Alternative printmaking produced by Juhari Said contributed to the development of modern Malaysian printmaking. This writing will look at the alternative printmaking artworks produced by Juhari Said starting from 1996. The objective of this paper is to analyze the methods and techniques of alternative prints consist in the artwork of Juhari Said. Alternative printmaking is a form of printmaking that combination of some alternative application and innovations. Alternative printmaking made based on material processing and the technical aspects to form the prints artworks to produce some kind of effects beyond the conventional printmaking methods. Through analyzing the technical aspect in several artworks produce by Juhari Said, it is possible to understand its alternative prints more clearly. Based on the existing terminology and methods given by several alternative printmaking artists in and outside the country, Juhari Said's alternative print work will be examined and analyzed. It is hoped that this writing can provide more input on the production of alternative printmaking artworks through the understanding of its applications and technical used that can be used as a guide to the production of alternative printmaking works in the future.

This paper explores the materials and media in environmental issues through the production of artworks. Due to our destructive behaviors to environment, we are facing many environmental issues, such as climate change, ocean pollution, Industrial waste pollution and many other problems. Environmental issues are not only causing a great concern of scientists, but also attracting the interest of visual artists. Artists all around the world are taking the opportunity to express their views through visual interpretation. These issues have been a prominent concern expressed in the theme of artworks. Through the exploration of media and materials, they construct a visual form representing environmental issues. Furthermore, by using descriptive analysis, all relevant artworks are examined to reveal the meaning behind their practices. Artists such as Néle Azevedo，Tomas Saraceno , Chris Jordan Marina DeBris, Jason DeCaires Taylor, Benjamin Von Wong , Shang Yang and Yao Lu will be discussed later to unveil what are those environmental issues through their artistic perspective. This article highlights what roles the artists are playing in environmental issues, and how their artworks influence our understanding about the environmental problems. The contribution of this article is to expand the understanding of environmental issues and recognize the importance of the usage of media and materials in artworks.

This study investigates how traditional versus modern Chinese ink painting styles in tourism advertisements affect viewers’ visual attention, aesthetic evaluations, and tourism intentions. Using eye-tracking experiments combined with surveys and interviews, the researchers conducted a mixed-design experiment with 80 Chinese college students. Results indicate that traditional ink-style advertisements attracted longer total fixation durations, higher aesthetic evaluations, and stronger cultural resonance in natural landscape contexts, while modern ink-style advertisements captured initial attention more quickly and performed better aesthetically in urban settings. Qualitative analyses further revealed cultural familiarity and aesthetic resonance underpinning preferences for traditional style, whereas modern style mainly attracted attention through novelty and creativity. These findings expand Cultural Schema Theory and the aesthetic processing model within advertising research, suggesting practical strategies for tourism advertising to match visual styles appropriately with destination types and audience characteristics to enhance promotional effectiveness.

In contemporary artistic discourse, Dissociative Identity Disorder has emerged as a significant focus of cultural exploration. While the human body serves as a cultural vessel for expressing mental states through artistic mediums, traditional Chinese ink painting—despite its rich cultural heritage—has historically limited visual representation of the human form, creating a gap in artistic dialogue about mental health. This artistic research employs studio practice methodology to bridge traditional Chinese artistic elements with contemporary visual expression of the human body, specifically examining Dissociative Identity Disorder through a cultural lens. The findings demonstrate that through cultural innovation while preserving the essence of Chinese ink painting traditions, the human form can be effectively rendered to portray the psychological manifestations of Dissociative Identity Disorder. This artistic exploration not only expands the cultural vocabulary of Chinese ink painting but also creates a new artistic paradigm for its evolution in contemporary cultural discourse.