TAPE by ICAD: Issue 02

April

2020

MUSE )

re (featu Teo l Craft in t leve v a :G e nex GVNT obby to th h Taking le om Peop lture n Pelz her cu h c De e from anot ns Lesso ib ir Sho l Azm t to artists u ir a h K is Mohd from an art e Advic Place ress ore P ookst ited b Lejen ir p s ee The fr .0 s ening howcase 2 Happ S f f a t S MUSE

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From The Editors

Welcome to the second issue of TAPE! Following the launch of the pilot issue, we continue to feature stories under our core categories of People, Place, and Craft. In this issue, the feature story highlights Gavin Teo, a Diploma graduate of ours who ventured into the leather craft business following his passion. We also spoke to Dechen Pelzom, our Bhutanese student who recently completed her Degree studies with us, and Khairul Azmir Shoib, one of our ICAD lecturers, who is known for his hauntingly surreal illustrations. In the column for Place, we interviewed the founder of Lejen Press, an independent publisher in SS15, about the challenges of running a bookstore carrying the writings of local talents. We also feature the MUSE Staff Showcase 2.0, which exhibited the artworks of ICAD faculty members, thus allowing students and fellow INTI staff a glimpse into the creative minds of ICAD lecturers.

This issue also sees the debut of The Dean Spills the Beans, where we hear from our Dean, Ms Ang Tong Yin, about the current development, challenges and directions that ICAD is facing. At the moment, we are treating TAPE like a sandbox which allows us to experiment with various editorial and art directions. Our core of featuring narratives about people, place and craft still remains the heart of this publication, yet we are also open to new ideas that can take this project to greater heights.

We hope you enjoy this issue’s stories and we can’t wait to bring you more interesting narratives connected to ICAD. If you have a suggestion for a good story, do contact one of our editors.

Ryan Cheah Editor

Dean Spills the Beans

Michelle Obama once said, “The arts are not just a nice thing to have or to do it if there is free time or one can afford it. Rather, paintings, poetry, music, fashion, design, and dialogue, they all define who we are as a people and provide an account of our history for the next generation.”

At ICAD, we are a very diverse team, yet each one of us can be a muse to inspire greatness in another. We celebrate differences and advocate diversity by allowing different collaborative projects to take place. We strongly believe that building collaboration with our various stakeholders can spark new ideas and create infinite opportunities.

With the growing times, the academic team at ICAD is constantly seeking development to excel in the many areas of teaching and learning and professional practice. Among the many good practices that are worth mentioning includes our annual staff showcase; module review (compiled and presented by the teaching team of Sheffield Hallam University programs); presentation and sharing of good work at the INTI Digital Academic Conference; and our staff’s participation in external solo or group exhibition and competitions. In addition to all that, ICAD introduces to you, TAPE Magazine - another new initiative that was pioneered by some of the faculty members in 2019 with the aim to share inspirational stories about people, projects, or places linked to ICAD. Year in and year out, our staff and students generate numerous new contents, some which are even ready to be commercialized. This further encourages me to look forward to ICAD building up a Creative Commons space to merchandize the very creations of our staff and students.

Another innovative initiative created by ICAD is ‘Co-Exist’, which showcases our shared belief in interdisciplinary practice. This is a shared timeslot designed for degree students of all levels, to be used for various cross-disciplinary activities such as lectures, workshops, or study trips beyond their usual field. I hope that this project will continue to encourage staff and students to incubate more ideas and projects, using IKEA’s SPACE10 as its benchmark.

This year, we have seen major industries and businesses attempt to forecast trends and chart new directions. We at ICAD also see it as a call to reiterate our bearings and to reflect on our role as design educators in this fast changing industry. Hence, for this year, we will relaunch our values and manifesto during the ICAD Design Days (IDD) in April. The values and manifesto with be the anchor for our application and practices in 2020. Stay tuned to our next issue where we will update you on our progress.

Finally, the genuine partnership among the ICAD team members has allowed us to build wonders and subsequently build the core values, such as persistence, readiness, and perseverance, that I believe will continually support and encourage each one of us to grow into something more, something remarkable!

Let us continue to remain humble and turn our efforts and dreams into an extraordinary and a-muse-ing one!

Ang Tong Yin Dean, INTI Center of Art & Design

TA P E ADVISOR Sean Lee ART DIRECTION & DESIGN Vin Sze Yong EDITORS Ryan Cheah Laura Chen Amirah Izzati Zakaria PROOFREADER Rachel Tan FEATURING Gavin Teo Dechen Pelzom Mohd Khairul Azmir Shoib Lejen Press PROUDLY PRODUCED BY INTI Center of Art & Design FACEBOOK @inticentreofartdesign INSTAGRAM @icadmedianews EDITORIAL ENQUIRIES Ryan Cheah ryansy.cheah@newinti.edu.my Laura Chen laura.chen@newinti.edu.my Amirah Izzati Zakaria amirah.zakaria@newinti.edu.my ________________________________ Disclaimer: The views and opinions expressed or implied in TAPE are those of authors or contributors and do not neccesarily reflect those of ICAD

People

06-09 Lessons from another culture People

10-13 Advice from an artist to artists Place

14-17 The free-spirited bookstore Craft (feature)

18-23 Taking hobby to the next level Happenings

24-27 MUSE Staff Showcase 2.0

Lessons From Another Bhutan is generally perceived as an enigma among Malaysians. Situated in the Eastern Himalayas between China and India, not much is known about the small landlocked country, except for its intricate monasteries, Gross National Happiness (GNH) index, and expensive tourist tariff, which can be as high as USD250 per day.

Dechen Pelzom first arrived in KL from Bhutan in 2015. She enrolled into ICAD’s BA (Hons) Interior Design program, franchised from Sheffield Hallam University, with a scholarship from her country. Having completed her studies in 2019, we spoke to her about her experience of being the only international student from Bhutan at ICAD, living and working in Malaysia, and her perspective towards design as a Bhutanese.

1 First of all, how did you choose to study interior design?

Is ID a popular field in Bhutan?

Coming from a country like Bhutan, Interior Design is not a very popular career. In fact, I have never really heard of any interior designer in Bhutan; even I wasn’t aware of this field. When I was first given the opportunity to take interior design as a career option, I was clueless as to what exactly this field was.

It was not my first choice, but surprisingly I got a scholarship to study interior design in Malaysia thanks to my final grades in high school. That’s how I was introduced to ID. Do you still remember your first impression of Malaysia upon arriving for the first time?

I was pretty nervous coming to Malaysia.

Actually, I am not sure if I was nervous or excited; it was a mixed feeling. Being away from home for the first time was challenging for someone like me who has always depended on my family for everything. Well, to be honest, the first thing I saw when I reached Malaysia was my college. It was right next to a very busy street, which was appalling for me because colleges in Bhutan are as far as possible from the hustle and bustle of city life. Well, nevertheless I slowly adapted to it and kind of enjoyed the location because of the mouthwatering food stalls nearby. I was also amazed with how well done the roads in Malaysia were; even the roads in the corner streets were amazing. Back here in Bhutan, one thing we always complain about is the quality of the road. It has potholes everywhere, maybe because we are located on the mountains.

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The course that you took at ICAD, BA (Hons) Interior Design, is a franchise course from Sheffield Hallam University, UK. Coming off the Bhutanese education system, how did you find this British curriculum?

In Bhutan, our education system is all based on textbooks. We have more exams and tests, which is good, but in a way I don’t think it has taught me anything more than what’s written in books. The British curriculum for me is a more approachable way of learning things, like having activities such as site visitation or going to exhibitions through which we gain experience and learn rather than memorizing everything from a book and writing an answer on a piece of paper at the end of the day; and then for that paper to define our future. So, I feel like experience is more important than just book knowledge.

People. Lessons from another culture

Culture Text. Ryan Cheah

Photos. Dechen Pelzom

Chimi Dorji

@chimi_dorji_94

This spread 1 Punakha Dzong (the palace of great happiness) is the second oldest and largest Dzong (fortress) in Bhutan.

2 In the depths of pine trees surrounded by waving prayer flags.

Next page 3 Design development sketches of Dechen Pelzom’s final semester project.

4&5 3D renderings of the proposed hotel project inspired by Bhutanese culture and hospitality.

6 Modern design infused with traditional Bhutanese architecture in the streets of Thimphu.

Since there isn’t a large number of fellow students from Bhutan, how does it feel to be an international student here at ICAD?

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Well, I didn’t mind being the only international student from Bhutan. Studying in a Bhutanese school for 13 years, I definitely didn’t mind being surrounded by foreigners for the first time. However, the only challenge that I face is that there are many languages being spoken in daily conversations here, such as Malay and Mandarin. Had I known earlier, I would’ve tried to learn Mandarin before coming to Malaysia.

Apart from the language barrier, INTI ICAD society has been an eye-opening journey for me. It taught me so many things through certain experiences, things I would have never learned back here in Bhutan.

It is hard to escape from a conversation about Malaysia without mentioning the food. How did you find the food here compared to the ones back home? Were you able to find or recreate certain recipes while living here?

Honestly, everyone I met in Malaysia has asked me, “Are you able to adapt to the spicy food in Malaysia?” Well, coming from Bhutan, a country whose national dish is Ema Datshi (Spicy chilli and cheese), I had no problem at all. I love spicy food! I enjoyed Malaysia’s multi-ethnic cuisine - a little bit of Indian, a little bit of Chinese, and a little bit of Malay.My favorite dish from Malaysia is Chili Panmee.

My god, how much I miss Chili Panmee. Back here in Bhutan, I always try to make Chili Panmee by myself, but it’s so hard to get that accurate recipe.

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Did you manage to pick up any local languages or dialects during your time here?

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All I have learned in Malaysia was, “makan” and “teh-tarik.” Two of my most favorite!

How has living in Malaysia these few years shaped your perspective and worldview?

Living in Malaysia for four years has shown me how different the world is outside my country. The level of development in Malaysia is the first thing that caught my eye as soon as I landed in KLIA international airport. Establishments like the train shuttle between terminals and the application of e-visa services were all first time experiences for me. Secondly, I was amazed to see the diverse rich cultures and traditions of Malaysia sharing a symbiotic relationship in representing what the country is truly about. Being in Malaysia has really opened up my personal perspective of how the world has gone forward in terms of advancements in technology and development of socio-economic welfare. As I have lived my whole life in Bhutan, I believe these positive changes/ growth of this nation can be made into an example for my country to look upon for the future.

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For your final year project, you designed a hotel that allows guests to experience Bhutanese culture and hospitality. What was going through your mind as you were working on that project?

Well, being born and raised in Bhutan, I love my country very much. One thing I experienced when I was in Malaysia was, everyone I met was so busy with work and over there time flies, it sure does. While in Bhutan, everything runs slow (I don’t know If that’s a good thing or not). Bhutan has also topped the charts for being one of the most peaceful and happy countries. So, that’s why I designed a mini version of Bhutan for my final year project. I wanted people to experience the state of tranquility while not having to worry about anything else, and I was happy with my project outcome.

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People. Lessons from another culture

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“Taking interior design has really helped me shape myself as a person. It has helped my brain to explore and work rather than study textbooks and appear for exams” You are currently working for a newly established interior design firm in Thimphu, which is a collaboration between Japanese and Bhutanese architects. How has it been going so far, and what projects are you currently working on?

The working style is a bit different over here compared to Malaysia. Bhutan is rich in culture and tradition and no matter how far in future we go, we will always try to maintain our culture and traditions. Similarly, when I’m designing here in Bhutan, I have to bear in mind to always incorporate some of the Bhutanese aesthetic in my design no matter how modern the client wants their design to be. We are currently working on a big project for a very well-known company in Bhutan and aside from that, we have many residential and 3-star hotel projects on the line.

How has growing up in Bhutan influenced your mindset and approach as a designer?

Life in Bhutan is very simple. We maintain our culture and tradition very seriously.

In fact, preserving and promoting our cultural values is one of the four pillars of Gross National Happiness (GNH). Back in Malaysia, things were different. Although we had to follow certain building laws, most architectural design for buildings didn’t really hold any cultural values to it. So, whatever projects I worked on during the course of my internship or college, I didn’t really have to focus on maintaining Malaysia’s culture.

Throughout my whole life, I have seen many buildings, five-star hotels and big offices come up in Bhutan, but all of them had one thing in common – implementation of Bhutanese architectural design. Therefore, whatever I design here, whether it is interior works or an outdoor park, I try to incorporate Bhutanese elements into it.

It just doesn’t feel right to not have any Bhutanese element in designs here in Bhutan.

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What advice would you give to young Bhutanese aspiring to enter the field of design?

I didn’t come from a design background; in fact, I studied business during my high school. I love math, accounting, and calculations. I never really thought I would end up as a designer. So, when I first joined my course in Malaysia, it was very difficult for me to study art. I remember someone asking me if I knew how to draw. Of course, I sucked at drawing so I was always wondering to myself if I had made the wrong choice in life.

However, let me say something through my personal experience. You don’t need to be able to draw at all to be a designer. Just let your ideas flow. It can be a rough sketch or taking notes of your ideas. People don’t need to understand your sketches or thoughts as long as you understand it.

ID is a course where you can be as creative or imaginative as possible.

Taking interior design has really helped me shape myself as a person.

It has helped my brain to explore and work rather than study textbooks and appear for exams. For me I really feel like ID has given me so much exposure to the world. Even designing a small simple thing takes time, and the hard work behind every design is unimaginable. So, never take any artist for granted, and don’t let anybody ask for free art!

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Advice From An Artist to Artists A lecturer by day and an artist by night, Mohd He is a man of few words; often preferring to let His works heavily feature fantastical and whimsical and saturated colours. They often have a story to expressions in a constant dialogue between past, ability to create a world of dichotomy, treading

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Khairul Azmir Shoib is a multi-faceted man. his work speaks directly to each viewer. characters usually painted in muted, dark, tell, in which he explores a diverse field of present, and future. Khairul possesses a unique carefully between the whimsical and the macabre.

Born in Taiping, Perak, Khairul moved to Kuala Lumpur and obtained his Bachelor of Art and Design (B.A.) and Masters in Fine Art Technology (M.A.) from University Technology Mara (UITM). His paintings have been exhibited in several galleries, both internationally and locally. He is also the recipient of the Juror’s Award from Young Contemporary (2000) and he was the First Prize winner of the Life Drawing Competition from National Art Gallery KL (2005).

Text. Amirah Zakaria Photos. Ryan Cheah

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1 Khairul at his home’s stairwell, which also doubles as his gallery.

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2 ‘Aku datang dalam mimpimu’ 3D print characters.

5 x 9 x 10am. 2018.

3 ‘Occulus’ acrylic on canvas, 60 x 60cm.

2014.

Beside - Fashion illustration by his wife.

4 ‘Tooth Fairy’ mixed media sculpture.

30 x 15 x 12cm. 2018.

Khairul Azmir Shoib lectures in the Diploma in Graphic Design program at ICAD. His work can be found at his Instagram page,

@khairulazmirshoib.

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On early years Despite having a knack for communicating through artistic expressions from a young age, Khairul was not always certain of a direction or path to embark on.

Khairul credits his friend for kick starting his artistic career. His friend, who at that time was an art and design student, encouraged him to pursue his interest and to enrol himself in an art and design course. “I like to draw monsters and various creatures, but I was not sure of my direction yet. I didn’t know that art and design exist until I was 16,” he said. And thus, began his artistic journey in 1994.

During his studies, a great deal of weight was put on observing and replicating. That however, quickly shifted once he completed his studies. Now an academic himself, Khairul firmly believes that one ought to learn the rules before breaking them. Arguably, education and art are inherently linked.

“We had to follow various rules of the ‘world masters’.

After my studies, I gained the freedom to explore my ideas. Learning about art is essentially learning about its history. So that we don’t repeat history, and we can progress from the ‘world masters’”.

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People. Advice from an artist to artists

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On inspiration Citing Surrealism, Expressionism and Dadaism as his influence in the early years of his artistic career, Khairul now brings the idea of alchemical metamorphosis of base metals into gold in his work, transforming discarded materials into a work of art. He believes that these carefully collected materials have the ability to modify the notion of linear time.

“I like to use recycled materials; you change them to become art. Something that people appreciate. The things I collect, they come from different time, space, and place. When assembled together they form a mystical creation. I’ve even used my own teeth!”

Khairul’s works are haunting; beautiful yet eerie and unsettling. It is hard to look away. They are a reflection of his childhood and a collage of his collective memories and daily experiences. His paintings often feature recurring elements such as the moon and trees he saw as a child while being in a moving car. He favours the darkest of nights as his setting and relates his fascination with this theme to his nocturnal nature.

Growing up in the 70s, Hollywood and pop culture had a part in moulding the artist he is today. You can find traces of cinema magic in his works, drawing inspiration from the likes of Tim Burton, Guillermo Del Toro, and George Lucas.

On aspiring artists The creative process involves mental and physical effort. At times, struggle is inevitable. As an educator and an artist with numerous accolades under his belt, Khairul believes that producing art alone is not enough; one ought to learn to market their work. Venturing into art business and utilizing digital marketing tools, such as online galleries and social platforms, are vital in growing an artist’s career. Perhaps it is high time to redefine what it means to be an artist in a modern world.

“Artists can generate their own business,” said Khairul.

“There are opportunities, so start posting your work on any online platform. And then there is also business merchandising; t-shirts, toys, and children’s books.”

As an artist, Khairul believes technology should be fully utilized and used as a means to progress and innovate. He sees technology as a double-edged sword that should be approached mindfully. With technological advancement, art is now more accessible for the masses and can be viewed anywhere and at any given time. Viewing them through the glass panel on our electronic devices robs us from seeing the marks and details made with each brush strokes. He encourages his students to not solely rely on technology and to experience art in a physical space as well.

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Outside a seemingly unassuming shop along Jalan SS15/8b, a line of small Malaysian flags hung above the door across its facade, flapping at every windy breeze. Next to the door, on the five-foot walkway, stood a little blackboard easel with the following written in chalk. “Quote of the day: Make good choices”.

This is I AM LEJEN, the flagship bookstore of local and independent publisher Lejen Press. Established in 2011 at SS15, the bookstore mainly carries publications in Malay, with only a handful in English. Its founder, Aisamuddin Md Asri, began his career as an engineer, but his love for reading and writing eventually saw him take on this path as a writer and publisher.

“I like to read a lot since sekolah rendah (primary school),” recalled Aisamuddin. Growing up in a remote village in Pahang, sources of entertainment were scarce. “However, my father was a teacher, and he has the access key to the school library.” Hence, during weekends, a young Aisamuddin would spend his afternoon in the library reading, before going outdoors to play in the evening. This cultivated his reading habit from a young age.

As he became older, Aisamuddin began writing short stories adapted from his daily life, which covered the period from his time as a child in kindergarten to adulthood. He posted these stories at his blog under the pseudonym Aisa Linglung. The blog gained

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popularity, which prompted him to compile the “best of” stories into a blook (a printed book with contents from an online blog). Titled “Sperma Cinta”, the blook was printed in limited copies and was only available at certain events, but its popularity led to it being sold out. That was the stepping stone to Aisamuddin quitting his job and establishing Lejen Press with his friend, Shahrul Naim.

Subsequently, Aisamuddin met another young author, Nomy Nozwir, who wrote the novel “Awek Chuck Taylor” under the pseudonym Nami Cob Nobbler. Lejen Press published this novel in 2011, and it quickly became a phenomenon in the independent publishing scene.

Today, Lejen Press carries around 120 titles, with most of them authored by first-time writers.

Lejen Press’ books are different from the other local publishers because they are written in colloquial Malay language - the linguistic style used for casual, everyday conversation - rather than the more formal Malay language. This became the distinctive house style of Lejen Press’ collection, one example being “Awek Chuck Taylor”, which was written in a combination of street slang and text messages1. The majority of Lejen Press’ collection consists of fiction, specifically a new form of pulp fiction that tackles topics like social criticism, poetry, and taboo subjects in the local context such as communism and sexual promiscuity1. The genre’s rise in popularity can be attributed to the desire for escapism among young Muslim Malaysians in the form of literature.

The FreeSpirited Bookstore

TAPE spoke to Aisamuddin Md Asri, co-founder of local independent publisher Lejen Press, on the challenges they face as a bookstore in a youthful locale with an increasingly digital population.

Text. Ryan Cheah Photos. Ryan Cheah

Why was SS15 chosen as the location of this bookstore? “Because it fits the house style of our books,” replied Aisamuddin. “Our customers range from age 17 to the late 20s and mid 30s - mainly young adults.” The presence of numerous private higher education learning institutes also matched their targeted audience. In fact, the bookstore used to open until midnight to fit the nocturnal crowds of SS15. “Back in 2011, Sundays (at SS15) were quite empty, easy to find parking,” Aisamuddin said. The opening of the LRT station in 2016 allowed more people to access the area, but also worsened the parking situation there. Since the LRT station does not have any parking, many train users would park their car along the nearby shops, which are just a stone’s throw away, before taking the train. The bookstore has since adjusted its opening hours until 10:30pm for the staff to catch the last train.

Home to a melting pot of students, SS15 is known for having a unique identity with its counter-culture, hipster and trend setting atmosphere, thus explaining the rationale behind Aisamuddin’s decision to select the place. However, it is commonly understood that reading is not exactly popular among Malaysian youth.

When asked about the readership among the youth today, Aisamuddin sighed, “sadly yes, we have to admit that Malaysians don’t like to read much, especially in the digital age today. They spend more time with their smartphones.”

In response, Lejen Press has diversified into the online sphere by setting up iamlejen.com, a curated news site, under Lejen Press Digital. As an online social entertainment website catering to the lifestyle of Malaysian youth, iamlejen.com covers news, current affairs, global issues, and more. “We have a team to take care of the write-up and editorial. There are around 10 articles on a daily basis,” said Aisamuddin, “we play our part to cultivate the habit and encourage them (youth) to read. Publishing articles on iamlejen. com can at least encourage followers to read them.”

While its books are written in a colloquial style, online contents are written in a more proper format. “For our articles in Malay, we make sure that the grammar and sentence structures are correct, even if the topic is something more casual like celebrity gossip,” explained Aisamuddin. “At least for those who are trying to learn Bahasa Malaysia, if they access iamlejen.com, they will be reading good articles with proper language.”

Additionally, Lejen Press also has contents at their YouTube channel, LejenTV, Facebook and Instagram pages. In a video segment called “Sembang Lejen” (sembang means chatting), they would invite guests over to talk about various topics like depression, sexual harassment, or current issues, such as the Foodpanda riders protest2, in which they invited an actual rider to discuss his point of view. Besides generating greater interaction with the youth through these content, online media has given Lejen Press an additional avenue

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to advertise new publications, book reviews, and promotion. In a way, the more pragmatic and proper online media complements the liberal style and freedom enjoyed by the publication side of the business, evident in their house style. “For publication, more freedom is given for the products to be sellable, which will create a rolling publication for other books,” said Aisamuddin. “If the books are not sellable, new talents will not get their chance.”

This freedom, however, comes with a price. Some books published by Lejen Press are considered controversial by local standards, especially with its provoking titles and cover design. While some youth have regarded them as cool fashion accessories, Aisamuddin has experienced some complications with the authorities before. One example given by him is the book, “Babi” (pig in Bahasa Malaysia), by Azwar Kamaruzaman. Babi is considered “haram”, or forbidden, in the Muslim society. “The word in our society is a taboo,” said Aisamuddin, “usually alludes to jahat, mencarut (bad, obscene). The author of this book was only 18 years old at that time when he came out with this manuscript and working title, asking us if it was ok. After reading it, we decided that it was ok.

We proceeded because the story made sense to the title. Many claimed that we intentionally used the word for the title to attract attention, but if you read the story until the end, it will make sense why “Babi” is the title.”

“The things we do will attract criticism from society,” he said. “But the thing is, have they read the book? Don’t judge a book by its cover. This is just a way for us to express our art.”

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Place. The free spirited bookstore

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Lejen Press also worked with freelance designers to create the cover artwork for its publications. For Babi, the story is about Leman, a kind and innocent kid, but who is actually a child born out of wedlock. As a result, he was called various derogatory nicknames, including babi. The book described Leman’s journey towards forgiveness, searching for his identity, and falling in love with someone who did not mind the circumstances of his birth. “The white background represents the main character, who has a pure heart. But it was stained with the words in black. The book is about Leman’s character trying to clean away the nickname, hence the washedout effect,” explained Aisamuddin. “At the end of the story, there is a second meaning of why it is called “Babi”. The cover design is an idea from the designer, but it needs to be justified. Kena baca dulu. Jangan kutuk demi kutuk (need to read the story first, and not criticize just for the sake of it).” Lejen Press allows their authors and designers the creative freedom rarely granted in mainstream publication. “The things we do will attract criticism from society,” he said. “But the thing is, have they read the book?

Don’t judge a book by its cover. This is just a way for us to express our art.”

Reports have discovered that Malaysians are actually among the top spenders on books in the world, but they are not necessarily the most well read3. Is that something that has gone right or wrong? Aisamuddin believes that it is a good thing. “The first step in encouraging people to read - the hardest - is to convince people to spend,” he said. “At least, our first step, we have succeeded in convincing people to spend on books. We can’t control or set when they start to read. Sometimes some books will just lie around the house, but if the time is right, people will start reading them.”

Moving forward, Aisamuddin hopes to continue Lejen Press’ work in publication and continue bringing in new talents and authors. At the same time, he would also like to balance what they are doing on their digital side and continue engaging with customers online. “More or less like a hybrid publication house that combines the digital and physical,” he chimed.

One of the best ways to learn about a new country is to read books by local authors.

From the Lejen Press collection, Aisamuddin recommends books by A.B. Hashim - “Five Thieving bastards”, “Timid”, and “Angus, himself”, all in English.

I AM LEJEN Shop is located at No.12-1, Jalan SS15/8B, SS15 Subang Jaya, 47500 Selangor. Their online store is https://lejen.my/

1. Chen, M.Y. (2015) Malaysians Seek Escape in Pulp Fiction as Government’s Grip Tightens, The New York Times, 30 May 2015. https://www.nytimes.com/2015/05/31/world/ malaysians-seek-escape-in-pulp-fiction-asgovernments-grip-tightens.html 2. Azzman Abdul Jamal & Nisa Azaman (2019) More than 200 Foodpanda riders protest over new payment scheme, New Straits Times, 30 September 2019. https://www.nst.com.my/news/ nation/2019/09/525882/more-200-foodpandariders-protest-over-new-payment-scheme 3. Hassandarvish, M. (2019) Malaysians among the world’s top spenders on books, but not the most read, Malay Mail, 30 April 2019. https://www.malaymail.com/news/ life/2019/04/30/malaysians-among-the-worldstop-spenders-on-books-but-not-the-mostread/1748350

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Previous page 1 I AM LEJEN’s store entrance along Jalan SS15/8b, Subang Jaya.

This spread 2 One of Lejen Press’ most controversial titles, BABI, by Azwar Kamaruzaman.

3&4 The various graphical representation of Lejen Press’ visual identity reflect their daring, yet playful, exploration of creativity.

5 Co-founder of Lejen Press, Aisamuddin Md Asri.

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Explore the intricate craft of making leather-goods with our alumni and owner of GVNT, Gavin Teo, where he demonstrates, step-by-step, on how a leather cardholder is crafted as he chats with us about his journey since graduating from INTI with a Diploma in Interior Design.

Text. Laura Chen Photos. Ryan Cheah

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After graduating in 2014, with a Diploma in Interior Design coupled with the passionate influence from his tailor mom, Gavin realized that his biggest passion lies in hand-crafting. Upon that realization, he decided to set his mind to diversify his qualification into a career in leather crafting.

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When asked about how he had first picked up the skill, like a true millennial, he answered with a cheeky smile, “YouTube!”, then adding on that he had later refined his skills by taking a series of online courses as he grew a deeper professional curiosity towards the craft.

Giving us an insight into his studio during the interview, there’s evidence of how far he’s come since his ‘YouTube’ days when he showed us the first prototype of the leather cardholder made by him. Sitting on the floor is his first stamping machine while a more current model sits on top of his work table, both used for customizing names onto leather goods. Even with all the impressive tools and machinery used for crafting leather goods, he keeps some things traditional, like the way he sharpens his tools using a traditional stone sharpener.

In a time where mass-production is over-saturated in the market, artisanal craft is seen to be on the rise as consumers are more inclined towards hand-made and hand-crafted goods. Today, his business is growing with a steady demand for customized leather goods. He is also a teacher in his own rights where he conducts short courses and facilitates workshops in leather-goods crafting.

Let us take you on a deeper insight to leather crafting as Gavin demonstrates how a leather cardholder is made.

1 Gavin at his home workshop.

2 The tools of Gavin’s trade.

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Step 3 The flesh sides of the leather pieces are then coated with a layer of burnishing gum that will hold together and give the leather its strength. As Gavin explains, leather is a natural material with no woven construction that holds it together.

How to Craft a Leather Cardholder Step 1 The leather pieces are first measured and patterned, then cut into shape using a Japanese leather knife.

Lines are creased onto the surface near the edges using a heated creaser that provides a decorative finish.

Step 2 The edges are removed using an edge beveller and rubbed down using a rounded wooden burnisher to give it a polished finish. It is then finished off with a coat of leather-edge paint.

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Step 4 After the gum dries, the pieces are then arranged flesh side to flesh side and glued together at the seams.

To attach the outer compartment and cash-holder tab of the cardholder, the seams of the leather’s skin are sanded down to ensure that the adhesive glue holds the pieces together. Once the adhesive glue dries off, the edges are then rounded off.

Craft. Taking hobby to the next level

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Step 5 Stitching lines are marked with precision using a wing divider before the stitching holes are punched in. The holes are carefully and lightly marked with a chisel before they are punched in with the assistance of a mullet.

Step 6 Perhaps one of the most artistic display of the entire process, a stitching pony - a wooden device used to sandwich and hold the leather piece, is used to assist the stitching process. Gavin explains that waxed polyester threads, as opposed to cotton threads are used as they provide better strength than the other.

A saddle-stitching method is used to stitch leather pieces together. Once the stitching is complete, it is then flattened down with a hammer to give it a sleek touch and feel.

Step 7 The edges are then sanded down, and crease lines are added where the edges will be painted to ensure a sleek line of paint is applied seamlessly. The edges are smoothened out with the beveller, then burnished with water before the paint is applied. As much as 3 coats of paint are needed for a smooth finish before the leather piece is complete.

Gavin Tan graduated from ICAD’s Diploma in Interior Design course in 2014.

Check out GVNT on Instagram at @GVNTCO. Contact: +6014-9000268, gvntco@gmail.com.

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MUSE The ICAD Staff Showcase 2.0

An annual showcase held consecutively for the 2nd year, the ICAD Staff Showcase is initiated by lecturers of ICAD, consisting of 25 multidisciplinary artworks from fine art, fashion, graphic, architectural, and interior design.

Text. Laura Chen Photos. Individual contributors

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Happenings. MUSE Staff Showcase

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In mythology, the Nine Muses were goddesses who symbolised artistic inspirations. Today, as a verb, to muse is to consider something thoughtfully. As a noun, it refers to the source of an artist’s inspiration.

An artistic feast for the eyes, the week-long showcase was launched on 22nd October 2019 by Dr. Jane Lim, Chief Executive of INTI International College Subang, and Mr. Eric Lee, Academic Dean of INTI International College Subang.

As a token of appreciation, masterpieces made by ICAD lecturer and cocurator of the showcase, Ahmad Hamzah Ramli, were presented to Dr Jane and Mr Eric by the Dean of ICAD, Ang Tong Yin. The showcase included handmade experimental pieces, ranging from digital artworks to 3D sculptures, showing off some of the finest artistic talents of our academic as well as support staff. The artists’ works are more than just a manifest ation of their muses; these artworks serve as a muse to visitors, students, and other staff as well.

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Previous page 1 Students and staff visiting the showcase during the launch.

2 The ICAD Family - Academic and faculty staff alike came together to contribute their artworks for the showcase.

3 Officiating the event and presentation of the token. From left to right: Ahmad Hamzah Ramli, Ang Tong Yin, Dr. Jane and Mr. Eric.

This spread 4 Ahmad Hamzah’s “How You Like It Now?” uses epoxy resin to trap moulded watermelon and melted ice-cream into an ice-cream shaped mold.

5 Hand-built pottery by Melissa D’Cruz, made using traditional sculpting techniques.

Enamoured by nature, she uses that as her theme for many of her explorations.

6 “Breaking the Habit” by Mike Teo was the subject of many conversations at the showcase, evoking a myriad of questions and admiration of visitors at the showcase.

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7 Akmal Ariffin’s artwork entitled “Enetophobia” features a bodice entrapped by hundreds of needles and pins.

8&9 Calligraphy master, Tee Ying Jie created two pieces of artworks entitled “Love I” and “Love II”, both conveying a meaningful message of unity through the merging of the words ‘love’ in Chinese and Arabic characters.

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