Introduction

The word cartoon has various meanings, based on several very different forms of visual art and illustration. The term has evolved over time. 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.

A cartoonist is a person who specializes in drawing cartoons. Traditionally much of this work was, and still is, humorous, and is intended primarily for entertainment purposes. Many traditional print cartoons are of the single-panel variety, and are published in print media of various kinds.

The term cartoonist is also applied to those who create more serious editorial or political cartoons, as well as those who create comic strips, comic books and graphic novels. The word is sometimes used for those who create animated cartoons including manga, although a person who designs the visual part of animated cartoons is perhaps more commonly referred to as an animator.

In Malaysia, there is one magazine which is popular until today which was successful in continuing its popularity which is Ujang which was created by a young man who was 25 years of age that time.
The Ujang magazine was first published in the year 1993 under Syarikat Kharisma Publisher. It was firstly donned by a cartoonist from Negeri Sembilan who also a relative of Mr. Ibrahim Anon who was the ex-editor for Gila-gila magazine some of his famous story that was popular among the local cartoon favorite were Aku Budak Minang,Aca, Jibam, Atuk and many more.Together with his friends like Aie, Gayour and others he was managed to create a new phenomenon world of local cartoons where the selling of the first edition was like hot cakes. The sale reached almost 356 thousand units for that month alone. Other than that, Syarikat Kharisma Publisher the first Malaysia animation story which is Usop Sontorian and two single cassette recording by the company which was still popular until today.


Objective

The literature review is to investigate the cartoon designing concepts in the Ujang magazine from before until now. In the early 80’s, there were not many local cartoons that portrays the full designing in their works. This is mainly due to many artists were more concerned about characters and dialog that is told other than main reason a cartoon is created. This can be observed in cartoons found in Gila-gila magazine and the cartoon magazine that were able before that.


In the early of year 1998, Ujang magazine had the second series published which is APO? This edition has completely caused a transformation in the world of cartoon to become a comic which also includes the upgrading on the color element which was more interesting and competent. This has also directly chased the designing concept of Ujang magazine from cartoon to comic. 


Approach

The Ujang magazine had its foreground and color aspects more prominent by the idea which was influenced by western comic. After the Ujang magazine was taken over by a new management then there was a new branding started again by the artist by taking ideas, influence and comic concepts from source like anime and victim which was being made popular by Japan. This was also admitted by the Chief Editor at that time who is cartoonist Manggis who told that the concepts and ideas of Ujang magazine have to different compared to other cartoon magazine which have their own uniqueness. On the other hand, the background drawing that was created instilled more precision of the  shape of objects and nature which attracts the attention of readers who was all this while seeing cartoon creation that only portray character and dialogue alone.

All Ujang artists now create their creations as if it’s a comic. This includes artist Lengkuas, Nik, Ciku, Lalang, Papan, Sukun, Manggis and others. The influences of color from the western comic artist also have inspired them in their creations especially cartoonist Manggis who is famous with “ Katok Katik ” story has shared comic influence in his creation, compared to cartoon. From the story line, Ujang magazine still retains the daily life village concepts to portray its character. Like in the story “ Pak Kordi ”, the village head characters and also the story “ Cupin ” and “ Selangkah ke Alam Misteri ” and more. Compared to the magazine such as Gempakstarz, U-Topia, Hype and Gempak which prefers to portray the lifestyle in the city and also some western stories which has adapted to the situations.


This proves that the artist of Ujang magazine not only brought the humors to readers but it also emperies on local social issues which is still existing in the Malay peoples culture and believes. This artist have tried to adopt influence from the other side world from the aspect of art like color, lines and objects but is further adopted with the local concepts of cartoons. That is why the Ujang cartoon is looking more attractive compared to other magazine concepts which was created based on the clashes between the cartoon influence from the east and west.


Looking at characters in Ujang magazine it can be said that all has a malaysianised image. It doesn’t take into account neither it is a girl or boy, young or old characters. All the characters are draw based on the image Malay person. It is also noted that the type of clothing and the dialogue which are used also is very malaysianised. However it is also obvious that some dialogue that are used in ‘ bahasa pasar ’ and some uses the local or language based on territory like the Kedah, Negeri Sembilan, Kelantan and Java language.

From the aspect of background, the village image are extensively used to create more attractive among readers because in this era are many image or village are forgotten as the new artist prefers the new era and portray the modernization concepts for the new generation readers.


The artist of Ujang magazine has taken in more positive approach through the daily lifestyle of the village people especially in the new places. The real lifestyles in the realistic manner are show through the characters, dialogues and also story line. All this are taken into account by readers through messages and the elements of moral which was tried to portray in the cartoon. To avoid the readers from getting bored, the have included the elements of products in their art very carefully to increase the mood of the story through color picture which are attractive along with its characters.


Nevertheless, Ujang magazine was successful in making sure to preserve its popularity by preserving the localized concepts in all their issues compared to others magazine, the Ujang was still not influence by foreign cartoons and comics especially in the ‘ anime ‘ format and ‘ manga ‘ which is being a hot cake of many at the moment. However it is not dedicating that cartoon from Ujang has used a lot of technology in the making of their creation. Just look in the aspect of color and design, which have their own graphic team which creates faces and images in Ujang so that it will be fresh, genuine to be looked forward by readers every time there is a new edition which is produced twice a month. 


Contents

In the beginning the cartoon from Ujang magazines were more towards comedy and laughter’s which was delivered in a language of a dialect from Negeri Sembilan. It does not portray precious in the art aspects. In addition there were artist who tried to include the many different elements for cartoons like Aie who is a well known artist with his stories ” Abe ” and “ Blues Untuk Aku ”. It was the same for Gayour on artist who created a series story like ‘Bersama Selamanya” where both this artist made the western comics a benchmark to create their cartoons which did not portray the image of local people.


Artist like Papan has portrayed for example village background, village head, villagers and animals like cow which are able to talk as an idea for humors which are more to center to the villagers issues. This can be noticed in his creation entitled Pak Kordi. The village situations and lifestyle of villagers are spontaneously translated and local culture is portrayed in his creations. From the aspect of choreography such colors, characters and dialogues also portray a difference which is from the concepts of cartoon to comic.


Others cartoonist which also portrays the concepts of local culture but did not use the human character is were artist named Lepat. He used demon characters like pontianak, toyol, pocong ,jin and Tok Moh  in “ Hantu Lampor ” as idea to reveal the problems and difficultly faced by the  Malay  villagers who follows some traditional believes. He was successful in instilling some horror concepts that are humorous to his readers through dialogue and characters produced. From the aspect of color, he was very successful in transformation horror stories into a more interesting and fresh images.

As for Lalang, his creativity is in producing localized images not only concentrate on characters but he has used ideas which are taken from the surrounding people’s stories which has the theme about the happenings around the village. For example he used the characters of postman, a jobless and a Tok Aji in which the ideas used as humor and portrayed through dialogues only. Other that, the usage of space and attractive colors has created impact on the readers and also helped in the transformation of the concepts cartoon to comic.

For serial stories like Sukun who is famous with the story entitled “Cerita Workshop” and the artist named Bawang who created a story “ Selangkap Ke Alam Misteri”  did not used attractive colors for the readers but instead used character, dialogue and the village lifestyle which was the main idea for them. This can be proved from the wooden houses, plants and the daily lifestyle of the villagers which are filled with many social problems that happens at a regular basic. The characters of Dicky and Cupin are used by Sukun as the savior of problems in the village. On the other hand, Bawang used a moral value story which has the theme of facing the consequences because of community a sin. This has directly educated the readers to be a better person. Both the artist was successful in influencing the readers in positive manners through cartoon media.


For artist that uses dramatic images like Ciku, he prefers to portray a social issue which happens in the village. His approach is more towards the objects like plants and the shape of  village houses which are more attractive and neat. An aspect of characters is also did not forgotten especially from the angle of the performance of different characters. These elements important in creating the interest for readers so that they will ready assimilate the storyline that is presented even though at times it is not understood by the readers. However this artist was successive in creating interest of readers through has art which is neat and eliminates the cartoon influence from overseas. This created on more localized cartoon image.

Another artist who portrayed the village image in his creation was cartoonist named Buloh who was popular with the story “ Harith ” . It relates about a youngster who was brought up in the city but returned to the village to meet his grandmother. The artist portrayed conflict lifestyle issue which was experienced by the youngster during his stay in the kampung even though in velocity the youngster was actually adopted the life in the city. 


From the aspect of art, the drawing is more realistic with the influence of many attractive colors. However the precious in the aspect of background like objects and nature really portrays the comic that was included as cartoon. This seduces the readers to really pay attention to concentrate in the story is also to be continued. This creates an interest the reader to look forward of the continuation in the following issue.

All artist that was mentioned earlier has been successful in creation which is popular because of the ideas that is portraying social issues of the local people which are positive through cartoon which is village themed so it is clean that without the influence of cartoon from overseas, these artist still show the character, image and the background which themed based on the local cultured compared to other comics that are available in the market.


It is very clear that the Ujang magazine has under give many transformations from different aspects especially the designing concepts. So it’s not unbelievable that Ujang is the best selling magazine from before until now. Compared to the many cartoon magazines which are available in the local market. It is only fair that the government start to recognize their efforts because it can be made as a reference and for national documentation in the future. It is also toward from the extinction of cartoon magazines from a truly Malaysian became at the moment many magazines with more modern and urban concepts are available in the market for example Gempakstarz, U-Topia, G3, Hype and Gempak.. These magazines only portray cartoon with clashing tradition of the east and west, where Ujang portrays more on the cultural life in the village and local community.



The founder of Ujang Ibrahim Anon also has expressed his worries about artist who copy arts from the outside which does not portray the local image. In conclusion, it’s high time that our artists realize their objective and take into account the aspect of national local traditions.




References

1) http://tlt.its.psu.edu/suggestions/research/Cognitive_Objectives.shtml
2) http://en.wikipedia.org/wiki/Cartoon
3) http://www.pergh.com/forum/
4) http://www.sifoo.com/
5) http://www.deviantart.com/
6) http://eyecomix.blogspot.com/2005/12/bicara-komix-merealisasikan-sebuah.html
7) http://perkasaalam.blogspot.com/2006/11/revolusi-komik-malaysia.html
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10) http://www.komik-m.com/
11) http://komikoo.blogspot.com/
12) http://komiktool.blogspot.com/
13) http://www.gempakstarz.com/home/
14) http://manteraworks.deviantart.com/
15) http://jibam.cesb.net.my/
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17) http://malay.cari.com.my/redirect.php?tid=132426&goto=newpost
18) http://dukeamienerev.blogspot.com/2007_04_01_archive.html
19) http://www.nasymaru.blogspot.com/
20) http://forum.saiyaman.info/lofiversion/index.php?t9561-50.html 


Bibliography

1) Art Fundamentals, Theory & Practice, Otto G. Ocvirk,Robert S.,Philip W. R.Bone,Brown & Benchmark,Iowa,1994
2) Jonathan Crowther 1995, Oxford Advanced Learner’s Dictionary, Oxford University Press.
3) Randolph Quirk, 1978, Longman Dictionary Of Contemporary English, Longman Group Ltd.
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