Abstract

The portrayal of historical figures through graphic print techniques plays an important role in spreading national identity. This technique involves slaughtering fine lines on metal plates that produce detailed images. Images produced with this technique can be found in banknotes, stamps, coins, and various educational media. The visual image not only strengthens respect for historical figures but also acts as a symbol of national identity. Grafir utilizes and strengthens the symbol of nationalism by including several elements of local culture, such as batik and flora motifs. In addition, graphir is also used as a security feature on money and official documents. The results of this study helped prove the perception that a strong graphir in creating a national symbol that is eternal, iconic, and easily recognized by all levels of society.

Keywords

  • SUMP
  • integrated transport planning
  • mobility
  • sustainable transport
  • public transport

References

  1. Alia, A. Z. R., Ghozali, S., Apriliani, V. D., Gunarsih, L., Handayani, L., Meiliza, S., & Santoso, G. (2023). Memahami Asal Usul Lambang Negara Indonesia dan Burung Garuda. Jurnal Pendidikan Transformatif, 2(3), 161–173.
  2. Assidiq, W. F. R., Alfarhani, M. D. U., Nandhika, D., & Amirullah, M. F. (2023). Analisis Peran Media Sosial Dalam Membentuk Identitas Nasional Generasi Milenial Di Indonesia. Jurnal Sosial Teknologi, 3(9), 772–775.
  3. Astawa, I. P., & Ari, P. (2017). Identitas Nasional. Bali: Universitas Udayana.
  4. Azmi, A. (2016). Memaknai Gambar Sketsa Tehnik Engraving Ipe Ma’akruf Ditinjau Dari Aspek Ikonografi. Jurnal Bahas Unimed, 27(3), 79656.
  5. Balaskas, V. (2019). The iconography of a nation: materiality and coin production in twentieth-century Greece. Journal of Modern Greek Studies, 37(2), 215–235.
  6. Banindro, B. S. (2012). Kajian Ikonografis Bahasa Rupa Uang Kertas Indonesia Masa Revolusi. DeKaVe, 1(3), 9–16.
  7. BonΘ›a, C. M. (2019). Militant Portraits. The Promotion of Hungarian National History Through Nineteenth-Century Graphicc. Case Study. Acta Musei Napocensis. Historica, 56(56), 73–89.
  8. Budiman, K. (2011). Semiotika visual: konsep, isu, dan problem ikonisitas. Jalasutra.
  9. Cenadi, C. S. (1999). Elemen-elemen dalam desain komunikasi visual. Nirmana, 1(1).
  10. Champagne, A. (2014). At the Intersection of Place Branding and Political Branding: Canadian Banknote Iconography and Political Priorities.
  11. Christensen, C. (2008). Review of the history of information security: A comprehensive handbook edited by Karl De Leeuw and Jan Bergstra. Cryptologia, 32(3), 284–294.
  12. Gilbert, E. (1998). β€˜Ornamenting the faΓ§ade of hell’: Iconographies of 19th-century Canadian paper money. Environment and Planning D: Society and Space, 16(1), 57–80.
  13. Helleiner, E. (1998). National currencies and national identities. American Behavioral Scientist, 41(10), 1409–1436.
  14. Hymans, J. E. C. (2010). East is East, and West is West? Currency iconography as nation-branding in the wider Europe. Political Geography, 29(2), 97–108.
  15. Hymans, J. E. C., & Fu, R. T. (2017). The diffusion of international norms of banknote iconography: A case study of the New Taiwan Dollar. Political Geography, 57, 49–59.
  16. Katsari, C. (2006). Money and proto-national identities in the Greco-Roman cities of the first and second centuries AD. National Identities, 8(1), 1–20.
  17. Koetzle, H. M. (2002). Photograph icons: The story behind the pictures (Vol. 1). Los Angeles: Taschen.
  18. Kunovich, R. M. (2009). The sources and consequences of national identification. American Sociological Review, 74(4), 573–593.
  19. L Pressly, W. (2023). America’s Paper Money: A Canvas for an Emerging Nation. Smithsonian Institution Scholarly Press.
  20. Lauer, J. (2008). Money as mass communication: US paper currency and the iconography of nationalism. The Communication Review, 11(2), 109–132.
  21. Lubis, M. A. (2019). Pembelajaran ppkn (teori pengajaran abad 21 di SD/MI). Samudra Biru.
  22. Morgan, T. V. (2022). Visuality and socio-political communication in Nigeria’s banknote portraits. Visual Studies, 37(5), 592–602.
  23. North, J. (2015). Portraying Presence: Thomas Carlyle, Portraiture, and Biography. Victorian Literature and Culture, 43(3), 465–488.
  24. Nurdin, M. (2023). IDENTITAS NASIONAL. Advances In Social Humanities Research, 1(4), 241–247.
  25. Parekh, B. (1995). The concept of national identity. Journal of Ethnic and Migration Studies, 21(2), 255–268.
  26. Penrose, J., & Cumming, C. (2011). Money talks: banknote iconography and symbolic constructions of Scotland. Nations and Nationalism, 17(4), 821–842.
  27. Pethers, M. (2021). Portrait Miniatures. Early American Literature, 56(3), 755–808.
  28. Razak, M. R. A., Harun, A., Hussin, S. N., & Anwar, R. (2022). The First Series of Malaysian Banknotes as a Symbol of a Nation’s Independence. Environment-Behaviour Proceedings Journal, 7(SI7), 313–319.
  29. Reina, K. T. R. (n.d.). The Art of Protection: the Impact of Graphic Design on Banknote Security.
  30. Rex, J. (1996). National identity in the democratic multi-cultural state. Sociological Research Online, 1(2), 1–9.
  31. Sasmito, E. (2011). Hidup Makmur di Masa Pensiun. RAIH ASA SUKSES.
  32. Scheder, G. (1977). Perihal Cetak Mencetak. Yayasan Kanisius.
  33. Suryo, J. (2002). Pembentukan Identitas Nasional, Makalah pada Seminar Terbatas Pengembangan Wawasan tentang Civic Education. Yogyakarta: LP3 UMY.
  34. Susanto, M. (2011). Diksi Rupa: Kumpulan istilah dan gerakan seni rupa. DictiArt Lab.
  35. Syakir, S. (2015). Ragam Teknik Dan Kreasi Sederhana Dalam Seni Grafis Cetak Tinggi. Imajinasi: Jurnal Seni, 9(2), 153–166.
  36. Texier, P.-J., Porraz, G., Parkington, J., Rigaud, J.-P., Poggenpoel, C., Miller, C., Tribolo, C., Cartwright, C., Coudenneau, A., & Klein, R. (2010). A Howiesons Poort tradition of engraving ostrich eggshell containers dated to 60,000 years ago at Diepkloof Rock Shelter, South Africa. Proceedings of the National Academy of Sciences, 107(14), 6180–6185.
  37. Wicaksono, S. H., & Zuhri, N. A. (2020). Analisa Politik Identitas Dalam Karya-Karya Potret Diri Agus Suwage Dengan Pendekatan Semiotika. Ars: Jurnal Seni Rupa Dan Desain, 23(1), 28–38.
  38. Wulandari, W. (2014). Fotografi Potret, Sebagai Media Visual Pencitraan Diri. Jurnal Desain, 1(03), 211–218.
  39. Yonita, L., Hafiar, H., & Sani, A. (2018). Konstruksi makna nasionalisme pada desain uang rupiah kertas. WACANA: Jurnal Ilmiah Ilmu Komunikasi, 17(1), 13–28.
  40. Zhelanova, V. V, & Matviyenko, O. V. (2022). Natsionalno-kulturna identychnist osobystosti: sutnist ta struktura [A personality’s national and cultural identity: essence and structure]. Innovatsiina Pedahohika, 49(1), 17–20.
  41. Zulfa, A., & Najicha, F. U. (2022). Urgensi Penguatan Identitas Nasional dalam Menghadapi Society 5.0 di Era Globalisasi. Jurnal Kalacakra, 3(2), 65–71.