3rd ISME International Colloquium 2016

(1)

• colloquium

Empowering Local Mind In Art Design

&Cultural Heritage

2016

Empowering Local Mind In Art Design &Cultural Heritage

3rd ISME International Colloquium 2016

proceeding book

27&28 December 2016

Universiti Teknologi MARA, Melaka, Malaysia.

(2)

Empowering Local Mind In Art Design&Cultural Heritage

3rd ISME

International Colloquium 2016

EDITORS AND COMPILERS:

Dr. Azahar Harun Dr. Rosli Zakaria Dr. Abd Rasid

Pn. Haslinda Abd Razak

Pn. Liza Marziana Mohammad Noh En Nadzri Mohd Sharif

En. Shaleh Mohd Mujir Pn Fatrisha Mohamed Yussof Pn Anith Liyana Amin Nudin Pn lIinadia Jamil

Cik Fazlina Mohd Radzi Cik Aidah Alias Cik Nurkhazilah Idris

COVER DESIGN:

Norsharina Samsuri

PUBLISHED BY:

Faculty of Art & Design, UiTM Melaka

KM26 Jalan lendu.

78000 Alor Gajah, Melaka

Tel: +606 - 55820941 +60655821901 +6065582113 Email: ismefssr@gmail.com

Web: http://isme2016.weebly.com ISBN: 978-967-0637-26-6

•

Empowering Loesl Mind In Art DfJSlgn

& CuffulBl H.rlttJg8

2016

Allrights reserved. No part of this publication may be reproduced, stored inaretrievalsystem ortransmitted In any formorby any means, electronic, mechanical, photocopying, recordingorotherwise, without permission of the copyright holder.

(3)

•

Empowering Local Mind InArtDesign

& Cultural Heritage

2016

Empowering Local Mind

In Art Design & Cultural Heritage

3rd ISME

International Colloquium 2016

Faculty of Art& Design, UiTM Melaka

KM26 Jalan Lendu,

78000 Alor Gajah Melaka http://isme2016.weebly.com

(4)

1 Personification in Marketing Communication: Case Study of Malaysian Brands

Azahar Harun, Mohamed Razeef Abd Razak, Russlan Abd Rahim, Lili Eliana Mohd Radzuan, Amina Syarfina Abu Bakar

9

2 The Image of Man after September 11

Mohd. Shaharudin Sabu, Mohd. Saharuddin Supar, Hisammudin Ahmad, Shaharin Sulaiman, Ahmad Zuraimi Abdul Rahim, Mohd. Ali Azraei Bebit, Shahrul Munir Mohd Kaulan

21

3 The Image Construction of Loro Blonyo Craft in Global Market through Packaging Design that Reflect Local Image

Nanang Yuliantoa, Edy Tri Sulistyoa, Slamet Subiyantoroa, and Nadia Sigi Prameswaria

27

4 Game-Based Learning using Visual Spatial Approach for Children with Autism to Improve Social Development: A Pilot Study

Ilinadia Jamil, Fatrisha Mohamed Yussof, Nor Yus Shahirah Hassan, Azzureen Nor Ain Azizuddin and Zainal Kadir

32

5 Visual Iklan Berunsurkan Seksual Di Media Internet: Persepsi Golongan Bawah Umur

Fatrisha Mohamed Yussof, Ilinadia Jamil, Azahar Harun, Norsharina Samsuri,Nurkhazilah Idris, Nor Sabrena Norizan

42

6 An Iconographical Interpretation Of Street Art In Malaysia

Syafril Amir Muhammad, Nurul Huda Mohd Din, Profesor Dr. Muliyadi Mahamood, Dr.

Mumtaz Mokhtar

51

7 The Relationship between Place and Hallmark Event; Malaysian Cultural Context

Musaddiq Khalil, Amer Shakir Zainol, Shaliza Dasuka, Liza Marziana, Khazilah Idris, and Fazlina Radzi

64

8 Aplikasi Teknik Tempa dan Peleburan dalam Seni Arca Besi Raja Shah- riman Raja Aziddin

Liza Marziana Mohammad Noh, Shaliza Dasuki, Nurkhazilah Idris,Fazlina Mohd Radzi, Musaddiq Mohd Khalil Imran

74

9 Sulaman Keringkam : Motif Kemasan Sisi Beridentiti Melayu Tempatan Norhasliyana Hazlin Zainal Amri, Hamdzun Haron, dan Abdul Latif Samian

85

10 Malay Aesthetic Concept through Malay Woodcarving Motifs in Visual Artworks

N. A. Hassan, P. Amin, and S. Tohid

97

11 Illustrasi Poster Kempen Alam Sekitar dalam Simbol Kebudayaan Muliyati Binti Mat Alim^,and Profesor Madya Dr. Abdul Halim bin Husain

106

12 Penghayatan Nilai- Nilai Patriotisme Dalam Arca Awam Pelajar Uitm Melaka Sempena Pertandingan Hiasan Patriotisme Daerah Alor Gajah W. M. Z. Wan Yaacob, N.H. Abdulah, A. Osman, M. F. Samsudin,M. A. A. Bebit, S. M.

Mohd Kaulan dan M. S. Sabu

118

Content

(5)

13 Keunikan Ukiran Patung Kayu dalam Kehidupan Kaum Jah Hut dalam Keperluan dan Kepercayaan

Nor Edzrine Binti Abdullah Sani

124

14 Properties of Mandi Bunga (flowering bath) as Malaysian tradition Practice

S. Roslan, R. Legino

135

15 Malaysian Batik Painting From 1950 to 2010: A Study on Style A.E. Mohd Fauzi, N. H. Ghazali and N. H. Ahmad

145

16 Interpreting Motif and Pattern in Mohd Nor Mahmud Painting Batik:

Pakai Semutar Kain Lepas.

H. Abd Razak, R.Legino, B. Samuri

151

17 The Aesthetic of Traditional Lurik in Socio-Cultural Context E. S.Handayani

157

18 Brand Identity on Local Malay Herbal Toiletries Packaging Design as a Potential Tourism Product

Siti Sarah Adam Wan, Noraziah Mohd Razali, Wan Nur Khalisah Shamsudin & Ariff Ali

162

19 Budaya Melayu Sebagai Simbol dan Makna Dalam Seni Catan Moden Malaysia

Liza Marziana Mohammad Noh, Hamdzun Haron, Abdul Latif Samian & Tengku Intan Suzila Tengku Sharif

172

20 Budaya Visual ‘Seni Kolam’ Dalam Sistem Sosial Masyarakat India Santhi A/P Letchumanan, Lee Hoi Yeh, Prof. Madya Dr. Abdul Halim Hussain

180

21 Cetusan Idea Seni Tekat Perak

Azni Hanim Hamzah, Salina Abdul Manan, Noor Hafiza Ismail & Nur Hikma Mat Yusuf

198

22 Chlorophyll Print: An Alternative Approach to Describe Photographic Printing Process Using Nature Based For Photography Students Dona DLowii Madon, Aidah Alias, Raziq Abdul Samat, Farihan Zahari, Shafira Shaari

& Shaharin Sulaiman

207

23 Designing Jawi Typeface to Enhance The Quality of Modern Design Mohamed Razeef Abdul Razak, Prof. Dr. D’zul Haimi Md. Zain, Dr. Azahar Harun, Dr. Saiful Akram Che Cob & Lili Eliana Mohd. Radzuan

218

24 Diversification of Batik Jarum Handicraft Art Product to Solidify Community Based Creative Economic Development in Klaten Regency

Margana

225

(6)

25 Empowering “Girli” Batik Craftswomen to Enhance Family Economy and Develop Tourism Village in Sragen District

Dr. Slamet Supriyadi & Prof. Dr. Sariatun

236

26 Identiti Visual Seni Catan Moden Malaysia Melalui Media Campuran Dalam Konteks Kebudayaan

Fairus Ahmad Yusof ^1,Prof. Madya. Dr. Abdul Halim Husain

244

27 Inovasi Media TMK Dalam Pendekatan Pembelajaran dan Pengajaran Pendidikan Seni Visual Berasaskan Gaya Belajar Visual

Siti Hayati binti Haji Mohd Yusoff

274

28 Interpretasi Kandungan Imej Fotografi Digital Sosio-Masyarakat Me- layu Berdasarkan Konsep Literasi Visual

Nadzri Mohd Sharif, Meor Hasmadi Meor Hamzah & Nor Fariza Baharuddin

291

29 Kartun Akhbar Sebagai Wadah Penyampaian Suara Masyarakat:

Suatu Kritikan Terhadap Isu-Isu Semasa

Shaliza Dasuki, Liza Marziana Mohammad Noh, Nurkhazilah Idris, Fazlina Mohd Radzi, Musaddiq Mohd Khalil & Nur Hasliza Abdulah

304

30 Kartun Bertemakan Keagamaan Atas Talian: Interpretasi Dakwah dan Sindiran

Fazlina Mohd Radzi, Shaliza Dasuki, Nurkhazilah Idris, Liza Marziana Mohammad Noh & Musaddiq Muhamad Khalil

317

31 Keindahan Tengkolok Getam Pekasam Warisan Kesultanan Perak Darul Ridzuan

Liza Marziana Mohamad Noh, Salina Abdul Manan, Azni Hanim Hamzah, Noor Hafiza Ismail & Mohd Hafiz Sabran

326

32 Menggembur ‘Memori Kolektif’: Potensi ‘Seni Partisipatori’ Sebagai Media Konservasi Budaya

Diana Ibrahim, M. Hendra Himawandan Mohd Saharuddin Supar

333

33 Model Landskap Bandaraya Islam Di Kawasan Tropika Berdasarkan Empat Faktor Nilai Rekabentuk

N. H Ramle & R. Abdullah

343

34 Pelaksanaan PBS Guru-Guru PSV Hilir Perak Dalam Pengajaran dan Pembelajaran Berasaskan Estetik

Lee Hoi Yeh, Dr. Mohd Zahuri Khairani

352

35 Permata Yang Hilang: Pembelajaran Penulisan Seni Khat Dan Jawi Ainun Jariah Yaacob, Ahmad Rajaei Awang, Mohd Fadil Sulaiman, Mohd.Yazid Misdi

367

(7)

36 Persona Komunikasi Tipografi di dalam Artifak Kartografi Wan Juria Emeih Wahed & RidzuanHussin

380

37 The ‘Me-Too’ Phenomenon in Packaging Design: A Case Study of Malaysian Retail Products

Anith Liyana Amin Nudin, Mohd Amin Mohd Noh, Wan Nur Khalisah Shamsudin, Izwan Abdul Ghafar, Norsharina Samsuri, Nik Narimah Nik Abdullah and Fatrisha Mohamed Yussof

392

38 Interaction Design in Collaborative Augmented Reality (AR) Story- book for Children

Lili Eliana Mohd Radzuan, Wan Nur Khalisah Shamsudin, Siti NurIzaura Razis , Azahar Harunand Mohamed Razeef Abd Razak

403

39 Analisis Proses Penghasilan Lakaran Awal Dari Segi Penggunaan Material, Idea dan Pengisian (Contents) Mengikut Bidang-Bidang yang Terdapat di Fakulti Seni Lukis & Seni Reka, UiTM Melaka: Kajian Kes Pameran Think Things Pada Tahun 2016

Salmah Ali, Hisammudin Ahmad, Haslinda Razak, Wan Nor Ayuni Wan Mohd Zain, Norsharina Samsuri , Nurkhazilah Idris dan Muhammad Fitri Samsuddin

410

40 Corporate Rebranding Design of Oil and Gas Company in Malaysia:

Case Study of SMART Petrol

Amina Syarfina Abu Bakar, Azahar Harun, Mohamed Razeef Abd Razak

423

41 Apresiasi Karya Seni Catan ‘Siri Dungun’ Dalam Pendekatan Etnomatematik

Rushana Bte Sulaiman @ Abd Rahim, Rushana Bte Sulaiman @ Abd Rahim

434

42 Aturan Pertiga (Rule Of Thirds) Sebagai Elemen Baru Dalam Pembelajaran Komposisi Bagi Menghasilkan Karya Seni Catan Shahariah Mohamed Roshdi, Hisammudin Ahmad, Mohd Haniff b. Mohd Khalid, Dr.

Abd. Rasid Ismail, Fazlina Mohd Radzi, Nur Hasliza Abdulah, Nurul Izza Ab. Aziz

449

43 Kempen Budi Bahasa Melalui Senireka Bentuk Pembungkusan Produk SME

Farhanah Abu Sujak, Siti Raba’ah Abdul Razak, Nurul Akma Abdul Wahab, Nurin Elani Makrai

461

44 Participatory Art Project To Develop The Creative Potential Of Students Of Senior High School In Surakarta

Adam Wahida

470

45 Pemikiran Visual Terhadap Permainan Ceper Berasaskan Sistem Sosial Budaya

Zulpaimin bin Hamid, Prof. Madya Dr. Abdul Halim bin Hussain

479

(8)

46 Pengaruh Elemen Vegetal Dalam Seni Mushaf Nusantara

Nurul Huda Mohd Din, Syafril Amir Muhammad, Prof. Dr. D’zul Haimi Md Zain, Dr.

Mumtaz Mokhtar

493

47 Puppet Staging through Media Creation Workshop as the Development of Character Building Model for the Marginal in Bengawan Solo Riverbanks

Endang Widiyastuti

509

48 Rattan Furniture Design: A Comparison Study between Malaysia and Indonesia Design Trend

Muhammad Muizzuddin Bin Darus, Dr. Ruwaidy Bin Mat Rasul, Abu Bakar Bin Abdul Aziz, Nurhikma Binti Mat Yusof, Dr Deny Willy Junaidi

520

49 Seni sebagai Praktis Sosial: Garis Teori dan Amalan Dalam Seni Rupa Kontemporari Malaysia

Diana Ibrahim, Mohd Yuszaidy Mohd Yusoff, and Yusmilayati Yunus

529

50 Struktur Reka Bentuk Mimbar Masjid Baru Terengganu

Noor Hafiza Ismail, Hamdzun Haron, Zuliskandar Ramli, Salina Abdul Manan & Azni Hanim Hamzah

541

51 Tapak Warisan Arkeologi Lembah Bujang: Keunikan Arkeopelancongan Di Negeri Kedah

Farhana Abdullah, Adnan Jusoh, Nasir Nayan & Zuliskandar Ramli

549

52 Study On Symbolism Of Malay Islamic Cultural Heritage In Malaysian Visual Arts : Found In Syed Ahmad Jamal Artworks

Nurkhazilah Idris, Liza Marziana Mohammad Noh, Shaliza Dasuki, Fatrisha Mohd Yussof, Fazlina Mohd Radzi, Musaddiq Muhamad Khalil

558

53 Temporary Evacuation and Relief Centre Design Management in Malaysia: an Overview

Dr Ruwaidy Bin Mat Rasul, Muhammad Muizzuddin Bin Darus, Abu Bakar Bin Abdul Aziz

569

54 The Cotton Cloth Qur’an binding of the East Coast of the Malay Peninsula

Ros Mahwati Ahmad Zakaria

577

55 The Roles of Interactive Multimedia Learning Android-based Application for Primary Schools Teachers

Tjahjo Prabowo, Mohamad Suhartob, Mulyanto, Nadia Sigi Prameswari

585

56 The Status Quo of Malaysian Printmaking

Siti Safura Zahari, Nur Fatiyah Roslan, Nurin Elani Makrai, Nor Arseha Karimon, Mohd Fawazie Arshad and Romli Mahmud

592

(9)

3rd ISME International Colloquium 2016

207 Chlorophyll Print: An alternative approach to describe

photographic printing process using nature based for photography students

Dona Lowii Madon ¹, Aidah Alias ², Raziq Abdul Samat³, Farihan Zahari⁴, Shafira Shaari⁵and Shaharin Sulaiman⁶

1-6Faculty of Art and Design, Universiti Teknologi MARA Melaka, Alor Gajah, Melaka, Malaysia

*Corresponding author: donalowii@gmail.com

Abstract - Photography is not just produced in the form of prints on paper, but various preparations were made, such as creating images on stone, glass, wood, leaves and etc. With the growing fascination in unconventional canvas choices, it comes as no surprise that we’re seeing leaves used in a number of interesting ways. Sensivity of printing in Chlorophyll Print were identified as new alternative solutions to do chemical free printing technique by using nature-based sources as a product to produce alternative photography printing process. This experiment dealing with varying sunlight, exposure times and different leaf specimens that can be a fulfilling and humbling way to engage the natural world as part of artworks.

This can be the new education for photography students to have better understand in principles of photography and basic photographic printing technique.

Author Keywords: Chlorophyll Print, photographic printing process, photography students

1. INTRODUCTION

The significant of images is on the surface. It can be take at a single glance but yet still remains superficial. To deepen the significant, it needs to reconstruct the abstracted dimensions and let the viewer wander (scanning) over the surface and provide space for interpretation [1]. While wandering over the surface of the image, the gaze will produces significant relationships between interpretation and the elements of the image [1]. This matter should be applied in each photography

(10)

208 3rd ISME International Colloquium 2016

student in order to understand more fully how an image can be produced.

Since learning photography is no longer using the dark room, student take disadvantages on ‘try and error’ learning process because they just snap and the printer will do the rest. Photography has gone through a phase of drastic changes in producing the image from the beginning of obscura and silver plate, to the existence of digital technology in this era [2]. Advances in technology now leads the new generation less keen to explore the importance of photographic printing process. But this does not mean that technology can damage the nation. Just that it shifted the interests of a new generation to better understand the importance of developing an image they made themselves [3]. Traditionally, the visual arts have been taught in schools through learning the elements and principles of art used in the making of paintings, drawings, sculpture, and crafts [4]. Photography is an art medium which reflects all aspects of modem life to the masses, perhaps even more comprehensively than any other art media commonly taught in the art curriculum today. Thus the study of photographic imagery, like the study of more traditional art media, could provide a more complete, meaningful, and relative cultural representation, and broaden visual awareness [5].

Imagine a world of photography where chemicals and liters of water is less needed to make photograph by using a material that you can get from the nature or used expired materials in your own backyard or compost bin. With the growing fascination in unconventional canvas choices, it comes as no surprise that leaves was used in a number of interesting ways. Vietnamese-born photographer and artist Binh Danh prints on leaves to create striking art. Called Chlorophyll Printing, they’re made by placing a negative of a photo on the leaf, which is then exposed to sunlight over a period of time. The pigments of the plant will darken, which results in a wonderful, ghostly portrait. This artwork was made from mix media of positive film and nature based. The technique was found by Binh Dahn and called it “Chlorophyll Print’ [6].

The purpose of this paper is to find the best option using chlorophyll print as an alternative approach to describe the basic photographic printing process as early education for photography students. An experimental research was conducted using different types of leaf and time exposure to identify whether local weather can generate the chlorophyll print and finding the shortest time to develop the print. The results will be discussed at the end of this paper.

2. LITERATURE REVIEW

Learning photography is not just simply take the camera and does the snapping without knowing what is the outcome of the printed results. According to Gardner’s theory, all seven intelligences are needed to productively function in society. Educators should structure the presentation of material in a style, which engages most, or all of the intelligences [7]. For example, when teaching about the revolutionary war, a teacher can show students battle maps, play

(11)

209

revolutionary war songs, organize a role-play of the signing of the Declaration of Independence, and have the students read a novel about life during that period.

This kind of presentation not only excites students about learning, but it also allows the educator to reinforce the same material in a variety of ways and can facilitate a deeper understanding of the subject material [8]. Capello (2016) used photography as a way to provide meaningful experiences to the students by challenge them in ways so the students become learners. He believed by using photography would improve learning outcomes by creating new opportunities for students to display their knowledge and to model an alternate tool for expression that might benefit the young learners [9].

Alternative photography process has always something new to explore and to experiment with. Niepce joined with Louis-Jacques Mande Daguerre (published his new photographic process, the daguerreotype in 1839) define photography as, “the spontaneous reproduction of the image of nature receive in the camera obscura, not with their colors, but with very fine gradation of tones” [7]. No access to a darkroom or expensive equipment wont let the learning process stops and deepens the students understanding about basic photography printings. Several processes can be done with what probably have at home or surroundings.

Despite of all processes available, chlorophyll was selected for this experimental research. Chlorophyll Print defined by Binh Danh, as a technique of printing the photographs onto the surface of leaves by experimenting with the process of photosynthesis and using rendered negatives [6]. Binh Danh observed one summer that there was a difference in color between grass under a water hose and the grass directly exposed to sunlight. He then began to experiment with combining photography with photosynthesis, and came up with what he calls

“chlorophyll prints” — photographs printed onto leaves using the sun [6]. Binh Danh technique incorporates his invention of the chlorophyll printing process, in which photographic images appear embedded in leaves through the action of photosynthesis [6]. His newer body of work focuses on the Daguerreotype process. The natural process of nature live the sign of chlorophyll on the leaf as the photosynthesis stops developing. The leaf is still alive as the photo develops;

only drying once the process is over. This magic nature creates stunning and beautiful effect that reminds us the great creation of the beholder. In his work, photosynthesis is used to record images onto leaves using only chlorophyll and light: the life source of plants and, consequently the Earth. This process deals with the idea of elemental transmigration: the decomposition and composition of matter into other forms. The images of war are part of the leaves, and live inside and outside of them [6]. The leaves express the continuum of war. They contain the residue of the Vietnam War: bombs, blood, sweat, tears, and metals.

Fig 1: Binh Dahn’s collection of chlorophyll print

(12)

(image taken from http://binhdanh.com/Projects/Immortality/Immortality.html)

3. METHODOLOGY

Basic scientific method within subject design will be conducted and data will be collected using quantitative research approach. Primary data will be obtained through field-work conducted by observing the results in selected exposure times and different leaf specimens. The basic process is using the sun to make an image using a contact printing process, so the negative is laid directly on the photosensitive medium. The exposure on the leaf was to be done by sandwiching the leaf and the positive in glass then leaving the sun to do the rest. Fundamentally the process for this experimental research hasn’t changed. This experiment is the result of exposure techniques applicable in the process of producing images that are generated in photography. In normal photographic printing, an image was created using negative film, as the results will transform to positive image.

The exposed area will became darken and form the subject based on the light density reached the sensitive surface. But in chlorophyll print, the exposed area will become less colored and the unexposed surface will remain green due to chlorophyll existence. Based on previous trial from other photographers, this technique works best with clear, high-contrast images. The prints will be pretty low contrast so subtle shades of grey will probably get lost. Higher contrast of positive film will help with the overall clarity of the results though it is possible to achieve a wide spectrum of mid-tones (Fig.2). Before starting the exposure, checking the weather forecast is a must to make sure the day is always hot and sunny. After selecting the appropriate leaves, a positive film will be placed over a leaf and sandwiched together with two pieces of clear glass to ensure that the leaves constantly in a state of flat and even. The leaf will be exposed during the day or until it turned yellow and wither. If it had to do with photosynthesis (process through which chlorophyll captures light to produce energy) the exposed parts would be greener. What is happening here is just sun bleaching of the exposed areas on a dying leaf (causing the destruction of chlorophyll pigments -which are green- and therefore a loss of color). Three types of local leaves, which is vegetable, leaf, rubbery leaf, and thick leaf were choosing to obtain the results. It

(13)

211

was choose because of it compound and easy to find.

Fig. 2: High contrast image

Table 1. Research design for experimental process

4. RESULTS & DISCUSSION

The intention of this experiment is to capture the subject digitally and then create negatives. As the process done, it was discovered that the contact films suppose to be positives. The shaded part will be the image formed by chlorophyll. As applied by previous researcher, the exposure on the leaf was to be done by sandwiching the leaf and the positive between two pieces of glass then leaving it exposed to the sun. Fundamentally the process in this experiment hasn’t changed (Fig. 3). The outcome of the result quit interesting because of low humidity can avoid the leaves exposed to the fungus. Even before this, various types of leaves have been used and the results are quite interesting. Many experiments have been conducted to determine the nature and age of the leaf that is suitable for producing this experimental process. Based on the studies that have been done, chili leaf should be quit matured and the color should be deep green because the shoot is too fragile to obtain this experiment. Same goes to the banana leaves, it should be neither too old nor too young. This is because the old leaves will cause significant shrinkage in the leaf structure. While the young leaves produce less chlorophyll and causes no image is created on the leaf. Angsana leaf is quit

(14)

challenging because of the thick pigments demands longer exposure to the sun and the possibilities of getting fungus were quit high. This exposure process took out three sets experiment to regain better results on finding the best leaf to be use base on local weather conditions. If it rains on the first or second day, the experiment will be cancel and new experiment will be conducted. Each experiment will consist another three sets for each leaf to separates the leaf accordingly with different days. All three experiments were repeated using the same method. The analysis of the data will be shown on Table 2, Table 3 and Table 4.

Fig. 3: Chlorophyll Print techniques

Table 2 shows the analysis data for experiment one. In Experiment 1, the weather conditions are quit friendly where the sun was hotly shined till the evening. The average temperature for that day was 35°c - 38°c same as in the second day.

It was a avery fine day to do the chlorophyll print. The chili leaf shows a great result even it was expose only for half day. The expose time started at 10.30 a.m.

because it’s where the sun will shine directly from top position. But the image slowly disappears when it was exposed too long in the sun. Banana leaf needs more exposure time. Might be because of the leaf thickness is thicker than the chili leaf. But the outcome result later in evening is also quit fascinating. Angsana leaf shows the negative results on the first day in Experiment 1. At the end of the second day, a slight appearance of image showed up but the leaf already turned brown. However, all the results were quit impressive as shown in figure 4. (Fig. 4).

Table 2: Experiment 1

(15)

213

Fig. 4: Leaf outcomes in Experiment 1

In Experiment 2, the same method was applied within the same subject matter to reduce the amount of error arising from natural variance between individuals.

The weather at that time was slightly adding one-degree Celsius making it hotter than the previous experiment. The disadvantages of hot weather will make the leaf quickly dry and shorten the life span of chlorophyll process. However, since the experiment dealing with the weather condition, a different result appeared to most of the specimens and given new data to be recorded. Chili leaf seems to be bleach out on the exposed surface creates more contrast on the image. The exposure time is shorten one hour because the exposed surface already bleach out and turned yellow. No chlorophyll (green) spotted on any of the leaf surface.

Making it the best outcomes within all the three experiments. While banana leaf also shown up the great results with the high contrast image that stands out the details on the surface. Angsana leaf had improve by the appearance of more contrast image but a bit blurry on the image details.

(16)

The same method of chlorophyll print process was done in Experiment 3 to see whether there are changes of data through all the experiments. The temperature was recorded to be the same as Experiment 1 (refer to Table 1 and Table 3).

The results came out almost the same and provide the same outcome to the leaf surface. The different can be seen on the appearance of chlorophyll (green) spotted on the leaf surface, which came out to be the same as in Experiment 1.

(17)

215

5. CONCLUSION AND SUGGESTIONS

(18)

While conducting along through the experiments, there are certain circumstances and challenging experiences especially when the weather is beyond our controls, the fragility of the leaf specimen and the time consume taken to make sure the study is done. It can be conclude that sunny day will make the better results to create contrast image. Chili leaf can be the best specimen for chlorophyll print as a main tool to get the successful images. Even though banana leaf can give the great outcome, chili leaf has more advantages because it can be made in shortest time and can be the best tool to educate student on how the process is done since it has the same basic understanding as developing image in the darkroom. We can learn a lot about some images just through what we observe in the photograph. In many cases learning about the artist, their intentions and the cultural and historic context in which the work was made adds much to our understanding. More deeper understanding on how to develop the image should be applied to every students if they want to be a real photographer. For suggestion, this chlorophyll process can be applied to the newly students and ask them to understand the techniques by doing the same process to produce their work or assignments. The educator could also provide some information on similarity to the traditional method of darkroom. After students have learned some context surrounding the work, ask them to reconsider the images and how this additional information impacts their understanding.

ACKNOWLEDGEMENT

Authors would like to acknowledge the ISME Colloqium team of Universiti Teknologi MARA (UiTM) for the opportunity and support. Authors also like to thanks the group members from Photography & Creative Imaging Department, Faculty of Art and Design, UiTM for the teamwork. This was a very valuable experience in conducting the experiments. There should be a high degree of patience to achieve the desired goals, the same as if we want to achieve in life.

Failure does not mean losing, but encourages us to do better and more effectively.

REFERENCES

(19)

217

[1] Liz Wells (2015). Photography: A critical Introduction (5^th Editions).

Routledge. London & New York.

[2] Richard D. Zakia (2013). Perception And Imaging: Photography - A Way Of Seeing (Fourth Editions). Focul Press. London & New York.

[3] Connor Graham , Eric Laurier , Vincent O’Brien & Mark Rouncefield (2011). New visual technologies: shifting boundaries, shared moments.

Pages 87-91 | Published online: 09 Jun 2011. Taylors Francis Online.

[4] Barnes, Natalie Selden (May 2009). Hands-on Writing: An Alternative Approach to Understanding Art. Education Database pg. 40

[5] Aphrodite Desiree Navab. (Spring 2001). Re-picturing photography: A language in the making. Journal of Aesthetic Education; Spring 2001; 35, 1; Education Database pg. 69

[6] Christopher James. (2015). The Book Of Alternative Photographic Process (Third Edition). Cengage Learning. Boston, USA.

[7] Gardner, H., & Hatch, T. (1989). Multiple intelligences go to school:

Educational implications of the theory of multiple intelligences.

Educational Researcher, 18(8), 4-9.

[8] Amy C. Brualdi ERIC/AE. (September 1996). Multiple Intelligences:

Gardner’s Theory. This is a mirror of http://ericae2.educ.cua.edu/digests/

tm9601.htm. ERIC/AE Digest Series EDO-TM-96-01.

[9] Marva Cappello. (2011). Photography for Teacher Preparation in Literacy:

Innovations in Instruction. Issues In Teacher Education. Page 95