Tuesday, 6 December 2011

Using the Color Wheel:
Color Theory Tips for Artists and Painters.

Understanding the color wheel and using color theory in your artwork is a good idea for any artist, and especially for oil painters. In this article I’ll go through the basics of color theory (using a traditional artist’s color wheel) and explain ways that oil painters and other artists can make use of that information.In the color wheel pictured above, there are twelve colors. Although they might be self-explanatory, starting from the top and going around clockwise they are: Yellow, Yellow-orange, Orange, Red-orange, Red, Red-violet, Violet, Blue-violet, Blue, Blue-green, Green, and Yellow-green.

I’ll sometimes refer to a few of them by more common names, like Purple (for Blue-violet), Turquoise (Blue-green), or Magenta (which is pretty close to Red-violet). Other names like Light or Dark Orange, or even Chartreuse (for Yellow-green), are sometimes used by artists as well.
There are three Primary Colors which are the most important.

These colors are of course Red, Blue, and Yellow. If you’re an oil painter, you can get any other color you need just by mixing red, blue, and yellow oil paint. It’s not always easy, however, since no tube of paint contains purely one color. All of them have traces of other colors as well.The primaries are the most powerful colors—in fact, blue and red are known specifically as power colors (think muscle cars), and yellow is the brightest color on the whole color wheel.
Mix any two of those primaries together and you’ll get one of these next three hues: the Secondary Colors.Green, Orange, and Violet fall in between red, blue, and yellow, and each one serves as a Complementary Color to one of the primary colors.
It is important to know that scientifically there are more requirements for being complementary colors. Complementary colors, when put together, appear brighter or more vivid then when apart.Green and Red, Blue and Orange, Yellow and Purple: each color is enhanced by the closeness of its “opposite.”How does this apply to artists? Well, just because they’re called complementary doesn’t mean you should necessarily use them right next to each other at full strength. That can be rather garish.

However, if you DO want to add some extra punch to your color, including its complement somewhere in your artwork will help to draw emphasis to it. Also, some plein air painters will cover their canvas with red before painting a landscape so that the greens and blues they put on top if it will really jump out. And as I just mentioned, colors like blue and green both will react similarly to red because in general they’re both opposite to it. Of course, there are still other colors left in the wheel—the Tertiary Colors, commonly known as Intermediate Colors.These six colors fill in the gaps between primary and secondary colors and are made by mixing one primary with one secondary.

As long as you’re painting from nature, most colors that you see won’t be primary or secondary; they’ll be some mix of softer color, like these intermediates.
The reason for that is because things like atmosphere (yes, air has a color!), distance, and lighting will blend with and change the colors of any object.The same rules of complements do apply with these six colors as well, although the effect is usually less dramatic than with primary and secondary colors.Now that we’ve filled out the color wheel, lets look at some other groups of colors that affect art, starting with the Warm Colors. Warm Colors go from Yellow to Red on the color wheel, and will appear to visually come forward in artwork, towards the viewer. No matter the innate color of an object, under bright light or heat (like the noonday sun) an entire scene can actually be colored completely by warm hues.

However, you’ll also want to look for Cool Colors.Those often appear when a blue sky reflects cold light into the shadow areas that the sun can’t touch.You’ll notice that I haven’t classified all of the colors as warm or cool—that’s because a few of them can go either way depending on what colors they’re placed next to.Greens are often cool colors, but against a background of blues, they’ll come forward.And Red-violet (or Magenta) can do the same thing, switching back and forth in different situations. You can always use warm and cool colors to increase depth and space in your paintings. As light travels across a flat surface, it will often be brightest (and warmest) at one end, and fade to cooler hues in the distance. If you’d like to know more about that, check out this article on temperature, value, and intensity in color.

And finally, with all twelve of the colors present, we can start picking out Analogous Colors (or Adjacent Colors).Like it sounds, these are three colors that go well together simply because they’re next to each other on the color wheel. Sometimes they’re also referred to as Harmonious Colors, which makes sense because they’re almost like tones or steps of color, similar to musical notes in a single chord. Designers and interior decorators use adjacent colors quite a bit; they’ll often combine them with one opposite, or complementary color, for a little punch of intensity.
Painters and artists can do the same. Popularity of certain colors comes and goes, but if you’re smart about it you’ll be able to paint in the same color schemes that people are currently looking for to decorate their homes.So next time you start a painting, think about what colors will work best with your subject matter or potential buyers—because the proper use of color will always enhance your final artwork.

Expression of Malaysian culture in painting. 

A Malaysian beauty is captured on canvass
An artist diligently at work to complete a Chinese caligraphy.

          Perhaps amongst all the arts, painting is the one that has come closest towards the ideal concept of Malaysian art. Since Independence in 1957, there has arisen a strong school of painting which has a vigorous Malaysian character and which is the product of Malaysian painters of all races. Their art expresses and reflects the spirit and personality of a multiethnic and multicultural society, informed by a genuine contemporary sensibility which forms the basis of their search for national identity.

          The National Art Gallery, which was set up in 1958, plays a key role as the matrix from which has emerged this national identity and a common avenue for Malaysians to give shape to their feelings and visions. The national gallery assists other states in Malaysia to establish their own art galleries.

          An important milestone on the Malaysian art scene was the establishment of the Specialists’ Teacher’s Training Institute (STTI) in Kuala Lumpur in 1960. The best STTI-trained teachers were sent to the United Kingdom for further studies, and upon their return added impetus to the art movement of the 60s. Some of them became active artists, such as Ahmad Khalid Yusof, Reza Piyadasa, Grace Selvanayagam and Chew Teng Beng.

          In 1965, the Institut Teknologi Mara (ITM) was created, inaugurating a new era in the field of art education in the country. Its School of Fine and Applied Arts introduced an organised programme of courses in painting, graphic design, textile design, fine metal and industrial arts.

          Another landmark development was the establishment of the Malaysian Institute of Art in Kuala Lumpur in 1967. The courses offered at this Beaux-Arts type school were directed towards employment-based activities such as Commercial Art and Interior Design.
During that period, several artists and painters went abroad - to Australia, France, Germany, India, Japan, United Kingdom and the United States, to further develop their style and techniques. The exposure afforded them a unique opportunity for maturing into profound artists with an awareness of special dimensions. These encounters between different cultures gave rise to new dimensions of values in Malaysian art, leaving a massive cultural impact which can be felt till this day.

          The 60s also witnessed punchy oil works by Sui-Hoe, Latiff Mohidin and Soo Pieng. These used to hang side by side with delicate Chinese brush paintings by Chung Chen Sun and Chen Wen Hsi at their best; in the company of Ibrahim Hussein’s creative piece or Chia Yu Chian’s charming creation.

          A number of Malaysian artists participated in the ‘First Triennial of Contemporary World Art’ in New Delhi in 1968, but did not win any awards. Nevertheless, their effort did not go unnoticed by Howard Taubmann, critic-at-large of the New York Post, who observed:
"Another country that has a right to be pleased with its showing is Malaysia. Its display includes examples of uninspired realism and impressionism, but one also finds provocative attempts to place traditional themes in modern contexts. The Malaysians did not win any prizes, but they may well surprise the next Triennial.

          In the early post-Independence years, Malaysian art was also exhibited in Glasgow, Dublin, London, Cologne, Berlin, Hamburg, St. Etienne, and Paris, where it received rave reviews. Robert Barret wrote in the Paris ‘La Quadtidienne’ in 1967 that the works were undeniably sincere, ‘an interesting vision of the world, sometimes a certain philosophical approach but always the will to get away from the beaten tracks in painting and sculpture’.
Contemporary Malaysian painting bloomed in the 90s, with the phenomenon centred in the capital Kuala Lumpur. The artist population, too, has increased manifold, and their styles are varied, utilising diverse art materials and covering a broad range of subjects. Art collectors and enthusiasts have to literally navigate through art galleries and exhibition centres to view and to purchase unique works of art.

          In Kuala Lumpur, the Central Market - where artists do crayon portraits of clients in the midst of curious onlookers, would be the most convenient venue to purchase contemporary works; while in Penang, the Universiti Sains Malaysia (USM Art Gallery is highly recommended.

T          here are also commercial galleries such as the Citarasa Gallery, A.P Gallery and Room at the Top that charge 30 per cent of the sales in an exhibition mounted by them. It is considered reasonable by most artists as the gallery owners organise and stage the entire event, from printing and mailing invitations up to serving refreshments to guests on the big day.

          Both the MARA Universiti Teknologi Mara (ITM) and the Malaysian Institute of Art (MIA),hold regular graduate exhibitions, details of which are listed in the national newspapers.

          Prestigious exhibition spaces such as the Creative Centre of the National Art Gallery, the Maybank Art Gallery, the Dayabumi Exhibition Hall, the Petronas Gallery, and the lobbies of the Shangri-La and Hilton hotels, are sought after by artists who negotiate for a week or two of show dates. As the schedule for the year is often fully booked, a breakthrough can mean instant fortune for some artists (to the tune of RM 40,000 = about US$10,500).
An established artist like Chuah Thean Teng sells his works in his own premises, a gallery called Ya-hong in Batu Feringghi, Penang. Ibrahim Hussein conducts direct selling of his paintings from his residence which serves as a studio-cum-gallery. Their duo’s successful careers exemplify the virtues of hard work, persistence and self-promotion.
Latiff Mohidin purchased two houses, and converted one into a studio-cum-gallery where he displays his recent works. A perennial outsider on the local art scene, his gallery, which is managed by his wife, has earned quite a reputation mostly by word of mouth.
Regular corporate buyers of art works are the National Bank of Malaysia, Bank Rakyat, Maybank, Bank Bumiputra, Petronas, Esso, Shell and Malaysia Airlines. The Sime Darby headquarters in Kuala Lumpur has 14 paintings by Ibrahim Hussein along its corridors estimated to be worth between RM700,000 and RM800,000 (between US$184,000 to about US$210,000). The National Bank has collected a great number of works over the years that it now has its own gallery to hang them, and has even published two books to show off its collection. EON and Petronas help to educate the public about Malaysian art by reproducing art works in calendars.

          The works in the National Art Gallery depict the various developments that have taken place in the Malaysian world of painting. Among them are:
• Creative pieces by pioneers like Yong Mun Sem, Chuah Thean Teng and
   Datuk Hoessein Enas
• Paintings with Chinese pictorial treatment by Chia Yu-Chian of the Paris School
• Erotic-surrealism by Long Thien Shih
• Pop art by Joseph Tan
• Abstract expressionism by Syed Ahmad Jamal and Cheong Lai Tong
• Conceptual art by Redza Peyadasa
• Islamic revivalism by Sulaiman Esa, Ahmad Khalid Yusof and Zakaria Awang
• Back-To-Roots tradition by Nik Zainal Abidin, the fist to incorporate ‘wayang kulit’ (shadow
  puppets) tradition into painting surfaces, and
• Worthy pieces of work by Mastura Abdul Rahman and Awang Damit Ahmad.

       One of the nation’s top artists is Ismail Latiff who is known for his abstract expressionism works on canvas, marvelously transforming colours into dreams and dreams into colours. Some of his creations have been selected for show in notable exhibitions at home and abroad.

          Azman Yusuf renders realistic scenes of fishing boats decked upon a Terengganu beach, richly decorated with floral motifs. Fatimah Chik and Mohd. Najib Dawa opt to exploit triangles in their compositions; while Ruzaika Omar Basaree simply saws geometrical and floral shaped pieces of plywood into a sculpture that hangs like a painting. These artists have integrated elements of folk designs into the works of contemporary art, thus exposing the artificial division of fine and useful arts.

          Artist Tan Peng Hooi of Penang built a house with his bare hands using secondhand and discarded material. He raises chickens, pigeons, doves and ducks for food as well as for cash. The animals also serve as the object of his art. Living simply as a solitary painter who cannot envision a life without hardships and heartaches, Tan depends on his friends to introduce him to persons, some of them serious collectors, who have the funds to buy his paintings.

          Nirmala Shanmugalingam was one of the first Malaysian painters to do works of socio-political confrontation with the immediacy and drama of real-image collages. Dzulkifli Buyong painted childlike pictures with disturbing humour; Zulkifli Dahlan did caricatures of a nether-like world; and Ismail Zain has set new frontiers with his Non-Painterly Distractions and his computer print-out art of digital collage.

          Several books have been written on Malaysian artists and their creative output. An early attempt at interpreting modern Malaysian art is recorded in the book ‘The Arts of Malaya’ by Tony Beamish (Singapore: Donald Moore, 1954).
Dolores D. Wharton lists the leading artists who have contributed to the local art scene by participating in local and internatonal exhibitions, in her book ‘ Modern Contemporary Artists of Malaysia: A Biographical Survey (Kuala Lumpur, 1969)’.
Another book: ‘Modern Artists of Malaysia (Kuala Lumpur: DBP, 1983) is co-authored by Redza Piyadasa and T.K. Sabapathy.

Since its inception, the National Art Gallery has accorded special honour to eight Malaysian artists, namely:
• Peter Harris - (1960)
• Chuah Thean Teng - (1965)
• Datuk Hossein Enas - (1966)
• Cheong Soo Pieng - (1967)
• Abdul Latiff Mohidin - (1973)
• Syed Ahmad Jamal - (1975)
• Tay Hooi Keat (1983) - (1983), and
• Ibrahim Hussein (1986) - (1986).

          In its own right, the National Art Gallery attests to the legitimacy of the modernist art commitment in the country. By consciously choosing themes and works of arts, that make way for the tangible development of culture, Malaysian painters have clearly demonstrated to the world their national identity that has its own soul, feelings, poetic bent and raison d’etre.

Sumber: http://psvsakti.blogspot.com/

Wednesday, 23 November 2011

6 Shortcuts to Speed Your Fat Burn

6 Shortcuts to Speed Your Fat Burn

Most things worth achieving—getting a college degree, finding your perfect mate, building a career, raising a family—take time and effort. But that doesn’t mean we don’t want to take a few shortcuts when it comes to achieving the body of our dreams. Fortunately, you can hit fast-forward on your better-body goals with these simple, science-backed tricks for speeding your fat burn. No, you won’t transform overnight, but you could start to see results within a week, and even the world’s biggest brainiac can’t earn a bachelor’s degree that fast!

Join the Breakfast Club

People with a lifelong habit of eating early have a waistline about 2 inches smaller than that of breakfast skippers, The American Journal of Clinical Nutrition reveals. An A.M. meal may boost metabolism; plus, it helps your body make less of an enzyme that raises cholesterol. Rise and dine—within 90 minutes of waking up.

Snack Regularly

Going too long without food (five hours or more) slows your metabolism, causing your body to burn less fat than normal, says Debra R. Keast, Ph.D., president of Food & Nutrition Database Research in Okemos, Michigan. It can also lead to blood sugar dips, cravings and hunger that make it harder to control your choices at the next meal or snack. The fix: Have a healthful snack about three hours after breakfast and another three hours after lunch, suggests Lauren Slayton, R.D., founder of Foodtrainers in New York City. Try a 6-ounce nonfat plain Greek yogurt with 1 cup of sliced strawberries, or 2 Wasa light rye crackers topped with ¼ cup part-skim ricotta cheese and a drizzle of honey. These 100-to-200-calorie snacks will help keep your blood sugar and insulin levels steady and your energy level humming along.

Spin Off

People who cycled 6 miles a week for only six months lowered their insulin level by 19 percent, but walkers who covered the same ground saw no change, a study from the Karolinska Institute finds. (High insulin is tied to weight gain.) Biking works more muscles, amping up fat-burning metabolism, which can keep insulin in check. Pedal the pounds away!

Get Green Tea

Drinking three cups of the brew daily may spark your metabolism to burn 30 extra calories a day, a study in Medicine & Science in Sports & Exercise shows. Doesn’t sound like much? That’s 3 pounds off a year—diet-free! The compound ECGC in the tea makes it easier for your body to burn fat. Sip your way slim today!

Pump Some Iron

Start thinking of your gym’s weight room as the “lose weight” room. Strength training, which only about 17 percent of women do, speeds metabolism, torches calories, and sculpts sexy muscles. It’s so effective, in fact, that you should put cardio on the back burner and make strength training 60 percent of your routine—no joke, says Holly Perkins, an ExerciseTV trainer in Los Angeles. Embrace free weights, especially barbells, which work more muscles (you have to hold them steady as you lift) than machines. Remember that the muscle you’re gaining weighs more than the fat you’re shedding; at first, you may not drop pounds, but you’ll be smaller and firmer—go by how your jeans fit.

Clock Your Sets

To melt fat faster while you strength train, limit the time between sets. Exercisers who waited only 35 seconds between sets decreased their body fat by 27 percent more after eight weeks than those who rested three minutes, researchers at San Antonio Catholic University of Murcia say. Shorter rests keep your metabolism humming along and your heart rate up, so they shave minutes off your time at the gym and help your afterburn for hours once you’re back at your desk.

Tuesday, 15 November 2011

Asas Mudah Melukis - Kucing

Langkah 1- Lukis bulatan kecil sebagai kepala dan bentuk terung sebagai badannya

Langkah 2- Lukiskan Telinga dan 4 bentuk bujur sebagai kaki

Langkah 3- Lukiskan butiran seperti: mata. hidung dan ekor

Langkah 4- Tambahkan butiran seperti Kaki, misai dan jari
Langkah 5- Bolehlah membuat perincian dengan melukis bulu atau lebih baik lagi   
                 disiapkan dalam bentuk warna air

Sunday, 6 November 2011

Pecah Kaca Pecah Gelas, Rosak Bahasa Nak Baca Pun Malas

January 14th, 2010 by Abu Saif 12:31 am | 35,892 views | Print Print | Email Email | Leave a reply »
Ust, sy cdgkan spy ut tulis artikel ttg Badi’zman Said Annursi!” email seorang pembaca kepada saya.
Sy harap ust dpt update blog ust dgn lbh krp lagi sbb hari2 sy buka n baca. Just 4 ur info!” tulis seorang pembaca di shoutbox blog saya.
Email dan komen di blog dengan bahasa (ejaan) sedemikian rupa semakin menjadi-jadi.
Malah ejaan cacat seperti itu juga diguna pakai di dalam video montaj program, pada kain rentang iklan, malah di televisyen juga! Saya terkasima melihat sebuah syarikat televisyen swasta menulis perkataan KEBANYAKAN sebagai KBNYKN di dalam ringkasan berita teksnya!
Sukar untuk saya nafikan, bahawa hati saya selalu mahu terus tertutup rapat apabila menerima email atau apa-apa pesanan seperti ini. Secara spontan saya akan skeptik  untuk melayan apa sahaja permintaan yang datang dalam bahasa yang ditulis sedemikian rupa. Ia seperti mencerminkan yang penulis menulis sesedap rasa dan bukan menulis dengan minda sedar yang sedar (taqwa?)
Main hentam sahaja!

“Abang obses sangat sebenarnya” kata isteri saya.
“Tetapi ia terlalu asas. Masakan boleh dianggap obses kalau yang dituntut adalah perkara asas?” saya cuba menjustifikasikan kehendak diri.
“Rasanya sudah cukup cantik begitu,” komen isteri saya.
“Tak boleh. Table mesti justified!” saya membantah.
Menulis dan mengeja dengan betul dan cermat adalah sesuatu yang amat saya tekankan. Bahasa saya bukanlah bahasa tinggi, tetapi saya tidak suka berbahasa rendah, pada ejaan, ungkapan dan tulisan.
Huruf besar dan huruf kecil, ‘di’ yang didekat atau dijauhkan, adalah ‘tajwid’ asas Bahasa Melayu yang telah saya pelajari semenjak di sekolah rendah. Biar pun ada khilaf antara mazhab Profesor Emeritus Datuk Dr Nik Safiah Karim dengan yang lain, saya yakin khilaf itu tidak ada yang pergi kepada mengharuskan tunggang langgang tatabahasa dan ejaan, biar apa alasan pelakunya sekali pun.
Bagi saya, apabila seseorang itu menulis dengan cermat terhadap ejaan dan tatabahasa, dia menulis dalam keadaan ‘sedar’ terhadap apa yang ditulisnya. Lebih bertanggungjawab lagi beradab. Dia sedar dia sedang berbahasa dengan menggunakan apa, dengan siapa, di dalam situasi yang bagaimana, pendek kata dia bukan menulis secara membabi buta.
Terkini, saya jadi rimas dengan tulisan-tulisan ala trengkas ini. Saya jadi sy, kenapa jadi knp, malah baik boleh dieja sebagai ba8! Jika sesekali tentu sahaja saya tidak kisah. Tetapi jika di seluruh tulisan diringkaskan, saya menjadi rimas.
Jika di SMS, ada rasionalnya. Jumlah karakter yang dihadkan untuk satu SMS, menjadikan setiap huruf itu bernilai.. Tetapi jika ia turut sama mempengaruhi tulisan biasa, saya tidak menyukainya.
Teknologi memang bagus. Kerana ICT, banyak perkara yang dahulunya sukar kini jadi mudah. Khidmat telegram pun sudah pupus kerana adanya SMS.
Tetapi banyak juga benda yang dahulunya indah, kini jadi pudar dan hambar.
Akhirnya Dewan Bahasa dan Pustaka selaku pemegang amanah ke atas penjagaan bahasa kita, telah menerbitkan sebuah manual panduan menggunakan ringkasan perkataan di dalam SMS. Ia suatu usaha yang harus dipuji dan saya mengalu-alukannya.
Tetapi setelah selesai membaca panduan tersebut, saya kira ia mungkin tidak akan dipandang sebelah mata pun oleh majoriti pengguna telefon bimbit dan khidmat sms di negara kita. Entahlah, mudah-mudahan saya tidak pesimis, tetapi saya merasakan bahasa hanya dapat dibetulkan penggunaannya selepas dibetulkan jiwa manusia yang menuturkannya.
Jika tiada rasa kasih kepada bahasa, bagaimana mungkin ada kemahuan untuk menjaga dan menghormatinya.
Siapakah yang sudi mengasihi bahasa kita, jika bahasa kita sendiri sentiasa menjadi anak tiri di sekolah hingga ke universiti? Apatah lagi perkataan bahasa kita yang popular di Parlimen hanyalah *&^*^%$%%#^!!!
Pemimpin borek, rakyat rintik!
Pernah saya terfikir, kenapa generasi muda hari ini tidak pandai berbahasa? Cakapnya kasar, tidak pandai mengambil hati, tulisnya keras ayatnya pedas. Hingga generasi separuh tua seperti saya ini, ramai yang bosan melayan mereka.
Mungkin ia adalah kesan sampingan teknologi. Jika dahulu, kita banyak berinteraksi dengan manusia, tetapi kini banyak yang bersifat virtual, dengan mesin tanpa jiwa dan rasa. Bercakap dengan skrin!
Maka bahasa yang ditulis semakin pudar daripada seni dan warna. Membaca tulisan pun sudah seperti ungkapan matematik tanpa perasaan.
“Ahh, buang masa sahaja. Janji mesej sampai” alasan yang diberi.
Sedangkan manusia masih memiliki naluri yang sama. Suka pada keindahan bahasa, cenderung kepada pengaruh kata-kata.
Mungkin kerana itu, semakin ramai anak muda yang sesat dalam kehidupan hanya kerana terlalu mudah jatuh ke permainan kata-kata. Cukup sekadar disuntik sedikit rasa, terus rabun dari menilai yang mana intan yang mana kaca.
“cinta itu kurap, makin digaru makin sedap!”
Ayat sebusuk ini pun sudah bisa memutikkan cinta!
Anda yang memperlekehkan bahasa, akhirnya anda sendiri yang menjadi mangsa permainan kata-kata. Anda menulis bahasa kaca, akhirnya anda sendiri yang terluka.
Saya dari generasi yang berbeza, maka maafkan saya jika semua email yang ditulis dengan ejaan yang caca merba, saya bakul sampahkan sebelum habis membaca.
Saya sering singgah bertamu di halaman blog ramai anak muda yang hebat-hebat ilmu mereka.
Ada kalanya, saya suka mengambil manfaat daripada blog mereka kerana pelajar-pelajar di menara gading ini banyak mengenengahkan topik-topik yang hanya diperolehi oleh mereka yang duduk di dalam dunia kampus. Ia berguna untuk diri saya, juga dakwah yang saya laksanakan.
Isinya hebat, malah rujukan-rujukannya juga mantap.
Tapi sayang seribu sekali sayang, ia ditulis dengan bahasa sampah! Bukan sahaja ejaannya tidak tentu hala, malah pemilihan perkataannya juga buruk lagi merugikan.
“Benda nie kalo korang nak tahu, ulamak kiter dah bahas panjang giler kat dlm bk jar wa ta’dil. Korang tak kesian ke tgk ulamak susah2 buat kajian, pehtu korang main ckp ikut suka jer bab2 muawiyah dgn ali ni. Cb korang baca btl2 dlm bk al-awasim minal qawasim yg ibn al-arabi tulih 2. kire sume benda ader dah disebut kat c2…”
Ini adalah contoh petikan yang tidak dipetik dari mana-mana blog, tetapi saya tuliskan sendiri dalam format bahasa yang sering saya temui di blog anak-anak muda yang berilmu tetapi tidak berbahasa itu. Ungkapan bahasa yang rendah seperti ini tidak melayakkan tulisan tersebut menjadi buku, biar pun potensi isi kandungannya sangat baik. Ia suatu pembaziran.
Malah saya kira, mereka ini membaca tulisan para ilmuan Islam sekadar mengambil ilmu, tetapi tidak terkesan dengan bahasanya.
Sungguh merugikan.
Sahabat saya, Dr. Gabriele Marranci juga, semasa menyemak tesis PhD pelajarnya, pernah memberitahu saya:
“You know brother, I have sometimes to read essays in broken language, but often it ends in broken marks!”
Berikut adalah reaksi Puan Ainon Mohd. Sifu PTS apabila ada penulis yang menulis di dalam mailing list beliau dengan bahasa caca merba:
Gaya bahasa macam gaya bahasa saudara ini tidak digunakan dalam al-Quran, mahu pun dalam sunnah Nabi Muhammad SAW. Semua ejaan dalam Quran adalah ejaan sempurna, dan Nabi Muhammad tidak bercakap menggunakan bahasa macam bahasa budak belum matang dan rendah taraf pendidikannya.
Yang kurik itu kundi
Yang merah itu saga
Yang molek itu budi
Yang indah itu bahasa
ABU SAIF @ www.saifulislam.com