Prizes

24 winners will receive fantastic prize packages, including customer favorites from Roland®, Wilcom®, Euro-Systems®, Digital Designware, Apple®, Digital Art Solutions, Wacom®, Canon®, HP, Seagate® and Corel®.

Grand Prize: Roland VersaCAMM SP-300i printer—a $13,495 US value!

Graphic designers use desktop publishing software and techniques to create the print materials they envision. The computer and desktop publishing software also aids in the creative process by allowing the designer to easily try out various page layouts, fonts, colors, and other elements.

Non-designers also use desktop publishing software and techniques to create print projects for business or pleasure. The amount of creative design that goes into these projects varies greatly. The computer and desktop publishing software, along with professionally-designed templates, allow consumers to construct and print the same type of projects as graphic designers although the overall product may not be as well-thought out, carefully crafted, or polished as the work of a professional designer.

Graphic design

is the process and

art of combining text and graphics

and

communicating an effective message

in the design of logos, graphics, brochures, newsletters, posters, signs, and any other type of visual communication.

Desktop publishing is the process of using the computer and specific types of software to combine text and graphics to produce documents such as newsletters, brochures, books, etc.

Graphic Design = “Good” and Desktop Publishing = “Evil” Myth

Graphic design and desktop publishing are often used interchangeably but, in part because it is an activity also used by non-designers, desktop publishing is often considered a lesser activity than graphic design. In truth, the two are separate but intertwined disciplines.

Not everyone who does desktop publishing does graphic design, but most graphic designers are involved in desktop publishing – the production side of design. The term desktop publisher can refer to a designer or a non-designer but it often carries negative connotations of an amateur.

Some graphic designers are quite vocal about their distaste for desktop publishing, which is somewhat amusing since much of what they do does involve desktop publishing. What they are really upset about is not desktop publishing itself – it’s an invaluable part of the entire graphic design process – but rather the misuse (real or perceived) of desktop publishing software by non-designers.

And, claiming to be ‘bigger and better’ this year is the International Art Expo Malaysia 2008 with its second instalment running from November 26-30 at the MATRADE Exhibition and Convention Centre. It is an art fair, so unlike the aforementioned incident with Mr Hirst, there will be no anonymous telephone bidders or the rapturous sound of the auctioneer’s gavel pounding at the close of each sale. Instead, the Art Expo will bring together dealers, collectors, and enthusiasts in the same environment.

Last year, the fair saw 6,000 visitors from 25 different countries and total sales for the five-day event peaked at RM2.5million. The figure isn’t as heart stopping as those recorded by international fairs, such as the Frieze Art Fair in London or the celebrity-filled Art Basel in Switzerland, but it essentially follows a similar template: smaller galleries bring out their best and exhibit alongside more prominent counterparts, offering visitors – collectors, dealers, buyers, students, and the general public – ample choice and a perspective of trends in the region and beyond.

Sim Pojinn, Art Expo Malaysia’s Project Manager, says that ‘the lack of an international platform to promote prominent Malaysian artworks’ was the main impetus behind the conception of the fair. ‘Most pioneer artists or emerging artists have to collaborate with galleries in foreign countries, therefore, it is our aim to establish an international platform, bringing artists to the world’s art market.’ He also notes that Art Expo Malaysia is still in its teething stages. Its inaugural instalment took an entire year to plan: six months was spent on research, and the other half on preparation. ‘This year, the process has been shortened. We started preparing for the fair after three months of exploration and research.’

With so much talk of money exchanging hands at art fairs, is it OK if people leave without a purchase? ‘Educating people on appreciation of artwork is the main aim of the Art Expo. We hope there’ll be exchange of viewpoints and perceptions, so one day, the general public will understand the value of investing in art and also the satisfaction gained in pursuing art,’ says Pojinn.

Focus this year is on contemporary and realist art from the Asia-Pacific region, but there are also a number of art-related activities (spread out over thematically-named areas) over the course of the five-day fair. Susurmasa or Timelines – our National Art Gallery’s landmark exhibition for the year – travels from Jalan Tun Razak, giving more audiences a chance to view seminal pieces from the nation’s permanent collection, amassed over a fifty-year period. And, Art Expo’s Grandmaster Pavilion will showcase museum-worthy masterpieces from renowned artists such as Malaysian pioneer artist, Yong Mun Sen, Chinese-French artist, Zao Wouki, and poetic landscape painter, Li KeRan. There will also be an Advisor Arcade (featuring works by the fair’s advisor, Prof. Chung Chen Sun – founder of the Malaysian Institute of Art – and other luminaries) and a Tribute Pavilion to Datuk Syed Ahmad Jamal.

Elsewhere, there will also be a curated show by Raja Azhar Idris called Malaysian Sculpture Now (featuring scintillating sculptures produced today), and, the launch of the documentary ‘888 Feet Precious Artwork’ (at the Olympic Council of Malaysia booth), a Ministry of Information project titled ‘Visualizing Rukun Negara’, and artworks by the HeArt Club (an initiative set up by Puan Wairah Marzuki – formerly of the National Art Gallery – to feature art by children with special needs).

Admittedly, not all activities will suit everyone’s taste. I suggest turning to the art talks. There will be a number by art critics, collectors and industry players, covering the topic of collecting art. And, of course, not forgetting the 140 booths that make up the main fair. At time of writing, there are 24 participating galleries from Malaysia, a five-gallery strong contingent from Korea, a handful from Singapore and Thailand, and others from Cambodia, China, India, Iran, Macedonia, Myanmar, Philippines, Spain, Taiwan, and Vietnam – a relatively wide breadth of countries represented, saving prospective buyers time, effort, and expensive airfares. A full listing of exhibitors is available on their website.

What Pojinn doesn’t mention is the great networking opportunities art fairs like this offer; there’s every chance to brush shoulders and mingle with the crème de la crème of Malaysian art and gain worthy tips from international advisors. And, whilst Russian billionaire, art lover, and owner of Chelsea FC, Roman Abramovich, who attended this year’s Art Basel, will not be stopping by the 2nd International Art Expo Malaysia (I believe his schedule is overrun with appointments this month), the fair does not forget the glitz and glamour that comes with art today: a gala VIP Night will be held a night prior to opening and includes the Henry Butcher Charity Art Auction Preview to raise funds for the National Cancer Society of Malaysia and the Tabung Leukaemia Lions Lyfe-Line. Perhaps the sound of gavels will be audible after all.