KARTUN AMIR ASTAR

CARICATURE- FOR A FRIEND

2010-09-14T04:35:00.002+08:00

laamaaa x update......

Di Sebalik Nama: Kartunis arkitek

2009-12-13T13:59:00.004+08:00

Dipetik dari Berita Harian 12 Disember 2009.Terima kasih Cik Diyanah Anuar.

Watak tomboy popularkan Amir

WATAK remaja tomboy, Shah-Shahwati cukup dikenali pembaca setia majalah humor, Gila-Gila. Kisah dan gelagat Shah-Shahwati menempuh zaman remaja menjadi tarikan kepada pembaca majalah itu terutama golongan remaja.

Karakter Shah-Shahwati adalah antara sentuhan hebat kartunis popular, Amir Astar. Personaliti Di Sebalik Nama minggu ini sudah berkecimpung dalam bidang kartun sejak 20 tahun lalu. Apa yang menarik, Amir masih aktif biarpun memiliki kerjaya tetap sebagai arkitek.

Cerita Amir, beliau adalah peminat setia majalah Gila-Gila sejak darjah satu dan tidak pernah ketinggalan mendapatkan naskhah majalah humor itu setiap kali ia diterbitkan.

Kunjungan Amir ke pameran kartun dan sesi bertemu peminat anjuran majalah Gila-Gila menambat hati beliau untuk terjun ke dunia kartunis.

Sejak dari itu, Amir tidak jemu-jemu melukis kartun dan menghantar karyanya ke majalah Gila-Gila. Malangnya, karyanya tidak pernah disiarkan hingga pada suatu hari, beliau mendapat panggilan dari Allahyarham Pak Jab atau Rejabhad yang mahu berjumpany

"Ketika itu saya berada di tingkatan dua. Pak Jab (Rejabhad) mempelawa saya untuk berkarya bagi majalah terbitan Creative.

"Apabila menerima peluang itu, saya teruja dan terus bersetuju. Sejak itu, saya sering menghantar karya dan kerap tersiar di ruangan kecil dalam Gila-Gila," katanya yang 'bercuti' sementara daripada berkarya untuk menduduki peperiksaan Sijil Rendah Pelajaran (SRP) dan Sijil Pelajaran Malaysia (SPM).

Selepas tamat tingkatan lima, Amir kembali aktif dan menghantar karyanya ke beberapa majalah lain seperti Gelihati, Gelagat dan Humor.

Ikuti perjalanan seni Amir...

Ketika ditawarkan berkarya untuk majalah Humor pada usia yang masih muda, apakah anda sudah terfikir untuk menjadi kartunis sebagai kerjaya tetap?

Saya fikir, saya masih boleh menghantar karya walaupun tidak bekerja secara tetap. Lagipun, peluang melanjutkan pengajian diterima sebaik tamat persekolahan, jadi saya teruskan pengajian dalam bidang seni bina sambil berkarya.

Bagaimana watak kartun Shah-Shawati tercipta?

Selepas menyertai pertandingan bakat baru yang dianjurkan Gila-Gila, saya dan beberapa kartunis muda lain dipanggil editor, Adi Alhadi. Beliau bertanya siapa antara kami mahu menghasilkan watak kartun tomboy. Lalu saya menawarkan diri untuk melakukannya.

Mungkin idea untuk mewujudkan watak Shah-Shahwati ini adalah untuk memberi kelainan dalam watak kartun tempatan.

Sukar atau tidak menulis kisah tomboy ini? Berapa lamakah tempoh yang diambil untuk mencipta watak Shah-Shahwati?

Bagi saya tidak sukar. Apa yang saya lihat di sekeliling, itulah yang mendatangkan ilham. Lagipun, individu tomboy ini mudah dilihat di mana-mana. 'Tugas' ini saya terima pada 1995.

Saya diberi tempoh menyiapkan sketch kartun ini selama dua minggu. Editor memberi maklum balas baik. Selepas diluluskan, saya terus menghasilkan beberapa siri Shah-Shahwati dan mula disiarkan pada Januari 1997.

Pihak pengurusan mengumpul beberapa siri karya, menyimpannya disiarkan satu persatu.

Tidakkah komitmen berkarya mengganggu tumpuan anda terhadap pengajian pada awalnya?

Tidaklah begitu mengganggu. Cuma, apabila deadline menghantar karya bertindih dengan waktu di mana saya perlu menyiapkan tugasan pengajian, saya jadi lebih sibuklah. Bagaimanapun, saya boleh menguruskannya kerana sudah dimaklumkan tarikh karya perlu dihantar.

Jadi, saya rancang kedua-dua kerja ini sebaik-baiknya. Berkarya mendatangkan sumber kewangan kepada saya. Mewah jugalah saya ketika itu, biarpun masih bergelar penuntut. Sebab itulah saya berusaha menghantar karya biarpun sibuk belajar.

Selain menjadi sumber wang saku ketika belajar, apa lagi faktor yang mendorong anda berkarya?

Banyak perkara. Mula-mulanya kerana minat. Apabila sudah mendapat peluang, matlamat kita tentunya melihat karya disiarkan dan nama terpapar di ruang editorial.

Selepas karya kartun kecil, kita hendak lihat pula karya disiarkan penuh muka surat. Selepas itu, lebih daripada satu muka surat disusuli karya terpampang di muka depan atau kulit majalah. Saya sudah merasakan semua itu sepanjang menjadi kartunis.

Pada pandangan anda, apa agaknya tarikan watak dan siri Shah-Shahwati?

Mungkin kerana ia berkisar kisah budak sekolah. Jadi, ia dekat dengan pembaca yang kebanyakannya golongan muda. Selain itu, pembaca mungkin sukakan lukisan kartun ini.

Pernah anda dikritik kerana watak Shah-Shahwati memaparkan remaja berperwatakan tomboy?

Setakat ini belum ada. Ini kerana kisah yang disiarkan dalam siri Shah-Shawati bukanlah dari sisi negatif tomboy. Ia kisah kehidupan biasa, cuma watak utamanya membabitkan gadis berambut pendek.

Humor yang dipersembahkan majalah Humor selepas Gila-Gila agak berbeza berbanding pada era Gila-Gila. Apa pandangan anda mengenai perkara ini?

Ia seiring dengan perkembangan yang berlaku dalam masyarakat. Bagi majalah yang terbit selepas era Gila-Gila, tentunya ingin menampilkan idea dan konsep berbeza.

Lawak yang ditampilkan lebih santai dan dapat dilihat, banyak perkataan atau istilah baru dicipta hingga menjadi ikutan masyarakat. Tidak dinafikan, ada karya dalam majalah ini mempunyai pengaruh yang kuat.

Apa perasaan anda berpeluang bekerja dengan beberapa nama besar dalam industri ini?

Seronok dan rasa bertuah dapat bekerja dengan individu yang sebelum ini kita ikuti perkembangannya sebagai peminat. Peluang bekerja dengan mereka memberi ruang kepada saya menimba ilmu.

Agaknya sampai bila anda mahu melukis kartun?

Selagi saya mampu untuk berkarya dan selagi ada permintaan, saya akan terus berkarya. Dengan komitmen kerja dan keluarga, saya cuba mencuri masa untuk menghasilkan karya kepada majalah Gila-Gila.

Jika tidak melukis untuk tempoh yang agak lama, sukar juga mendapatkan 'touch' lukisan kita.

KARTUN PERTAMA

2009-12-07T22:13:00.005+08:00

Selepas beberapa kali ke Bengkel Kartun Allahyarham Rejabhad, akhirnya kartun pertama saya disiarkan dalam ruangan Senyum Kampus,Majalah Gila-Gila 1 November 1989.. err dah 20 tahun rupanya.. Pada masa yang sama sekeping lagi kartun saya tersiar di majalah Gelihati, dalam ruangan bakat baru yang dikelolakan oleh Namron..

McDONALD VS McCURRY

2009-09-10T07:23:00.003+08:00

SELAMAT HARI MERDEKA KE-52

2009-09-01T00:10:00.008+08:00

Baru beli buku biografi dalam bentuk kartun yang menarik.. TUNKU ABDUL RAHMAN PUTRA AL-HAJ oleh E.YU di MPH. Masa nampak diorang display tu, ingatkan Nud's a.k.a Nudin yang lukis..

Buku setebal 239 muka surat ini menceritakan kisah hidup Tunku dari kecil hinggalah berjaya mendapatkan kemerdekaan untuk Tanah Melayu. Lukisannya simple dan penuh informasi.

Tahniah E.Yu di atas kelahiran buku yang menarik ini. E.Yu juga telah mempunyai satu lagi biografi kartun bertajuk MAHATHIR MOHAMAD.

KARTUN BARU

2009-08-29T14:17:00.004+08:00

EPL IS BACK!

2009-08-18T18:11:00.004+08:00

EPL is back.. with new season, new players, new coaches.. and new bill .. err...on us..

SHAH-SHAWATI

2009-07-04T12:20:00.011+08:00

Ini Shah-Shawati terbaru, yang disiapkan dalam masa 3 hari(yang terpantas bagi saya). Biasanya saya memerlukan 1 minggu untuk menyiapkan 4 muka Shah- Shawati.

Hari tu, saya ternampak Gila-Gila baru di kedai majalah. Cover oleh Jaafar Taib, isu pasal Along. Idea yang dia sebut2 masa jumpa dengan dia beberapa minggu lepas. Alamak, kartun yng saya janji hari tu tak star pun lagi huhu.. tu yang balik terus buat tu.. kena la buat sgera.

Elok dah siap 3 muka surat, Abang Mali call,tanya kartun... terus jawab, esok saya email. Fuuh, nasib baik le. Yang best pasal ada internet ni ialah kalau kita janji nak hantar 30 hb... pukul 12 malam pun boleh hantar lagi hehe.. dan itu le yang saya buat.. Nasib baik le Abang Mali ni kerja shift malam sampai pagi..

Dan lepas email kartun tu, saya tidur jap, bangun pukul 6, terus gerak ke Mersing. Bercuti 2 malam di Pulau Tioman dengan 2 adik dan family dia... Lepas ni Shah-Shawati kena buat cerita pasal Tioman le pulak.. boleh cover duit yang habis kat Pulau Tioman ni..

TRANSFORMERS - FAN ART GALLERY

2009-06-05T12:05:00.008+08:00

Here is gallery of the best Tranformers fan art, desktop wallpapers, animated gifs etc.

Go to http://superpunch.blogspot.com/2007/06/gallery-of-best-transformers-fan-art.html and enjoy yaa..

GILA-GILA NO. 700!!!!...

2009-06-05T11:22:00.002+08:00

Pagi Rabu lepas, sebelum masuk ofis, masa nak gi breakfast singgah kedai nak beli paper dulu. Ternampak Gila-Gila terbaru... dan kat cover yang dilukis oleh Jaafar Taib tu ada tulis nombor 700!

Waa... bayangkan , dah 700 kali Gila-Gila diterbitkan sejak 31 tahun yang lepas... satu pencapaian yang membanggakan!Ini dah kira tahap legend dah nih.

Dan sambil tu, saya berkira-kira...sejak 1996, sekurang-kurangnya saya dah terlibat dalam lebih kurang 200 keluaran Gila-Gila.. huhu.. kira ok le, boleh di'associate'kan dengan unsur-unsur legend nih.

Dan petang ni, saya nak kena jumpa orang no 1 dalam Gila-Gila nih... mmmm.. ada cerita apa lah agaknya...

ALWAYS LOOK AT THE BRIGHTER SIDE OF THINGS

2009-05-26T10:25:00.015+08:00

A friend sent me an email of this interesting cartoon. Scroll downwards and enjoy!

HERE'S MY CARD...

2009-05-17T09:25:00.005+08:00

FEW YEARS BACK..

NOW..

Amir@work

2009-05-08T18:25:00.002+08:00

LAT & SONNY LIEW: TELLING STORIES THROUGH CARTOONS

2009-05-04T11:52:00.013+08:00

Lat & Sonny Liew talked about local cartoons issues in The New Straits Times, Saturday, May 02, 2009.
Please visit http://www.nst.com.my/Current_News/NST/Saturday/National/2546360/1 for the original content. Enjoy!

When Lat and Sonny Liew sit down to discuss issues such as royalties and concepts, they naturally do it through cartoon-tinted lenses. They find a rapt audience in M.K. MEGAN and KOH LAY CHIN

COPYRIGHT ISSUES

Lat: Cartoonists should not think too much about the copyright for their work. They should just draw and money should come as a reward.We are in a business where our job is to produce something that is good and meaningful and that people will enjoy reading. And that is not easy.
It is easy to be funny but being rude can hurt people's feelings.

People pay money to read them (our cartoons) and the more they enjoy it, the more they buy and we need not worry about the money. It will start coming once that happens.

At the same time, we also have to look after our work. We should not blindly sign the rights away to the publisher.

Most of the time, the copyright for a piece of work belongs to the publisher.

Sonny: Usually the publishers, especially those in the United States, don't pay much but they want the copyright or they pay us nothing and let us keep the copyright.

Lat: In cases like that, give them their money's worth. If they pay you RM200, give them a drawing that is worth RM200, not something that is worth RM2,000.

But if you are a beginner and you are testing yourself to see how the public will accept your creations, it is best to accept whatever is paid.

There will be a time when your work is recognised. Then you can negotiate.

Sonny: Many in Malaysia don't mind low payments as long as their drawings get published. They get the satisfaction of seeing their work in print and that is the best reward.

But they must have a mindset that the situation should improve in the long run. They must come up with good pieces so that the publisher makes enough money to pay the creators handsomely.

COMIC CONCEPTS

Lat: Comics these days have more of a global concept and the new batch of comic artists who produce graphic novels tell stories about real life struggles, nature and science.

This (new trend) has been made popular by Western publishing houses and people who produce graphic novels.

Of course, these are very meaningful stories and, in Malaysia, we don't really have the opportunity to do good comics that tell long and interesting stories.

Sonny: Many local artists are not keen on local content because they are not paid well in Malaysia and Singapore.

Lat: But we can use local content to draw our comics for the international market. People around the world want to know about our cultures and traditions.

We have to get our work translated into other languages but it must be interesting stories.
We can publish them in Japan or Africa if they are interesting enough.
If you start a new comic, what would you base it on?

Sonny: It would be based on my personal life experiences. As a kid, how it was living in the city... maybe a futuristic city. I would want to capture the moments my friends and I had together.

I would also like to inject information that I had learnt along the way. It will be a combination of real-life experience and history.

Perhaps, unlike you, I would use a fictitious person as my character but it will be based on my experiences.

PUBLISHING

Sonny: There are some Malaysian artists who try to use local content for the foreign market but they cannot get publishers. They are finding it tough and therefore they publish their own work.

Lat: If you want to publish yourself, you must have a lot of money.

Sonny: But it is an investment.

Lat: We should leave it to people who are good at it. We create because we are good at it and leave the publishing to people who are good at it.

They have their editors and other specialist staff.

I published my own work only once and that was to celebrate my 30th year in the industry.
It was also to understand a little about the publishing industry.

(Generally) you need someone else to assess your work. It is better for someone else to have a second look.

Your work may, as far as you are concerned, look as though it is worth publishing.
But an editor or a publisher may point out what people might like or some aspect of your work that may be sensitive or are suitable for certain segments of society.

We should not have that much freedom to publish our work. What will happen if everyone wants to publish his or her own work?

All kinds of rubbish might get published. A publisher acts as a gatekeeper with his editors and proofreaders.

Sonny: Are your works always edited by the publisher and his editors?

Lat: My drawings hardly get edited.

But they correct my grammar and sometimes the dialogue. We have to work together.

Sonny: That is where the problem is. I have done some editing, too, and I had difficulty telling the creator the drawing could have been better or stronger.

I did not tell the creator because I thought the story was personal. I cannot impose my views on it. So, if the artist thought it was good enough to be published, we should let it be.

We also face the dilemma of when to tell them to change or leave it as it is.

Lat: First we must stick to what we do best. We should not be editors when we are the creators.
We should not be afraid to discuss our work with the editors because editors come and go but we creators are here for good.

I wouldn't want to be an editor. I give my work to an editor and want him to make sure it is okay or give me some ideas.

I want him to say if my work is suitable for the public. Of course, we do not argue with the editors or complain about them if they change some things.

If we strongly disagree with the editor or if we feel he is not good enough or not knowledgeable, we take our work to another editor or publisher.

Or if we cannot find another editor we forget about publishing that piece of work.

But we cannot lose sleep over the unpublished piece. There will come a time when we will be able to use it. I have had that experience many times.

(Lat explained that during the recent Umno general assembly he was asked to draw the candidate who would win the Umno Youth presidency.
He drew the two strong contenders -- Khairy Jamaluddin and Datuk Mukhriz Mahathir -- before the results were announced.

Only the cartoon of Khairy, who won, was used. But later when Mukhriz was appointed to the cabinet, Lat made minor adjustments to the cartoon and submitted the cartoon which was published.)

ABOUT PERCEPTION

Lat: When we draw we have the public in mind. They should be able to understand it. But of course there are people who can never understand comics.

There have been a few times when people have come up to me and asked what my cartoons meant.

Sonny: Yes. Just like the cartoons of Gary Larson. His drawings are meant as cartoons but he receives many letters calling him all sort of names.

Some call him an evil man. People who read his cartoons do not understand him and call him all sorts of names.

His recent cartoon of US President Barack Obama, which came out looking like a chimpanzee with big ears, created a lot of controversy.

The cartoonist said he did not intend to portray it that way.

Nowadays anything you draw is interpreted differently by different people. We have to very careful when we are drawing.

COPYCATS

Sonny: You have your own style and concept like the Kampung Boy. Do you think other cartoonists are following in your footsteps?

Lat: I am sure there are many budding artists following my concept by doing stories about their childhood and hometowns. It is not only happening here in Malaysia but all over the world.

I realise people focus too much on only one section and neglect many other aspects.

There are so many subjects in South East Asia that we can touch on. But we also lack the opportunity and forum to do it.

Like you (Sonny) and your friends were adventurous and did it yourselves.

Sonny: Yes. We had to do it. We had to go for the foreign market because there was so little demand in the local market.

We didn't get paid much for our work. We get paid a lot more in the US, no matter what we draw.

Lat: But we can still negotiate in Malaysia.

Sonny: Of course but only if you are an established cartoonist. Newcomers are at the mercy of the publishers.

Lat: You are right about that.

CONCEPT AND CREATION

Lat: Usually before I draw something I visualise it in my mind.

But when I put it down on paper it always turns out better because in our mind we cannot imagine details but when we draw we have to pay attention to detail.

Eventually what translates onto paper is what matters.

But sometimes you cannot picture the whole thing but you can imagine the scene. You know it is there but what is actually transferred onto paper should be more interesting.

Sonny: My drawings now are similar to what I have in my mind. One day I dreamt that I was reading a comic which was drawn by me.

That is how I started drawing. To this day, my drawings resemble what I see in my dreams.

And we cannot disregard people with photographic memory especially those who draw their personal experiences. They can have in their minds exactly what they want to draw.

A CARTOONISTS' UNION

Sonny: I feel strongly there should be a union or some other body to look after the interests of cartoonists.

Now everyone fights for his or her own cause. When there is a union the voice is stronger and the cartoonists are not abused.

Many cartoonists are still not aware of their legal rights and copyrights. It is the same situation in many South East Asian countries. In the US, for example, all cartoonists know of a lawyer who helps them if there is a legal issue.

Lat: In Malaysia there is a guide book on the do's and don'ts. Also there is an ongoing discussion to decide on a minimum rate for drawings so that cartoonists are not underpaid.

But it is going to be difficult. How do we determine a base rate for a drawing? Do we charge according to the size, issue or topic?

Sonny: In the US how much a cartoonist gets paid depends on the publisher. The bigger the publisher the more you get paid.

But it is a tricky thing to fix prices for cartoon drawings and I strongly feel we cannot have that. But to help beginners understand the industry there must be some guidelines and that is why an association or a union would help.

MANGA DRAWING

Sonny: Manga drawing is becoming popular all over the world, including the US. The youngsters, especially, like this sort of drawing.

Lat: If we go into manga drawing we belong to it. We must stick to one style and cannot interchange.

But even if we choose manga drawing we must have our own identity. We cannot imitate the manga style of another country.

Why should people read our manga comics if the original is from elsewhere.

It is like a Malaysian who can sing like B.B. King but this person is not B.B. King. People want to hear the real singer, not the imitator.

You have seen many people in the US draw manga. Do you consider manga from the US special or should manga stick to its origins in the Orient?

Sonny: I always have this question in my mind. "Should people in the US draw manga style or should they have their own style of drawing?"

I still do not have the answer to that but there is a large following for manga drawing in the US.
The Malaysian manga drawings are not much different from those from Korea and China.

MALAYSIAN CARTOON SCENE

Sonny: The Malaysian cartoon industry is still far behind Japan and Korea. They are developing fast. We still have a long way to catch up with them.

Lat: In Southeast Asia, we should continue to represent this region in our cartoons. We should consider the region a special treasure which we want to show people all over the world.
We are different culturally and in our traditions and we want the world to know that. We can do that through our cartoons.

SHAH SHAWATI

2009-05-01T09:44:00.013+08:00

Baru siapkan Shah Shawati terbaru...

KARTUN: SELESEMA KHINZIR!

2009-04-30T17:32:00.003+08:00

ANUGERAH PEKOMIK 2009

2009-04-25T23:47:00.010+08:00

Anugerah Pekomik 2009 dah pun berlangsung petang tadi. Antara yang menang besar adalah Azhar Abdullah( yang menang macam Slumdog Millionaire, kata Imuda). Tahniah! Untuk keputusan penuh, sila semak kat website PEKOMIK.

Gembira dapat jumpa kawan-kawan lama dan baru. Antara kartunis Gila-Gila yang ada,Ujang, Aza, Nat...Nud's dan Ramzahurin ada kat gerai CESB, tak pasti diorang turun ke tak.. dan pastinya Big Boss Gila-Gila, En Jaafar Taib. Dato Lat dan Gayour pun ada... dan ramai lagilah.

Apapun, tahniah kepada semua pemenang. Tahniah juga pada Presiden dan Ajk PEKOMIK kerana berjaya merealisasikan majlis ini. Semoga dapat diteruskan di tahun-tahun hadapan.... Err lepas ni boleh buat kat dewan yang besar sikit tak?

Gambar ni ambil dari Pergh.com.. Duduk kat depan sekali, sebelah kanan saya Nat dan Gayor.

Caricature: Architecture In Caricature

2009-04-18T17:05:00.012+08:00

Writing about caricature again. I found( actually, i searched for it lah!) these interesting caricatures of famous architects by Louis Hellman. Hellman draws series of caricatures of architects in a way that reflecs their own architectural style.

I first saw Hellman's drawings during my university days in mid-1990s.The complete drawings can be found in his book, Archi-Tetes: The Id in the Grid. The Archi-tetes series was actually conceived in 1984 as an entry to a cartoon competition held by the Architectural Review magazine.

Here are few samples of Hellman's architects caricatures. I added the architects photos and their buildings.The first is Spain(read: Catalan) legendary architect, Antonio Gaudi, famous for his highly individualistic and unique, organic architecture. The second, Frank O. Gehry , the superstar architect famous for his curvaceous metal buildings. The third one is caricature of Prince Charles(.. Yup! The Prince of Wales) who was known to be an advocate of neo-traditional ideas.

Hellman himself is an architect and worked as cartoonist for Architectural Review magazine since 1967. Want to know who the Hell(man) is he? Go to louishellman.co.uk.

Enjoy!

Amir@work

2009-04-14T17:22:00.002+08:00

KARTUN & EMAIL

2009-04-12T23:40:00.009+08:00

Kartun ni saya buat untuk Gila-Gila... Loose (tak tahu kenapa ia dipanggil loose) 1 muka ini biasa je.. Saya dah buat beratus(ke beribu?) kartun macam ni.. Tak ada apa yang istimewa dengan kartun ini, kecuali... INILAH KARTUN PERTAMA SAYA YANG DIHANTAR KE PENERBIT MELALUI EMAIL! ..

Bayangkan, saya dah menghantar kartun untuk Gila-Gila sejak 1996 dan mendaftar email address saya yang pertama dalam tahun 1998... selepas 13 tahun melukis untuk Gila-Gila dan 11 tahun ada email address, akhirnya barulah hari ini kartun saya berjaya dihantar melalui email... hehehe.

KARTUN

2009-04-09T22:49:00.003+08:00

GILA-GILA 31 TAHUN!

2009-04-04T01:21:00.005+08:00

Selamat menyambut ulang tahun ke 31... Tahniah kepada En. Jaafar Taib & co....

KARIKATUR

2009-04-04T00:13:00.001+08:00

Rasanya semua kartunis boleh lukis karikatur, tapi karikatur bukanlah kekuatan saya... cuma kalau setakat nak buat karikatur muka saya sendiri... senang aje rasanya..Anak saya yang umur 3 tahun pun boleh buat, yang penting, bila kita lukis orang boleh kenal.

Konsep untuk buat karikatur mudah je.. kena tonjolkan kelebihan(ke kekurangan?) orang itu.. Contohnya, kalau hidung dia mancung, kita mancungkan lagi... kalau gigi dia jongang, kita jongangkan lagi..biasanya orang yang ada karakter yang kuat lebih senang dikarikaturkan... dan orang yang handsome, payah sikit nak lukis... kata ex-boss saya En Ahmad Hilmy.

Sekarang ni ramai kartunis yang cari makan sepenuh masa dengan melukis karikatur. Antara yang saya rasa hebat ialah Don, Kerengge, Ambo, Dato' Lat(semestinya lah).Saya juga suka style Maro(Utusan Malaysia)... Zunar pula lain sikit, sebab stroke dia macam sekeping, 2D, simple lines, tapi orang boleh kenal juga siapa yang dia lukis tu... hmmm

Yang ni saja buat untuk profil blog ni... colour pakai Photoshop... Baru belajar on-line, macam mana nak buat channel lineart,layer mana yang patut diwarna macam-macam lagilah benda basic yang saya tak pernah tahu.

Bukan tak pernah warna kartun pakai komputer, tapi dulu main ikut suka hati je.. pandai-pandai sendiri.. lagipun kat Gila-Gila dah ada colourist, diorang yang warnakan kartun saya... terima kasih ye.