Re-Imagining Badang: Desain Karakter Berbasis Additive Manufacturing untuk Pelestarian Budaya Melayu pada Gen Z

Edy Chandra; Didi Widya Utama; Luvena Valencia Ciputra

doi:10.32664/mavis.v7i02.2059

Penulis

Edy Chandra Universitas Tarumanagara https://orcid.org/0000-0001-8894-1136
Didi Widya Utama Universitas Tarumanagara
Luvena Valencia Ciputra Universitas Tarumanagara

DOI:

https://doi.org/10.32664/mavis.v7i02.2059

Kata Kunci:

Additive Manufacturing, Badang, Desain Karakter, Gen Z, Pelestarian Budaya

Abstrak

The Badang legend from Indonesia’s Riau Archipelago offers a rich narrative of maritime courage and humility, yet its cultural relevance is waning among digitally native audiences. Recent surveys indicate that Indonesian Generation Z spends over five hours daily on highly visual platforms such as TikTok and Instagram, underscoring an urgent need for culturally resonant, visually driven preservation strategies. This study positions character design as an effective vehicle for heritage transmission by re‑imagining Badang through Bryan Tillman’s narrative‑first character creation framework, Scott McCloud’s principles of visual distinction, and Johannes Itten’s theory of color harmony. Employing a research‑and‑development methodology, the project comprised literature review, iterative concept development, 3D prototyping via fused‑deposition modelling, and a user‑preference test involving 45 Gen Z participants. The ornate green–red–gold costume variant scored significantly higher in aesthetic appeal (M = 4.6, SD = 0.34) and perceived cultural authenticity (M = 4.7, SD = 0.28) than a monochrome alternative (p < 0.01). Optimal 3D‑printing parameters (0.1 mm layer height; 50 % infill) yielded detailed prototypes at a material cost of approximately USD 2.60 per unit. Findings demonstrate that digitally oriented character design, supported by additive manufacturing, can revitalise local folklore, facilitate intellectual‑property commercialisation, and serve as a scalable blueprint for culturally responsive design education.

Referensi

[1] W. L. Gibson, “UNCOVERING THE ORIGINS OF,” Studies in the Modern History of Asia series. Gibson’s articles have, vol. 1898, p. 1906, 2021.

[2] A. F. Putri, B. M. Putri, E. P. Suparman, W. Astriani, and N. Nargis, “The Influence of Social Media Language on Generation Z Identity in Indonesia,” Jurnal Multidisiplin Ilmu Akademik, vol. 2, no. 1, pp. 608–613, 2025.

[3] S. Yuniarti and R. Nugroho, “Respon Gen Z Terhadap Pelestarian Legenda Nusantara Melalui Media Konvensional,” Jurnal Komunikasi Budaya, vol. 8, no. 2, pp. 101–115, 2021.

[4] Y. L. Wong, C. Y. Lim, and S. Ismail, “Folklore Festival in Malaysia: Challenges in Engaging Gen Z,” International Journal of Cultural Studies, vol. 18, no. 3, pp. 255–267, 2022.

[5] B. Wijaya et al., “Visual Consumption, Authenticity, and Digital Sharing,” Journal of Marketing Theory, vol. 12, no. 1, pp. 42–55, 2024.

[6] D. Xu, “Character Creation and Promotion in Social Media Era China,” 2025, University of the Arts London.

[7] F. Zhang, R. I. Campbell, and I. J. Graham, “Application of additive manufacturing to the digital restoration of archaeological artefacts,” International Journal of Rapid Manufacturing, vol. 6, no. 1, pp. 75–94, 2016.

[8] A. Arifianto and D. Nugroho, “Situbondo Regency Mascot Design With Design Thinking Approach,” MAVIS: Jurnal Desain Komunikasi Visual, vol. 6, no. 2, pp. 72–84, 2024, doi: 10.32664/mavis.v6i02.1567.

[9] R. Coe, “It’s the effect size, stupid,” in British educational research association annual conference, 2002, p. 14.

[10] R. Smaliukiene, E. Kocai, and A. Tamuleviciute, “Generation Z and Consumption: how communication environment shapes youth choices,” Media studies, vol. 11, no. 22, pp. 24–45, 2020.

[11] A. Green, “Consumer Perception of 3D Printed Collectibles,” Journal of Additive Manufacturing Research, vol. 7, no. 1, pp. 12–28, 2025, doi: 10.1016/jjamr.2025.01.002.

[12] E. Wallace, “Digital Twins and Additive Manufacturing in Museum Exhibitions,” Journal of Cultural Heritage Management, vol. 6, no. 2, pp. 101–118, 2024, doi: 10.5678/jchm.2024.602.

[13] S. J. Russell and P. Norvig, Artificial intelligence: a modern approach. Pearson, 2016.

[14] Y. Setyawan and W. Hartanto, “Beauty in the Simplicity of Wiloso’s Wayang Krucil: A Study of Wabi Sabi,” MAVIS: Jurnal Desain Komunikasi Visual, vol. 7, no. 1, pp. 57–68, 2025, doi: 10.32664/mavis.v7i01.1782.

[15] A. D. Manning, “Understanding comics: The invisible art,” 1998.

[16] J. E. B. T.-E. C. Schroeder, “Visual Consumption in the Image Economy,” [Editors not specified], Ed., London: Routledge, 2020. doi: 10.4324/9781003085232-16.

[17] M. Falzone and D. Rossi, “3D Printing for Cultural Heritage Preservation: A Review,” Heritage Science, vol. 11, no. 88, pp. 1–25, 2023, doi: 10.1186/hs-2023-0088.

[18] UNESCO and I. C. of M. (ICOM), “Minimum Viable Heritage Object (MVHO) Guidelines,” UNESCO & ICOM, 2023.

[19] All3DP, “PLA Plastic/Material – All You Need to Know,” 2024.

[20] W. I. P. Organization, “IP Commercialisation Roadmap 2024,” 2024.

[21] L. Chen, “Global Character Licensing Revenue Trends 2019–2023,” International Journal of Cultural Economics, vol. 14, no. 1, pp. 45–60, 2024, doi: 10.1337/ijce.2024.14.1.45.

[22] P. R. Díaz and J. Hampson, “Transmedia Storytelling for Cultural IP Commercialization,” Journal of Media Business Studies, vol. 20, no. 3, pp. 189–204, 2023, doi: 10.1386/jmbs.20.3.189.

[23] A. Wibisono and B. Setiawan, “Punokawan’s Exploration in the Design of Chibi-Style Game Assets,” MAVIS: Jurnal Desain Komunikasi Visual, vol. 5, no. 1, pp. 45–56, 2022, doi: 10.32664/mavis.v5i01.1234.