This study discusses the theories, concepts, and also theoretical implications in public service campaign advertisements. There is a basic theory namely semiotics which carries the concept of visual rhetoric and its relationship with several related concepts. Each of the theories and concepts used has an important role in leading to the visual formation and delivery of visual rhetorical meaning to the audience. In this study, theories and concepts are compiled and explained by using public service announcement (PSA) as a case study. As a result of this study, it can be seen that visual rhetoric is explored through the campaign advertisements and becomes the basis of visual communication. Ability in critical thinking becomes an important requirement in exploring and looking at the connections between visual rhetoric in the advertising campaigns of this study. This study can improve high-level thinking skills and also help audience know the need for visual rhetoric in public awareness campaigns.

This paper explains the visual identity aspect of the Malaysian Modern Painting. Siri Dungun Painting was chosen as the subject of discussion by describing its physical shape. Then this painting is analysed in a formalistic context. It is also clearly researched using the cultural concepts that exist through behaviour, values, necessity and environment in the field of art. The objective of the study was to identify the design aspects of the subject in the work of the Siri Dungun painting. The association between the formalistic of art in painting through the social cultural system is also explained through identity analysis that applies traditional Malay images using sculptural art to wood carvings. The written and visual data collection methodology in this study uses a descriptive qualitative approach based on empirical field work of the data obtained. Documentation, visual recording and observation methods are used to collect information related to the work of the studied painting. The findings showed that the Siri Dungun artwork by Ruzaika Omar Basaree has applied wood carving elements in traditional Malay constructions featuring cultural designs. The concepts used in the study underlie the subject, design and aesthetic meaning to classify the identity of the painting using a cultural approach. The implications of the research show that the paintings can not only be viewed from the formalistic point of view of art only, but can also be shown from the cultural context through the application of cultural characteristics and identities. This study contributes to understanding the meaning, concept and purpose of the design application that needs to be applied in shaping the image and identity of the paint based on Islamic scholars.

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This paper is to identify and analyze the concept of Islamic art through the principle of symmetry in traditional Malay art paintings. The objective of this research is also to study the factor that connects the aesthetic aspects of Islam to describe the concept of symmetry exists through the beauty of design patterns in the work of paintings. They contain pictures of Muslim-Malay as the national Cultural Policy in the manifestations of 1971.This study analyses the artworks through different qualitative demand with descriptive interdisciplinary implementation. The focus of symmetry features purposely to classify pattern designs of paint works that involves repetitions. The collection of written and visual data is made through methods of documentation, visual recording, and observer to obtain information on the subject, design and work of the paintings studied. The findings of the study show the value of aesthetic beauty in Islamic art which is defined through symmetric analysis underlying the design of paintings to apply pattern design that displays the value of beauty. The implications of the study show that the work of painting can not only be seen in terms of appreciation of art, but can also be seen from the content of symmetry through the application of features that exist in the work.

This paper aims to examine clearly about the concept of symmetry that exists in paintings through the principle of repetition in art. The main focus of the study is to explore the relationship between the formalistic aspects of art and symmetry through the design of patterns and motifs in The Boundaries' painting by Ruzaika Omar Basaree. He applied the Malay traditional images by using the sculpture's art on wood carving. Symmetry features are examined to classify the combination of repetitive patterns in paintings through series of transformations that include four basics of repetition, namely translation, rotation, reflection and glide reflection. These processes form a structure known as the frieze symmetry group where it covers the seven basics of frieze patterns. Frieze pattern is a pattern on a twodimensional surface that repeats in one direction in a single strip. The written and visual data collection in this study uses descriptive qualitative approach that involves the design of artworks analysis study based on empirically fieldwork for the data obtained. Methods of documentation, visual recording and observation were used to collect information about the paintings studied. The results showed The Boundaries' paintings by Ruzaika Omar Basaree have implemented elements of wood carving in Malay traditional construction that showed symmetrical design. The concepts used in the study underlie the subject, design and aesthetic meaning to classify the pattern of paintings by using symmetrical transformation process. Implications from the study show that paintings that are looked from the view of art appreciation can also be seen through the repetitive geometric system and reflection of images forming interesting combination of compositions, not only can be seen from the formalistic point of view of art alone.