The adoption of QRIS in traditional markets remains uneven, particularly among older generations who experience low digital literacy and high levels of technology anxiety. These barriers are not solely technical but are strongly influenced by psychological factors such as fear of making transaction errors and lack of trust in digital payment systems. This study aims to develop a visual communication strategy to reduce apprehension and improve QRIS adoption among elderly users in traditional market settings. This research employs a qualitative approach using AIDA (Attention, Interest, Desire, Action) model to identify key issues derived from interviews, observations, and open-ended questionnaires. The findings are then translated into design solutions using the AIDA model as a framework for structuring communication strategies. The results indicate that visual communication design plays a significant role in bridging the gap between technological complexity and user understanding. By applying clear visual hierarchy, simplified information flow, trust-building messages, and step-by-step instructional visuals, the proposed design effectively addresses cognitive and emotional barriers. The study concludes that a behavior-oriented visual communication approach contributes to enhancing perceived ease of use and user confidence, reducing technology anxiety, and strengthening behavioral intention to adopt QRIS.
The rapid development of digital media has transformed the way information is produced, distributed, and consumed, making visual communication skills increasingly important for vocational high school students. However, students at SMK Teknologi Plus Padang still experience limitations in understanding fundamental graphic design principles, such as composition, typography, color, visual hierarchy, and effective message delivery. This condition affects their ability to create informative, attractive, and responsible digital content. Therefore, strengthening graphic design competency is needed to improve students’ visual literacy and creativity. This community service activity addressed the problem of how graphic design skills among vocational high school students can be improved through a participatory and practice-based learning approach. The objective of this activity was to enhance students’ graphic design competency through an integrated visual communication workshop. The activity was conducted using participatory methods consisting of introductory discussions, demonstrations, guided design practices, mentoring, and presentations of students’ design works. The materials covered basic visual communication principles, including layout composition, typography, color application, information hierarchy, and visual messaging strategies. The results indicated that participants showed improved understanding and confidence in developing graphic design works. Students were able to organize visual elements more effectively, produce clearer messages, and create more communicative designs. This activity contributed to strengthening visual literacy, digital creativity, and practical design skills that can support academic activities and creative entrepreneurship. However, the activity was limited by the workshop duration and the number of participants involved. Future programs are recommended to provide continuous training, portfolio development, and advanced design projects to achieve sustainable improvement in students’ graphic design competencies.
Cendawan Galeme merupakan potensi lokal masyarakat Jorong Data Simpang Dingin, Nagari Paninjauan, Kecamatan Tanjung Raya, Kabupaten Agam, Sumatera Barat, yang pengetahuan mengenai habitat, musim tumbuh, cara panen, pengolahan, dan pemanfaatannya diwariskan secara turun-temurun sebagai bagian dari etnomedisin. Kegiatan pengabdian ini bertujuan meningkatkan kapasitas masyarakat dalam membangun identitas digital Cendawan Galeme melalui Instagram tanpa memisahkan produk dari nilai budaya dan pengetahuan lokal. Pendekatan yang digunakan adalah Participatory Action Research (PAR) model Kemmis dan McTaggart yang berlangsung secara siklik melalui tahapan planning, action, observation, dan reflection, dengan masyarakat diposisikan sebagai mitra aktif. Kegiatan lapangan dilaksanakan pada 14 dan 21 Juli serta 4 Agustus 2026, mencakup penyusunan modul pelatihan, diskusi partisipatif, pengembangan identitas visual/logo, praktik fotografi dan desain Canva, penulisan caption berbasis pengetahuan lokal, serta evaluasi tertulis dan digital melalui QR Code. Hasil kegiatan menunjukkan tersusunnya modul pelatihan, terlaksananya diskusi partisipatif lintas generasi, berkembangnya identitas visual produk, serta aktifnya akun Instagram @galeme_datasimpangdingin. Refleksi kegiatan menemukan perlunya harmonisasi ejaan nama merek antara “Galame” dan “Galeme” yang masih inkonsisten pada logo, akun, dan materi promosi, sehingga menjadi agenda revised planning pada siklus berikutnya. Kegiatan ini menunjukkan bahwa PAR memberi kerangka yang sesuai untuk menghubungkan pengetahuan lokal dengan keterampilan komunikasi digital secara partisipatif dan berkelanjutan.
This study aims to comprehensively describe the internal role structure of performers and the local nomenclature of rhythmic patterns produced by the rapai instrument in the Indang traditional performance within Nagari Tandikek. Utilizing a descriptive qualitative approach with an ethnomusicological perspective, data were gathered through in-depth interviews with a maestro and tukang dikie of Indang, supplemented by direct field observations of drumming techniques. The findings reveal that Indang Tandikek possesses a highly specific and rigid role structure consisting of tukang dikie, tukang karang, tukang darak, tukang lalu, tukang apik, tukang aliah, and tukang panuruikan. Each role fulfills a distinct musical function crucial to maintaining performance continuity. Regarding organology and drumming techniques, the study identifies distinct local interlocking variations: darak panjang serves exclusively as the opening pattern, while the darak pendek group—comprising darak katereang, darak patiang jongkek, and darak tujuah—is played during vocal (dendang) pauses. Furthermore, the overall dynamics and tempo esclations are governed collectively through intuition (feeling) and technical mastery of the primary players rather than strict mathematical counts. This study concludes that the rhythmic complexity of Indang Tandikek functions not only as a visual aesthetic regulator but also as a preservation mechanism for social rhythms through a transmission system rooted in the kulipah (school lineage).
In the midst of modernization, the younger generation's interest in local culture, including Minangkabau traditional clothing, especially in the Koto Nan Gadang area, is decreasing. This condition encourages the need for a creative approach to revive the values and philosophical meanings inherent in Koto Nan Gadang traditional clothing, one of which is through the design of two-dimensional illustrations as a visual medium that is close to today's generation. This study aims to design a two-dimensional illustration of the youngest daughter (unmarried woman) wearing traditional clothing typical of the Koto Nan Gadang area in West Sumatra as a visualization of local culture through digital illustrations. The design method used is the Five Phases of Design Graphic Process method designed by Robin Landa. The method consists of 5 stages, namely orientation, analysis, concept, design, and implementation. Data collection was carried out qualitatively obtained from observations and interviews, as well as from books or archives related to the research object. This design produces a female character wearing traditional clothing typical of Koto Nan Gadang which is visualized in a two-dimensional illustration style, so that it can be a documentation and visual interpretation of traditional clothing of West Sumatra, especially in Koto Nan Gandang. This work not only functions as a medium for art appreciation, but also as an educational tool in introducing the cultural identity of Koto Nan Gadang to a wider audience, especially the younger generation who are familiar with digital media
