366 research outputs found
How science enhanced animation / Azahar Harun
No full textScience is essential to an animation as brick is to a building. In fact, some of the early works of animation started as a science project rather than a work of art. According to Wells (2001), in the early stage, scientists and innovators were keen on developing media platform rather than furnishing the animation content with narrative and character style. For instance, the the aumatrope is recognised as a the device used by Dr John Aryton Paris to demonstrate a phenomenon called "Persitence of vision" to the British Royal College of Physcians in 1827 (Zell-Ravenheart, 2006) . The device has a single card disc with two pieces of strings attached to it . Each side of the card disc has different figures. To operate Thaumatrope, one need to twist the disc for several times until the strings get tighten and then pull them away to make it spin. As this happen, the two figures from each side of the card disc will merge as one. Thaumatrope is just one of many optical devices that has inspire many scientists and animation artists. In this essay, I will discuss how science can help enhance
the understanding of animation
Analisis iklan video hari raya Petronas “Pulang ke ke pangkuan ibunda” / Azahar Harun
No full textKajian ini membincang kan tentang imej kampung yang digambarkan di dalam iklan video hari raya terbitan petronas berjudul pulang ke pangkuan ibunda (2014) yang disiarkan melalui laman youtube rasmi di https://youtube.com/petronasofficial. iklan video yang berdurasi dua minit lima puluh lapan saat (00:02:58) ini memaparkan kisah sebuah keluarga di kampung membuat persiapan menyambut hari raya. dengan menggunakan kaedah “shot-by-shot analysis” dan “semiotic analysis”, penulis ingin mengetahui bagaimana iklan video ini membawa makna tentang signifikasi imej kampung dengan warisan dan budaya masyarakat melayu. untuk tujuan tersebut, satu perisian video annotaion research tool (anvil) telah digunakan untuk proses pengkodan. hasil dari analisa yang dijalankan, penulis mendapati bahawa elemen-elemen visual dan naratif dalam iklan video ini walaupun kelihatan klise, mampu memberi kesan dari segi emosi kepada penonton serta memberi kaitan dengan petronas dan aspirasi kerajaan
Kartun bertemakan dakwah islamiyah atas talian: Interpretasi dakwah sarkastik dan satira / Fazlina Mohd Radzi and Azahar Harun
No full textKajian ini bertujuan untuk mengkaji akan kesan penyampaian kartun indie yang menggunakan pendekatan dan pengisian berbentuk dakwah Islam dan cara khususnya . Disamping itu, pengkaji turut akan menyusuri permulaan dan perkembangan kartun di Malaysia secara ringkas dari awal zaman sebelum kemerdekaan, kemudian zaman kegemilangan kartun melayu pada tahun 80an dan 90an. Selain itu, kemunculan para kartunis indie yang secara separa masa hadir memenuhi ruangan kartun Malaysia dengan memuat naik melalui halaman ‘facebook‘ , instagram dan juga melalui laman blogspot pribadi di atas talian internet. Pendekatan kajian dan penulisan adalah berdasarkan apresiasi bentuk dan makna karya dan konteks penghasilannya. Metodologi sejarah seni berasaskan analisis mengikut konteks (contextual analysis) dijadikan asas di dalam pengkajian ini. Merangkumi aspek deskripsi, analisis, interpretasi dan pertimbangan digunakan sebagai panduan dalam penelitian karya. Bolehlah disimpulkan karya kartun dakwah Islamiyah di atas talian kini menjadi lebih baik penerimaannya dan kekal dengan elemen sindiran satiranya
Kartun bertemakan dakwah Islamiyah atas talian: interpretasi dakwah satira dan sarkastik / Fazlina Mohd Radzi dan Azahar Harun
No full textKajian ini bertujuan untuk mengkaji akan kesan penyampaian kartun indie yang menggunakan pendekatan dan pengisian berbentuk dakwah Islam dan cara khususnya . Disamping itu, pengkaji turut akan menyusuri permulaan dan perkembangan kartun di Malaysia secara ringkas dari awal zaman sebelum kemerdekaan, kemudian zaman kegemilangan kartun melayu pada tahun 80an dan 90an. Selain itu, kemunculan para kartunis indie yang secara separa masa hadir memenuhi ruangan kartun Malaysia dengan memuat naik melalui halaman ’facebook’ , instagram dan juga melalui laman blogspot pribadi di atas talian internet. Pendekatan kajian dan penulisan adalah berdasarkan apresiasi bentuk dan makna karya dan konteks penghasilannya. Metodologi sejarah seni berasaskan analisis mengikut konteks (contextual analysis) dijadikan asas di dalam pengkajian ini. Merangkumi aspek deskripsi, analisis, interpretasi dan pertimbangan digunakan sebagai panduan dalam penelitian karya. Bolehlah disimpulkan karya kartun dakwah Islamiyah di atas talian kini menjadi lebih baik penerimaannya dan kekal dengan elemen sindiran satiranya
An investigation into the reading direction preferences of Generation Z: a study on the design of Asian Winter Olympics posters / Zhou Yaru and Azahar Harun
No full textVisual design is a crucial tool for communicating ideas through images rather than words or printed text. It enables readers to visually interpret and understand information, potentially solving problems across various life aspects. Traditional reading patterns usually flow from left to right and from top to bottom, while some Asian scripts are written in horizontal rows from left to right or in vertical columns from top to bottom. Lines guide the eye between sections and visual elements, while white space allows the eye to rest and focus on targeted areas. The purpose of arranging the five elements of layout design text, images, lines, shapes, and white space is to capture the reader's attention and effectively convey information. In this study, researchers conducted a visual content analysis of a poster with 40 Generation Z respondents to investigate their reading direction. This generation is known for its frequent use of various gadgets and preference for short, simple text to comprehend content. The researchers intentionally designed a vertical banner-sized poster representing the Asian Winter Olympics as a sample. The events included Sapporo 1972 and Nagano 1998 in Japan, PyeongChang 2018 in South Korea, and Beijing 2022 in China. The poster is segmented into four sections from top to bottom, each depicting one of the Winter Olympics events from 1972 to 2022. Coding categories were developed to analyse text layout, lines, and white space. However, the colours and images of these emblems and symbols of the Winter Olympic Games were predetermined, so colours and images were not examined in this study. This exploratory study of Generation Z offers an analytical approach to understanding the reading orientation of Generation Z and serves as a basis for future research. Additionally, several informants tended to scan the poster for information, even though it was not indicated that the poster could be interacted with via an app on their mobile phones
Islamic principles in graphic design / Azahar Harun...[et al.]
No full textThis paper discusses the advantage of Islamic Principles namely Tawheed, Iqtisad, Haya and Dhikir in regard to graphic design. From the results of the visual analysis conducted on selected samples (symbols and logos), it is found that the visual communication aspect of graphic design does not only comply with Gestalt Principles but could also be linked to Islamic Principles. In this sense, we conclude that the application of Islamic principles is relevant thus should be adopted as a standard design vocabulary in the teaching and learning of graphic design in Universiti Teknologi MARA (UiTM)
An assessment on cinematic composition, narrative structure and semiotics in animated films: a case study of Filem Negara Malaysia’s anthropomorphic animal folktales (Sang Kancil: the animated series) / Azahar Harun
No full textThis study concerns the anthropomorphic animal folktale namely Sang Kancil: The Animated Series (SKTAS) produced by Filem Negara Malaysia (National Film Department) during the late 1970s and early 1980s. These animated series are Hikayat Sang Kancil (Xavier, A, 1978); Sang Kancil & Monyet, (Hassan Abd Muthalib, 1984); and Sang Kancil & Buaya (Hassan Abd Muthalib, 1987). In general, the study comprises of two parts, Historical Perspective and Analytical Perspective. In the first part, the study attempts to establish insight regarding the historical background of the agency. Here it identifies some of the important historical events which are crucial for the development of animation production in this country. These events are found in three major periods, Colonial (1949-1956), Post-Colonial (1957-1960), Contemporary (1970- 2000). Among the topics discussed in this section, includes the establishment of the Malayan Film Unit and Film Negara Malaysia, the contribution made by animation pioneers and the review of anthropomorphic animal folktale from 1970 to 2000. In the second part, the study looks at the construction of Sang Kancil: The Animated Series (SKTAS) by analyzing three important aspects, Cinematic Composition, Narrative Structure and Semiotics. Here, it poses the question of what formula did the artist employ to construct the animated series (SKTAS). In context of cinematic, a mix method (qualitative & quantitative) was explored which include a Shot-by-shot analysis and a Statistical Style Analysis (Salt, 1974). This approach aims to establish baseline information regarding the cinematic convention (Duration, Setting and Camera Technique). In context of Narrative, a method called Freytag‘s Pyramid Analysis (Freytag, 1893 cited in Griffith, 2011) was employed. This approach enables the researcher to analyze the narrative structure of the samples thus determining its characteristics (Exposition, Rising Action, Climax, Falling Action and Resolution). In context of Semiotics, the study attempts to identify the symbolism element called ‗Signifier and Signified‘ (Saussure, 1966 cited in Berger, 1992) and interpreting its meaning in relation to Malaysian history, politics and culture. The study concludes with a summary of the findings from the earlier chapters (Chapter Four, Chapter Five & Chapter Six)
The use of anthropomorphic agent in movie: case study of Cast Away (2000) / Azahar Harun and Mohameed Razeef Abd Razak
No full textThis paper presents a case study of a Hollywood blockbuster movie called Cast Away (2000). The analysis is based on two anthropomorphism theories called Familiar Thesis and Comfort Thesis. Categorised under adventure drama, Cast Away (2000) depicts a story of a Federal Express executive named Chuck Noland who survives a plane crash and is stranded on an uninhabited island in the Pacific for four years. Cut off from the modern world, Chuck adapts to the harsh environment of the tropical island by salvaging FedEx packages washed up on the beach. One of the packages contains a Wilson volleyball which later in the plot becomes Chuck’s companion. This study employs a scene-by-scene analysis approach to understand how anthropomorphism theories are exploited and presented in the plot. From this, several important scenes that promote the meaning of life and social relationships have been discovered. In this regard, the study concludes that the Wilson volleyball is not just an advertising gimmick but an anthropomorphic agent that helps provide companionship, care, comfort and motivation which are essential for human survival
Anthropomorphic multi-sport mascot: a case study of SUKMA xiii Melaka 2010 / Azahar Harun and Mohamed Razeef Abd Razak
No full textAs the host of the SUKMA XIII Games 2010, the State Government of Melaka has decided to use a legendary animal Sang Kancil (the mouse deer) as its official mascot to represent the state. Hence, the Faculty of Art & Design was given the honor to design and develop the character of the new mascot and also to promote and merchandise the programme. This project demonstrates the process of developing a new mascot concept. A standard design procedure was used as the development method. This procedure included SWOT Analysis, brainstorming, sketches, colour scheme process, personification, prototyping and final design. In order to make an impact emphasis was given on certain body parts like eyes, posture, facial expression and costume. A triangular form was used as the base of the design to enhance visual stability and dynamism. The final output consisted of one main mascot and 28 action mascots
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