims to
reveal how the creative process transforms the Gandrung dance as a dynamic
Agus Budi Setyawan (P.h.D) [1]* performing art form into a static visual identity and how it is implemented
[1] Faculty of Design and Creative Arts, Universitas Mercu Buana, in branding communication activities. This study uses a qualitative
Jakarta, Indonesia. paradigm with a case study approach. Data was collected through in-depth
interviews, participant observation, and document tracing. All collected
*Corresponding Author: budi.setyawan@mercubuana.ac.id data were analyzed interactively using the transformation theory approach
Co-Author(s): - proposed by Darmono and image communication theory by Kavaratzis. The
results showed that the Gandrung dance art was transformed into a visual
branding identity for Banyuwangi Regency using photography, illustration,
and sculpture techniques. The Gandrung visual identity, as a result of the
transformation, is implemented in Banyuwangi branding communication
media by using a flexible pattern to adjust the contents of the communication
message and the intended target. The results of this research are useful as a
reference for the creative process of forming district and city images based on
local identity characteristics in the form of dance.

Keywords
Visual Identity, City Branding, Creative Process, Gandrung, Banyuwangi
 1.5

“Indonesia’s Endemic
Animals as A Source
of Inspiration for
Contemporary Batik Design Abstract

for Millenials”
Niken Savitri Anggraeni [1]* Joachim David Magetanapuang [2]
[1] School of Creative Industry, Universitas Ciputra, Makassar,
Indonesia
[2] Joachim David Magetanapuang, Faculty of Communication,
Universitas Persada Indonesia YAI, Jakarta, Indonesia
*Corresponding Author: niken.savitri@ciputra.ac.id
Co-Author(s): davejo62@gmail.com
Indonesia has great biodiversity, which contributes to its high level of
endemism in comparison to other Southeast Asian countries. Indonesia
is thought to have 165 endemic mammals, 397 endemic birds, more than
150 endemic reptiles, and more than 100 endemic amphibians. Some of
them have been designated as critically endangered. Because most of these
creatures are on the verge of extinction due to continued illegal hunting and
forest exploitation, the younger generation in Indonesia must be educated
about the need to protect and care for these indigenous animals. As a result,
media in the form of motifs on current batik is required to communicate the
existence and care for these endangered species. It is hoped that this would
increase public awareness of the presence of these species and attempts to
protect them in Indonesia. The use of Indonesian endemic animals as batik
motifs would broaden the repertory of modern Indonesian batik patterns
and is expected to promote the Indonesian creative industry in making and
marketing these things. The technique used was to conduct a literature search
on endemic species, followed by a Focus Group Discussion on batik theme
patterns popular with millennial customers. The shapes of the creatures
are stylized in order to explore ideas. Following the finding of the shape,
it is used in a colorful pattern design based on the interests of millennial
consumers.

Keywords
Endemic Animals, Inspirations, Contemporary, Batik, Millennials
ABSTRACT SESSION Sub-Theme

DESIGN MEDIA
(Multimedia, Game Design,
Animation, Video, Film, Screen
Studies, Video Mapping, Graphic
Design, Visual Communication,
etc.)

2
 2.1

“Guerilla Marketing
Evolution and Innovation
in the New Media and
Technology Age: A Case Abstract

Study of Marvel’s “Invasion” Guerrilla marketing is a cutting-edge, original, non-traditional marketing

Campaign”
Christian Anggrianto (P.h.D., Associate Professor) [1]*
[1] Department of Visual Communication Design, School of Creative
Industry, Universitas Ciputra, Surabaya, Indonesia
*Corresponding Author: christ.ang@ciputra.ac.id
Co-Author(s): -
strategy that keeps up with new media and technical advancements. This
article demonstrates how guerrilla marketing is still valuable for driving
significant consumer involvement despite those critics who claim it has lost
its appeal. The emergence of new media and technology has altered how
marketers communicate with customers. Guerilla marketing has adopted
an approach emphasizing in-person interactions and uses social media,
digital technology, and mobile devices to keep up with this progress. The
most recent instance of guerrilla marketing that has raised consumer
expectations and interest is the promotional effort for Marvel’s TV series
“Secret Invasion.” The promotion generated excitement among fans by using
social media and enigmatic teases, maintaining their attention before the
series’ formal premiere. This research discusses how guerrilla marketing
ideas incorporating new media and technology can foster significant
consumer engagement. Increased brand recognition, consumer loyalty, and
a favorable effect on marketing outcomes overall are the outcomes. Guerrilla
marketing is continually changing and becoming crucial in a fluid marketing
environment.

Keywords
Guerilla marketing, Innovative, Secret Invasion, Consumer engagement,
Media and technology developments
 2.2

“Designing Lontara script

flashcard Board Game for
Children of the Bugis Tribe
Through DDE Framework
Approach”
Abstract

Commonly used in the South Sulawesi province, the Lontara script is

Ahmad Ade Nugraha [1]* Alvanov Zpalanzani Mansoor [2]
[1] Department of Visual Communication Design, School of Creative
Industry, Universitas Ciputra, Surabaya, Indonesia
[2] Desain Komunikasi Visual, Fakultas Seni dan Desain, Institut
Teknologi Bandung, Indonesia
*Corresponding Author: ahmad.nugraha@ciputra.ac.id
Co-Author(s): alvanov.mansoor@itb.ac.id
one of the scripts found in Indonesia. This script began to be taught at
the elementary school level although in the circumstances not all schools
could teach the subject due to the limited number of expert teachers and
the current lack of learning media. At the elementary school level, board
games are one of the choice mediums for learning Lontara script. The DDE
Framework was used in this design process with the result of a flashcard
board game containing Lontara script which can be used as a traditional
script recognition medium at the elementary school level for Bugis children.
The digital game translation is done by giving board game features making
the value of the board game unique.

Keywords

Lontara, Script, Boardgame, DDE framework, Learning Media

 2.3

“Design Thinking for

Srimulat: Introduction Abstract

to Indonesia’s Intangible Srimulat is a legendary Indonesia’s local human wayang that has been around
since the 1950s. Founded in Surakarta by Raden Ayu Srimulat and Teguh

Cultural Heritage”
Quina Reivaldi Limantara [1]*
[1] Department of Visual Communication Design, School of Creative
Industry, Universitas Ciputra, Surabaya, Indonesia
*Corresponding Author: reivaldi.limantara@ciputra.ac.id
Co-Author(s): -
Slamet Raharjo, Srimulat exists to entertain the public through performances
that combine comedy, music and social criticism. The Srimulat stage began
to disappear in 1989. Srimulat has several times tried to be active again in the
entertainment world but has not been very successful. Introducing Srimulat
to the younger generation is challenging yet crucial for its existence but it is
an opportunity in preserving Indonesia’s intangible cultural heritage. Using
design thinking methodologies, this paper aims to explore effective ways
to exhibit Srimulat memorabilia for studies. The result is a high resolution
3-dimensional (3D) augmented reality (AR) exhibition that can be viewed
on an internet-based application. Several digitized collections of Museum
Gubug Wayang can be panned, rotated, and moved freely on different
planes and viewed from different angles on the phone. These models can
be considered a powerful teaching tool. People worldwide can easily avail
of these models on digital platforms. In recent years, there has been an
increasing interest in applying AR to create unique experiences and have
immensely added a new dimension to art and culture education. In 2020,
LiDAR sensor technology was released, which effectively placed a low-cost
laser scanner in mobile devices. This study demonstrated that right now
artifacts from the museum can be transformed easily and viewed digitally on
AR platforms. For the next study the author suggests exploring how effective
this AR technology is in triggering Indonesian young generations to learn
more about cultural heritage.

Keywords

Design Thinking, Augmented Reality, Light Detection and Ranging,

Srimulat, Exhibition
 2.4

“Augmented Reality
Information Media for Abstract
Revitalization Bantimurung Museums have great potential as a source of education and entertainment,

Maros Butterfly Museum”
Bilyan Putra Sari’ [1]*
[1] Department of Visual Communication Design, School of Creative
Industry, Universitas Ciputra, Surabaya, Indonesia
*Corresponding Author: bilyan.putra@ciputra.ac.id
Co-Author(s): -
but often face challenges in maintaining visitor interest, especially for
museums that are synonymous with a scary atmosphere and the presentation
of exhibition objects and information presented is less attractive. This
study aims to explore the use of augmented reality technology in efforts to
revitalize information media at the Bantimurung Maros Butterfly Museum.
The museum is one of the important cultural and natural destinations
in Indonesia, but it faces challenges in maintaining its attractiveness and
maintaining the integrity of the information that visitors get. Through a
qualitative approach, this study will analyze how the implementation of
augmented reality information media can enrich the visitor experience,
increase understanding of butterflies, and support biodiversity conservation
efforts. The research methodology involved a visitor survey, interviews with
museum managers, and the development of augmented reality applications
adapted to the context of the Kwa Bantimurung Maros Butterfly Museum.
It is hoped that the results of this research will provide valuable insights
into the potential of augmented reality in increasing the attractiveness of
museums and efforts to preserve the environment. The practical implications
of this research can assist museum managers and related parties in designing
more effective strategies for revitalizing the Kwa Bantimurung Maros
Butterfly Museum and encouraging the development of similar technologies
in the context of culture and tourism in Indonesia.

Keywords
Augmented Reality, Museum, Butterfly, Interactive Media
RESEARCH POSTER Sub-Theme

CONTEMPORARY
ARTS
(Education, Arts, Culture,
Heritage, Photography,
Performing Art, Music, Product
Design, Illustration Book, Fashion
SESSION

Design, Textile Fashion, Industrial

Design, etc.)

1
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1.3 CONVERTING TEXTILE WASTE MATERIALS:
EXPLORATION OF FASHION UPCYCLING FOR
WOMEN’S CASUAL WEAR DESIGN IN MALAYSIA
Wan Norazreen Wan Mohd Zamree
Department of Creative Industries, Faculty of Communication and Creative Industries,
Tunku Abdul Rahman University of Management and Technology

INTRODUC TION OBJEC TIVE

Upcycling is the process of converting waste materials or useless products into new materials or products of better quality or for To identify the type of textile waste materials that can be apply to the women’s casual wear design
better environmental value (Kay,1994). Upcycling is one of the sustainable approaches that prolonging the life of waste textiles
through creativity. (Redress, 2007) To identify the relevant design character and appearance on upcycled women’s casual wear design fashion

Malaysia is one of the developing countries that are also generating waste products, however, the words “upcycle or upcycling” is To propose the appropriate upcycled fashion design samples for women’s casual wear design in Malaysia
not synonym with Malaysia citizen. (Zur, 2016)

Pre-consumer and post-consumer waste are commonly used in creating an upcycled fashion. Besides upcyling, zero waste and
reconstruction are oneof the technique approaches in fashion upcycling (Redress,2007)

METHOD
PHASE 1 (Table 1)
Qualitative :- Semi-structured interview, Observation
Quantitative :- Pilot survey

(Table 1) (Table 2)

PHASE 2 (Table 2)
Design process based on the Pre-test & Post test
(Table 4):Upcycled design analysis of Orsula De Castro (2012)

(Table 3):Upcycled design analysis of Orsula De Castro (2012)

FINDING AND DISCUSSION Through observation of existed design sample (visual) from practitioner in Table 3 and Table 4, upcycled design characteristic,
appearance, design element and materials used were identified. This qualitative research was significant as a guidance to create
appropriate design for women’s casual wear in Malaysia.
Summary of interview:
There are a few organizations that supporting and organizing a few event and competitions of sustainable or green fashion, to
educate Malaysian citizens especially young generations.In terms of the application of waste materials, leather and any other
unconventional goods such as blankets, bed sheets and any other materials to be seen as potential materials to be applied in
upcycle garments..
Summary of pilot survey:
95 respondents participated in the survey. 67% of the respondents agreed that fashion upcycling should be
applied in Malaysia fashion industries. As for the favourite fabric materials that they prefer the most to be
applied on upcycled fashion outfit are mixing any fabrics that mentioned in the survey. The most pulled out
fabrics are denim and cotton, followed by PVC/leather and wool.

Design 1 and Design 2 have been illustrated and

(Figure 3):Respondents discussion
at Pilot Survey, Pre-test and Post-test
stage
the materials chosen were based on Pilot Survey
in earlier stage. At this stage, 2 types of material (Figure 1)
which were leather jacket and 100% wool jacket
were used. In Figiure 4, Design 1 was made of
100% wool trench coat, (post-consumer waste)
and Design 2 was made by neoprene end-roll
fabric (pre-consumer waste). The laser cut detail on
Design 2 was made by leather jacket.
Design 1 Design 2
(Figure 4):Final design of Pre-test stage

Design 3 and Design 4 post-test in Figure 5 were amended from pre-test survey.
The designs equivalent with the trend of Summer Spring 2016 forecast emphasize
the sculpted feminine, laid-back and simplicity. The findings were gathered from
65 respondents. Although the general results from respondent are satisfying, there
a few numbers of respondents that are disagreed with this final two outfits. It
makes sense since the fashion preference and taste of each respondent are
different to one another. In overall, Design 3 based on the improvement made by
the response gathered which was based on the criteria of casual wear design in (Figure 2)

terms of appearance and characteristic. Finally, respondents were agreed that the
Design 3 Design 4
awareness of fashion upcycling as it one of- a- kind of look and out of the ordinary. Pre-test (Figure 1) and post-test designs (Figure 2) are the Phase 2 design process that used to associate participant groups and
(Figure 5):Final design of Post-test stage
In addition, the pre-test and post test design analysis can be use as a guideline measure the quantity of change occurring as a result of actions or interventions.
useful guideline for fashion designers or practitioners and non-expert.

CONCLUSION
In conclusion, the awareness of fashion upcycling were deficiency among Malaysia citizen. There were a few techniques of (Table 5 )
sustainable fashion can be approach to create sustainable fashion and to pro-long the life of a cloth. Based on the visual analysis of Table 5 shows the significant flow of pre-test and post test to create designs that meets the research objective

upcycled fashion by sustainable fashion practitioner, pre-consumer and post-consumer waste were the popular materials that were
used.

The visual guideline in pre-test and post-test from this study gives an impact to this country as it educates society in how to upcycle
textile waste materials, whether they are professional or non-professional.
REFERENCES
With this study,it was hope that the knowledge and awareness of fashion upcycling spread to the larger scale. This study looks at
emerging ideas and brings forward many ideas for future study. Ekström, K. M., & Salomonson, N. (2012). Looking into the kaleidoscope-different views on reuse and recycling of clothes.
Baerlecken, D., Reitz, J., & Duncan, D. (2012) Reuse of waste materials.
Upcoming future designers need to consider how to apply and practising this sustainable technique while piecing together fabrics
Ali, N. S., Khairuddin, N. F., & Zainal Abidin, S. (2013). Upcycling: re-use and recreate functional interior space using waste materials. In DS 76: Proceedings of
of the past to create new life and impactful fashion. E&PDE 2013, the 15th International Conference on Engineering and Product Design Education, Dublin, Ireland, 05-06.09. 2013.

Poland, P., & Skłodowskiej, M. C. Exploration of Consumers’behaviours Connected With Product Reuse.

Torstensson, R. (2011). A new player in the accelerating textile industry-upcycled textile products.

Gwilt, A. (2014). A practical guide to sustainable fashion.A&C Black.

Hjelmgren, D., Salomonson, N., & Ekström, K. M. (2014). UPCYCLING OF PRE- CONSUMER WASTE. Waste Management and Sustainable Consumption:
Reflections on Consumer Waste, 187.
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RESEARCH POSTER Sub-Theme

DESIGN MEDIA
(Multimedia, Game Design,
Animation, Video, Film, Screen
Studies, Video Mapping, Graphic
Design, Visual Communication,
etc.)
SESSION

2
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