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The use of digital photography medium is dominantly used in the process of investigating criminal cases. Digital photography used in the investigation process is also known as crime scene photography, where photographic images are produced to collect evidence, documenting the scene, and subsequently, be used as a reference for criminal case investigation and prosecution process. Using systematic literature review (SLR), this study identifies the current practice of digital use of photography in the process of investigating criminal cases. Searches via electronic databases of indexed journals, namely, Scopus, Science Direct, Web of Science and Springer were conducted. Data is limited to these journals was produced within the years 2017 until 2021 as the latest research information. The findings consist of 28 papers that had met the criteria by which this study touched on digital photography technology such as DSLR Camera, Drone Photography, and CCTV.

Since 1963, numerous national symbols have undergone a significant design modification, including Malaysian banknotes. As a symbol of an independent nation, the banknote presents an acceptance of its value but alternately plays as a propaganda tool. This paper aims to examine the illustrations depicted on the first series of Malaysian banknote designs through the semiotic analysis approach. The study has revealed that the portrait, logo, roman Malay script, building, the ringgit currency against the dollar, and the Malay governor's signature are legitimate evidence to appoint the first series of the Malaysian banknotes as one of the national symbols. Keywords: Banknote Design; National Symbol; Semiotic. 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 BYNC-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.v7iSI7%20(Special%20Issue).3797

Every user who is using an application should have started somewhere. From HCI perspective, successful onboarding provides an opportunity to realize a return on investment in mobile applications and ensure that newcomers quickly become engaged and productive while onboarding new applications on their smartphones. Onboarding is defined as the process of helping new hires adjust to performance new tasks quickly. This mixed methodology paper aims to understand user preferences and adaptability on new applications and construct a conceptual framework of a successful onboarding experience from a quality mobile application using the FTUX framework. Keywords:: 'First Time User Experience (Ftux)' 'Emotional Design' 'Artificial Emotion' 'Onboarding Experience' eISSN: 2398-4287 © 2022. The Authors. They were published for AMER ABRA CE-Bs by E-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-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

This article is published in theInternational Journal of Art & Design(IJAD), Vol 6 (2) Special Issue, January/ 2023

There are numerous subfields within visual communication, one of which is new media, alongside conventional practices such as advertising, photography, the web, animation, and signage. Blogs, social media, video games, email and the pervasiveness of smartphones have all resulted in the emergence of new media that are inextricably linked to the internet and the online environment. since the first mobile game, "Tetris", in 1994 and “Snakes" in 1997, the visual element in mobile games has evolved significantly, culminating in the modern-day mobile gaming world. These changes have involved progress from the black and white images of the early games to the variety of colours used in game visuals today and the creation of virtual goods in-app games. A skin is one of these virtual goods or items and is synonymous with a virtual appearance, outfit or cosmetic item that can be used to modify and enhance the appearance of a player's avatar. This is a cosmetic item and purely aesthetic in nature, serving no functional purpose. Among players, the desire for a skin is undeniable. Apart from the "beauty factor," another hidden value is inherent in players' perceptions of their interactions with purely aesthetic items. To determine the attractiveness of the skin in mobile games, preliminary research on skin evaluation was conducted to ascertain players' perceptions of recent virtual skins they had used in-game. The purpose of the study was to identify players’ perceptions of the attractiveness of the skin they used. To conduct the research, the Standard User Experience Questionnaire (UEQ) was used to determine the attractiveness of the skin as a virtual product. The UEQ is composed of six scales and twenty-six items that assess attractiveness on a hedonic and pragmatic level. Thirty respondents were chosen, and data analysis was performed using UEQ Data Analysis Tools. The product's benchmark was divided into five UX quality categories: excellent, good, above average, below average, and bad. The results indicate that stimulation is an excellent proxy for the UX quality of skin and efficiency is above average; meanwhile, attractiveness, perspicuity, dependability, and novelty were below average.

This article is published in theInternational Journal of Art & Design(IJAD), Vol 6 (2), October/ 2022

This article is published in theInternational Journal of Art & Design(IJAD), Vol 5, Issue 2, August 2021

This article is published in theInternational Journal of Art & Design(IJAD), Vol 6 (1), May/ 2022

This article is published in theInternational Journal of Art & Design(IJAD), Vol 6 (1), March/ 2022

This article is published in the International Journal of Art & Design (IJAD) Vol 4, Issue 2, February 2021

This research studies the aesthetic processes of creating stylized, colourful,floral motifs on fabric. Malay fabric often include various floral motifssuch as hibiscus, pitcher plant, rose and frangipani. These floral motifshave the potential to be stylized in more innovative and creative ways.Some designers and artists who are proficient in pattern design did notreceive a formal education in pattern design, but their expertise and skillsare impressive nonetheless. The quality and visual aesthetics of textiledesigns are highly dependent on the motifs created through skilled laborsand design. Floral motif is not only visually appealing, but also has itsown meaning and reflects the creative values of its designer. Floral motifsare representative of the affinity of Malay culture with nature. This researchmight inspire designers and inform current society that floral motifs canbe innovated in scientific and creative manners. Furthermore, floral motifs. Keywords: Textile, Pattern design, Floral, Embroidery, Creative,Innovation.

This article is published in the International Journal of Art & Design (IJAD) Vol 1, Issue 6, September 2019

The aim of this study is to investigate the existing corporate identity and the potential of rebranding design of Rayani Air. Being the first Sharia-Compliant and a full service airline in Malaysia, Rayani Air frequently flies from Kuala Lumpur International Airport to Langkawi International Airport mainly to attract tourists to the resort island. Unfortunately, after several accidents and incidents, the airline company was suspended. This drawback has affected consumer’s trust especially on issue pertaining to security and safety in aviation industry. Through visual observation and content analysis of existing branding design, this study attempts to develop a new strategy for rebranding of Rayani Air. In this regard, corporate rebranding design of Rayani Air is necessary for restoring consumers’ trust and convincing stakeholders to invest in the company. We conclude that rebranding for failure organization is a crucial task and that special attention on the corporate image and design should be given the highest priority.

This paper presents a case study on Islamic Art Therapy in Malaysian Prison. Using a modified Triangular Relationship (TR) model that complies with the teaching of Islam, 18 inmates at the Sungai Udang Prison of Melaka, Malaysia participated in the study. Basically, TR encompasses the Client, the Artwork, the Therapist, and Allah (the Almighty). From this model, two application stages, Ice Breaking (IB) and Creative Expression (CE), were also established. In the Ice Breaking stage, the inmates were instructed to complete four drawing modules that include Contour Drawing (CD), Self-Reflection Drawing (SRD), Memory Drawing (MD), and Visual Diary (VD). In the Creative Expression stage, the inmates were instructed to produce five freestyle paintings. The finished paintings were analyzed using the semiotic approach in order to establish understanding regarding its meaning in relation to the inmates’ emotion and perception towards life. Based on our observation, it shows that majority of the inmates were able to demonstrate artistic ability despite limited resources and strict prison rules. Even more interesting is the fact that they were able to express inner feelings, emotions, and spiritual sense through creative art. We conclude that the Islamic art therapy program conducted at the Sungai Udang Prison of Melaka has opened a new paradigm for researcher to explore the therapeutic value of creative art in Malaysian prison. The outcome of the study has helped the inmates to divert their negative emotion (angry, anxiety, fear, frustration) and find pleasure in creative art.

This chapter discusses the role of anthropomorphic traits in Malaysian brands in relation to consumer behavior. To conduct this study, a mixed method approach was employed which encompasses a visual analysis and a consumer perception survey. In the first stage, four established Malaysian brands (logos) were sampled and analyzed formally. In the second stage, 102 respondents (university students and academicians) participated in the survey. The results of the visual analysis indicated that all four samples with anthropomorphic traits (categorized as literal, partial, abstract, and typographic) were able to accentuate meaning and evoke emotional responses. In regard to the survey, all of the samples showed a higher agreement rate (frequency) in terms of brand identity, anthropomorphic, gender appearance, communication, and quality. From the findings, we conclude that anthropomorphism is a unique perception that can offer a positive outcome particularly in strengthening a brand logo, facilitating interaction, and building a relationship with the consumer.

This research sets out to examine a political cartoon that focuses on the 1965 Malaysia-Indonesia Confrontation or better known as “Ganyang Malaysia.” Created by an anonymous artist, the cartoon represents the late Indonesian President Sukarno as an anthropomorphized “Ayam Jantan” (a rooster) crowing at the hill of the Federation of Malaysia. Using Saussure’s semiotic analysis as research method, we attempt to extract the visual elements and interpret its latent meaning in relation to the issue. The findings suggest that the political cartoon under study possesses a strong metaphor that links to a classic Malay proverb “Bagai ayam sitombong, kokok berderai-derai, ekor bergelimang tahi” (Like a rooster that crows a lot but its tail is smeared with its own droppings) which means a person who likes to boast about himself but could not cater for his family. In relation to this, it is also discovered that the anthropomorphic caricature is not only intended to ridicule the confrontation issue but could also be seen as a protest toward Sukarno’s controversial foreign policy.

In 1996, Bank Negara Malaysia (BNM) introduced the third series of banknote which is intended to distribute awareness regarding a strategic economic transformation plan called Wawasan 2020 or Vision 2020. This particular banknote mainly contains several illustrations featuring tourist destinations, famous landmarks, telecommunication apparatus, modern transportation vehicles, oil and gas activities, and industrial plants. Hence, it is argued here that these illustrations do not only add aesthetic value to the overall banknote design but can be regarded as visual codes that contain hidden meaning. In light of this matter, this study sets out to examine the third series of banknote with the aim to assess its visual codes in terms of how effective they are in communicating the meaning of Vision 2020. In order to conduct this study, a semiotic analysis method introduced by Charles S. Pierce was employed. This method involves analyzing the visual codes (text, graphic, and illustration/image) featured in the third series of banknotes. Based on the findings, the researchers conclude that all of the visual codes portrayed in the third series of banknotes do not only promote Vision 2020 but also symbolize the former prime minister, Tun Dr. Mahathir Mohamad, who is the architect behind the strategic plan.

In this paper, we present the results of the case study of the first Malaysian animated film entitled Hikayat Sang Kancil (1983) or The legend of the Mousedeer. Basically our aim is to establish understanding regarding the visual conventions (cinematic elements, animated characters and visual metaphors) that are employed by the animator, Anandam Xavier. In order to make inference about the conventions, we approached mix methods, content analysis and compositional interpretation. To add more depth to the study, we also gathered information through interview with two animation pioneers of Filem Negara Malaysia, Goh Meng Huat and Hassan Abd Muthalib. Our analysis reveals that HSK not only features anthropomorphic animals with local style but also contain latent visual metaphors. These elements in a way help create a look of the animation. We hope that the findings will provide valuable source of reference for creative societies especially film historian, animator and art & design students in Malaysia.