Research Proposal

A Study of Malay Traditional Wood Carvings:

Preservation Of Motifs in A Form of Digital

Faezah Binti Bahari

2012987009

ED772 M. Ed. (Visual Art Education)

Universiti Teknologi MARA

JUNE 2014

Table of Content

Chapter 1 Introduction

1.0 Background Of Study……………………………………………………3

1.1 Problem Statement……………………………………………………….5

1.2 Significant of Study………………………………………………………6

1.3 Research Objectives……………………………………………………. 6

1.4 Research Questions……………………………………………………...7

1.5 Operational Definition……………………………………………………8

1.6 Limitation of The Study………………………………………………...10

1.7 Structure of The Study…………………………………………………10

Chapter 2 Literature Review

2.0 Introduction……………………………………………………………...11

2.1 Traditional Wood Carving in Malaysia……………………………….11

2.2 Wan Su bin Othman and Wan Mustaffa bin Wan Su………………15

2.3 Sekolah Seni Malaysia …………………………………………………16

2.4 Philosophy of Malay Traditional Craft……………………………….17

2.5 Installation Art……………………………………………………………18

Chapter 3 Research Methodology

3.0 Introduction………………………………………………………………21

3.1 Research Design………………………………………………………...23

3.2 Cultural Context………………………………………………………….23

3.3 Data Collection…………………………………………………………..24

3.4 Digital Tracing……………………………………………………………25

3.5 Population and Sample…………………………………………………26

3.6 Instrumentation………………………………………………………….28

3.7 Methods of Data Analysis……………………………………………..28

References………………………………………………………………………30

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CHAPTER I INTRODUCTION

1.0 Background of Study

Malaysia has its own unique attraction of crafts, cultural, heritage and

historical background. The artefacts or so-called local treasures that can be

found in Malaysia comes from local agriculture, traditional architecture,

cuisine, the arts, products and many others. The diversifying local treasures

such as craft products must be acknowledged to citizen, as well as people

from other countries. Traditional wood carving produced by the Malays are

one of the craft products that should be highlighted to the world. The

woodcrafts and products are associated with Malay traditional architecture,

utilitarian products and craft. The forms and functions of each woodcarving

product can be recognised as the identity of the Malays. The intrinsic

patterns and highly skill of craftsmanship in producing a wood product are

one of the main focuses of this research.

The various motifs, which introduced by the artisan are varied and

comprises their own identity. However, the community did not have the

opportunity to recognise the owner of the motif’s designer. In Malaysia, the

producer of Traditional Crafts product specifically wood carving is not many

compare to other crafts such as batik. Wood carving is famously known in

Terengganu and Kelantan which located in the West of Malaysia. Usually,

the woodcrafter is a family tradition, which the knowledge and motifs pattern

will be use only for family member throughout the generation. The motifs are

hand drawn and only the owner will know how to pattern it.

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Other than that, this research will capture the production of traditional

wood products based on the form, content and context. The documentation

of design and motifs will be comprehensively analyzed and describe in

details using diagram. The design will be reproduced in a form of digital to

conserve its formalistic aspect. The purpose of reproducing the digitalized

motifs is to preserve the originality and to help students or designers in

utilizing the motifs to an extended level. It will also enable art practitioners to

understand the meaning and symbolism of each carved motifs. The

metaphoric terms used by the Malays to describe the motifs have made the

creation of wood carving unique and meaningful. The digitalized motifs will

ensemble new ideas creating contemporary artwork with a twist of traditional

touch. Generally, the connection of critical thinking and creative vision helps

an individual to develop the cognitive, affective domain and psychomotor

skills. Through analytical observation on the objects, human can invent new

ideas, which are functional and meaningful. Sometimes, there is no limitation

in terms of the materials, but the only concern is how critical we are in

finding the solutions.

In order to educate the society to have an interest in art specifically in

traditional art, current research and innovation on art production need to be

introduced. Current research, which is comprehensive, should be integrated

with other fields of studies. In this context, the researcher focuses on the

production of art within the area of crafts product and visual art. The

diversifying forms of art presentation, which can be seen from any art

exhibitions, will help to develop the viewers’ cognition in certain way. As they

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view the exhibit works, they will recognized the forms, images, media and

materials in general and connect it with the cultural context and

environment.

1.1 Problem Statement

Modern generations of Malaysia often ignore or they are lack of

awareness on the importance of preserving local culture and heritage.

Although the citizen comes from various ethnics and background, they need

to educate themselves and appreciate local treasures to an extended level

as they live in Malaysia. By having the knowledge on traditional crafts form

and functions for example, the citizen can promote the products and

disseminate the information to others. This research recommends ways to

study the form, functions, symbolism and motifs of traditional Malay

woodcarving products and improve the conservation quality. Currently, there

are books and documentations of the wood products but less focus on the

aesthetic and symbolism of traditional motifs in Malay woodcarving. The

intrinsic motifs extracted from natural environment that represents the

message will be included in this research. Other than that, as the modern

community is heading towards the contemporary culture, many art

exhibitions often preview recent work from artist which are closely related to

the modern world.

1.2 Significant of the Study

This study intends to identify new types of archive and storage for

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traditional craft in Malaysia. This term comprises digital tracing for motifs and

patterns used in Malay traditional wood carving. In relation to that, a critical

analysis of form, symbols and function of the Wan Su Othman’s legendary

wood carving products will be conducted by the researcher. The data

analysis will be stored in a form of digital booklet. It is intended to be use for

further references and also to ensure the existences of the traditional motifs

can be preserved. As for the final artwork, the experimentation of media and

materials in the making process will contribute to an extension of knowledge

or as the guidelines for other researchers and students within the same area

of study. Besides that, the viewers and society can learn from the step-by-

step art making processes documented in this research.

1.3 Research Objectives

The research objectives of this study are as follows:

1.3.1 To examine the development of Malay traditional wood carving

in Malaysia beginning from Wan Su Othman craft works.

1.3.2 To identify the Malay traditional wood carving motifs, pattern,

layout design, technique and its functions especially from the Wan Su

Othman family.

1.3.3 To study the reproduction of Malay wood carving motifs in a

form of digital using Adobe Illustrator and Photoshop as a step to preserve

the motifs and patterns.

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1.3.4 To disseminate the knowledge in producing works of art

specifically by integrating traditional motifs and patterns for the use of

various target groups such as researchers, artists, students and general

public.

1.4 Research Questions

The research objectives of this study are as follows:

1.4.1 How was the Malay Traditional Wood Carving crafts spread to

Malaysia and further developed in Malaysia?

1.4.2 What are the traditional motifs of Malay Traditional Wood

Carving, the techniques and skills of producing and the functions of its

creation?

1.4.3 What have been done by the artist and the government as the

consideration for preserving the uniqueness of Malay wood carving?

1.4.4 How do we conduct a project-based research in visual art

education in Sekolah Seni Malaysia especially in integrating the new

technology in traditional crafts project based on the school syllabus?

1.4.5 What are the new media, new materials and new techniques

that can be used in producing an installation art using Malay Traditional

Wood Carving motifs and pattern?

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1.5 Operational Definition

The definitions used in this study are as follows:

Malay

From the Wikipedia, Malay is as one ethnic group, which are located

primarily in the Malay peninsular, Sumatra and Borneo. It also defines the

ethnic who lives in Malaysia whom professed Islam as their religion.

Traditional

From Oxford Advanced Learner Dictionary (2007), the term traditional in this

case prefer to a product which produce accordance to the tradition or

conventional. In this research, the word traditional referring to the

techniques, materials, motifs and patterns used in designing a wood carving

products.

Wood carving Crafts

According to Zakaria (1989), wood carving in Malaysia was brought by the

influences of Buddhisme in Tanah Melayu long time ago. This can be proved

by the discovery of monuments of history which used the art of carving for

example, Genderang Dongson in Klang and Megalith Pedang in Negeri

Sembilan. The era of wood carving can be relate to the history of Tanah

Melayu and Malaysia. In this research, the researcher is focusing in wood

carving which defines a traditional art creation related to wood forming. The

media and tools are chisels and carving knife. Woodcarving is a form of

three-dimensional art piece finish by hand skilled artisan.

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Artisan

According to Oxford Advanced Learner Dictionary (2007), artisan is a

French word describing craftsmen who intends to have high hand skilled in

creating crafts such as furniture, sculpture, clothing and jewelery. In this

research the word artisan is referring to wood carvers. In Malaysia, the skills

of wood carving is exquisite and rare among the artist in Malaysia. Usually,

the skills is developed in a family generation.

Motifs and Pattern

Motifs and patterns are the design in wood carving. The motifs and patterns

identify the owner of the wood carving without putting any designation on the

artwork. The motifs and patterns are the elevation of idea of a subject matter

for example flora and fauna. In the Traditional Malay Wood Carving, flora is

the most famous subject matter in designing motifs and patterns for wood

carving. This is influences by the religion of Islam which did not encourage

the follower to kept animal figure or human figure sculpture in their house.

Installation Three-dimensional Art

Various works of art were assembled in different manner. The installation

could be on the wall, pedestals, floor, hanging such as mobile art, or

environmental spaces.

Project-Based Research

Project-Based Research is the combination of experimental research, which

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is qualitative in nature and includes quantitative data analysis. In this

research, it refers to the context within the production of artworks in visual

art area of studies. It can be expanded with various support and evidence

alongside the art production and art exhibition.

1.6 Limitations of the Study

There are few limitations during the completion of this research. The

study requires the researcher to stay connected with the experts or artisan

of Malay Traditional Wood carves located in Terengganu which is far from

the researcher. The time and distance are the major limitation in order to

collect data and information from the artisan. The researcher is planning to

hold a filed trip to Terengganu for a minimum of two times before the

research complete. Another limitation of the study is some patterns and

motifs of wood carves that can be found in Malaysia did not have the

identification of the owner or designer. It is related to the Philosophy of

Malay Crafts which the owner will not reveal their name unless been asked,

because of the principle of humbleness in Malay ethnic.

1.7 Structure of the Study

This research will be organized into four chapters containing a review

of relevant literature on the topics covered in this study (Chapter 2), a

detailed account of selected methodology for the research (Chapter 3)

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CHAPTER 2 LITERATURE REVIEW

2.0 Introduction

This study will explore the archive of motifs and patterns of Wan Su

Othman’s wood carvings. The main objective of this chapter is to analyze

and review past studies and obtain information on Malay Traditional Crafts

especially wood carvings. This is followed by deeper discussion on Malay

Philosophy of Crafts and Aesthetic Theory. The last part explores the history

of Sekolah Seni Johor Bahru, visual art education held in the school and its

students.

2.1 Traditional Wood Carving in Malaysia

Malay crafts have been inherited in Malaysia since 500 years ago.

The traditional Malay crafts have been through many phases of changes

along with development of Malaysia. The changes included the influenced

of Islam from Hindu Culture after Islam came to Gugusan Kepulauan

Melayu. After the changes, the Malay Traditional wood carvings began to

set a new par of design annotation which incorporated with the purpose of

monotheism in their ornamental motifs and patterns design. According to

Ismail (2001), Islam had an important influenced, to the extend that the

carvings produced had developed a relationship between man and his

creator in an abstract while we at the same time creating aesthetic values.

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According to Chattopadaya (1999), crafts are imbued with certain

idealism. Two significant characteristics of crafts are that aesthetics and

function are integrated, and ornamentation and decoration are not divorced

from utility. In order to produce crafts product, it is not only integral that the

artist is high skill and technical knowledge, but also the integration of

content and culture symbolism, which complement the aesthetic value of

the artworks. In Malaysia, artist with great hand skilled were called master

or ‘adiguru’ which has the recognition from Lembaga Kraftangan Malaysia

which is responsible with the preservation of Malaysia culture and heritage

specifically in Malay Crafts. The development of wood carvings industry in

Malaysia are also influenced by the raw material of Malaysia as Malaysia is

estimated have 3000 species of wood. From the early years, houses and

boats are built from wood in Malaysia. Artisan used this opportunity to

create product with functions and also aesthetics value including the

symbolism that they want to express.

At that particular moment, every single design of motifs and pattern

bring out an intrinsic meaning related to the lifestyle of the community. It

can be signified as unique and authentic as each motif and patterns are

significantly different from each other. According to Leigh (2000), the

centuries-old history of this part of east coast of the changes in religion,

trading patterns and in material culture that must have taken place over this

this. However, along the change often a remarkable adherence to practices

that belongs to previous generations. Malay Arts and Crafts have its

uniqueness whereby the originality and symbolism is aligned with the

development of its culture.

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Throughout the modernism, many have not realize the beauty and

importance of Traditional Craft specifically wood carving. Not many people

have seen the carved palaces in Kelantan, Trengganu and Negeri Sembilan

and those, which still survive, may not be preserved for very much longer

examples of traditional styles of Malay wood carving form part of the

decoration of the National Museum in Kuala Lumpur (Sheppard, 2011).

Malaysian may only seen wood carving as a typical ornament which provide

no metaphoric emotions to them. Nevertheless, the effect of the extinction of

this crafts is not being seen as a major factor to the community. However, in

the future as more new modern building with high class design and new

product design using high technology are invented, if the government did not

take further action on this matter, our future generation will never know what

is the meaning of Malay Wood Carving on the first place.

There are various types of wood carvings in Malaysia. The type

usually differentiate by the techniques and motifs used. The types also

differentiate the functions of each products.

Figure 01 : Ukiran Tembuk Tembus

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Figure 02 : Ukiran Tembuk Timbul

Figure 03 : Ukiran Arca

Figure 04 : Ukiran Hanyut

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Figure 05: Ukiran Larik

Source : http://e-journal.um.edu.my/filebank/published_article/4216/Pengaplikasian

Seni Ukiran Melayu dalam Seni Bina Malaysia.pdf

2.2 Wan Su bin Othman and Wan Mustaffa bin Wan Su

Wan Su bin Othman is one of the most skilled wood carver, whose

home is at Besut, near the border between Kelantan and Terengganu. He

was born 1899 and opened a wood carving workshop in his hometown. The

talent of his hand skilled was inherited to his son named Wan Mustaffa Bin

Wan Su or so-called Wan Po. Wan Po followed his father footstep and

already opened a Gallery with 30 workers including young interns.

Norzehan, 2008 stated that, “Di Semenanjung Tanah Melayu, seni

pertukangan dan ukiran kayu tradisional sudah lama dikenali dengan

keunikan, kelembutan dan kehalusan bentuk silatnya. Justeru keindahan

warisan bangsa ini patut dipelihara dan dipertahankan (Norzehan, 2008).

The skills of wood carving has been inherited in his family generations. Wan

Su bin Othman family is well known on for its uniqueness and fine carving

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skills. It is well-said which Wan Po hand skilled are more fine than every

other wood carving artisan even his own father. Wan Po in the Utusan

Terengganu said that, his talents was polished by his own father since he

was just a child. He also have his own slogan of when making his art piece.

In realizing the massive changes of arts and crafts movement in Malaysia,

Wan Po in collaboration with Lembaga Kemajuan Kraftangan Malaysia

inculcate young generations to learn more about the craft and culture by

opening the workshop for novice craftsmen.

2.3 Sekolah Seni Malaysia

The idea of the implementation of an art school in Malaysia was

recognized in 2004 when the Ministry of Education Strategic Planning was

presented. In the convention, YB Dato’ Seri Hishammudin Tun Hussein

Onn, the former Minister of Education announced the building of two

Sekolah Seni Malaysia in Johor and Sarawak. On 2008, both Sekolah Seni

Malaysia have been operated in temporary premise. Sekolah Seni Malaysia

offers majoring in four main art subjects, which are visual art, theatre, music

and dance.

In Form 4 Visual Art syllabus, Wood Carving is one of the topic that

will be learn by the students. In related to that, this particular research

should give benefits to the students and the art teacher in Sekolah Seni

Malaysia. The students of form 4 visual art Sekolah Seni Johor will be the

samples in this research. They are suitable to be the samples as they are

very familiar with the topic and majoring in visual art.

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Figure 06 : Student’s project artwork based on Wood Carving syllabus

Figure 07 : Students working on Craft project.

2.4 Philosophy of Malay Traditional Craft

As stated by Zakaria (1989) in Seni dan Seniman, there are six

principle in Malay Traditional Crafts. The six principle are closely related to

each other and balance the designing and producing the art. In designing

traditional crafts, the artisan must have the ability in critical thinking which

the art make the audience think. The artisan must also describe their own

patience when producing the art to ensemble the criteria of fine art in crafts

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product. In terms of traditional craft, the aesthetics theory defines on two

main criteria which are the object and the language of art. The crafts must

not only show beauty but also give ethical impact to the art lover.

The first principle is Prinsip Halus. This principle relates with the

workmanship show by the artisan when creating the art. The fine

techniques and skills shows the different and potential of the artisan. In the

era of Kesultanan Melayu, craft plays important role in showing wealth and

power in one individual.

The second principle is Prinsip Berguna. This principle referring to the

used of one creation. The crafts must be made to be used. Usually, crafts

will be produced when requested. The craft is not only focusing on the

aesthetic values but also focusing on the functions of its creation.

The third principle is Prinsip Bersatu. This principles related to the

design of the motifs and patterns in the crafts. For example in wood carving,

the motifs must be design according to the traditional method which

referring to the parts of motifs. Parts of motifs includes the ibu, sulur, pucuk

and more.

The fourth principle is Prinsip Berlawan. This principle referring to the

material used in craft. Sometimes the material used is different from each

other to create an impact for the audience. However, the used of material

must be in control and balance to other principles.

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The fifth principle is Prinsip Berlambang. This principle is focusing on

the symbolism of a unity. The symbolism of the motifs and patterns design

can be shown on how it been design. Nevertheless, this principle also

focusing on the symbol of the race itself which the craft represented.

The sixth principle is Prinsip Bermakna. The last principle is closely

related to the inner beauty of an art. According to the Zakaria (1989), this is

the important principle in designing craft products. The crafts must give

intrinsic and as well as extrinsic meaning which defines the whole beauty of

the crafts. The creation of a crafts is not only a making art process but it

also convey in cultivating a feeling and ethics in creating it. As an artisan of

Malay Traditional Wood Carving, the artisan must have the patience and

compassion in creating the art.

2.5 Installation Art

The expression of contemporary social works reflects fundamental of

this research. Although accurate information on the definition of

contemporary was not found, the researcher will try to triangulate the data

obtain from various interpretation on the digital archive from the motifs and

patterns of wood carvings. The contemporary art collaborated with

traditional ornaments define the art of its time. It assembled the perception

of modernity and conceptual thoughts in various form of its presentation.

Installation art, digital art, paintings, sculpture, photography and other

dimensional art can be categorized as contemporary it signifies the current

or new ideology, it reflects the thinking of our modern society and it carries

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the messages across multiculturalism context.

The production of the installation art in this research will made the

researcher to share the artwork as a part of transmitting the messages, in

which the need to care for our environment to be shared by broad audience.

Even if this research is just a fraction of the audience were to be to

experience a shift in their awareness and consciousness about the

environment and art, through the exposure on this artwork, then it would be

worth it. The researcher as part of the society believed that presently

humanity is at a critical point in time, with our planet currently existing in a

fragile ecological state, with global warming hastening unheard of changes,

all amplifying the fact that we need all the help we can get. The installation

art will also cultivate students to appreciate more traditional crafts rather

than neglect it. In order to encourage the younger generation to be likely

into cultural crafts, installation art is one of the best way to do it. In terms of

this research, Visual art students in Sekolah Seni Johor will not only learn

on the crafts topic based on the syllabus but also create new ideas and

outcome which can integrate their creativity.

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CHAPTER 3 RESEARCH METHODOLOGY

3.0 Introduction

This chapter will discuss the following; Research Design, Population

and Sample, Instrumentation, Data Collection, and Data Analysis Plan.

3.1 Research Design

This chapter discusses the rationale of using qualitative method in a

case study and the procedures used to collect and analyze data. The

combination of experimental and observational method in Project-Based

Research including the experimentation of media and techniques will be

used in conducting the research. Therefore, the research methodology in

this research is qualitative in nature. According to Eisner (1991), qualitative

research is the search for qualities that characterize our existence. Similar

with Merriam (2002), it is stated, “the key to understanding qualitative

research lies with the idea that meaning is socially constructed by individuals

in interaction with their world” (p. 3). Sherman and Webb (1990) said,

“Qualitative research has the aim of understanding experience as nearly as

possible as its participants feel or live it” (p. 7). To ensure that the research

succeed the objectives, various approaches and experiments will be

conducted.

Research within the scope of Visual Art that carries out experimental

practices can be categorized as the Project-Based Research. The

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procedures involved in this research are the exploration of selected media,

materials and techniques used to form an installation art that adapt

traditional wood carving techniques in the process of producing the art form.

Challenges throughout the making and step-by-step processes will be

documented in a form of visual diagram to provide the society with

appropriate information. The details on media that have been used by the

researcher also will be included in the research.

The research tends to maximize the use of digital technology in the

restoration of traditional wood carving motifs and patterns. Therefore, the

case study adapts qualitative method to provide an appropriate

understanding for the research methodology. Stake (1988) explains case

study as a search for understanding that has “the opportunity to go much

further than most research to pursue complex, situational themes to the

limits of human understanding” (p. 410). A case study will be conduct in

order to recognize the collection of patterns and motifs of the woodcarvings.

The procedures of collecting patterns and motifs will be trace into digital

patterns and vector using illustration software: Adobe Illustrator© and Adobe

Photoshop©. The collection will be focusing on one artisan of traditional

wood carving in Malaysia, which is Wan Su Othman and his generation and

later compile as an archive for the traditional wood carving motifs of

Malaysia.

In further discussion, this research will comprises an installation

artwork includes the mixture of digital and three-dimensional art. The

installation will utilize the concept of local wood carving in cultural context

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and represent the use of digital software and craftsmanship skills in the

production. The research focuses on specific technical aspects of sustaining

the motifs and pattern of woodcarving and combining the pattern with three-

dimensional form as the lead conception of the installation artwork.

Additionally, the main instrument of this research is depending on the

archives of the motif and pattern of woodcarving, experimentation of mixed

media and observation. The data will be accumulated and explain using

appropriate instrument such as visual diagram as mention earlier. This case

study is quite similar to most qualitative research because of the utilization of

the visual documentation and processes in making the artwork as the major

source of data. Besides that, the findings obtained from interviews and

questionnaires among the respondents and viewers act as supporting

details to promote better understanding of this research.

3.2 Cultural Context

In further discussion, this research looks through the cultural context

of traditional art forms in Malaysia. Observational studies and critical

analysis on a craft product specifically on wood carves will develop the

researcher’s thinking to conduct further investigation. The aspect of Malay

Cultural values will also be analyzed in regards to make the research deeper

and meaningful. In terms of traditional Malay wood carves, it is always been

a close relationship with the environment and lifestyle of the Malays. The

pattern and motif symbolized the Malay’s philosophy of life, culture and

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heritage. The parts of each motif were identified as the way of living. In

relations to that, the research will also focus on the separation of type of

motifs and patterns. There are few researches have been done in terms of

the technical aspect of woodcarvings. It will be use as further references in

this research.

The final idea will be develop based on the emotions and symbols of

the Malay cultural towards this crafts. The interventions of ideas could be in

any form of its explanation, as long as the viewers can appreciate the work

of art. The translation of cultural philosophy and intrinsic symbols into art

objects, will promote therapeutic experience for the artist. Producing art

does not only represent an aesthetic value of an artwork but also

disseminate the ethical values in making it.

3.3 Data Collection

The research data will be collected from previous books and research

as well as interviewing session with the experts. The conversation will be

recorded on video tape and transcribe. In addition, the researcher will

gather information based on motifs and symbolism designed by the Malays.

Other than that, comparison studies on Malaysian wood carving motifs and

Indonesian motifs also will be conducted to verify the differences. The

identity of each motifs from two different communities can contribute to

better understanding on Malay tradition, cultural and beliefs.

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After the motifs have been segregated into three sections such as

motifs extracted from floral, fauna and cosmos, the researcher will verify

which Malay motifs originated from the Wan Su Othman or Wan Po’s family

and its transformation based on functions, environments and socio-cultural

aspect. These data are the main sources of this research. Therefore, the

research methodology used in this research is qualitative in nature. A

research survey will also integrate on the exhibition day as the data can be

supporting evidence in this research.

3.3.1 Interview set

Section A

(Demographic

question)

This section will convey

questions on the subject

personal background, family

history and working history.

Question 1 to 5

Section B

(Skills and

Techniques

development)

This section will convey

questions on the subject early

involvement in this area, his

work of arts, his inspirations,

his skill development and

techniques. At the same time,

the researcher will take visual

documentation on the work of

arts (wood carvings) for

Question 5 to 10

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archive.

Section C

(continue interview

based on section B)

This section will be based on

Section B question

These elements are chose based on the research objectives in

obtaining further information in order to make sure the research is complete.

The archive of images will be the major evidences for this research. Other

elements will be supporting the major factor.

3.4 Digital Tracing

The data collection will be mostly digital tracing which transferring the

original motifs and patterns of wood carving into a digital collection that are

easy to store and use. The data collection of this research also involves the

investigation of the most suitable media and materials in producing

installation art from found objects. The documentation of step-by-step

processes later became the data of this research. The experiment covers

the aspects listed below:

3.4.1 Transferring Images

• Digital tracing of motifs and patterns wood carving photographs using

Adobe Illustrator© and Adobe Photoshop©.

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3.4.2 Art Installation

• Steps – Thumbnail sketches, Rough Sketches, Comprehensive, Final

• Final composition

• Media Experimentation

• The making of artwork.

3.5 Population and Sample

The sample of this research is upper secondary students of Sekolah

Seni Malaysia Johor and Sekolah Seni Malaysia Sarawak. They are Form 4

and Form 5 students in Visual Art fields such as Industrial Design, Fine Art

and Visual Communication. The samples have been chosen because the

Visual Art Education syllabus in these schools comprises the study of motifs

and patterns and also the production of wood carving product. Therefore,

the sample is significant to the research because they can utilize the digital

motifs of woodcarving in various art form such as three-dimensional product,

paintings, print-making and graphic design. These students will represent

the population of upper secondary Visual Art students of Sekolah Seni

Malaysia that utilize the use of digital motifs in making art form. Please note

that Sekolah Seni Kuala Lumpur offers only Music Education to 53 students

in Form 1 starting from year 2014. Thus, this school will not become the

sample of this research.

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3.6 Instrumentation

A set of interview questions will be outlined and interview session with

experts will be conducted in order to obtain data of this research. The

interview session will provide historical and demographic data regarding the

research. Visual documentations such as photographs, videos and drawings

will be obtain during the research as it will be the major data provider to

complete the research. Lastly, research survey will be used to gather

appropriate data for this research. The methods of survey research need to

be supported with sets of questions to be answered by the respondents. The

questions were drawn to examine respondents’ personal reflection and

visual satisfaction in using the digital motifs during teaching and learning and

production of art. Some of the questions were specified to evaluate the

respondents’ level of satisfaction and learning experience obtained by using

the digital motifs and patterns of woodcarving. The impact on respondents or

sample also can be identified in general from this research.

3.7 Methods of Data Analysis

The statistical data has been analyzed using the SPSS (Statistical

Package for the Social Sciences). The method of ANOVA or Analysis of

Variance was used in this study. Particularly, selected items in the research

survey have been analyzed using Pearson Correlational Measures and

illustrated in a form of Scatter-Plots. The items have been segregated into

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sections of visual satisfaction and extension of learning for clearer

understanding. The analysis will determine the extension of knowledge

obtained by the viewers as they preview the installation artwork.

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References

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Legino, R., & Forrest, D. (2011). An Analysis of Javanese Influences on

Malaysian Motifs In Batik Sarong Design. The International Journal of the

Arts in Society, 6(4), 215-225.

Leigh, B (2000) . The Changing Face of Malaysian Crafts . Oxford University

Press.

Mohd Sabrizaa,A.R (2008). Penafsiran Falsafah “Ibu” Dalam Awan Larat:

Warisan Estetika Seni Ukiran Melayu.

Norzehan, M. et. al (2009).Seni Kraf Kayu : Motif & Teknik. Institut Kraf

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Sheppard, M. (2011). Malay Arts And Crafts. MBRAS.

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