Graphic design in Malaysia
Graphic Design
Graphic design is a creative form of visual communication that usually combines words and images. Today, it encompasses a wide variety of applications including advertising, signage, product packaging, posters, industrial and internet web design through print and digital media and film. Malaysia‘s cohesively diverse society, history and rich cultural traditions have infused and influenced all aspects of Malaysian life, including graphic design. Development of this discipline has also paralleled the economic, political and social development of the country.
An artistic and cultural heritage
Although a young nation, the artistic and cultural heritage of Malaysia is diverse, drawn from the races who make up its society–Malays, Chinese, Indians and indigenous peoples–from visiting traders and also from former European colonial powers. Even today, this cultural diversity and artistic inheritance are apparent everywhere and are woven into the fabric of modern Malaysian society. They are shown by an extraordinary fusion in food, fashion, art and architecture, and in the lifestyle of contemporary Malaysians, many of whom are trilingual.
This diverse legacy has had a tangible impact on graphic design, and to understand the present state of the industry in Malaysia means looking back through history. This presents a real challenge, however, in part because of the numerous cultural strands that must be woven together to create the full picture, and in part because records of Malaysia’s early design history are threadbare, mainly comprising the documents of explorers, merchants and colonial administrators. The earliest forms of graphic design can be said to have appeared during the Melaka sultanate in the 15th century. Melaka’s strategic position made it a major port on the international trade routes and a place where merchants from East and West converged. Arab merchants brought illuminated Islamic texts, the Chinese brought the printing press and several types of paper, and Indian traders introduced their own ornamental sensibilities through their textiles.
The 16th century saw a burgeoning of Malaysian design, perhaps in part influenced by these visiting traders and the techniques and materials they brought, which was manifested in royal scriptures and letters, illuminated
Although a young nation, the artistic and cultural heritage of Malaysia is diverse, drawn from the races who make up its society–Malays, Chinese, Indians and indigenous peoples–from visiting traders and also from former European colonial powers. Even today, this cultural diversity and artistic inheritance are apparent everywhere and are woven into the fabric of modern Malaysian society. They are shown by an extraordinary fusion in food, fashion, art and architecture, and in the lifestyle of contemporary Malaysians, many of whom are trilingual.
This diverse legacy has had a tangible impact on graphic design, and to understand the present state of the industry in Malaysia means looking back through history. This presents a real challenge, however, in part because of the numerous cultural strands that must be woven together to create the full picture, and in part because records of Malaysia’s early design history are threadbare, mainly comprising the documents of explorers, merchants and colonial administrators. The earliest forms of graphic design can be said to have appeared during the Melaka sultanate in the 15th century. Melaka’s strategic position made it a major port on the international trade routes and a place where merchants from East and West converged. Arab merchants brought illuminated Islamic texts, the Chinese brought the printing press and several types of paper, and Indian traders introduced their own ornamental sensibilities through their textiles.
The 16th century saw a burgeoning of Malaysian design, perhaps in part influenced by these visiting traders and the techniques and materials they brought, which was manifested in royal scriptures and letters, illuminated
frontispieces, elegant calligraphy, theological headings and delicate seals.
Emergence of modern graphic design
Under colonial rule, Malaysia’s first sight of modern Western graphic design came with the unveiling of flags, crests and badges—the insignia of the colonizing powers, who also brought in political ephemera as propaganda. The establishment of a postal service meant the design of new stamps, while education required books. During this time, colonial advertising also emerged, often featuring watercolour paintings. Malaysia became a nation state in 1957 upon gaining independence from Great Britain. Initially known as Malaya and composed of the Peninsular Malay states, the later states of Sabah and Sarawak in Borneo and the departure of the island of Singapore, resulted in present-day Malaysia. This brought about a different perspective to the forms of graphic design that had already emerged.
Under colonial rule, Malaysia’s first sight of modern Western graphic design came with the unveiling of flags, crests and badges—the insignia of the colonizing powers, who also brought in political ephemera as propaganda. The establishment of a postal service meant the design of new stamps, while education required books. During this time, colonial advertising also emerged, often featuring watercolour paintings. Malaysia became a nation state in 1957 upon gaining independence from Great Britain. Initially known as Malaya and composed of the Peninsular Malay states, the later states of Sabah and Sarawak in Borneo and the departure of the island of Singapore, resulted in present-day Malaysia. This brought about a different perspective to the forms of graphic design that had already emerged.
Development of formal education
Formal graphic design education in Malaysia is roughly a decade after Independence, with the introduction of programmes at the Malaysian Institute of Art (MIA) in 1966, the MARA Institute of Technology in 1967 and Universiti Sains Malaysia (Science University of Malaysia) in 1969. The curriculum of the universities was based on the Western model and included courses in typography. The intention was that graduates would go on to play a role in nation building. Although it was accepted that art was needed to enrich the country socially, it was not recognized that art, and more specifically design, could also be a resource for economic development. As a developing nation, Malaysia needed technocrats, and so greater emphasis was placed on science and engineering disciplines.
From the late 1980s, some fine artists, one of the most notable being Ismail Zain have utilized technology to create computer generated fine art. In recent years, the of art an science has taken centre stage, most notably in animation, cinematic special effects, cyber communication, software development and graphic and industrial design. The establishment of the Multimedia Super Corridor in the mid-1990s created a demand for greater numbers of professionals with specialist skills in information technology, design, content development and entertainment. This has prompted both the government and private corporations to increase their investment in the arts.
However, by the 1990s it became fashionable to study graphic design. There was a mushrooming of private graphic design colleges in the country. While many institutions include graphic design courses in their curriculum, some well known private colleges include Limkokwing University College of Creative Technology, Center for Advanced Design (CENFAD) and The One Academy of Communication Design. In 1997, the Faculty of Creative Multimedia was established at the Multimedia University in Cyberjaya, and courses became available at Universiti Tunku Abdul Rahman (UTAR), which was established in 2002. To turn out graduates in the shortest time possible, most design institutions, especially the private ones, resorted to a more vocational approach to graphic design, thus minimizing academic aspects.
Formal graphic design education in Malaysia is roughly a decade after Independence, with the introduction of programmes at the Malaysian Institute of Art (MIA) in 1966, the MARA Institute of Technology in 1967 and Universiti Sains Malaysia (Science University of Malaysia) in 1969. The curriculum of the universities was based on the Western model and included courses in typography. The intention was that graduates would go on to play a role in nation building. Although it was accepted that art was needed to enrich the country socially, it was not recognized that art, and more specifically design, could also be a resource for economic development. As a developing nation, Malaysia needed technocrats, and so greater emphasis was placed on science and engineering disciplines.
From the late 1980s, some fine artists, one of the most notable being Ismail Zain have utilized technology to create computer generated fine art. In recent years, the of art an science has taken centre stage, most notably in animation, cinematic special effects, cyber communication, software development and graphic and industrial design. The establishment of the Multimedia Super Corridor in the mid-1990s created a demand for greater numbers of professionals with specialist skills in information technology, design, content development and entertainment. This has prompted both the government and private corporations to increase their investment in the arts.
However, by the 1990s it became fashionable to study graphic design. There was a mushrooming of private graphic design colleges in the country. While many institutions include graphic design courses in their curriculum, some well known private colleges include Limkokwing University College of Creative Technology, Center for Advanced Design (CENFAD) and The One Academy of Communication Design. In 1997, the Faculty of Creative Multimedia was established at the Multimedia University in Cyberjaya, and courses became available at Universiti Tunku Abdul Rahman (UTAR), which was established in 2002. To turn out graduates in the shortest time possible, most design institutions, especially the private ones, resorted to a more vocational approach to graphic design, thus minimizing academic aspects.
The corporate sector
In the professional arena, graphic design companies started to make an impact in the 1970s. But it was the advertising industry that dominated, enhanced during the 1980s by mergers and affiliations with international agencies and media conglomerates from the United States, Britain and Japan. For a long time graphic design was largely perceived as subordinate to advertising, and it has only been in the last decade or so that these giant firms have seen the need to diversify and form sister companies specializing in graphic design. At the same time, independent design firms have now flourished, each creating its own individual style and identity.
In the professional arena, graphic design companies started to make an impact in the 1970s. But it was the advertising industry that dominated, enhanced during the 1980s by mergers and affiliations with international agencies and media conglomerates from the United States, Britain and Japan. For a long time graphic design was largely perceived as subordinate to advertising, and it has only been in the last decade or so that these giant firms have seen the need to diversify and form sister companies specializing in graphic design. At the same time, independent design firms have now flourished, each creating its own individual style and identity.
Legitimization and development
The fine arts have fared rather better in Malaysia, with some local artists winning awards and international acclaim. However, in order to the legitimize the arts in Malaysia, organizations such as the National Art Gallery, the Malaysian Design Council and the National Cultural Centre were established. At one time it was also part of the national agenda to define a Malaysian identity in art and design. In 1999, a voluntary professional organization was established called WREGA.
From the late 1980s, some fine artists, one of the most notable being Ismail Zain have utilized technology to create computer generated fine art. In recent years, the of art an science has taken centre stage, most notably in animation, cinematic special effects, cyber communication, software development and graphic and industrial design. The establishment of the Multimedia Super Corridor in the mid-1990s created a demand for greater numbers of professionals with specialist skills in information technology, design, content development and entertainment. This has prompted both the government and private corporations to increase their investment in the arts.
The fine arts have fared rather better in Malaysia, with some local artists winning awards and international acclaim. However, in order to the legitimize the arts in Malaysia, organizations such as the National Art Gallery, the Malaysian Design Council and the National Cultural Centre were established. At one time it was also part of the national agenda to define a Malaysian identity in art and design. In 1999, a voluntary professional organization was established called WREGA.
From the late 1980s, some fine artists, one of the most notable being Ismail Zain have utilized technology to create computer generated fine art. In recent years, the of art an science has taken centre stage, most notably in animation, cinematic special effects, cyber communication, software development and graphic and industrial design. The establishment of the Multimedia Super Corridor in the mid-1990s created a demand for greater numbers of professionals with specialist skills in information technology, design, content development and entertainment. This has prompted both the government and private corporations to increase their investment in the arts.
Modern tools
Modern technology, particularly the computer and other electronic accessories, obviously play a major role in graphic design today, especially in terms of the commercial disciplines. Many different types of software which are able to deal with graphics are used by designers including for print and online publishing, industrial design, film and animation.
Modern technology, particularly the computer and other electronic accessories, obviously play a major role in graphic design today, especially in terms of the commercial disciplines. Many different types of software which are able to deal with graphics are used by designers including for print and online publishing, industrial design, film and animation.