Graphic design is a relatively new profession in Indonesia, it has been around for about 40 years. Industry practitioners, however, are anticipating the industry to grow and hope the process can be accelerated with more recognition across the nation.

The first Indonesian Graphic Design Awards (IGDA) has been touted to aid in this step, an event inviting budding graphic designers to showcase their work and collaborate to strengthen graphic design, a medium believed to be an integral communication tool.

Yasser Rizky, an IGDA nominee who graduated from Bina Nusantara University’s visual communication design (DKV) program in 2005, said he was proud to be a part of the first IGDA.

Yasser, who has worked for several design agencies in South Jakarta and is currently a lecturer at Bina Nusantara University, said “This is a significant step for the growth of Indonesian graphic design, a major step for design appreciation.”

He believes design has a significant role in Indonesia. “Design is about culturally developing a nation. Hopefully, with the IGDA, design can further develop our culture.”

Yasser explains design is a language that can communicate what cannot be communicated verbally. Yasser further elaborated on its power.

“When we talk about design, we talk about meaning. When we talk about meaning, we talk about philosophy.”

However, he does not think it has been able to reach its potential here. “Currently in Indonesia, similar to other developing countries, design can’t perform to its maximum capacity due to lack of education and opportunities. Design is also often simply viewed as an industry tool, instead of having a wider hold on culture.”

A design installation model by IGDA nominee Yasser Rizky at the 2009 FGD Expo for design publication Versus Magazine (Photo courtesy of Yasser Rizky)
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Ismiaji Cahyono, IGDA selection process curatorial director, thinks it must first form an identity to reach its potential.

“The aim of the IGDA is to formulate the identity of Indonesian graphic design and its practitioners – the designers – by appreciating and awarding the best graphic designers.

“The IGDA is also held to help Indonesia locate its position in the global and local nexus after 40 years of development here.”

The theme for this year revolves around Indonesia’s agrarian culture, fostering the concept of the rice farmer as the designer and the paddy as the masterpiece.

“The rice paddy at its most mature symbolizes humanity at the peak of maturity, ready for harvest and dissemination. This is our metaphor for producing the best work in graphic design.”

At its very basic, graphic design is the trade of using design elements such as typography and images to convey information.

Work at the awards will example graphic design specializations such as promotion, brand identity, packaging, interaction, information, editorial, publishing, illustration, photography, typography, social and cultural graphics, and experimental works from Indonesian designers.

Styles range from “classic vernacular” to “ultra modern” and “contemporary experimental” designs.

Ismiaji said he hoped this event would help Indonesia gain insight into how the graphic design industry was identified by its designers and the people who use it, encouraging designers to “empower their profession”.

“What is Indonesian graphic design” is the question that has not been answered. “Indonesian graphic design has not been defined yet, although there have been many commendable efforts,” he said.

He added the most notable efforts were those sensitive toward the local culture. But he noted that forming Indonesian design was not always a conscious process.

“Some local designers seek their own identity. These honest works become unique and distinctly Indonesian. Ultimately, Indonesia has a long way to go before it defines its graphic design style, but it will be a synthesis of conscious and unconscious exploration.”

While graphic design is considered a new profession in Indonesia, compared to the long-established field of architecture for example, it has been in this country for a long time.

“The practice of graphic design has spanned millennia,” he says referring to the hieroglyphs of Egypt, the pictograms of Mayans and in Indonesia, the reliefs at Borobudur Temple, Magelang regency, Central Java.

“The wayang beber, presented on scrolls, is another good example of Indonesian graphic design.” Ismiaji says the wayang is illustrated with accompanying text the same way photography and text are compiled together now.

However, he said that the profession of graphic design in Indonesia was born out of advertising, which has been in Indonesia since the turn of the 20th century. Graphic design as a profession was not solidified until the 1970s.

Ismiaji believes that graphic design will continue to mature, especially because he thinks the government is beginning to realize creative professions as important assets, and technology is easily available.

“The community still needs to further consolidate graphic design though.”

“*This* is important because it has the power to shape minds, construct ideologies and structure reality,” he said. “People can be mobilized and persuaded into consumerism, not to mention cultural and political ideologies. Graphic design has the power to transform society.”

IGDA chairman and chief jury Hanny Kardinata said that through good management and continuing the awards, Indonesian graphic design would only strengthen. “It will become a force to be reckoned with in the international arena.”

He also said it was implemented to strengthen the cultural scene in Indonesia. “The IGDA has been designed to be in line with a potential Indonesian Graphic Design Museum *MDGI*, a place to care for graphic design artifacts to nurture Indonesia’s rich culture. It will include the works of the IGDA and is expected to also serve as an Indonesian graphic design study and development center.”

Both the IGDA and proposed MDGI – along with associations, forums, educational institutions and related industries – are expected to put the Indonesian graphic design scene onto the international stage.

Hanny, however, believes that Indonesian graphic design will and should retain a local feel.

“Designs reflect the values of the locals or organically adapt external influences for the local heritage,” he said. “It’s not enough just to work as a designer to earn a living. Designers must continually explore their cultural heritage for the sake of realizing an Indonesian graphic design identity.

Designers must also consider what makes good quality graphic design in addition, especially because digital technology enables anyone to declare themselves a graphic designer, he said. “Certification standards that govern this profession are also still in the process.”

He also thinks there should be more interaction with other design disciplines such as architecture, the fine arts, and interior and product design. “This intersection of various disciplines has the potential to produce something new.”

Like Ismiaji, he thinks graphic design is not just commercial. “Designers do not only serve the industry or owners of capital, there are aspects that are more valuable such as its social, educational and cultural role, and it can also play a part in national and even international interests.”

He appealed to his colleagues and practitioners and academics across the country saying it was important to cooperate for the sake of developing Indonesian graphic design “Forget about the competition. According to academic Rhenald Kasali, competition is the root of conflict.”

Part of a design installation by IGDA nominee Yasser Rizky AT THE 2009 FGD Expo for design publication Versus Magazine
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Novita Anka, another nominee, said she was proud to be a part of the award’s wider objective. “It means a lot *to be involved in the IGDA*,” the DKV Bina Nusantara University graduate said.

She is currently opening a graphic design firm called Tre. “Designers here could only participate in international competitions *before*. This is the first time Indonesian designers can shine in their own country.”

She also saw, however, the field had a long journey ahead. “We need to increase our public presence, creating quality works, exhibitions and establishing communities that further develop the industry in Indonesia.

“The quality of education needs to be improved to create better designers who can show and educate the public on good design. Graphic design is an important communication form, pervading almost every aspect of our life from film stills to campaign posters, product packaging and even the newspaper.

“We need to continue advancing our industry so people can understand and better appreciate graphic design in Indonesia.”

The Indonesian Graphic Design Awards
Will be held at 6:00 p.m. May 23, at Salihara Gallery, Jl. Salihara 16, Pasar Minggu, Jakarta. Contact Caroline F.S, to reserve a seat on 0815 1950 0151. For more information visit www.igda.web.id.

Source: The Jakarta Post, Saturday, May 22, 2010

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