ART VANDALIZED YOUR VISUAL NF PRODUCTION
i KOLEJ KEMAHIRAN TINGGI MARA REMBAU VIDEO PRODUCTION: GRAFFITI ART – SHORT DOCUMENTARY This report submitted in accordance with requirement of the Kolej Kemahiran Tinggi MARA Rembau for the Diploma in Digital Media Design NUR FAATIHAH BINTI MOHD REZIKI DEPARTMENT OF DIGITAL MEDIA DESIGN 2023
ii KOLEJ KEMAHIRAN TINGGI MARA REMBAU TAJUK : GRAFFITI ART – SHORT DOCUMENTARY SESI PENGAJIAN : JANUARI-JUN 2023 Saya NUR FAATIHAH BINTI MOHD REZIKI Mengaku membenarkan Laporan Projek Akhir ini disimpan di Perpustakaan Kolej Kemahiran Tinggi MARA Rembau dengan syarat-syarat kegunaan seperti berikut: 1. Laporan Projek Akhir adalah hak milik Kolej Kemahiran Tinggi MARA Rembau dan penulis 2. Perpustakaan Kolej Kemahiran Tinggi MARA Rembau dibenarkan membuat salinan untuk tujuan pengajian sahaja dengan izin penulis 3. Perpustakaan dibenarkan membuat Salinan laporan Projek Akhir ini sebagai pertukaran antara institusi pengajian tinggi. 4. **Sila tandakan ( √ ) SULIT Mempunyai maklumat yang berdarjah keselamatan atau kepentingan Malaysia termaktub dalam Akta Rahsia Rasmi 1972 TERHAD Mengandungi maklumat terhad yang telah ditentukan oleh organisasi/badan dimana penyelidikan dijalankan TIDAK TERHAD ……………………………… TANDATANGAN PENULIS ………………………………. TANDATANGAN PENYELIA Cop Rasmi ALAMAT: TARIKH: TARIKH: BORANG PENGESAHAN STATUS LAPORAN PROJEK AKHIR
iii DECLARATION I hereby, declared this report entitled “VIDEO PRODUCTION: GRAFFITI ART – SHORT DOCUMENTARY” is the results of my own research except as cited in references. Signature : ……………………………………………….. Author’s Name : ……………………………………………….. Date : ………………………………………………..
iv APPROVAL This report is submitted to the Department of Digital Media Design KKTM Rembau as a partial fulfilment of the requirements for the Diploma in Digital Media Design. The member of the supervisory committee is as follow: ………………………………….. (Signature of Supervisor) Official Stamp of Supervisor
v APPROVAL This report is submitted to the Department of Digital Media Design KKTM Rembau as a partial fulfilment of the requirements for the Diploma in Digital Media Design. The member of the supervisory committee is as follow: ………………………………….. (Signature of Head Department) Official Stamp of Head Department
vi DEDICATION This final year project is dedicated to all those who have supported and guided me throughout my academic journey. To my parents, for their unwavering love, encouragement, and financial support. Your belief in me has been my greatest motivation. To my professors especially En Huzaini Bin Saari, for his invaluable guidance, and constant support throughout this project. To my supervisor En Ahmad Kamsol Bin Mat Yusop, for his insightful feedback and sharing ideas to make my project more interesting and to my colleagues for their camaraderie, encouragement, and for making this academic journey enjoyable and memorable and to whose support has been instrumental in the completion of this project. Lastly, to the Allah SWT, for granting me the strength, wisdom, and perseverance to see this project through to its completion. Thank you all for being a part of this journey.
vii ACKNOWLEDMENT I would like to express my deepest gratitude to everyone who has contributed to the completion of this project and supported me throughout my journey. First and foremost, I am immensely grateful to my project supervisor Mr Ahmad Kamsol Bin Mat Yusop for his invaluable guidance, encouragement, and unwavering support. Their expertise, patience, and constructive feedback were instrumental in shaping this project and enhancing its quality. I am also thankful to Mr Huzaini Bin Saari, for his assistance and valuable insights throughout the duration of this project. His willingness to share the knowledge and expertise greatly enriched my learning experience. Furthermore, I extend my appreciation to my family and friends for their understanding, encouragement, and unconditional support during challenging times. Their belief in me kept me motivated to persevere and achieve my goals. Last but not least, I would like to express my gratitude to the KKTM REMBAU for providing me with the necessary resources and opportunities to pursue this project and for fostering an environment conducive to academic and personal growth. Thank you to everyone who has played a part in making this project a reality. Your support and encouragement have been invaluable, and I am truly grateful for the opportunity to undertake this project.
viii ABSTRACT The proposed of this study is to identify the community perception towards graffiti art in Malaysia by investigating the community knowledge, perception and appreciation to the graffiti art. This project initiative aims to communicate current issues about how society views the influence of graffiti art today. In order to fight the society’s perspective of graffiti art that today's face, this project intends to improve new strategies to help increase show in a good way to the audience as a new reference and guide that can be seen together. Making a documentary can make people realized that graffiti art isn’t vandalism it appeared as a means to express the voice of the people and have become increasingly accepted. Through a combination of historical analysis, case studies, and fieldwork, the study examines how graffiti has transformed from illicit activity to a celebrated cultural phenomenon.
ix TABLE PAGE DECLARATION iii APPROVAL iv DEDICATION vi ACKNOWLEDGEMENT vii ABSTRACT viii TABLE OF CONTENTS ix LIST OF BAR CHART xi LIST OF FIGURES xii CHAPTER 1 INTRODUCTION 1 1.1 Research Background 1 1.2 Problem Statement 3 1.3 Objective 5 1.4 Research Question 6 CHAPTER 2 LITERATURE REVIEW 8 2.1 Introduction 8 2.1.1 State-of-the-Arts 9 2.2 Research Gap 11 CHAPTER 3 RESEARCH METHODOLOGY 14 3.1 Research Design 14 3.2 Area of Study 14 3.3. Population of Study 16 3.4 Sample of Population 17 3.5 Sampling Technique 17
x 3.6 Instrument for Data Collection 18 3.7 Data Analysis 19 CHAPTER 4 RESULT AND DISCUSSION 26 4.1 Pre production 26 4.2 Production 33 4.3 Post production 41 4.4 Result and Finding 43 CHAPTER 5 CONCLUSION AND RECOMMENDATIONS 3 5.1 Conclusion 51 5.2 Recommendation 53 REFERENCES 3
xi LIST OF BAR CHART BAR NO. TITLE PAGE BAR 1.2.1 Level of local people perception, knowledge and appreciation of graffiti art 3
xii LIST OF FIGURES FIGURE NO. TITLE PAGE Figure 1.2.2 Vandalism 5 Figure 3.3.1 Respondents Age 16 Figure 3.7 Data Analysis 19 Figure 3.7.1 Question 1 20 Figure 3.7.2 Question 2 21 Figure 3.7.3 Question 3 21 Figure 3.7.4 Question 4 22 Figure 3.7.5 Question 5 23 Figure 3.7.6 Question 6 23 Figure 3.7.7 Question 7 24 Figure 3.7.8 Question 8 25 Figure 4.1.1 Sketches Item 26 Figure 4.1.2 Storyline 27 Figure 4.1.5 Script 28 Figure 4.1.6 Mind Mapping 29 Figure 4.1.7 Mockup Mood board 29 Figure 4.1.8 Storyboard Sketch 30 Figure 4.1.9 Storyboard Sketch 30 Figure 4.1.10 Storyboard Sketch 30 Figure 4.1.11 Storyboard Sketch 31 Figure 4.1.12 Storyboard Sketch 31 Figure 4.1.13 Sketches Promotional Items 32
xiii LIST OF FIGURES FIGURE NO. TITLE PAGE Figure 4.2 Digital Development 33 Figure 4.2.1 Poster with Different Variation Pictures and Style 34 Figure 4.2.2 Poster with Variaty Composition and Different Typhography 34 Figure 4.2.3 Item Poster Proceed 35 Figure 4.2.4 Tshirt 36 Figure 4.2.5 Bucket Hat 36 Figure 4.2.6 Lanyard 37 Figure 4.2.7 Stickers 37 Figure 4.2.8 Interview at Cheras 38 Figure 4.2.9 Artwork Shooting Spot at Sepang 39 Figure 4.2.10 Offline Editing 40 Figure 4.3.1 Teaser 41 Figure 4.3.2 Promotional Items 42 Figure 4.3.3 Poster Design 42 Figure 4.4.1 Gender 43 Figure 4.4.2 Age range 44 Figure 4.4.3 Participant's state of residence 44 Figure 4.4.4 Do voters know anything about graffiti 45 Figure 4.4.5 Trailer rate 45 Figure 4.4.6 Poster rate 46
xiv LIST OF FIGURES FIGURE NO. TITLE PAGE Figure 4.4.7 How to improve poster design 47 Figure 4.4.8 Satisfaction of Meeting the project initial goals and objectives 47 Figure 4.4.9 Participants favorite part of project 48 Figure 4.4.10 Satisfaction of the outcome project 48 Figure 4.4.11 Participant interest of this project 49 Figure 4.4.12 Client feedback 50
1 CHAPTER ONE INTRODUCTION 1. 1 RESEARCH BACKGROUND From this project students can have a lifetime education, and ethical business practices into their first digital media project that is relevant to their course of study. Final year project for Digital Media Project course offers three major options: interactive animation, digital video production, and advertising campaigns. Each digital media students are required to complete assignments on their own while under the constant supervision of a supervisor. Utilizing the knowledge and skills from the previous semester will help you finish this project. All project requirements, including proposals, report projects, portfolios, and other materials that students must prepare, must be finished as a final project that meets the requirements for the project for the last semester. I've decided to focus on digital video production for this project in order to create a documentary called Graffiti Art. This initiative aims to communicate current issues about how society views the influence of graffiti art today. Making a documentary can make people realized that graffiti art isn’t vandalism it appeared as a means to express the voice of the people and have become increasingly accepted. Originally, the term "graffiti" described the writing, illustrations, and other artifacts that were discovered on the walls of ancient tombs or ruins, such as the Catacombs of Rome or Pompeii. These writings were not historically regarded as vandalism, which is now included in the definition of graffiti. Young individuals in Philadelphia and New York City in the 1960s and 1970s are credited with creating modern graffiti art. The earliest type of stylized modern graffiti was tags. Throw-ups and pieces eventually changed in response to the need to produce greater works of art. However, In Malaysia, graffiti and street art can be traced to the 1990s during the rise of the Hip-Hop subculture in Malaysia. This can be proven through
2 album art of early rap and Hip-Hop groups in Malaysia. Their album covers feature graffiti-style elements such as ‘throw up’, ‘tag’ and ‘paste-up’. This is a valid indication that the popularity of graffiti in the 1990s coincided with the rise of the Hip-Hop subculture in Malaysia. Graffiti art in Malaysia has been spreading over the years. Some of the most popular graffiti artists in Malaysia include Kenji Chai, Cloakwork, Abdul Rashade, Anokayer, Mohd Mahfudz, Muhd Fakhrul Akmal, Emy Falizal Mohd Saidzul, Amirul Shah, Pakey, and Mohd Zaki. Graffiti art is now gradually being accepted as part of certain brands' entertainment programs and marketing strategies. Therefore, the proposed of this study is to identify the community perception towards graffiti art in Malaysia by investigating the community knowledge, perception and appreciation to the graffiti art. In order to fight the society’s perspective of graffiti art that today's face, this project intends to improve new strategies to help increase show in a good way to the audience as a new reference and guide that can be seen together. This effective documentary makes advantage of video calling or labelling for the local industry. They can also feel inspired and motivated in pursuing their goals or chasing a dream that isn’t common. With my experienced on making this documentary it will help me with knowing my abilities, thus can broaden my knowledge on advertising project with my experienced. My hope is to be able to make the audience understands with my diploma skills.
3 1.2 PROBLEM STATEMENT 1.2.1. Most of the graffiti artists here are looked down upon or despised because some people have a negative mindset because they think that graffiti artists only make vandalism on empty walls. Research has shown that the society thinks that graffiti art is mostly vandalism. Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from America in the early 1970s to the rest of the United States and Europe and other world regions. Graffiti on the walls and streets of Malaysia may make some people feel uncomfortable because it looks like an act of vandalism or a protest. This is because graffiti is often associated with the culture of rebellion and often considered or perceived as illegal rather than an act of beautification. However, only 62.5 percent respondents respond to the 80 distributed questionnaires. The result of the study showed that the local people most appreciate graffiti art and graffiti art give meaningful value to some people. This study is hoped to be the pioneer study for the further research in terms of public perception towards graffiti art in Malaysia. Last but not least, communicating a message is at the heart of graffiti. This can be used to its fullest possible ability to be or possible ability as a tool to strengthen the sense of place. Graffiti can be seen as a moral and symbolic challenge to the established order of power. It can also be a sign of identity and an expression of the city-based condition of today.
4 The study is to examine the public perception towards graffiti art in Malaysia. There were 50 respondents who participated in this study. 45.1% are female, and 52.9% are male. As refer to the Table 1, the findings reveal that most of the respondents 76% felt positive about graffiti art; meanwhile, 24% felt negative with the graffiti art. This result might due to the graffiti itself that show Malaysia is still in peace in terms of political aspect compare with other countries. Bar Chart 1.2.1 Level of local people perception, knowledge and appreciation of graffiti art. 1.2.2. People are scared to walk pass through ugly old building or abandoned place. Ugly old building tends to be scary and people are scared to walk through or pass the building. Abandoned building often is a non-authorised public space in results most graffiti that been done in abandoned building is an act on vandalism because it is done without permission or without following a proper guideline from the local authority. On the one hand, it is pure vandalism and should be condemned. Wandering through a building that is covered in unimaginative graffiti and tags is boring and a compelling argument for why many urban explorers don’t divulge locations. But, on the other hand, some of
5 it is very good and impressive artwork can actually enhance the structure and make what you are looking at more appealing. This can be upsetting, particularly when the art and images touch on the sensitivity of the community in that area and others, as there are numerous perspectives on the art. FIGURE 1.2.2: Vandalism For example, this shows how some people thought of graffiti. When that kind of writing on wall is what makes the building even more scary than it already has. People view the abandoned house or building with that kind of writing is a gangster or criminal place. 1.3 OBJECTIVE The aim of this research is to provide evidence that a new intervention module can be used as the alternative tools to combat the society’s perception on graffiti art in early stage. After outlining the issues related to intervention in previous sections, the research develops its objectives, and they are as follows: • The purpose of making this documentary is to show the artist's creation and to appreciate their artwork. Learn the virtues and values of graffiti art.
6 • To overcome people’s fear to walk pass through an ugly old building or abandoned place with new colourful bright walls. 1.4 RESEARCH QUESTION In order to achieve the research goals, the research will begin with finding the answers to fulfil the research questions. The research questions were formulated in to attain the research objectives • Why most of the graffiti artists here are looked down upon or despised because some people have a negative mindset because they think that graffiti artists only make vandalism on empty walls. 1.5 HYPOTHESIS Hypothesis 1 - Effective problem-solving skills and conflict resolution techniques can help families to effectively manage and resolve conflicts when they do occur. Hypothesis 2 - Creating an environment where people feel safe and are not afraid to walk pass or through the abandoned building if they must and could have the potential to be an “Instagram-able” place to take pictures and attract outsiders or those who might not know. 1.6 SCOPE The purpose of this research is to investigate and develop the alternative My research gives a more comprehensive understanding of graffiti and some of the subcultures that surround it by exploring parts of the work that have not been detailed and by citing work by authors who have studied and participated in graffiti for many years. This approach promotes understanding by encouraging family members to listen to and consider each other's perspectives and concerns. It also promotes compromise by encouraging
7 family members to consider different options and find solutions that meet the needs of everyone involved 1.7. LIMITATION The stigma, graffiti is based on the concept and content to really identify the right one. The limitation that I’ve face is the graffiti artist’s mostly in pack or tight schedule. I emailed every graffiti artist that I could possibly reached out and contact almost more than four artists to interview. Covid 19 can also affect the process of obtaining data. Malayia is still peaceful as it doesn’t really have major bad perception on graffiti art.
8 CHAPTER TWO LITERATURE REVIEW 2.1. INTRODUCTION The struggle in video production to achieve a short story entitled the Graffiti Art, involving research and issues today. Although this topic has been studied broadly, the research that has been done does not follow the current issues involving the new generation today that require more knowledge about street art and art in general. The new generation prefers to do immoral things or because they want to attract attention from society and how society’s perception of graffiti isn’t good. This issue will examine the effects of more recent street art conflicts, especially related to government property, and graffiti's effects on society's perception. The problem is some part of society thinks that graffiti is vandalism, which may not be known as the cause. According to existing research, people always claim graffiti art as vandalism and illegal action. For most countries, without permission, graffiti is considered vandalism. Other than that, graffiti can look scary and bad as it can be a gang related sign, or some individuals use spray cans or paintings to mark a territory to show it’s theirs. ` Based on the article read there were different perception and opinion views towards graffiti art among the people which depends on their knowledge and experience. Some people view graffiti art as a negative attitude. There was a study by Amanda4 proved during 1974 in North America that graffiti art is a marker for gang territory. An article also found that the graffiti written by the teenager was the marker of their territory area which consists of signatures, a
9 nickname and followed by the gang’s name. Because of those actions graffiti may be seen as vandalism for some people. Therefore, this research was conducted to show that graffiti can be a positive side when the image reveals the good message and aesthetic value to the viewer that can adopt an appreciation towards graffiti art and graffiti art give meaningful value to some people. This study is hoped to be the pioneer study for the further research in terms of public perception towards graffiti art in Malaysia. 2.1.1 STATE OF THE ART Literature Matrix search results related to this story: Author Malin Fransberg, Mari Myllylä, Jonna Tolonen dated July 6, 2021, Embodied Graffiti and Street Art Research. In this article, this study is a relatively new field of study that explores the role of embodied practices in graffiti and street art research. The field has mostly used qualitative research methods, exploring urban space through methods that range from visual recordings to ethnography, emphasizing the researchers’ reflexivity. Thus, embodied methodologies provide multisensory research results where the experienced moments, the participant’s and researcher’s senses, cognition and mobility in urban spaces are connected. The next article’s author Stella Mouzakiotou dated June 28, 2020, Graffiti Art Vandalism Overturning the Image of the Urban Landscape or Scope of Communication between Fellow Citizens. This article showed protest, expression of opposition and objection to an action or situation, exists from
10 antiquity until today in a form graffiti. Also, it is used to express it varies according to the importance of the events, their in-line and the effectiveness of the decisions taken. Thus, graffiti is a dynamic means of protest, with a short or longer duration. The economic crisis that is creeping into the societies of the states is an inexhaustible theme of political graffiti with many different expressions. The symbolism of the graffiti created in the interest of the economic and political crisis, and their aesthetics, constitute the fundamental research field of this article. Contrasts, causticness, denial, ridicule, acidity and explosiveness is some of the visualized messages the viewer perceives Besides the effects of graffiti art vandalism is a way to communicate we must know that graffiti has its own aesthetic. An article was written by Rebecca Chamberlain, Caitlin R Mullin, Daniel Berio, Frederic Fol Leymarie & Johan Wagemans called Aesthetics of Graffiti: Comparison to Text-Based and Pictorial Artforms. The aim of the current study was to explore the image statistical properties of graffiti tags and murals in relation to other text-based artwork and visual artwork, and to link differences in image statistics with observers’ attractiveness ratings. Calligraphy and initiums were chosen as examples of text-based artwork against which they could compare attractiveness ratings to graffiti, while ornate text was selected as a baseline example of aesthetic text which did not contain the global compositional structures of the initiums or the calligraphy. A total of 169 participants completed the study, in demographic questionnaire participants were asked and they have to answers. The study was conducted online, through a specifically designed platform used by the GestaltReVision research group at KU Leuven. Moreover, an article written by Claudia Feitosa-Santana, Carlo M. Gaddi, Andreia E. Gomes & Sérgio M. C. Nascimento called Art through the Colors of Graffiti: From the Perspective of the Chromatic Structure discussed about
11 quantitatively characterize the colors of graffiti and to compare their color structure to that of traditional paintings that are found in museums. Analysis was made with a similar analysis of traditional paintings. Evidence was found that graffiti and traditional paintings have several color properties in common. Therefore, graffiti brings art to the cities. The last article was author Wen Li and Peng Liu published on December 13, 2023, titled Evoking Nostalgia: Graffiti as Medium in Urban Space. This article is the latest study on graffiti. The purpose of this study was to examine the role of graffiti as a medium in urban spaces, particularly in the context of Macau. Utilizing visual ethnography methods and analyzing cultural policies, the paper aims to examine the presence of graffiti in various neighborhoods within Macau. The essence of visual ethnography, as a research methodology that using the theories and practices of various visual approaches to understand the world (Pink, 2021), is to visit the local area in person and document in photos worthy of research for the local area. 2.2. RESEARCH GAP Based on the article research that has been reviewed Embodied Graffiti and Street Art Research stated that graffiti serves as a powerful medium for evoking nostalgia and preserving cultural identity in urban spaces. It allows graffiti artists to explore and express their connection to the history, values, and traditions of a place, such as Macau. The results and observations gathered from this experiment reflect their ways of sensing experiences and deepen our overall understanding of an embodiment that recognizes cultural and psychosocial beliefs and values. This led to a discussion about the different types of methods of research to achieve understanding and perception of people about graffiti and street art.
12 Next, Graffiti Art. Vandalism Overturning the Image of the Urban Landscape or Scope of Communication between Fellow Citizens. The result found that multiple interpretations of the term graffiti converge in the imprinting of words or images on a public surface with the aim of being a "resonant" protest, satire, communication, in a public place. "I come to Greece every year, and I have had several discussions about the crisis and its causes. Well, that's how the play came about. I understand that Greece has power in it. For me the lion symbolizes Greece, so I gave him the blue hue and painted the flag of your country in the background.” In addition, Aesthetics of Graffiti: Comparison to Text-Based and Pictorial Artforms article summarized, the results demonstrate an aesthetic bias against graffiti, yet image statistical properties suggest that graffiti has low-level properties more similar to that of non-text-based artworks, than its text-based counterparts such 32 Empirical Studies of the Arts 40(1) as calligraphy and initiums. In this way, graffiti art has similar image features to conventional artworks, and these features may drive preference in the same way as these artworks, but attractiveness ratings are likely hampered by the cultural and social associations of graffiti art. It would be valuable in future work to explore midlevel visual properties explored in the introduction, namely qualities like balance and rhythm. Semantic differential scales may also prove useful in investigating the semantic associations of different letter forms. Furthermore, based on article Art through the Colors of Graffiti: From the Perspective of the Chromatic Structure sum up, graffiti display a greater diversity of colors, and the colors are more intense. In other words, the colors are more saturated because graffiti artists are taking advantage of the new generation of artificial pigments available nowadays. Therefore, in graffiti, the gamut areas are larger (see Figure 6) and the orientations of the gamuts are more spread out, revealing a less tuned selection of the preferred colors (see
13 Figure 8) and suggesting that graffiti artists have more freedom in color choices. By sharing their color structures with those of paintings, graffiti contributes to bringing art to the cities. Lastly, Evoking Nostalgia: Graffiti as Medium in Urban Space article’s conclusion, graffiti serves as a powerful medium for evoking nostalgia and preserving cultural identity in urban spaces. It allows graffiti artists to explore and express their connection to the history, values, and traditions of a place, such as Macau. The MSAR Government has taken initiatives to support and promote graffiti as a legitimate form of public art, acknowledging its ability to capture the spirit and essence of the city.
14 CHAPTER THREE RESEARCH METHODOLOGY In this chapter, I discuss the research design, area of study, population, sample of the population, sampling technique, instrument for data collection, validation of the questionnaire, administration of the instrument and method of data analysis. 3.1. RESEARCH DESIGN I as a researcher chose a survey and qualitative research design because it best served to answer the questions and the purposes of this study. The survey research is one in which a group of people or items is studied by collecting and analyzing data from only a few people or items considered to be representative of the entire group. Furthermore, I did an interview with the graffiti artist and that is for my qualitative research. The interview is more to semi structed interviews because it is not a spontaneous. 3.2. AREA OF STUDY This survey was created to perceived people’s knowledge about graffiti, basically how much they know about graffiti and art in general that are based on their basic difference’s individual biographies such as age, where they live and etc. The form consists of 19 questions that are related to graffiti art. For instance, do people actually know what graffiti art is? With my survey sampling, I, as a researcher, was able to collect data to draw meaningful conclusions from my study participants. The area of my study is at residential areas in Cheras, Kuala Lumpur.
15 This survey was invented mostly because to acknowledge people about graffiti art isn’t vandalism or just writing on the walls. The study also highlights that graffiti comes in many forms, varying from tag graffiti to artistic pieces and stencil art, and from illegal sprayings on public or private property to murals on legally designated walls. This study argues that there is no clear-cut distinction between graffiti and street art and that definitions based on form. My study engages with and critiques public perceptions of graffiti art. First, I observe that there has been much less attention for diverging interpretations among the public. Many studies point at the mismatch of interpretations of graffiti as either art or crime between writers on the one hand and authorities, reflecting the concerns of the public. But this study showed that Malaysians perceptions of graffiti art nowadays are more positive and open.
16 3.3. POPULATION OF STUDY The target population for this research is defined to include public knowledge on graffiti but also to educate them. Figure 3.3.1: Respondent ages From the chart above we can see that most of the respondents are 18 - 20 years old followed by 21 - 30 years old. The least respondent would be by 51 years - 60 years. In this study, I also collected the current profession of the respondent, and the result is more likely to be students. This information holds significance as it allows me to gain a clear understanding of the public perceptions of graffiti based on a specific age group and their corresponding reactions.
17 3.4. SAMPLE OF POPULATION A survey was created using Google form to collect insights and opinions through specific questions for this research. Consequently, a select group of individuals was chosen from an accessible population using a defined procedure. The respondents represented a variety of backgrounds, encompassing various age groups, genders, and employment statuses. The survey questions were meticulously crafted to elicit precise information and perspectives on the subject matter. The collected responses were subsequently analyzed and compiled into a comprehensive report, which effectively showcased the significant discoveries derived from the survey. These survey results offer valuable perspectives on the viewpoints and inclinations of the intended audience regarding the subject matter, thereby serving as a valuable resource for decision-making and strategic planning purposes. 3.5. SAMPLING TECHNIQUE The research survey was carried out by utilizing a Google Form, which was shared across different social media platforms such as WhatsApp and Instagram. A diverse range of participants were able to contribute their input, thereby guaranteeing that the collected data was representative of various perspectives. By harnessing the potential of social media and digital tools, I can enhance my ability to collect data from a broader and more varied pool of participants in a more streamlined and effective manner.
18 The data analyzed in this survey was obtained using the simple random sampling technique. This technique used to choose a smaller group of individuals from a larger population, ensuring that each person has an equal opportunity to be included. By using this method, I successfully gathered data that precisely mirrored the viewpoints and understandings of the population under investigation. The stratification was determined by the proportion, taking into account the higher number of youngsters compared to aged people when it comes to graffiti. 3.6. INSTRUMENT FOR DATA COLLECTION The study researcher did an interview schedule as one of the data collection and research methods. Inquiries applicable to methodology and materials relating to graffiti. The first and foremost questionnaire was their age and basic personal biography. The second section was participant’s knowledge or awareness about graffiti art. The survey has two data section; A and B • section “A”, is on personal data of the respondents; • section “B”, is perceiving people’s knowledge about graffiti art. The survey was formulated to collect extensive data from respondents by offering them a variety of answer options to select from on some questions but mostly it consists of yes or no to ease the participants answering questions. However, few questions in the survey the participants must answer with their personal viewpoints.
19 3.7. DATA ANALYSIS The data collected from the field were analyzed. The response options in the question weighted as shown below: Figure 3.7
20 Question 1 section B 1. Have you heard of graffiti art? Figure 3.8: Question 1 From the chart above, we can see that almost all the respondents have different answer in the question. A large group of 61.3% answer yes to the question, a group amount of 25.8% answer “I think so” and the least amount on the survey is 12.9% answers “no”. Based on this survey, it is evident that there is a lack of understanding among certain individuals regarding the concept of graffiti art.
21 2. Have you seen any graffiti art from where you live or have seen it anywhere? Figure 3.9: question 2 In this question, based on the aforementioned outcome, it is evident that 71% of individuals have seen graffiti art from where they live. However, approximately 25.8% maybe have seen graffiti from where they live. 3. Do you like graffiti art? Figure 3.9: Question 3
22 From what I perceived the result above showed that people like and thought that graffiti art is cool. Conversely, 25.8% evaluate the graffiti art according to its design. This questionnaire demonstrates that individuals hold varying viewpoints. 4. If you like graffiti art, what are the reasons? Figure 3.7.4: question 4 In this question it demonstrates that mostly like graffiti depends on the design and the other half doesn’t know but something is interesting about the topic interest.
23 5. Do you want to know what’s interesting or the uniqueness of graffiti art? Figure 3.7.5: question 5 The result showed 71% people say “yes”, a medium amount of 16.1% answer “kinda” represent kind of want to what’s interesting about graffiti. However, about 12.9% answer “sure”. 6. Have you ever been to any location that has graffiti art? Figure 8 question 6
24 The outcome indicated that a portion of individuals have visited a place adorned with graffiti art, while others remain uncertain about it, and the fewest respondents answered negatively. 7. Do you know any graffiti artists in Malaysia? Figure 9 question 7 As a researcher, it's important for me to ascertain whether respondents recognize any individuals involved in graffiti art but mostly answer it negatively.
25 8. As a part of society, do you think our society appreciate the graffiti art and its artists? Figure 10 question 8 In this question showed that people have variety answers whether the public appreciate graffiti art or the opposite. 3.8. SUMMARY The primary objective of this survey design aims to examine the extent to which the general public is familiar with graffiti and their varying levels of knowledge on the subject matter. Graffiti encompasses more than mere wall writing or acts of vandalism. This survey is also to educate people about the positive side of graffiti by highlighting both traditional and positive aspects, the survey seeks to foster a more nuanced view of graffiti in society.
26 CHAPTER FOUR RESULT AND DISCUSSION This chapter delves into the results and discussion of the survey conducted to assess the public's familiarity with graffiti art and their varying levels of knowledge on the subject. It also outlines the process of graffiti art creation, segmented into pre-production, production, and post-production stages. 4.1. PRE-PRODUCTION According to the provided checklist, students are required to fulfill all the necessary components for their chosen major. I chose to pursue in majoring broadcasting documentary. The included elements consist of the storyline, script, mood board, mind mapping, story board, and promotional items. For every starter project we must do sketch first: Figure 4.1 Sketches Item I presented three different storylines to my supervisor, and out of those, my supervisor chose to proceed with my final idea, which revolves around graffiti art.
27 Figure 4.2 Pelakon Suara Figure 4.3 Graffiti Art
28 Figure 4.4: Let’s Explore Pasar Seni After a small discussion between my supervisor and I, he proceeded with graffiti art which is my last idea for final year project. Figure 4.5: Script
29 Afterwards, Figure 4.1 Sketches, proceed to generate a mind map for item three, which will serve as a reference for obtaining further information regarding my documentary. Figure 4.6: Mind Mapping Based on Figure 1 sketches mood board for example graffiti ‘aesthetic’ that fit in my documentary. Figure 4.7 Mockup Mood board
30 Before proceeding with the shooting of my documentary, it is essential to create sketches for each scene. These sketches will serve as a reference during the shooting process and ensure that every scene is portrayed . Figure 4.8 Storyboard Sketches 1 – 2 – 3 – 4 Figure 4.9 Storyboard Sketches Scene 5 – 6 Figure 4.10 Storyboard Sketches Scene 7 – 8
31 Figure 4.1.11 Storyboard Sketches Scene 8 – 9 – 10 Figure 4.1.12 Storyboard Sketches Scene 11 – 12 – 13
32 I needed to create promotional items for my documentary based on the sketches. These items will be used to promote my documentary after I have finished shooting all the scenes. The sketches for the promotional items. Figure 4.1.13 Sketches Promotional Items
33 4.2. PRODUCTION Throughout the production phase, it is essential to convert all sketches into digital format and incorporate new elements. In the digital development phase, various items including posters, promotional materials, POP, shooting, offline editing, audio/voiceover, and special effects need to be completed before the final post-production stage. Each item should be created based on the raw video footage and elements found in the short film to ensure effective promotion. These items essentially act as promotional tools for the short documentary, which will be showcased to a panel on presentation day. It is crucial to adhere to the specific requirements set by the panel for the short documentary. FIGURE 4.2 Digital Development The initial item in production is a poster, which needs to be reviewed by my supervisor. I provide more than one different variation of the poster, including variations in color, layout, and typography positioning.
34 FIGURE 4.2.1: Posters with different variation pictures and style FIGURE 4.2.2: Posters with various composition and different typography editing style
35 Promotional items related to this short documentary will be created to help promote the story. This article seeks to provide students with a deeper understanding of how storytelling is brought to life through production in television and film. Students are required to develop two promotional items that tie into the storyline of the short documentary. FIGURE 4.2.3: Item poster proceed Posters serve a dual purpose as effective marketing tools and appreciated works of art. Their ability to reach wide audiences and leave lasting impressions makes them invaluable in promotional campaigns. At the same time, their artistic value and cultural significance ensure that posters remain cherished as iconic representations of popular culture. The use of posters to promote a graffiti art documentary exemplifies how this medium can bridge the gap between marketing and art, engaging audiences while celebrating the creativity and impact of graffiti art.