Visual Identity Differentiation Across Study Programs through Twibbon Designs for Universitas Negeri Makassar New Students (Class of 2026)
DOI:
https://doi.org/10.32664/mavis.v8i02.2538Keywords:
New Students, Study Program, Twibbon, Visual Differentiation, Visual IdentityAbstract
New-student twibbons function not only as media for digital participation but also as visual representations of study-program identity. This study identifies visual identity differentiation across five new-student twibbons at Universitas Negeri Makassar in 2026. A qualitative descriptive approach with comparative visual content analysis was applied. Five samples were purposively selected from study programs in different faculties and analyzed based on color, typography, illustration, disciplinary symbols, composition, visual style, and verbal narrative. The findings reveal five distinct visual characters: natural-scientific in Biology, classical-cultural in German Language Education, popular-digital in Digital Business, technical-industrial in Industrial Engineering, and illustrative-expressive in Drama, Dance, and Music Education. Disciplinary symbols and illustration styles provide the clearest differentiation, whereas color and typography primarily establish visual atmosphere. The findings indicate that study-program identity becomes stronger when twibbons consistently use distinctive elements connected to their disciplinary fields rather than relying solely on program names or logos.
References
[1] B. A. Hananto, “Perancangan identitas visual lintas medium untuk brand makanan: Studi kasus Kupana,” Titik Imaji, vol. 2, no. 2, pp. 62–72, 2020, doi: 10.30813/.v2i2.1958.
[2] I. N. Jayanegara and I. N. A. F. Setiawan, “Analisis bentuk pada identitas visual STMIK STIKOM Indonesia,” J. Bhs. Rupa, vol. 3, no. 2, pp. 76–82, 2020, doi: 10.31598/bahasarupa.v3i2.459.
[3] S. W. Hikmah, “Perancangan identitas visual melalui redesain logo Wildhani Design Studio,” BARIK, vol. 6, no. 3, pp. 272–284, 2025, doi: 10.26740/jdkv.v6i3.65832.
[4] H. Rahayu, “Perancangan identitas visual UMKM bidang kuliner ‘Bu Naf’ di Yogyakarta: Upaya menyintas pasca pandemi,” DeKaVe, vol. 17, no. 1, pp. 110–124, 2024, doi: 10.24821/dkv.v17i1.12644.
[5] F. Utari, “Identitas visual Krerora Tekstil: Rancangan dan pengaplikasiannya,” DeKaVe, vol. 18, no. 2, pp. 147–157, 2025, doi: 10.24821/dkv.v18i2.14932.
[6] E. Gunawan, H. Calista, P. Frite, R. Isfandriani, and K. M. Suwanto, “Proses perancangan identitas visual dan desain kemasan untuk brand Verenice,” IMATYPE J. Graph. Des. Stud., vol. 1, no. 1, pp. 1–12, 2022, doi: 10.37312/imatype.v1i1.5214.
[7] C. Larashati, “Redesain logo ‘Hadimu Home Bakery’ sebagai identitas visual pada usaha kue di Kota Bandung,” Besaung J. Seni Desain dan Budaya, vol. 9, no. 2, pp. 275–288, 2024, doi: 10.36982/jsdb.v9i2.4261.
[8] Meilani, “Teori warna: Penerapan lingkaran warna dalam berbusana,” Humaniora, vol. 4, no. 1, pp. 326–338, 2013, doi: 10.21512/humaniora.v4i1.3443.
[9] M. Monica and L. C. Luzar, “Efek warna dalam dunia desain dan periklanan,” Humaniora, vol. 2, no. 2, pp. 1084–1096, 2011, doi: 10.21512/humaniora.v2i2.3158.
[10] D. Wiratama, “Perancangan identitas visual Kota Salatiga sebagai kota multikultur dan toleran,” ARS J. Seni Rupa dan Desain, vol. 21, no. 3, pp. 139–148, 2018, doi: 10.24821/ars.v21i3.2894.
[11] Y. Faisal, I. W. Swandi, and I. W. Mudra, “Perancangan identitas visual dalam meningkatkan brand recognition Peken Senggol Gurat,” J. Pendidik. Seni Rupa Undiksha, vol. 14, no. 2, pp. 172–184, 2024, doi: 10.23887/jjpsp.v14i2.77445.
[12] I. N. B. Bhargawa, A. A. G. B. Udayana, and C. A. Artawan, “Perancangan ulang identitas visual untuk brand Tetuek Sangmong di Denpasar,” AMARASI J. Desain Komun. Vis., vol. 3, no. 2, pp. 192–204, 2022, doi: 10.59997/amarasi.v3i02.1685.
[13] I. K. D. Noorwatha and I. G. N. Wirawan, “Strategi desain dari visual branding The 6th International Seminar on Nusantara Heritage (ISoNH) 2017,” Segara Widya J. Penelit. Seni, vol. 8, no. 1, pp. 20–32, 2020, doi: 10.31091/sw.v8i1.720.
[14] A. I. Rohanindya and N. Kristiana, “Perancangan identitas visual merek Tandai,” J. Desain Graf. Apl., vol. 2, no. 1, pp. 78–89, 2024, doi: 10.26740/desgrafia.v2i1.64078.
[15] M. F. S. H. Mufarrihin and N. Kristiana, “Perancangan identitas visual Pusat Kesehatan Hewan (Puskeswan) Kota Surabaya,” J. Desain Graf. Apl., vol. 3, no. 2, pp. 363–373, 2025, doi: 10.26740/desgrafia.v3i2.75281.
[16] S. Hardjono, B. A. Hananto, and K. M. Suwanto, “Perancangan ulang identitas visual dan desain kemasan UMKM fesyen KonnuKu,” Titik Imaji, vol. 6, no. 1, pp. 10–19, 2023, doi: 10.30813/.v6i1.4319.
[17] R. L. Zahara, “Strategi branding logo dan kemasan produk makanan tradisional ‘Enye Ibu Iya,’” ARS J. Seni Rupa dan Desain, vol. 27, no. 1, pp. 7–12, 2024, doi: 10.24821/ars.v27i1.6757.
[18] K. Fitaloka, E. Suryani, and Firdaus, “Konstruksi representasi perempuan muslim modern melalui elemen desain komunikasi visual dalam iklan Wardah ‘Beauty Moves You,’” ARS J. Seni Rupa dan Desain, vol. 28, no. 3, pp. 171–180, 2025, doi: 10.24821/ars.v28i3.18231.
[19] A. Pradhana and A. R. Rizka, “Perancangan logo sebagai identitas visual untuk usaha pemasok sayur: Studi kasus UD. Sumber Makmur,” PRASI J. Bahasa, Seni, dan Pengajarannya, vol. 20, no. 1, pp. 172–183, 2025, doi: 10.23887/prasi.v20i01.98451.
Downloads
Published
Issue
Section
License
Copyright (c) 2026 MAVIS : Jurnal Desain Komunikasi Visual

This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
See the Copyright Policy and Licensing Policy of MAVIS: Jurnal Desain Komunikasi Visual.

