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The work of art is considered a relic of history. Art also serves as a documentation of history. It contains meaning, which is intrinsic and extrinsic at the same time. The value of art is subjective, depending on the inclination of each connoisseur's taste. The value is the essence, the fundamental principle, which can eventually become the normative basis. This paper discusses the objectivity characteristic of visual art value based on a survey done with 407 participants. The outcomes highly help the audience/public in appreciating any visual arts. Keywords: objectivity, characteristics, visual art, value eISSN: 2398-4287© 2022. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians/Africans/Arabians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI9.3935

The purpose of the project is to express prolonged grief through facial expressions. Grief is a natural response to loss because it is a universal and singular experience. Art students and academics frequently employed art-based study as a technique and research strategy. This study's methodology includes the processes of artwork analysis, visual data collection, and artwork making. According to the researcher, this study will significantly impact the art scene, especially among printmakers. The outcomes will be implemented in producing artworks incorporating silk screen printing techniques. Keywords: Grief, Face expression, Silk Screen, Printmaking eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA CE-Bs by E-International Publishing House, Ltd., UK. This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer-review under responsibility of AMER (Association of Malaysian Environment-Behavior Researchers), ABRA (Association of Behavioral Researchers on Asians), and cE-Bs (Centre for Environment-Behavior Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI9.3937

The motif shape of the songket consists of elements and parts taken from nature. Due to the method of weaning itself, all forms of motifs are born in geometric styles. National Cultural Congress was set up to encourage artists to project a sense of internal pride and identity in their oeuvre. Creating artwork is thought to give the meaning of geometric shapes and motifs of songket based on the characteristics of the Tauhid Aesthetic, introduced by Al-Fauqi regarding the modular structure. This artwork will emphasise the formalistic aspect. Keywords: motif, songket, geometric, Islamic art eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA cE-Bs by E-International Publishing House, Ltd., UK. This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer-review under responsibility of AMER (Association of Malaysian Environment-Behavior Researchers), ABRA (Association of Behavioral Researchers on Asians), and cE-Bs (Centre for Environment-Behavior Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI9.3952

This project reviewed on the artwork that exhibited in galleries is always in danger of being deteriorated due to exposure or the unconducive environment unless a good system of preserving them is in place. The valuable artwork must protect, and therefore a useful archiving technology needs to be engaged for the perpetual digitalized artwork. This project was able to digitalize for constant archiving of artwork that contains various themes, styles, content and context from a different medium. The identification is essential due to categorizing the types of material, including physical and visual protection through digitations. Keywords: Archiving; Artwork; Digitized; Sustainable Context; Visual eISSN: 2398-4287 © 2021. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v6iSI5.2944

Kuching, Sarawak known as ‘Cat City’ is famous for its historical and natural tourist attraction and cultural diversity. The city is also rich with cultural and modern public artworks. One of the main attractions when in Kuching is the cat monument, which is located in the heart of the city. This monument can be considered as a public art which is an art form that exists in public area for public view. It can be in the forms of three-dimensional sculpture, statues, monument or two-dimensional forms, such as mural, graffiti or billboard. The objectives of this paper are to study the form and meaning derived from the form of the subject matter (cat) and material used in producing the sculpture (recyclable metal). Being the first of its kind in Sarawak, the Metal Feline public sculpture has gained popularity among the locals and tourist. The public sculpture (Metal Feline) is a benchmark in educating the public on art and success of the city in supporting arts using recycled materials. It is a collaboration project between Dewan Bandaraya Kuching Utara and the Faculty of Art and Design, UiTM Sarawak, to enhance the artistic ambience of Kuching City.

This research discuss about printmaking which always shows the conversational definition, meaning and practices as the remaking more than one production. Through the varieties of media, it has developed to create multiple images related with things that have block as marks or images on top of the surface. The images are produced by using block as a matrix and intermediary to convey the idea. As a dynamic medium in visual art, printmaking can be described in three ways, the visual language, medium and techniques. The aim of this research is to explore the meaning of print that widen the terminology and moving away from flat two-dimensional prints to three-dimensional prints. The method of this study will encompass an observation focuses on the development of printmaking in Malaysia which the term has adopted and practice by printmakers. By understanding the meaning, the printmaking terminology will provide alternative ways to develop, explore, search and learn other means of expression in making the artwork. As a printmaker, creating an artwork as a language for communication will be widely understood and at the same time does not sacrifice artistic merits of printmaking as a truly unique medium, in creating new experiences and possibilities.

Printmaking is conventionally known as two-dimensional art produced through varieties of media and technique to create multiple images. It is related with the matrix such as block, plate, and screen in order to make more than one production. The aim of this study is to produce artwork based on the exploration of three-dimensional elements and move away from flat two-dimensional prints. The images produced by using a cupcake mould in the food industry as the block to convey the idea as a dynamic medium in visual art where printmaking can be described by three-dimensional visual language, medium, and also techniques. Understanding the meaning of printmaking terminology will provide alternative ways to develop, explore, and create an artwork using various approaches by combining print technique and other art disciplines such as sculpture and ceramics by casting method using various types of cupcake moulds and displaying them in an artistic way.

This research is to innovate the potential use of arc and oxyacetylene gas welding tools as an alternative technique to the expensive foundry works in creating metal casting sculpture. The arc and oxyacetylene gas welding tools are commonly used by welder limited to jointing works. However, the researcher believes that the melting capabilities of the arc and oxyacetylene can be harnessed and be used to create other creative products. This research focuses on fabricating three types of metal copper and brass on mild steel structure to form layers of “surface skin” in replace of foundry work treatment (casting work). This process offsets or replaces the expensiveness of foundry work. When applied to the production of creative work, this process produced very rich tactile textures that complement the design. The flexibility of the process or technique is easily adopted by experienced welder and sculptor, and as such it will be an added value to their profession and to commercialize their product.

This research was conducted in order to identify the roles of graphic elements applied in the Portuguese maps during their colonization in Malacca. The maps during the Portuguese era have been divided into three (3) phases – Phase 1 (fourteenth century), Phase 2 (fifteenth century), and Phase 3 (sixteenth century). The maps in the fourteenth century are more simple yet informative, the elements of graphics are limited to a few varieties of lines – vertical, horizontal, dashed, or dotted lines – while the lettering for descriptions and legends was handwritten. Meanwhile in the fifteenth century, the map style has changed whereby the images applied in the map had been stressed up, and the Portuguese seems like intentionally drawn the image of Fort Santiago at the front of the map to show the power and control of the Portuguese during that time. The Fort Santiago can be symbolized as the political or military power and authority of Portuguese. And in the sixteenth century, colors have started to be applied in order to show the distinction and areas dominated in the map by the Portuguese and other countries. Consequently, with the usage of elements and principles of graphics, the development of Portuguese culture, the structured economy, and the spreadings of Christianity in Malacca can be traced in the map. Conclusively, the graphic elements in cartography played a big role in interpreting and stimulating the ideas of the cartographer into the selected medium, which is the map. And finally, the dissemination of new knowledge and information on historical maps of Malacca during the Portuguese era can be perceived by Malaysians especially to the young generations.