To evaluate paintings, the beauty of it is not the central focus of study but more of the elements that lead to the creation of the beauty. The subject, the form and its meaning, are three basic characteristics in paintings that need to be studied. The three are inter-related and are inseparable because it is from them that a symbol is formed. That is how an artistic symbol contains the ideas or intentions of the painter. An artist is the creature of the symbol who translates his symbols through the form that carries a certain meaning. Thus, to study the form and meaning of the symbol of the Malay culture in paintings, the art appreciation approach has been adopted in this study. Four paintings dated back to the 1980s and the 1990s have been identified using Malay cultural symbols represented in both decorative and representative forms. The outcome of this study suggests that symbols such as Malay textile motives like pulikat, batik, silver metal floral motif and architecture as well as Malay interior decorations are the painters' selections. This study is significant to elevate the symbol of Malay culture as an identity of paintings and to sustain the traditional culture, for the reason that today, young artists are inclined to choose universal symbols more than they would traditional culture symbols.

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The use of Virtual Meeting Platforms (VMP) has given opportunities for continued instruction and learning throughout the COVID-19 Movement Control period, especially among educators in Malaysia's higher education institutions. Regardless, there is great debate regarding whether or not it will benefit students pursuing art and design degrees. As a result, the following questions have been posed. How much does VMP affect art and design students? What is the consensus among art and design students about VMP? As a result, this case study aims to investigate students' views on the usability of Virtual Meeting Platforms

This research utilised the practise-based method of art focussing on the hero’s journey and his inquiry in the search for information and knowledge related to Hikayat Raja Pasai; a Malay mythological narrative, for the conceptual framing within phenomenology and methodology (practise-based research). Therefore, this research unfolds the creative process revealing the gaps in reading the narrative into drawing practise, animation making, and hermeneutic phenomenology method as an important instrument in practise-based research.

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