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aku dah lama x follow komik malaysia ni
time sekolah dulu aku kumpul apo?
gempak ngan utopia pinjam ngan member..
skang cam dah xde umphh dah..
dah x menarik sgt..
aku plg suka kartunis lambok ngan sagu
lawak diorg mmg btl2 lawak la
superb gilerr |
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dulu aku ska baca ujang tp skunk aku baca dari gempak starz... |
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Leaving on a jet plane
Amir Hafizi
Tuesday, July 14th, 2009 02:32:00
PINKY : Adijins most-beloved original creation
COMICS can't protect you from the cold. Both figuratively and literally. Just ask Aad'i Salman Ayob Khan, known in the comics and design industry as Adijin. He has been in the Malaysian comics industry for eight years and is opening a new chapter in his life as he prepares to fly to Canada.
He only has one bag - a green backpack - which he has stuffed with T-shirts, underwear and a few pairs of pants.
Hardly enough gear to protect him from the cold Canadian weather, but a lot of space will be filled with comic books - something he loves more than being adequately prepared to fight off pneumonia and frostbite, perhaps
I'm not really doing comics for any amount of serious money. It's for satisfaction. - Adijin
"I do have a jacket," he said.
Adijin, celebrated award-winning Malaysian comics illustrator and graphic designer, will be flying off to Canada on Wednesday. He has landed a gig with the Canada-based, or rather Quebec-based, Volta Creations, Inc as a concept artist.
"I'm going there for the opportunity to work with different artists," said Adijin at his home in Cheras recently.
"Malaysia has a lot of talented people, but perhaps not enough organisations to get them together like in other countries. We also have a problem with diversity, when most people are doing the same kind of art."
Adijin says this about his drawings: "I think it's semi-realistic."
The current fad or popular style being put forth by many Malaysian artists, and the world of comics for that matter, is what is perceived as manga-based.
JITA DEWATA : Another one of Adijins attempts at capturing regional artistic flavour
"It's not wrong to draw anything in any way, but if there is a chance to see more varied forms and styles of art and illustrations, I would prefer to go and work with them. To learn, to grow. To experience and to explore."
Humble words from a man many consider as one of Malaysia's top artists. He recently won an award for Best Cover at the inaugural Anugerah Pekomik for his work on Liga Pendekar.
The problem with variety was acknowledged recently, in the Morning International Manga Competition, which started as the world's first full-scale International Manga Competition that was part of a celebration of the 25th anniversary of Morning magazine published by Kodansha.
Chief Judge Eijiro Shimada wrote: "When I read all the submitted works, what surprised me was that the submissions we received are not as diverse as works for other Japanese manga competitions, even though this is an international competition. Manga includes everything such as superhero comics and European comics, etc. Even if the style of the work looks different from manga, it is manga as long as the creator thinks it is manga. Even if the content is unusual for manga, it is manga as long as the readers think it is. In Japan, manga has developed that way."
Adijin will probably find what he is looking for in Quebec.
Just across the street from Volta's office is Ubisoft's Quebec branch.
"The Canadian Government has been very supportive of gaming companies. They have seed capital programmes and incubation incentives for the industry," he said.
"Not that the Malaysian Government is unsupportive. I know that some RM200,000 is available for comics alone and there are other grants. It's just ... I want to work with all these other artists. That's it."
LIGA PENDEKAR : Awarded Best Cover at Anugerah Pekomik 2009
Adijin is part of a list of illustrious illustrators such as Datuk Lat, Rejabhad, Mahathir Buang (Milx), Billy Tan, Tan Eng Huat, Sonny Liew, Baba Chuah, Sunder Raj, Kin Sun, Mohammad Yazid, Ong Chee Yang, Sheldon Goh, Alan Quah and others who over the years have established Malaysian creative talent overseas.
Adijin's previous work include the comics Silent Hill, Hack / Slash and Small Gods for Devil's Due Publishing and Image Comics as well as art for Warhammer 40,000.
Interestingly, Volta Creations mainly supplies game companies and advertising agencies. They don't really focus on comics.
"I'm not taking this job for the glamour, because it is not glamorous," said Adijin. "Doing comics is more glamorous than doing graphic design. There's no money in comics, but it's still glamorous. I won't be doing comics there. I'll be a concept artist.
"However, I will come back, perhaps when the visa expires. I still want to do comics. I don't want to let that go."
Though soft-spoken, Adijin can be very resilient and faithful to his choices. After taking the Sijil Pelajaran Malaysia exams, he decided to immediately plunge into the world of Malaysian comics. Together with other artists, he founded Urban Comics - a self-published effort.
"It was during the time of the self-publishing explosion. People like Jeff Smith (Bone) and Dave Sim (Cerebus) all were the frontrunners in the States," he said. "It took a while for the wave to get here, but we eventually caught the ‘fever' in 2001. However, things fizzled out in 2003. I don't know why. I guess, in publishing, you can never really know what people want."
Having had to keep taking other jobs even while doing Urban Comics prepared Adijin for the comics magazine's eventual bust. He ended up doing advertising design work for companies such as Ogilvy and comics illustration work for some overseas studios.
Having already established himself, Adijin ploughed on and now has got a break with Volta.
"I'll be back," he said. "And I'll still do comics. After all, I'm not really doing comics for any amount of serious money. It's for satisfaction."
- Malay Mail -
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175# gruntz
aku pun dulu rajin kumpul gempak..tak pnah miss...utopia,hype and starz pun bli gak..tp skrg dh stop..gempak sekarang content dh kurang and komik tak se-best dulu |
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Post Last Edit by HangPC2 at 9-8-2009 11:47
Laksamana Moden
Painter/Illustrator/Comic Artist : Lela Sari (Jimi Kong)
Berita Harian Sabtu, 7 Julai 1984
Berita Harian Jumaat, 13 Julai 1984
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dulu2 ad buat collection...dulu2 la..skrang tak dan dah...beli kreko plak... |
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Simple Tips untuk pelukis komik/kartun yang baru (Malaysian Only)
Ramai yang aku jumpa pelukis komik atau kartun yang tak tahu cara yang 'betul' untuk menghantar karya ke penerbit.
Kat bawah ni aku senaraikan beberapa 'perkara' yang sepatutnya dielakkan tetapi berlaku bila berhadapan dengan editor atau penerbit.
1. Aku jumpa ramai pelukis baru yang sering menghasilkan komik sehingga berpuluh-puluh mukasurat sebelum berjumpa dengan editor atau penerbit. Apabila karya mereka di'reject' pastinya berlaku kekecewaan yang melampau. Jadi sebelum menghasilkan 'real' komik hubungi penerbit dahulu untuk menunjukkan contoh lukisan atau karya. Kepada yang tak dapat datang untuk berjumpa editor sila poskan fotokopi contoh komik tersebut dan tunggu jawapannya.
2. Kebanyakkan pelukis sering membebel atau memprotes apabila banyak artwork diedit, contohnya dialog. Pelukis harus ingat yang artwork mereka telah dibeli oleh penerbit dan ianya telah menjadi hakmilik penerbit jadi penerbit berhak melakukan apa saja terhadap karya mereka. Di sini pelukis haruslah melahirkan karya yang betul-betul bermutu sehingga penerbit berpuasharti tanpa perlu mengedit lagi.
3. Anggaplah segala komen dari editor/penerbit sebagai cabaran untuk menghasilkan karya yang lebih bermutu bukan untuk mengkondem editor tu balik kat kawan-kawan. Pengalaman aku sebagai editor aku telah menyenarai hitamkan beberapa pelukis komik yang bagus/tak bagus akibat perangai 'buruk' tersebut. Dan ini mungkin akan menutup periuk nasi mereka sendiri ternasuk menjadikan gelanggang komik semakin kecil. Ramai pelukis yang terlalu sensitif sehingga tidak boleh menerima segala komen yang diberikan oleh editor.
4. Kekemasan masih tidak diutamakan dalam menghasilkan komik. Terutamanya dari segi layout. Lukisan bagus tapi petak atau kolum senget dan tak kemas. Kertas lukisan kotor dan seperti kena minyak masak dan bermacam lagi. Malah cara menyusun folio untuk ditunjukkan kepada editor berterabur. Ini semua menjadikan ediror/penerbit hilang mood untuk menatap komik korang dan ini menutup peluang korang.
5. Mengkopi karya pelukis ternama pada permulaan adalah bagus tetapi bila korang dah sampai tahap semakin hebat, korang kena cipta stroke yang tersendiri. Melainkan stroke korang tu lebih baik dari stroke pelukis yang korang tiru tu.
6. Kepada pelukis komik yang baru berjinak-jinak dengan bidang ini (yang baru datang dari kampung), jangan bermimpi ingin menjadi pelukis komik sepenuh masa. Nasihat aku cari kerja lain yang mempunyai masa terluang pada sebelah malam atau sabtu/ahad. Dan waktu sebegini boleh korang luangkan masa untuk melukis. Korang boleh menjadi pelukis komik secara profesional bila korang dapat peluang di US dan mendapat tempat sebaris dengan pelukis komim ternama lain. Ramai pelukis komik/kartun yang aku jumpa bercita-cita nak jadi pelukis pro tapi miss soru. Malah ada juga p[elukis ternama kita yang aku kenal terumbang-ambing hidupnya. Jadi... cari kerja lain.
7. Penuhkan ilmu di dada sebelum pergi 'berperang' kalau tidak jangan memandai nak bercakap pasal copyright atau apa-apa yang berkaitan dengan industri. Ada pelukis tu nak sangat publish komik lepas publish sendiri kemudian tertipu akhirnya atau kecundang di tengah jalan. Jangan beranagn nak keluarkan buku sendiri, aku sendiri tak teringin nak keluarkan buku sendir sebab aku masih 'lemah' lagi. Ada jugak pelukis yang bergaduh nak copyright sendiri... hah ambik kau, tapi jika karakter korang belum diregister bermakna copyright untuk ciptaan korang itu masih lagi 'bebas'. Dan jika karakter ciptaan korang tu tak bagus jangan beria-ia nak bergaduh pasal copyright. Aku ada jumpa seorang pelukis yang berjuang pasal copyright, bila dah dapat dan dah register... tak ke mana-mana ciptaannya itu. Sebab mungkin tak bagus... pastu takde duit nak publish sendiri. Bila dapat publish sendiri kecundang.
8. Kepada yang menghantar secara post... harap jangan hantar yang original kerana segalanya tak akan dipulangkan. Kepada yang berjumpa sendiri dengan editor pun diharap dapat menyediakan satu photokopi untuk ditinggalkan kepada editor kerana editor menerima banyak artwork jadi kemungkinan untuk men cari balik artwork yang ingin dipulangkan agak memakan masa. Jadi sediakan PHOTOSTAT SAHAJA!
Sources : http://niezamcomic.blogspot.com/
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THE HISTORY OF MALAYSIA CARTOON INDUSTRY
By FAKHRUL ANOUR (AYOUR)
The word cartoon has various meanings, based on several very different forms of visual art and illustration. The term has evolved over time. Cartoons defined as drawings formed by an exaggeration or a distortion of a subject for an effect of satire and entertainment. The original meaning was in fine art, and there cartoon meant a preparatory drawing for a piece of art such as a painting or tapestry. The somewhat more modern meaning was that of humorous illustrations in magazines and newspapers. Even more recently there are now several contemporary meanings, including creative visual work for print media, for electronic media, and even animated films and animated digital media.
When the word cartoon is applied to print media, it most often refers to a humorous single-panel drawing or gag cartoon, most of which have captions and do not use speech balloons. The word cartoon is not often used to refer to a comic strip. The artists who draw cartoons are known as cartoonists.
Malaysia is a country in the southeast of Asia with population estimated (by February 2008) around 27.496 million. The people of Malaysia come from a number of different ethnic groups mainly — Bumiputra (65%), Chinese (26%), Indian (8%) and others (1%). Though Malay is the country official language, freedom use of other languages mainly English, Chinese and Indian in electronic or printing media are fully allowed. Thus Malaysia provides a multi culture cartoon industry based on their ethnic and language preference though Malay medium take more of the market percentage.
Cartoon industry started in Malaysia almost simultaneously with Indonesia during the late 1920s in conjunction with the development of newspapers. In that context, not only did cartoonists illustrate culture, but they also recorded, criticized or commented upon current events, known as editorial cartoons. From there, the industry evolved to different medium such as magazine or electronic media to become not only as editorial cartoons but also comic, strip and animated cartoons.
During the early phase of Pre-independence Period (1930s – 1957), two major newspapers written in Jawi; ‘Warta Jenaka’ & ‘Utusan Zaman’ played vital role on introducing regular and freelance community of cartoonists. In addition to entertainment, most of the cartoons functioned as instruments of criticism and satire, in line with the goals of the papers to raise racial consciousness towards their rights and their future. The cartoons contained political, social and economic criticism concerning the community especially Malays, as well as humorous subjects. One of the major subjects in early cartoons was the effect of colonization in the way of life. Many cartoons recorded and criticized the influence of Western Culture, especially on those who considered the western way of life more attractive.
* A cartoon by Abd. Manan entitled ‘Barat Tinggal di Barat, Timur Tinggal di Timur’ (The West Must Stay in the West, the East Must Stay in the East) in ‘Warta Jenaka’ (7th September 1936) is not only an anti-Western statement, but it also criticizes those who are fascinated by the West. It shows a couple of monkeys symbolizing Malays who are aping Western attitudes.
When came into Post-independence era after 31st August 1957 (Independence Day), the social, economic and political conditions of Malaya played a very important role in shaping the form and content of local cartoons. By this period, new publications of newspapers were introduced which begin the era of multi language freedom in media. There are two types of cartoons, namely, strip and single-x-frame. Most of the strip cartoons deal with social issues related to attitude, modernization and moral crisis. Meanwhile single-x-frames depicted most local and international contemporary events which only began to thrive in the 1980s. By this era, Berita Harian (first published on 1st July 1957) claimed to feature the largest number of cartoons among newspapers in Malaya at that time.
SINGLE-FRAME
Editorial cartoon by Peng which was published in Berita Harian newspaper dated 7th September 1957 for weekly column called ‘Berita Harian Hidangan Hari Sabtu’ (Berita Harian’s Saturday Column). Translated from English, these cartoons were originally drawn for the ‘Straits Times Saturday Forum’ in The Straits Times, the English version of Berita Harian.
STRIP
The strip cartoon ‘Keluarga Mat Jambul’ (Mat Jambul’s Family) by Raja Hamzah in Berita Harian dated 14th May 1961. This series was said the first to introduce strip cartoon in Berita Harian.
Late 1960s, imported comics from Indonesia has encourage a new transition of style with more realistic drawing compared to cartoon feature. By right, this realistic drawing mainly influenced by western comics such as Spider-Man and Superman, but with local content, the popularity has appeared to attract the readers. When cartoons comic mostly appeared in newspapers, these realistic drawing comics were published as graphic novels or magazines
Achir Suatu Kemesraan’ (The End of Intimacy) was one of the famous Indonesian matured comic series back in 1970s.
Comic industry in Indonesia used to be hyper-active before people started to complain about bad moral issues that was implanted in youngsters’ mind.
In 1970s, Malaysian publisher, Raz Studio published a realistic drawing comic magazine titled ‘SALINA’. It introduced a new breed of comic artists instead of cartoonists such as Rizalman, Zawawie HO, Sang Arif Budiman, S Zain, Samudra Perwira, S Mohammad and R Rahimah. This comic magazine has lasted for more than 10 years thus encourage cartoon industry to follow the same method by publishing magazine for cartoons.
As 1973 approached, western cartoons and comics were terminated in line with the policy to encourage the development of local themes and cartoons. It also echoed the search for a national identity as proposed in the National Cultural Congress of 1971. Cartoonists had to abide by rules and laws related to the Printing Presses and Publication Act 1984, which among others, prevents the discussion of social and political issues deemed to be ‘sensitive’. These policies determine what is politically and stylistically acceptable in terms of criticism, form and content of local cartoons.
In 1978, the first Malaysian cartoon magazine ‘GILA-GILA™’ was published by Creative Enterprise Sdn. Bhd. The success of the magazine encouraged more publishers to produce similar publication until many years later the success was took over by ‘UJANG™’ and ‘APO™’ published by Moy Publication Sdn. Bhd. The increase in the number of cartoon magazines, the emergence of new cartoonists, the exhibition given by the public and by the government turned the 80s into the golden age of Malaysian cartoons. During this period, most of them inspired by western cartoon magazines such as ‘MAD™’ & ‘NUTS™’ but with their own identities that reflected the local culture.
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Generally cartoons in the early 80s pioneered by GILA-GILA™ are different in form and content from those of the pre-independence era. The sense of humor is subtler. The cultural themes portrayed deal with the nature of a multi-racial society and international issues rather than focusing on only one specific ethnic group or society.
The early 1990s became the age of manga and anime influence, a new breed of cartoons created from Japan. Chinese community in Malaysia has long been influenced by these genres with most of it pirated and translated into Mandarin language. The habit went on to Malay readers to the extent where Malaysia was suggested as a media pirate’s paradise. This has not stopped some publishers in their piracy as the rightful owners of the respective media don’t take legal action over their materials.
Some samples of pirated manga in Mandarin language.
Readers don’t know these publishers keep on making profit off pirated comics without paying any copyright fees to the respective owners.
In the late 1990s, most cartoon magazines ceased publication due to low readership, the economic turndown and the emergence of many other interesting reading materials such as manga. Since the humor of one magazine seems to duplicate the others, readers tended to choose and buy only the most attractive ones. In this context, the publishers have had to be creative enough in order to attract their readers. Cartoon magazines in the late 1990s seemed to be created for a specific readership with a specific theme. This is a new trend for cartoon magazines now.
In June 1998, a new publisher, Art Square Creation Sdn. Bhd. was making a scene in the cartoon industry by publishing a new breed of comic magazine called GEMPAK™, categorized as a comic info magazine. Inspired by WIZARD™, it follows a different concept compared to any other comic or cartoon magazine known in the country or globally.
GEMPAK™ issue 01 (June 1998)
Pushing the tagline ‘Majalah Komik Generasi Baru’ (New Generation’s Comic Magazine), GEMPAK™ not only filled its content with strip cartoons and multiple genres of comics, it also delivered genuine news and articles about related industries such as videogames and animations. Most importantly, GEMPAK™ is the first and by far the only Malay language magazine in Malaysia enjoying the full support of said industries.
GEMPAK™ issue 18 (November 1999)
Success didn’t come overnight but only 18 months later the large volume of readers took the publisher by surprise as GEMPAK™ a huge success almost surpassing UJANG™, highest selling Malaysian cartoon magazine of the time.
Year 2000 – 2002, GEMPAK™ became popular not only as New Generation’s Comic Magazine but its style of writing (slang language) and the manga influence in local comics, which was totally against the principles of most local veterans. But these issues never stopped the publisher publishing more comic-related products such as a series of novel graphics and a few more comic info magazines under its own label, GEMPAK STARZ™.
GEMPAK™’s success encouraged more publishers to produce similar publications, none of which stayed long to nurture the market. One of the possible reasons might be because they focused on mostly European inspired comics rather than the new genres introduced by local magazines.
With the growth of the animations and videogames industry in Malaysia, GEMPAK™ by far is the only cartoon magazine that provides such information to the readers in Malay language. Concentrating not only the local industry, it has been celebrated as the only magazine producing cartoon series for the new generations without interfering in the original concepts of old timers such as GILA-GILA™ and UJANG™. More so, the talents of GEMPAK STARZ™ cartoonists have been used in advertisements by other organizations such as telecommunication service providers and fashion apparel.
Though most define cartoons produced in GEMPAK STARZ™ as manga influenced, several of its artists have been acclaimed overseas, such as in China and Japan. Adding up to the success, they are the most awarded internationally who came under the same label. This has proved that the influence does not truly exist but is a new breed of cartoons created by local comic artists with global commercial value.
Today, GEMPAK STARZ™ is considered the only Malaysian comic label with more than 100 comics or novel graphics titles by local talent, and the most active comic publisher in Malaysia, which also has organized the most successful ‘Malaysia Comic Carnival’ since 2001 and ‘Malaysia New Comic Talent Competition’ since 2002. Regarding such activities, they have put up a trend by having working crossovers with talents from Hong Kong, Taiwan and China with copyrighted comics from Japan (Shogakukan Productions Co., Ltd.), South Korea (Seoul Cultural Publishers Inc.), Hong Kong (Hong Kong Culture Co., Ltd.) & China (Comic Fans Co., Ltd.) also being published. With an eye to encourage cooperation with overseas publishers, they aim to promote local cartoonists by local publishers to other countries and at the same time bring more healthy view of Malaysia’s cartoon industry to the world.
2008 saw the celebrations of GEMPAK™’s 10th Anniversary and the 100th issue of COMIC KING™ (Chinese comic info magazine), injecting new related projects into the export-import market, exhibitions, tours and special issues for readers. In addition, this comic label is the only one in Malaysia that actively participates in international comic, game and animation (ACG) exhibitions. The publisher now known as Art Square Group is considered as one of the largest and most prolific publishers of comics and infotainment-related materials in Malaysia today.
GEMPAK™ is a bi-monthly info-comic magazine. June 2008 issues were released in conjunction with the 10th Anniversary with special extras inserted with the magazines being given away.
There is still room for improvement in the local cartoon industry with Malaysians looking at the successful progress of Art Square Group as Creative Enterprise Sdn. Bhd. celebrated their 30th Anniversary of GILA-GILA™ by announcing new projects. From 2007 – 2008, a few giant publishers open their comic departments while new publishers nurturing the industry by producing their own comic magazines concepts. Today, there is still healthy competition in the Malaysia Cartoon Industry, with no sign of stopping despite a global financial crisis.
Fakhrul Anour
Fakhrul Anour Abdullah Holds a B.Sc. Hons, Furniture Technology from UiTM, Shah Alam. A romantic at heart, Fakhrul Anour is really fluent in the art of love. Able to create just the right kind of mood in all his romantic comics, his realistically drawn characters would envelop you into their world of love and beauty. But be careful because he could also break your heart with his graphic novel 'Siri Maskeret Cinta-Hanya...' and a novel 'Cinta Tunggal.' Together with Kaoru, the cartoonist is producing his latest romance novel, 'Kaoru s Cake House: 143'. He is currently holding the position as Editor for comic magazine like Gempak, and Elemen.
Sources : Komik Tangun : Manhoa Chongbor (Vol.42 dated 12/11/08)
http://fakhrulanour.blogspot.com/
http://www.intercomicon.org
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Bakat seni Ellie Yong
Oleh FATEN SAPHILLA MOHAMED ISA
[email protected]
Meskipun masih muda, Ellie Yong memiliki kebolehan melukis yang luar biasa. Hasil seni remaja perempuan yang berumur 16 tahun itu juga kerap menjuarai pertandingan bertaraf antarabangsa.
MEMANG mengujakan apabila dapat bertentang mata dengan pelakon popular Hollywood, Harrison Ford yang membawakan watak Indiana Jones di pusat beli-belah Cineleisure, Petaling Jaya baru-baru ini.
Bergaya dengan penuh karisma, Ford, 57, kelihatan jauh lebih muda berbanding usia sebenarnya.
Selain Ford, pengunjung juga tidak melepaskan peluang lihat secara dekat pemain bola sepak Britain yang menjadi kegilaan ramai, David Beckham yang juga kebetulan turut berada di situ.
Ruang legar tingkat bawah pusat beli-belah itu sesak dengan orang ramai yang berkerumun untuk melihat dua figura hebat itu dari dekat.
Namun, pertemuan dengan dua orang figura itu hanyalah menerusi kepingan kanvas yang merupakan sebahagian daripada hasil karya pelukis muda, Ellie Yong, 16.
Lebih menakjubkan, remaja semuda itu mampu menghasilkan lukisan potret yang cukup hidup.
Ellie memang tidak ada dalam senarai pelukis bertaraf antarabangsa.
Namun, kemahiran gadis yang bersekolah di Sekolah Menengah Jenis Kebangsaan Katholik, Jalan Gasing, Petaling Jaya itu dalam menghasilkan lukisan realistik tidak harus dipandang sebelah mata.
Turut menarik perhatian pengunjung di situ ialah lakaran seekor kuda sedang berlari dan pemandangan padang golf yang luas dengan seorang pemain sedang beraksi.
Ketika kunjungan Kosmo!, Ellie yang sedang duduk di salah satu sudut pameran tekun meneliti gambar Micheal Jackson di sebelah tangan kirinya.
Kebolehan
Tangannya pantas mencapai berus dan warna melukis wajah Raja Pop dunia itu. Orang ramai yang memerhati gadis berkaca mata itu terpegun dengan kebolehannya.
Kepakaran Ellie mengeksploitasi sudut perspektif nyata membuatkan imej yang dilakarnya begitu memukau.
WATAK manusia sering menjadi sumber ilham Ellie.
Mungkin kerana itu, tidak hairanlah Ellie kerap kali menang dalam pertandingan yang disertainya. Antara pertandingan yang dimenangi Ellie ialah Sarawak My Paradise Painting Competition untuk dua tahun berturut-turut iaitu pada 2006 dan 2007.
Dia juga pernah memenangi tempat pertama dalam pertandingan Lions Clubs International Peace Poster Contest (Malaysia-Singapura-Brunei district) pada tahun yang sama serta anugerah kecemerlangan dalam pertandingan Lion Clubs International Peace Poster Contest di peringkat antarabangsa.
Dia juga merupakan pemenang tempat pertama Pertandingan National Global Art 2007.
Illustrasi hidup
Ilustrasi wajah dan potretnya seakan-akan hidup tatkala mata dan tangannya berhubung dengan berus, warna, kertas lukisan serta sekeping gambar sebagai panduan.
Bagaimana Ellie melakukannya? Jawab Ellie : "Saya lukis berdasarkan apa yang saya amati. Sama ada karakter itu sedang menangis, menjerit, marah, takut dan sebagainya."
Ellie mengakui paling menggemari melukis figura manusia.
ELLIE pernah mendapat anugerah kecemerlangan di peringkat anatarabangsa.
Dia hanya memerlukan masa selama tiga minggu sahaja untuk menyiapkan lukisan figura yang sukar.
"Untuk permulaan, saya akan melakar dahulu karakter tersebut berpandukan gambar selama satu atau dua jam.
"Selepas itu, baru proses mewarna dilakukan. Proses mewarna memerlukan masa yang agak lama kerana ia memerlukan teknik dan ketelitian yang tinggi agar nampak seperti gambar sebenar," katanya yang telah melukis melebihi 100 keping lukisan.
Ellie kelihatan sibuk dan begitu asyik menyiapkan lukisannya. Ketekunan Ellie membuatkan penulis mendekati ibunya untuk mengetahui lebih lanjut tentangnya.
ELLIE mampu menghasilkan lukisan yang kelihatan hidup.
Ellie disifatkan oleh ibunya, Connie Leong, sebagai seorang yang sangat pendiam dan sanggup menghabiskan masa berjam-jam untuk menyiapkan sesebuah lukisan.
Malah, kadangkala masa yang diambil boleh mencecah selama beberapa hari.
Leong bagaimanapun memberitahu, bakat anak sulungnya itu tidak diwarisi daripadanya atau suami.
"Mungkin bakat melukis Ellie diperoleh daripada ibu saudaranya yang pandai melukis. Adik-adiknya juga tidak begitu mahir melukis," jelasnya.
Sekolah seni
Sedar akan bakat yang ada pada Ellie dan enggan mempersiakannya, Leong menghantar anaknya ke sekolah seni.
"Semasa berjalan-jalan di Bangsar, saya ternampak sekolah seni My Favorite Art House (My FAH). Sejak itu, saya berhasrat untuk mendaftarkan Ellie.
"Biar dia tahu dengan lebih mendalam mengenai teknik melukis, membuat pembayang, mewarna atau sebagainya untuk menghasilkan lukisan yang hebat," kata ibu kepada tiga orang anak itu.
Kini, selepas lima tahun belajar di My FAH kebolehan Ellie melakar potret amat mempesonakan.
ELLIE telah melukis melebihi 100 keping lukisan setakat ini.
Malah, apabila sesekali bertukar genre melakar flora dan fauna karyanya mengujakan setiap mata yang memandang.
"Watak manusia sering menjadi sumber ilhamnya. Selain itu, Ellie juga pandai melukis flora dan fauna, selain pemandangan alam sekitar atau bangunan," tambah Leong sambil memberitahu Ellie seorang yang tidak jemu-jemu mempertingkat dan mempelbagaikan teknik kemahiran melukisnya.
Melukis sejak usia tiga tahun, Ellie pada awalnya menggunakan warna pensil dan krayon.
Namun seiring peningkatan usianya dia beralih kepada medium lukisan yang lebih luas iaitu warna cat air, kapur dan sebagainya.
Kini, Ellie mahir melukis menggunakan komputer. Kepelbagaian perisian berkaitan lukisan memudahkan Ellie untuk mempelbagaikan teknik lukisannya termasuklah kemahiran menyelesaikan sesuatu lukisan dalam masa yang ditetapkan.
- Kosmo -
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Post time 23-5-2009 02:04 AM
![[KUIZ PERUBATAN MINGGUAN VOL. 7]: Mudah aje, ilmu harian! VOL.7](https://uf.cari.com.my/forumx/mforum/block/ca/cafa22106bf87ee6a0ff6b0584fea8d8.jpg)
