Cultural Representation in Aneka Rasa and Aneka Buah Dodol Picnic Packaging Development

Rinkapati Swatriani; I Wayan Swandi; I Wayan Mudra; Ni Luh Desi In Diana Sari

doi:10.55927/mudima.v6i8.110

Authors

Rinkapati Swatriani Inatitut Seni Indonesia Bali
I Wayan Swandi Indonesia Institute of the Arts (ISI) Denpasar
I Wayan Mudra Indonesia Institute of the Arts (ISI) Denpasar
Ni Luh Desi In Diana Sari Indonesia Institute of the Arts (ISI) Denpasar

DOI:

https://doi.org/10.55927/mudima.v6i8.110

Keywords:

Packaging, Design, Representation, and Semiotic

Abstract

Packaging serves not only as product protection but also as a visual communication medium that represents local cultural identity. This study aims to examine how cultural representation is realized through the development of graphic and structural packaging design in the Aneka Rasa and Aneka Buah editions of Dodol Picnic Garut using Charles Sanders Peirce's semiotic framework. A qualitative descriptive approach was employed, with data collected through visual observation, documentation, and literature review. Data were analyzed using Peirce's triadic semiotic model, consisting of representamen, object, and interpretant, to identify the cultural meanings embedded in graphic and structural packaging elements. The findings reveal that Garut's cultural identity is communicated through the integration of color, illustrations, typography, logos, materials, packaging form, transparent windows, carrying handles, and opening systems as a unified system of signs. This study demonstrates that the integration of graphic and structural packaging design effectively represents the geographical, gastronomic, historical, and tourism identities of Garut, thereby extending the application of Peirce's semiotics in packaging design research.

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