3rd ISME International Colloquium 2016 · 2 The Image of Man after September 11 Mohd. Shaharudin Sabu, Mohd. Saharuddin Supar, Hisammudin Ahmad, Shaharin Sulaiman, Ahmad Zuraimi Abdul

• colloquium

Empowering Local Mind In Art Design& Cultural Heritage

2016

Empowering Local MindIn Art Design & Cultural Heritage

3rd ISMEInternationalColloquium

2016proceeding book

27&28December2016

UniversitiTeknologi MARA,Melaka, Malaysia.


3rd ISMEInternationalColloquium2016EDITORS AND COMPILERS:Dr. Azahar Harun

Dr. Rosli Zakaria

Dr. Abd Rasid

Pn. Haslinda Abd Razak

Pn. Liza Marziana Mohammad Noh

En Nadzri Mohd SharifEn. Shaleh Mohd Mujir

Pn Fatrisha Mohamed YussofPn Anith Liyana Amin Nudin

Pn lIinadia Jamil

Cik Fazlina Mohd Radzi

Cik Aidah Alias

Cik Nurkhazilah Idris

COVER DESIGN:Norsharina Samsuri

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& CuffulBl H.rlttJg8

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•Empowering Local Mind In Art Design

& Cultural Heritage

2016


3rd ISMEInternationalColloquium2016

Copyright © 2016

Faculty of Art & Design,UiTM MelakaKM26 Jalan Lendu,78000 Alor Gajah Melakahttp://isme2016.weebly.com

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

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 StudentsDona 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

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 Himawan dan 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

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 Harun and 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

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

3rd ISME International Colloquium 2016 9

Personification in Marketing Communication: Case Study of Malaysian Brands

Azahar Harun1, Mohamed Razeef Abd Razak2, Russlan Abd Rahim3 ,Lili Eliana Mohd Radzuan4, Amina Syarfina Abu Bakar5

1Faculty of Art & Design, Universiti Teknologi MARA, Melaka, Malaysia

2,3,4,5Faculty of Art & Design, Universiti Teknologi MARA, Selangor, Malaysia

*corresponding author: [email protected]

ABSTRACT- This paper assesses the anthropomorphic forms depicted in four established Malaysian brands. They are Julie’s, Habib, Karangkraf and Happy Prepaid. In order to measure its effectiveness in brand design, a Visual Content Analysis approach is employed. This qualitative method which involves multiple case studies of selected brand design, analyzes the visual components of the selected brand design and extracting its underlying meaning. The findings show that each of the brand design contains variety of anthropomorphic forms which are unique and discernible. For the purpose of reference, we categorize each of the anthropomorphic forms as Literal, Partial, Abstract and Typographic. Literal means that the brand design exhibits almost accurate human character. Partial means that the brand shows certain part of human form like hands, head, eye, silhouette, etc. Abstract suggests that the brand exhibits conceptual human form. Typographic means that the brand design contains typefaces that display gesture or facial expression. Despite being distinctive, we also discover that the samples suggest meaningful expression, which can establish relationship with the consumers. We conclude that the anthropomorphic forms (Literal, Partial, Abstract and Typographic) found in the selected Malaysian brand design are not only meant for decorative reason but possess communicative value which is relevant in marketing and promotion.

Author Keywords: Personification; Anthropomorphism; Brand Design; Marketing

10 3rd ISME International Colloquium 2016

I. INTRODUCTION

A brand is an essential communication tool in marketing, which contains graphic elements such as symbols, icon, typography and images that represent a company, product and services [13]. The objective of a brand is to help marketers prolong recognition and influence consumer’s purchasing decision. So how can a brand design promote itself? Scholar asserts that the design of a brand should not be tactically but strategically well-thought-out. In other words the designer should carefully exploit all kinds of design options (color, fonts, shape, etc.) so that the final outcome will reveal the true identity of the brand [7].

In relation, certain Malaysian brand design such as PETRONAS, AIR ASIA, MALAYSIA AIRLINE and PROTON are already accepted internationally. This recognition, in a way, illustrates just how important it is for designer and marketer to give thoughtful attention to the detail artwork and communicative aspect of the brand design before releasing it to the public. However, if this matter is neglected, it is likely that the artwork will be rejected. For instance, in 2012, an online article from the Malaysian insider states that the ministry of information of Malaysia had received wide criticism for cancelling the 2012 National day logo designs completion [19]. Instead, the ministry released a new design, which comprises words in different fonts, the “Jalur Gemilang” (Stripes of Glory), the “1 Malaysia logo” and the theme “Janji Ditepati” (Promise Fulfilled), all using the four colors of the national flag (Figure 1). Unfortunately, according to the report, cyber citizens and graphic designers said that the logo was poorly constructed and contains too many unnecessary items, thus fails to convey the image of progressive and modern country. To avoid more controversy, the ministry pulls out the logo and replaced it with 1 Malaysia logo.

Fig. 1:Malaysia 55 National day celebration logo


1.1 Problem Statements

In theory, viewers of all ages will have the tendency to respond, interact and relate to all kinds of object that exhibit human traits. For example, a study by scholars shows that most people tend to have social connection with a car [3, 6]. This social attachment can be described as the outcome of anthropomorphism [12]. Many researchers state that anthropomorphism can induce consumers to establish strong relationship with the subjects [3,12]. In spite of the abundance of literature, surprisingly there is limited research on how Malaysian brands utilize or exploit anthropomorphism for the sake of marketing purpose and whether or not that the thought on anthropomorphism is taken considerably in the design. The lack of studies in this particular area creates a gap in the knowledge of Malaysian brand design. Hence this paper attempt to assess the anthropomorphic forms found in Malaysian brand design in order to establish its usefulness and to extend the knowledge to brand designer and marketer.

1.2 Research Questions

RQ1: What anthropomorphic forms does the brand design take?

RQ2: How the brand design communicates meaning?

RQ3: Do the anthropomorphic forms in the brand design reflect the company image?

1.3 Objectives

O1: To assess the anthropomorphic forms found in the selected brand design.

O2: To identify the meaning implied by the selected brand design.

O3: To describe the functional aspect of the anthropomorphic form in the brand design.

1.4 Anthropomorphism or Personification

Atkinson states the term anthropomorphism derives from two Greek words, anthro which means human and morph which means form or shape [2]. Guthrie states that the term anthropomorphism was initially referred to a representational object of gods, deities and spiritual entities. However, nowadays it has been accepted in many disciplines especially in the arts [12]. Hutson states that anthropomorphism


is a kind of perception that is naturally developed in human since infancy hence, viewers are able to discern human form and sense its presence in non-living things, inanimate and animals [14]. A study by scientists discovers that the human infant has already developed the ability to recognize and distinguish various kind of emotional expression such as smile, sad and angry [15]. A three-year-old child would think (or believe) that anything is mindful (conscious). As the child grows, he or she will realize the difference between conscious and unconscious [11].

1.5 Anthropomorphism Theories

According to DiSalvo and Gemperle, the ability to discern anthropomorphism is a sophisticated mental process especially at adulthood stage [8]. In this regards, they suggest that designers tend to exploit anthropomorphic form to attract and arouse human instinct. A case study conducted by researchers indicates that iconic animated character Hello Kitty created by Sanrio is very successful in establishing social connection with consumers [16]. The study also identifies eight marketing strategies. They are simplicity, character licensing, third party collaboration, capitalizing on nostalgia, product line extension, brand extension, sustaining consumer interest and harnessing technology.

In order to understand how anthropomorphism performs, Guthrie offers four theories, The Familiarity Thesis, The Comfort Thesis, The Best-Bet Thesis and The Social Thesis [12]. The Familiarity Thesis is the basic concept of anthropomorphism that offers this notion: When we try to explain about the unknown world (phenomenon), we would turn to ourselves as reference because, “these are the easiest or most reliable” source (Guthrie, 1993). The second view of anthropomorphism perception is called Comfort Thesis. The Comfort Thesis states, “Discovering humanity around us necessarily makes us feel better than not discovering humanity”. Design scholars also share this notion. DiSalvo et. al state that human would feel comfortable only around human race [8]. The third theory which is called The Best-Bet Thesis states “in the face of chronic uncertainty about the nature of the world, guessing that some thing or event is humanlike or has a human cause constitutes a good bet… if we are right we gain much … if we are wrong, we usually lose little”. Barnes (2003) suggests that betting (guessing) is a natural instinct that can help people survives from any potential threats [4]. The fourth theory, Social Thesis refers to the act of attributing human characteristic to non-human (animals, objects, tools etc.) in order to interact and behave towards them [5]. For example, ASSIMO (Advance Step in Innovative Mobility) humanoid robot, developed by Honda R&D Co., Ltd., has a real time communication feature that enables user to engage socially with it (Figure 2). In an online article, the project leader at Honda R&D Co., Ltd. Satoshi Shigemi states that communication is the key factor in developing a humanoid robot. In order for it to work, the anthropomorphic feature of the robot must be able to comfort people so that they can communicate and interact more confidently [22].


Fig. 2:Honda’s ASSIMO (Advance Step in Innovative Mobility)

1.6 Anthropomorphism in relation to consumer

According to Aggarwal and McGill, marketers often exploit anthropomorphism to make the products look appealing. For example character mascots (Figure 2), Mr. Peanut, Tony the Tiger and Michelin Man are anthropomorphized (designed) to an extent that their appearance influence consumer to sense human-like presence in them [3]. According to Magdalinski character mascot is an advertising agent, which is designed to “communicate essentials qualities of a product to consumer” [17].

Choi, Michael and Biocca states that “When a user interacts with a human-like virtual agent, talking and moving in a vividly simulated audio-visual environment, more sensory cues will be involved and perceived by the users [6]. Such an interaction will lead to a higher degree of telepresence than if no agents were present. Also, it is expected that a higher degree of social presence will be conveyed as the user interacts with an agent capable of both verbal and nonverbal cues”. Knowing that the advantage of anthropomorphism in visual communication is abundant, marketing scholars began to introduce it in brand design. Aakers in her study recognizes brand personality as ‘the human characteristics associated with a brand’) and developed a scale to measure brand personality [1]. Fournier investigates the relationships between consumers and brands, and discovers that the relationships with brands were ‘valid at the level of lived experience of consumers’ [10]. According to Puzakova et al., due to anthropomorphic characteristic, consumers begin to build strong relationship with the brands and regard them as human [18].


Fig. 3:Mr Peanut, Tony the Tiger and Michelin Man

2. METHOD

2.1 Case study of Malaysian Brands

This study employs qualitative method that integrates multiple case studies and visual content analysis. According to Rose, visual content analysis offers clear methodological guidelines and useful in approaching a large number of images (visuals) in a consistent manner [20]. Basically it involves looking at the formal elements namely form, line and typographic. These elements are the descriptors, which are the basis for establishing the meaning that are embedded in the brand design. Hence this method is necessary since it provides the instrument to scientifically assess Malaysian brand design in relation to anthropomorphism.

Four established Malaysian brands have been sampled for this study. They are Julie’s (representing Food industry), Habib (representing Jewelry industry), Karangkraf (representing publishing industry) and Happy Prepaid (representing Telecommunication industry). These Malaysian brands are chosen because they depict anthropomorphic forms, which can be categorized as Literal, Partial, Abstract and Typographic. Literal means that the brand exhibits full or almost complete human character. Partial means that the brand shows certain part of human form like hands, head, eye, silhouette, etc. Abstract means that the brand exhibits conceptual human form. Typographic means that the brand design contains font that display gesture or facial expression.


3. FINDINGS

3.1 Case study Julies’s

Julie’s (Figure 4) is a brand of a local biscuit company in Malaysia. Based on our observation, this brand design can be categorized as Literal simply because it portrays a plausible cartoon figure of a female character. The brand also incorporates typographic elements and geometrical shape, which dominates the whole design.

Fig. 4: Julie’s logo

The cartoon figure is shown only on the upper body whereas the lower body is cropped in an oval frame. The female character hair color is blonde (yellow) and tied with blue ribbon, thus suggests foreign ethnicity. She is depicted wearing a blue shirt with a red vest. The design of Julie’s brand suggests that it is meant to meet the standard of international market. This is noticed by the image of the blonde girl and the name Julie’s, which is a typical western name.

The use of foreign ethnicity (name, image, style, etc.) is commonly found in local scene as well. One of the reasons is that local consumer tend to believe that foreign values are more appealing and reliable. In spite of that, we discover that the character face is lacking of expression and her body posture is stiff. This implies that she is a fictional character and does not represent a real person.

In terms of meaning, Julie’s brand design manages to reflect the company’s personality and influence consumers on judgment and purchase intentions. The tagline “Bake Better Biscuits” shows the company’s commitment to achieve customers’ satisfaction and build long-term consumer confidence and trust in its product.

3.2 Case study Habib Jewel

Habib (Figure 5) is a local brand of a local Jewelry company. Based on the overall design, Habib can be categorized as Partial mainly because its design portrays certain parts of a human hand.

Likewise the design also incorporates typographic element and geometrical shape. The dominant aspect of this brand design is the diamond shaped object


placed in between the hands, which brings meaning to it. In this sense, the audience may perceive ‘Habib owning the precious jewelry’. The brand logo also promotes desire for audience to own the jewelry. To suggest the idea of elegance and preciousness, four crossed line are created inside the diamond shape to portray ‘shine’. The typeface appearance looks clean, bold and sharp angular lines compliment the typeface selection that looks somewhat modern and edgy.

Fig. 5: Habib logo

3.3 Case study Karangkraf

Karangkraf (Figure 6) is a brand design from a local publishing company, which can be categorized as Abstract. This is mainly because the brand design portrays a conceptual figure form incorporated with typographic element and geometrical shape.

Fig. 6: Karangkraf logo

The conceptual anthropomorphic form is composed in a circle frame, which is a similar approach as discussed in Julie’s brand design. However the detail such as face and body parts are not included. Having said this, the brand logo evokes the sense of simplicity and modern. The visual elements are being stylized to help audience recognize the brand logo easily. This is based on a notion that a simple form is much easier to remember unlike complex form. By combining two major elements in harmonizing the arrangement or symbol and letter of design elements, the brand logo manages to reflect the sense of quality and reliability.


3.4 Case study Happy Prepaid

Happy Prepaid (Figure 7) is a brand from a local telecommunication company. Since the brand design uses only typefaces and has no conceptual figure component, it can be categorized as Typographic. To accentuate the notion of happiness, the brand design is manipulated in a way that the tail of the letter “y” is extended and bended to form a smiling expression. The counter form of the letter “a” & “p” also accentuate the expression of happy face.

Fig. 7: Happy prepaid logo

A good brand design should be able to sink into the memory of the audience. The same can also be said about Happy Prepaid brand design. The simplicity of the brand name is delivered by the appropriate typeface with minimal modification to show the meaning of happiness. It is also suitable to use sans-serif typeface with rounded edge to promote casual and friendliness. Since it is simple and distinctive, this brand design has high visibility to compete with its rivals in the eye of viewers. With strong and bold color, Happy Prepaid brand design demands for attention. In the aspects of anthropomorphism, it clearly depicts human face through the formation of the word mark in associating its clients or viewers with their brand promise. With regards to production purpose, this brand design is easily applied onto various types of media since the form is not complicated and designed to survive with single color. In consideration of these aspects, the Happy Prepaid brand design is successful in delivering its corporate philosophy and values through simple and distinctive design.

4. CONCLUSION

A brand is a marketing agent that is mandatory in the commerce world. In view of this, we believe that the artwork and the communication aspect of a successful brand do not solely depend on visual appeal rather it will also need a motivational factor called anthropomorphism. In this study, four different types of anthropomorphic forms that are commonly found in most brand design have been identified. They are Literal, Partial, Abstract and Typographic. Each of these anthropomorphic forms has the potentials to disseminate meaning and communicate value in terms of brand personality and quality. Based on these


notions, it shows that anthropomorphism has a role to influence purchase decision. Hence we recommend that Malaysian designers and marketers should take full advantage of anthropomorphism for the sake of strengthening a brand design and establish social connection with consumer.

ACKNOWLEDGEMENT

The authors would like to acknowledge the Ministry of Higher Education (MOHE) for sponsoring this work under the Fundamental Research Grant Scheme (FRGS) with sponsorship file no FRGS/1/2015/SS03/UITM/02/7.

REFERENCES

[1] Aaker, J. (1997) ‘Dimensions of Brand Personality’. Journal of Marketing Research, 34(3): 347–56.

[2] Atkinson, N. (2006). The use of Anthropomorphism in the animation of animals: What animators should know. Retrieved, January 24, 2009, from http://ncca.bournemouth.ac.uk/gallery/files/innovations/2006/Atkinson_Nicola_6/N Atkinson Innovations.pdf.

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3rd ISME International Colloquium 2016 · 2 The Image of Man after September 11 Mohd. Shaharudin Sabu, Mohd. Saharuddin Supar, Hisammudin Ahmad, Shaharin Sulaiman, Ahmad Zuraimi Abdul

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