• colloquium

Empowering Local Mind In Art Design& Cultural Heritage

2016

Empowering Local MindIn Art Design & Cultural Heritage

3rd ISMEInternationalColloquium

2016proceeding book

27&28December2016

UniversitiTeknologi MARA,Melaka, Malaysia.

Empowering Local MindIn Art Design & Cultural Heritage

3rd ISMEInternationalColloquium2016EDITORS AND COMPILERS:Dr. Azahar Harun

Dr. Rosli Zakaria

Dr. Abd Rasid

Pn. Haslinda Abd Razak

Pn. Liza Marziana Mohammad Noh

En Nadzri Mohd SharifEn. Shaleh Mohd Mujir

Pn Fatrisha Mohamed YussofPn Anith Liyana Amin Nudin

Pn lIinadia Jamil

Cik Fazlina Mohd Radzi

Cik Aidah Alias

Cik Nurkhazilah Idris

COVER DESIGN:Norsharina Samsuri

PUBLISHED BY:Faculty of Art & Design,UiTM MelakaKM26 Jalan lendu.78000 Alor Gajah, MelakaTel: +606 - 55820941 +60655821901 +6065582113Email: ismefssr@gmail.comWeb: http://isme2016.weebly.comISBN: 978-967-0637-26-6

•Empowering Loesl Mind In Art DfJSlgn

& CuffulBl H.rlttJg8

2016

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmittedIn any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without permissionof the copyright holder.

•Empowering Local Mind In Art Design

& Cultural Heritage

2016

Empowering Local MindIn Art Design & Cultural Heritage

3rd ISMEInternationalColloquium2016

Copyright © 2016

Faculty of Art & Design,UiTM MelakaKM26 Jalan Lendu,78000 Alor Gajah Melakahttp://isme2016.weebly.com

1 Personification in Marketing Communication: Case Study of Malaysian Brands

Azahar Harun, Mohamed Razeef Abd Razak, Russlan Abd Rahim, Lili Eliana Mohd Radzuan, Amina Syarfina Abu Bakar

9

2 The Image of Man after September 11

Mohd. Shaharudin Sabu, Mohd. Saharuddin Supar, Hisammudin Ahmad, Shaharin Sulaiman, Ahmad Zuraimi Abdul Rahim, Mohd. Ali Azraei Bebit, Shahrul Munir Mohd Kaulan

21

3 The Image Construction of Loro Blonyo Craft in Global Market through Packaging Design that Reflect Local Image

Nanang Yuliantoa, Edy Tri Sulistyoa, Slamet Subiyantoroa, and Nadia Sigi Prameswaria

27

4 Game-Based Learning using Visual Spatial Approach for Children with Autism to Improve Social Development: A Pilot Study

Ilinadia Jamil, Fatrisha Mohamed Yussof, Nor Yus Shahirah Hassan, Azzureen Nor Ain Azizuddin and Zainal Kadir

32

5 Visual Iklan Berunsurkan Seksual Di Media Internet: Persepsi Golongan Bawah Umur

Fatrisha Mohamed Yussof, Ilinadia Jamil, Azahar Harun, Norsharina Samsuri,Nurkhazilah Idris, Nor Sabrena Norizan

42

6 An Iconographical Interpretation Of Street Art In Malaysia

Syafril Amir Muhammad, Nurul Huda Mohd Din, Profesor Dr. Muliyadi Mahamood, Dr. Mumtaz Mokhtar

51

7 The Relationship between Place and Hallmark Event; Malaysian Cultural Context

Musaddiq Khalil, Amer Shakir Zainol, Shaliza Dasuka, Liza Marziana, Khazilah Idris, and Fazlina Radzi

64

8 Aplikasi Teknik Tempa dan Peleburan dalam Seni Arca Besi Raja Shah-riman Raja Aziddin

Liza Marziana Mohammad Noh, Shaliza Dasuki, Nurkhazilah Idris,Fazlina Mohd Radzi, Musaddiq Mohd Khalil Imran

74

9 Sulaman Keringkam : Motif Kemasan Sisi Beridentiti Melayu Tempatan

Norhasliyana Hazlin Zainal Amri, Hamdzun Haron, dan Abdul Latif Samian

85

10 Malay Aesthetic Concept through Malay Woodcarving Motifs in Visual Artworks

N. A. Hassan, P. Amin, and S. Tohid

97

11 Illustrasi Poster Kempen Alam Sekitar dalam Simbol Kebudayaan

Muliyati Binti Mat Alim, and Profesor Madya Dr. Abdul Halim bin Husain

106

12 Penghayatan Nilai- Nilai Patriotisme Dalam Arca Awam Pelajar Uitm Melaka Sempena Pertandingan Hiasan Patriotisme Daerah Alor Gajah

W. M. Z. Wan Yaacob, N.H. Abdulah, A. Osman, M. F. Samsudin,M. A. A. Bebit, S. M. Mohd Kaulan dan M. S. Sabu

118

Content

13 Keunikan Ukiran Patung Kayu dalam Kehidupan Kaum Jah Hut dalam Keperluan dan Kepercayaan

Nor Edzrine Binti Abdullah Sani

124

14 Properties of Mandi Bunga (flowering bath) as Malaysian tradition Practice

S. Roslan, R. Legino

135

15 Malaysian Batik Painting From 1950 to 2010: A Study on Style

A.E. Mohd Fauzi, N. H. Ghazali and N. H. Ahmad

145

16 Interpreting Motif and Pattern in Mohd Nor Mahmud Painting Batik: Pakai Semutar Kain Lepas.

H. Abd Razak, R.Legino, B. Samuri

151

17 The Aesthetic of Traditional Lurik in Socio-Cultural Context

E. S.Handayani

157

18 Brand Identity on Local Malay Herbal Toiletries Packaging Design as a Potential Tourism Product

Siti Sarah Adam Wan, Noraziah Mohd Razali, Wan Nur Khalisah Shamsudin & Ariff Ali

162

19 Budaya Melayu Sebagai Simbol dan Makna Dalam Seni Catan Moden Malaysia

Liza Marziana Mohammad Noh, Hamdzun Haron, Abdul Latif Samian & Tengku Intan Suzila Tengku Sharif

172

20 Budaya Visual ‘Seni Kolam’ Dalam Sistem Sosial Masyarakat India

Santhi A/P Letchumanan, Lee Hoi Yeh, Prof. Madya Dr. Abdul Halim Hussain

180

21 Cetusan Idea Seni Tekat Perak

Azni Hanim Hamzah, Salina Abdul Manan, Noor Hafiza Ismail & Nur Hikma Mat Yusuf

198

22 Chlorophyll Print: An Alternative Approach to Describe Photographic Printing Process Using Nature Based For Photography StudentsDona DLowii Madon, Aidah Alias, Raziq Abdul Samat, Farihan Zahari, Shafira Shaari & Shaharin Sulaiman

207

23 Designing Jawi Typeface to Enhance The Quality of Modern Design

Mohamed Razeef Abdul Razak, Prof. Dr. D’zul Haimi Md. Zain, Dr. Azahar Harun, Dr. Saiful Akram Che Cob & Lili Eliana Mohd. Radzuan

218

24 Diversification of Batik Jarum Handicraft Art Product to Solidify Community Based Creative Economic Development in Klaten Regency

Margana

225

25 Empowering “Girli” Batik Craftswomen to Enhance Family Economy and Develop Tourism Village in Sragen District

Dr. Slamet Supriyadi & Prof. Dr. Sariatun

236

26 Identiti Visual Seni Catan Moden Malaysia Melalui Media Campuran Dalam Konteks Kebudayaan

Fairus Ahmad Yusof 1, Prof. Madya. Dr. Abdul Halim Husain

244

27 Inovasi Media TMK Dalam Pendekatan Pembelajaran dan Pengajaran Pendidikan Seni Visual Berasaskan Gaya Belajar Visual

Siti Hayati binti Haji Mohd Yusoff

274

28 Interpretasi Kandungan Imej Fotografi Digital Sosio-Masyarakat Me-layu Berdasarkan Konsep Literasi Visual

Nadzri Mohd Sharif, Meor Hasmadi Meor Hamzah & Nor Fariza Baharuddin

291

29 Kartun Akhbar Sebagai Wadah Penyampaian Suara Masyarakat: Suatu Kritikan Terhadap Isu-Isu Semasa

Shaliza Dasuki, Liza Marziana Mohammad Noh, Nurkhazilah Idris, Fazlina Mohd Radzi, Musaddiq Mohd Khalil & Nur Hasliza Abdulah

304

30 Kartun Bertemakan Keagamaan Atas Talian: Interpretasi Dakwah dan Sindiran

Fazlina Mohd Radzi, Shaliza Dasuki, Nurkhazilah Idris, Liza Marziana Mohammad Noh & Musaddiq Muhamad Khalil

317

31 Keindahan Tengkolok Getam Pekasam Warisan Kesultanan Perak Darul Ridzuan

Liza Marziana Mohamad Noh, Salina Abdul Manan, Azni Hanim Hamzah, Noor Hafiza Ismail & Mohd Hafiz Sabran

326

32 Menggembur ‘Memori Kolektif’: Potensi ‘Seni Partisipatori’ Sebagai Media Konservasi Budaya

Diana Ibrahim, M. Hendra Himawan dan Mohd Saharuddin Supar

333

33 Model Landskap Bandaraya Islam Di Kawasan Tropika Berdasarkan Empat Faktor Nilai Rekabentuk

N. H Ramle & R. Abdullah

343

34 Pelaksanaan PBS Guru-Guru PSV Hilir Perak Dalam Pengajaran dan Pembelajaran Berasaskan Estetik

Lee Hoi Yeh, Dr. Mohd Zahuri Khairani

352

35 Permata Yang Hilang: Pembelajaran Penulisan Seni Khat Dan Jawi

Ainun Jariah Yaacob, Ahmad Rajaei Awang, Mohd Fadil Sulaiman, Mohd.Yazid Misdi

367

36 Persona Komunikasi Tipografi di dalam Artifak Kartografi

Wan Juria Emeih Wahed & RidzuanHussin

380

37 The ‘Me-Too’ Phenomenon in Packaging Design: A Case Study of Malaysian Retail Products

Anith Liyana Amin Nudin, Mohd Amin Mohd Noh, Wan Nur Khalisah Shamsudin, Izwan Abdul Ghafar, Norsharina Samsuri, Nik Narimah Nik Abdullah and Fatrisha Mohamed Yussof

392

38 Interaction Design in Collaborative Augmented Reality (AR) Story-book for Children

Lili Eliana Mohd Radzuan, Wan Nur Khalisah Shamsudin, Siti NurIzaura Razis , Azahar Harun and Mohamed Razeef Abd Razak

403

39 Analisis Proses Penghasilan Lakaran Awal Dari Segi Penggunaan Material, Idea dan Pengisian (Contents) Mengikut Bidang-Bidang yang Terdapat di Fakulti Seni Lukis & Seni Reka, UiTM Melaka: Kajian Kes Pameran Think Things Pada Tahun 2016

Salmah Ali, Hisammudin Ahmad, Haslinda Razak, Wan Nor Ayuni Wan Mohd Zain, Norsharina Samsuri , Nurkhazilah Idris dan Muhammad Fitri Samsuddin

410

40 Corporate Rebranding Design of Oil and Gas Company in Malaysia: Case Study of SMART Petrol

Amina Syarfina Abu Bakar, Azahar Harun, Mohamed Razeef Abd Razak

423

41 Apresiasi Karya Seni Catan ‘Siri Dungun’ Dalam Pendekatan Etnomatematik

Rushana Bte Sulaiman @ Abd Rahim, Rushana Bte Sulaiman @ Abd Rahim

434

42 Aturan Pertiga (Rule Of Thirds) Sebagai Elemen Baru Dalam Pembelajaran Komposisi Bagi Menghasilkan Karya Seni Catan

Shahariah Mohamed Roshdi, Hisammudin Ahmad, Mohd Haniff b. Mohd Khalid, Dr. Abd. Rasid Ismail, Fazlina Mohd Radzi, Nur Hasliza Abdulah, Nurul Izza Ab. Aziz

449

43 Kempen Budi Bahasa Melalui Senireka Bentuk Pembungkusan Produk SME

Farhanah Abu Sujak, Siti Raba’ah Abdul Razak, Nurul Akma Abdul Wahab, Nurin Elani Makrai

461

44 Participatory Art Project To Develop The Creative Potential Of Students Of Senior High School In Surakarta

Adam Wahida

470

45 Pemikiran Visual Terhadap Permainan Ceper Berasaskan Sistem Sosial Budaya

Zulpaimin bin Hamid, Prof. Madya Dr. Abdul Halim bin Hussain

479

46 Pengaruh Elemen Vegetal Dalam Seni Mushaf Nusantara

Nurul Huda Mohd Din, Syafril Amir Muhammad, Prof. Dr. D’zul Haimi Md Zain, Dr. Mumtaz Mokhtar

493

47 Puppet Staging through Media Creation Workshop as the Development of Character Building Model for the Marginal in Bengawan Solo Riverbanks

Endang Widiyastuti

509

48 Rattan Furniture Design: A Comparison Study between Malaysia and Indonesia Design Trend

Muhammad Muizzuddin Bin Darus, Dr. Ruwaidy Bin Mat Rasul, Abu Bakar Bin Abdul Aziz, Nurhikma Binti Mat Yusof, Dr Deny Willy Junaidi

520

49 Seni sebagai Praktis Sosial: Garis Teori dan Amalan Dalam Seni Rupa Kontemporari Malaysia

Diana Ibrahim, Mohd Yuszaidy Mohd Yusoff, and Yusmilayati Yunus

529

50 Struktur Reka Bentuk Mimbar Masjid Baru Terengganu

Noor Hafiza Ismail, Hamdzun Haron, Zuliskandar Ramli, Salina Abdul Manan & Azni Hanim Hamzah

541

51 Tapak Warisan Arkeologi Lembah Bujang: Keunikan Arkeopelancongan Di Negeri Kedah

Farhana Abdullah, Adnan Jusoh, Nasir Nayan & Zuliskandar Ramli

549

52 Study On Symbolism Of Malay Islamic Cultural Heritage In Malaysian Visual Arts : Found In Syed Ahmad Jamal Artworks

Nurkhazilah Idris, Liza Marziana Mohammad Noh, Shaliza Dasuki, Fatrisha Mohd Yussof, Fazlina Mohd Radzi, Musaddiq Muhamad Khalil

558

53 Temporary Evacuation and Relief Centre Design Management in Malaysia: an Overview

Dr Ruwaidy Bin Mat Rasul, Muhammad Muizzuddin Bin Darus, Abu Bakar Bin Abdul Aziz

569

54 The Cotton Cloth Qur’an binding of the East Coast of the Malay Peninsula

Ros Mahwati Ahmad Zakaria

577

55 The Roles of Interactive Multimedia Learning Android-based Application for Primary Schools Teachers

Tjahjo Prabowo, Mohamad Suhartob, Mulyanto, Nadia Sigi Prameswari

585

56 The Status Quo of Malaysian Printmaking

Siti Safura Zahari, Nur Fatiyah Roslan, Nurin Elani Makrai, Nor Arseha Karimon, Mohd Fawazie Arshad and Romli Mahmud

592

3rd ISME International Colloquium 2016 145

Malaysian Batik Painting From 1950 to 2010: A Study on Style

A. E. Mohd Fauzi1, N. H. Ghazali2 and N. H. Ahmad3

1-3Department of Textile, Faculty of Art and Design, Universiti Teknologi MARA, 18500 Machang, Kelantan Darul Naim, Malaysia

*corresponding author: anis850@salam.uitm.edu.my

Abstract— Throughout these few past decades batik painting in Malaysia has gone through a lot of growth as well as changes in techniques, idea and ways of producing batik painting artworks. Batik painting has become one of the additional media by some artists in Malaysia. In this thesis the researcher attempt to study and analyze on the styles of the batik painting in Malaysia from 1950s to the 2010s. The objectives and aims of this research are to study the development of styles in Malaysian batik painting; to study the history and development of Batik Painting in Malaysia; to analyze the style of Malaysian Batik Painting in from 1950s until 2000s; to come up with the classification of styles of Malaysian batik painting. The research methodology use is qualitative. Thirteen batik painting artworks were selected by seven batik painting artist. The researcher used Feldman method of criticism that comprises four strategies of criticism, which are description, analysis, interpretation and evaluation to criticize and appreciate the artworks. The researcher analyzed the data based on the theory of style used by art historian, Paul Zucker in order to determine the styles used. The findings of the research showed that most of Malaysian batik painting artists have been strongly influenced by the National Cultural Congress as it can be seen through the production of batik painting in this time period. Meanwhile, most of the ideas and images are based on the spiritual movement that emphasizes on religious as well as cultural factors prompted by the congress. Education is also an important factor in the development of style in Malaysian batik painting, where all selected artists had received formal art education from different countries and school of arts, locally or internationally. Author Keywords: Batik Painting; Batik; Style of Malaysian Batik Painting

1. INTRODUCTION

History has shown that prior the conception of modern Malaysian art, traditional artwork such as woodcarving, batik and weaving dominated the Malaysian visual art scene. Malaysian visual art emphasized more on traditional artistic convention that illustrated the manifestation of the collective cultural values of the society. The birth of modern Malaysian art is linked to the modernization process

146 3rd ISME International Colloquium 2016

in the country. Three main factors influenced the early development of modern Malaysian art, namely English colonization, the immigration of foreigners, and education. As a result, traditional art based on abstraction and symbolism had diverted from daily life-based to the surrounding landscape. The transformation in style and concept of these pioneering artists represents the turning point that marked the birth of modern art in Malaysia. Although modern Malaysian art was influenced by other elements, Malaysian artists are generally inclined to portray ideas based on traditional and Islamic art. Malaysian artists are fond to look at traditional art for inspiration by incorporating motifs of Islamic and traditional art in their works, including calligraphy, batik, woodcarving and architecture. In the light of this thesis, the focus will primarily be painting with emphasis on batik painting. Batik art is a method of textile design and pattern that is based on the use of wax and dyes, either natural dyes or modern coloring. Wax is the main material used to separate colors that are drawn either using the embedded or canting on the textile surface. Color is then either added by various methods such as dipping or brushing. The uniqueness and the art of batik lie in the different characteristics of the pattern and the resulting effects. In terms of technique, media, themes or motives, Batik has enriched the style of modern art as well as strengthened the ties between traditional art and modern art. This is a continuation of the process of art. Batik becomes an alternative to the search for identity of modern art in Malaysia. Change in style, process and themes of painting batik have shown great development over the years. Batik painting is now able to address questions and opinions that were once dismissed in the past. In the early 1980s, the principles of modern Malaysian art encouraged the exploration of new media and visual forms of expression. Batik, as an artistic medium, had brought about the emergence of a new generation of artists in 1980s. Chuah Thean Teng in Penang initiated the shift from batik as garment to batik as painting in the 1950s. Nowadays, based on the researcher’s personal experience and observation, many Malaysian artists apply batik technique in creating artworks as an alternative media but it is not popular compared to the other techniques such as painting and drawing. Furthermore, it is still not well practiced and applied compared to the used of other media.

2. METHODS

The researcher took into account the two important factors in analyzing batik painting artworks; the form and the content of each artwork. The synthesis of form and content based on the data collected were able to conclude and determine the styles of the batik-painting artist’s artwork. The researcher used the Feldman theory, which consists of four stages of criticism: description, analysis, interpretation and evaluation. In addition, the data was analyzed based on the theory of style used by art historian, Paul Zucker. In his book, ‘Styles in Painting: A Comparative Study proposed five factors on the form of style,’ he identified five factors to be considered when analyzing style which were:

3rd ISME International Colloquium 2016 147

1. Period2. Country3. Social and Political system4. Spiritual movement (religious or cultural)5. Materials and Technique

3. RESULTS AND DISCUSSION

As mentioned by Paul Zucker, the influence of style in the artworks produced in these decades was relative to the period the artworks were produced. The period plays an important part in influencing the style in which an artwork of art is produced. In the selected artwork during those periods, they show and reflect the traditional landscape of rural life and everyday human activities in Malaysia with regard to the government demand that wanted the visual art to be more Malaysian-like as being proposed in the National Cultural Congress. It was proven in the production of the works by Chuah Thean Teng titled “Fishing Village” and Tay Mo leong with his batik painting entitled “Malay Village”. As

148 3rd ISME International Colloquium 2016

proposed by Paul Zucker, the second factor to which the styles of artworks being produced by all the artists are influenced by education, where it can be summarized as which country the artists came from, the institution which they studied at as well as the place, or country where the artworks were produced. The origin of the artists influences their cultural background. It was found that many of the batik painting artists in the 1970s such as Khalil Ibrahim and Chua Thean Teng received foreign art education. Education gained overseas made them more matured and established as batik painting artist. The next factor can be said to be the factor that influence style in the artworks produced, as explained by Paul Zucker, is the spiritual movement point of view. Fatimah Chik’s artwork with her innovative Nusantara block prints and Islamic cosmogony explained that her work was influenced by the Islamic factor; echoing the proposition made by the National Cultural Congress for artists to be mindful of local elements and aspirations in their artwork.

4. CONCLUSION

Through the analysis made, it can be concluded that the production of batik paintings in Malaysia from the 1950s through 2000s showed that the evolution and the development of style by artists have been influenced by several factors. Indirectly, batik media has become a part of storytelling about the cultural development in Malaysia. It can be seen in the artwork that was produced by Chua Thean Teng which reflected the traditional landscape of rural life and everyday human activities in Malaysia. The works of Ismail Mat Hussin also showed that he was deeply committed to zeroing on the daily lives of ordinary folks in Kelantan who seek out a living selling fish, pounding rice, weaving songket and many more. The National Cultural Congress is another important factor and has established a guideline for batik painting artists in the development of style in producing their artworks. The period of which artwork is produced plays a very important part in the formation of style of the artists, for example the artwork produced by the batik painting pioneers which are in response to the National Cultural Congress. Besides that, the styles shown by artists are diverse comprising of various techniques, color, composition, shape of image; either in realistic, semi-abstract or abstract form. These verify that all batik painting artists had received education in art from many different art schools from various countries. This explains that education in art is also a factor that has influenced the formation of the artist’s style.

ACKNOWLEDGMENT

Authors would like to acknowledge the Universiti Teknologi MARA (UiTM) for providing an opportunity to pursue the study and broaden the knowledge toward future development. Authors also like to thanks Associate Professor Prof. Madya Khalil Amran for his guidance’s, constructive ideas and advices in completing this research

3rd ISME International Colloquium 2016 149

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