Cultural inspirations towards Malaysian animation character design

Culture is part of human development which evolves with civilization from ancient times to today’s digital era. Animation contributes to the cultural industry through signs and symbols and is captured from people’s different lifestyle and various grounds including religion, belief systems, politics, tradition, language, tools, costumes, buildings and arts. Wayang Kulit or ‘Shadow Play’ was once a famed traditional culture in the 1960s for entertainment purposes in Malaysia which fundamentally led to the continuation of the 2D and 3D animation studies. Nevertheless, students these days seem lack the sense of local identity as shown in their final animation project, as if the culture sentiment is getting faded. Since culture is also emerging with an identity where both fundamentals are strongly connected, this research aims to identify the influence of culture towards artwork, produced by art and design students who study animation. Content analysis was used to analyze the complete final artwork from selected university in Sarawak which offers this subject as a requirement. Besides a good storyline, animation must have a strong character design with a good personality, appropriate costumes and accessories. Results found that there are cultural influences where the character’s costume design is similar to the Sarawak traditional clothing. Thus, it proves that Malaysian culture is still sturdily inspiring students in creating their artwork

The evolution of Malaysian cartoon animation / Faryna Mohd Khalis...[et al.]

A cartoon can be defined as an unrealistic style of sketching and or funny figures that can make people laugh. Aside from entertainment purposes, cartoons are also used to send messages without a serious tone and indirectly telling something sarcastically. In April 2019, Malaysia was shocked by the headline that ‘Doraemon’ had been selected to represent the Japanese themed cartoon exhibition in conjunction with Visit Malaysia 2020. Malaysian art activists, specifically those who has a cartoon animation background, were very upset and expressed their dissatisfaction with the news. Local legendary cartoonist Datuk Lat also showed his disappointment and made a stand that a local cartoon character should have been chosen to represent Malaysia. Therefore, this research aims to illustrate the development of Malaysian cartoons from when they first started in newspapers, until their existence today in the form of animation on digital platforms. In sequence, Malaysia produced cartoons in newspapers, magazines, blogs, television and cinema, whereby this is in parallel with the development of technology. From handdrawn art for ‘Usop Sontorian’ to digital animation for the film ‘Upin dan Ipin’, Malaysians should be more appreciative and proud of our local cartoons rather than those from other countries

Japanese and Western Influences on the Local Animation Character Design Identity in Malaysia

Identity is regulated by culture and can be delivered meaningfully in numerous expressions, among which animated designs. In tandem with technological evolution, animation today shows fusions of various cultures. Two main influences in the Malaysian animation industry are Japan and Western countries due to their status as pioneers in animation. Therefore, this study aimed to examine the influence of Malaysian, Japanese and Western animated character designs on the local university students’ production of their character designs. This study was conducted based on semiotic theory, followed by a research method that employed a content analysis approach using the SPSS software. Through the analysis of cross-distribution and Chi-Square, it was found that the criteria of physique, national characteristics, and colors in the students’ work showed similar characteristics to both local and foreign animations. Consequently, further studies should be conducted to comprehend why the students are inspired by Japanese and Western styles. These influences also raise the question of whether these cross-cultural forms lead to a new identity of Malaysian animation or only a trend

Japanese and Western Influences on the Local Animation Character Design Identity in Malaysia

Identity is regulated by culture and can be delivered meaningfully in numerous expressions, among which animated designs. In tandem with technological evolution, animation today shows fusions of various cultures. Two main influences in the Malaysian animation industry are Japan and Western countries due to their status as pioneers in animation. Therefore, this study aimed to examine the influence of Malaysian, Japanese and Western animated character designs on the local university students’ production of their character designs. This study was conducted based on semiotic theory, followed by a research method that employed a content analysis approach using the SPSS software. Through the analysis of cross-distribution and Chi-Square, it was found that the criteria of physique, national characteristics, and colors in the students’ work showed similar characteristics to both local and foreign animations. Consequently, further studies should be conducted to comprehend why the students are inspired by Japanese and Western styles. These influences also raise the question of whether these cross-cultural forms lead to a new identity of Malaysian animation or only a trend

Shaping the Future of Animation towards Role of 3D Simulation Technology in Animation Film and Television

The application of 3D simulation technology has revolutionized the field of animation film and television art, providing new possibilities and creative opportunities for visual storytelling. This research aims to explore the various aspects of applying 3D simulation technology in animation film and television art. It examines how 3D simulation technology enhances the creation of realistic characters, environments, and special effects, contributing to immersive and captivating storytelling experiences. The research also investigates the technical aspects of integrating 3D cloud simulation technology into the animation production pipeline, including modeling, texturing, rigging, and animation techniques. This paper explores the application of these optimization algorithms in the context of cloud-based 3D environments, focusing on enhancing the efficiency and performance of 3D simulations. Black Widow and Spider Monkey Optimization can be used to optimize the placement and distribution of 3D assets in cloud storage systems, improving data access and retrieval times. The algorithms can also optimize the scheduling of rendering tasks in cloud-based rendering pipelines, leading to more efficient and cost-effective rendering processes. The integration of 3D cloud environments and optimization algorithms enables real-time optimization and adaptation of 3D simulations. This allows for dynamic adjustments of simulation parameters based on changing conditions, resulting in improved accuracy and responsiveness. Moreover, it explores the impact of 3D cloud simulation technology on the artistic process, examining how it influences the artistic vision, aesthetics, and narrative possibilities in animation film and television. The research findings highlight the advantages and challenges of using 3D simulation technology in animation, shedding light on its potential future developments and its role in shaping the future of animation film and television art

Buletin galeri seni Merbok UiTM Kedah / Dr Faryna Mohd Khalis…[etal.]

Galeri Seni Merbok telah dirasmikan pada 1 Ogos 2016 oleh YBHG. Prof Emeritus Dato’ Dr Hassan Said iaitu Naib Cancelor Universiti Teknologi MARA. Walau bagaimanapun galeri ini telah diwujudkan pada tahun 2004 selaras dengan tertubuhnya Fakulti Seni Lukis dan Seni Reka melalui kursus Seni Reka Perindustrian. Kewujudan galeri ini adalah untuk memberi pendedahan dan maklumat kepada masyarakat dan pelajar-pelajar di universiti, kolej dan sekolah mengenai kursus yang dijalankan melalui karya yang dihasilkan pelajar. Sebagai inisiatif untuk memelihara dan menghargai penubu- han galeri ini, beberapa cadangan pengubahsuaian kecil akan dilakukan untuk penaiktarafan galeri kepada tahap yang lebih baik

Appreciative of the Biomimicry Design Process for Revolutionary Furniture Development

The significance of biomimicry as a design methodology is discussed in this paper within the context of industrial design planning and design. For this research, the researcher has taken measures to validate the ontology of designers towards the “Biomimicry Design Process” (BDP) in order to discuss imitating nature to design sense. In the context of this study, biomimicry is the primary approach in assessing the designer's understanding of the design process from conceptual idea to visualised product. The strategies of (BDP) activities were applied to furniture design in order to bring a “Concept To Reality” (CTR). The various interpretations of transformation of idea development in (BDP) in furniture design have been discussed in both qualitative and quantitative research. Data has been gathered and analysed implicitly and explicitly from a designer's thought process to represent the main empirical data of previous studies. In this study, a stage of (BDP) was used: (1) Appreciation, (2) Emotion, (3) Transformation, and (4) Maximisation of Ideas