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


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Table of Content

Chapter 1 Introduction
1.0 Background Of Study3
1.1 Problem Statement.5
1.2 Significant of Study6
1.3 Research Objectives. 6
1.4 Research Questions...7
1.5 Operational Definition8
1.6 Limitation of The Study...10
1.7 Structure of The Study10

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 Su15
2.3 Sekolah Seni Malaysia 16
2.4 Philosophy of Malay Traditional Craft.17
2.5 Installation Art18

Chapter 3 Research Methodology
3.0 Introduction21
3.1 Research Design...23
3.2 Cultural Context.23
3.3 Data Collection..24
3.4 Digital Tracing25
3.5 Population and Sample26
3.6 Instrumentation.28
3.7 Methods of Data Analysis..28

References30

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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 motifs 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 Othmans 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
Othmans 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 : Students 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
researchers 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 Malays 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 Pos 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
archive.
Question 5 to 10
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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
sections of visual satisfaction and extension of learning for clearer
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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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