Henricus Kusbiantoro desainer kelas dunia

Sebagai desainer merek, Henricus Kusbiantoro telah melahirkan banyak desain logo dan meraih sejumlah penghargaan internasional. Desain karyanya, antara lain, logo supremasi sepak bola Amerika Super Bowl 2011, The Emmy Awards, Samsung Beijing Olympics 2008, FIFA World Cup, Japan Airlines, Guggenheim Foundation dan Acura Automobile. Demikinan pula dengan logo situs DGI (Desain Grafis Indonesia) yang didirikan oleh desainer senior Hanny Kardinata adalah buah karya desainer grafis kelahiran asal Bandung ini.

Penghargaan dari The Art Director’s Club New York, 365 AIGA, The New York Timesdan Majalah Fortune merupakan pengakuan penting terhadap desain karya pria asal Bandung yang pernah berkenalan dengan mantan Presiden Peru Alejandro Toledo, sutradara film Steven Spielberg dan aktor Tom Hanks ini.

Henricus tak pernah menyangka dirinya bakal menjadi perancang grafis Indonesia pertama yang meraih penghargaan internasional paling berpengaruh: D&AD London Merit Award 2007. Penghargaan itu diraih berkat karyanya: logo kampanye internasional (RED) bagi penderita AIDS di Afrika yang dipelopori Bono dari grup musik U2 dan diresmikan di World Economic Forum, Davos, Swiss, pada 2006.

Kini Henricus bekerja sebagai senior art director di Landor Associates yang berpusat di San Francisco, Amerika Serikat. Landor Associates yang didirikan tahun 1941 diakui sebagai pionir dan konsultan desain merek legendaris dan terkemuka di dunia. Karya-karyanya yang berupa desain logo telah banyak dipakai dan tersebar secara global, termasuk di Indonesia. Di tengah kesibukannya melahirkan karya-karya desain merek unggulan, Henricus juga tidak lupa membagikan dan bertukar informasi sebagai pengajar desain grafis di Program Master Desain Grafis Academy of Art University, San Francisco, dan pengajar tamu di berbagai institusi desain di AS, Kanada dan negara-negara Asia (termasuk Indonesia).

Dilahirkan di Bandung tahun 1973 dari keluarga sederhana, Henricus sempat mengenyam pendidikan dasar desain di Universitas Trisakti Jakarta (1992), sebelum akhirnya memutuskan menekuni bidang desain grafis di Seni Rupa Institut Teknologi Bandung di bawah bimbingan Prof. A.D. Pirous dan perancang grafis kawakan sekaligus kartunis Indonesia, Priyanto Sunarto.

Lulus dari ITB tahun 1997 dan diganjar Ganesha Award karena meraih predikat mahasiswa terbaik Seni Rupa ITB, ia memilih belajar sekaligus memulai karier pertama desain grafisnya pada mentor sekaligus desainer eksentrik Hermawan Tanzil, pemilik studio desain grafis terkemuka LeBoYe di kawasan Kemang, Jakarta Selatan.

Di saat pecah kerusuhan Mei 1998, Henricus yang berangan-angan menjadi pengajar desain grafis di Jakarta memperoleh beasiswa paruh dari ASIA Help (IIE Foundation) untuk meneruskan pendidikan desain grafis di Pratt Institute Brooklyn, New York. Di kota ini, ia bertemu dengan Hwang Hyun Taik — kini guru besar Desain Grafis Universitas Hanyang, Korea Selatan. Pertemuan itu banyak mengubah arah jalan hidupnya. Henricus menerima usulan Hyun Taik untuk kembali belajar pada desainer legendaris AS Seymour Chwast dan Milton Glaser — pendiri Pushpin Studio dan perancang logo “I Love New York”.

Sejak meraih gelar master dengan predikat highest achievementdari Pratt Institute, Brooklyn, di tahun 2000, Henricus langsung melamar untuk magang di biro desain grafis internasional, Chermayeff & Geismar, yang telah menghasilkan ribuan logo, antara lain NBC, Mobil, PBS, Pan Am, Xerox dan National Geographic.

Setelah magang selama tiga bulan, Henricus ditawari menjadi karyawan penuh sebagai desainer grafis junior di Chermayeff & Geismar hingga 2002. Selepas dari Chermayeff & Geismar New York, ia bekerja pada konsultan merek inovatif sekaligus kontroversial asal Inggris, Wolff Olins, di New York dan tergabung dalam tim kreatif inti yang membidani revitalisasi menyeluruh merek General Electric (GE) tahun 2004.

Kecintaan pada desain logo memberikan arah hidup yang lebih pasti dan berarti bagi Henricus. Ia jatuh cinta dan memilih fokus pada logo. Inilah yang mengantarkan dirinya menjadi desainer logo kelas dunia. (Dede Suryadi dan Herning Banirestu)

Sumber:
Majalah SWA
DGI

How people sense media

THE USE AND LIMITATIONS OF EYEBALLS AND EARS

The following ray of sunlight is from an interview with a copy testing company (name delicately withheld). “There is an open battle for the eyes and ears of consumers… and a silent battle for their hearts and minds.”

I think they got it right the first time. Checking eyes and ears can make our media dollars smarter. Hearts and minds I leave to Beth Israel.

Clark Gable had big ears when small ones would have done. He learned his movie roles by listening while he slept. The often overlooked point is the eyes can close, but the ears cannot. Which brings us to our subject: the different media senses and how well we measure them.

THE MEDIA SENSES

Media exposure is defined by our senses, not by research. The key media senses are seeing (TV, Print, Internet, Out-of-home) and hearing (Radio, TV, Internet).

Print also has an under-rated touch dimension which lets us skim pages.

When the ARF was a frisky five years younger it constructed a model for measuring media. The TV measures are 1) program audience or eyes-on vehicle exposure, 2) commercial audience or eyes-on advertising exposure, and 3) attentive audience or eyes-on advertising attentiveness.

In TV the basic requirement for each stage is eyes-on, or seeing. In radio it is ears-open, or hearing, which brings us to the subject of this essay – our media senses and how well they are measured.

Seeing is a voluntary or conscious sense. We point the head to see things (some frogs don’t have to). And we close our eyes not to see things and to sleep (some fish can’t do either).

Hearing is involuntary in that we may not listen, but we cannot shut our ears.

TV’S VALUE IS SEEING

The words viewing, seeing and watching may have slightly different connotations, but that’s smoke. When the words are used in TV research they should mean seeing, or eyes-on the screen.

The peoplemeter is coy. It claims to report watching, but it doesn’t measure seeing because it can’t. The short explanation is people think having the TV take pictures is an invasion of privacy.

To report what it calls watching the peoplemeter asks respondents to push a button when they start and stop watching TV. But if they don’t push the button when they turn their head, or when they close their eyes, or when they leave the room even briefly, they are still recorded as watching, even though they cannot see the screen.

This minor malfeasance, especially during commercials, significantly inflates Nielsen’s commercial minute audience. It makes advertisers pay for viewers who are not seeing.

RADIO’S VALUE IS HEARING

Just as an ideal TV currency measures seeing, an ideal Radio currency measures hearing. The difference is hearing is involuntary (or unconscious).

When sound is present, we may not focus on it, but we are aware of it. If asked, “Do you hear something?” we will answer yes. My noisy neighbor is annoying because I cannot close my ears.

The Radio PPM is a passive system which measures hearing. When respondents carry a PPM they hear any carrier signal a PPM records, since the PPM registers a radio exposure only when it is audible to the human ear.

That is the key sensory and measurement difference between TV and Radio. Even when listeners are not consciously listening they still hear radio. But when viewers do not see television, they do not see television.

THE BASEMENT OF THE BRAIN

Brand awareness is the hard currency of advertising, but a second kind of awareness has bubbled up from the basement of the brain.

Neuroscience shows the brain processes experience consciously and unconsciously. Many researchers see value in unconscious, or “low involvement” processing. They find it helps consumers remember brands and it can influence their brand decisions.

Hearing, as distinct from listening, is a good example of low involvement processing.

THE SURROUND OF SOUND

What does this mean to radio advertisers? In addition conscious awareness (listening), radio is the poster child for low involvement awareness (hearing). This combination gives Radio the most complete attentiveness package of any medium.

Listeners when not consciously listening still hear radio. But when viewers don’t see television, they don’t see television.

Is that why we call both audience?

Sumber :
Google