Exploring Hyperrealistic Illustration Skills Among Graphic Design Students in Malaysia Universities

Exploring Hyperrealistic Illustration Skills Among Graphic Design Students in Malaysia Universities

Mohd Syazrul Hafizi Bin Husin*, Anita Abu Hassan

Faculty of Art & Design, University Technology MARA (UiTM) Kedah, Malaysia

*Corresponding Author

DOI: https://dx.doi.org/10.47772/IJRISS.2025.903SEDU0498

Received: 18 August 2025; Accepted: 23 August 2025; Published: 24 September 2025

ABSTRACT

This conceptual paper investigates the capability of higher education students in Malaysia to master hyperrealistic illustration within graphic design programs at both public and private institutions. Although hyperrealism has gained global attention as a high-level artistic discipline, empirical studies in Malaysia and Southeast Asia remain limited. The study highlights research gaps related to pedagogical frameworks, the balance between traditional and digital media, and the integration of technology acceptance models in visual art training. By combining TPACK and TAM as theoretical frameworks, this study proposes a conceptual foundation for future research and practice in hyperrealism education.

Keywords: Hyperrealism, Graphic Design, Higher Education, TPACK, TAM, Malaysia

INTRODUCTION

Hyperrealism as a drawing style has emerged as a highly specialized form of visual art that requires extensive technical skills, patience, and precision. In the context of graphic design education, particularly within higher education institutions (HEIs), hyperrealistic illustration serves as both a pedagogical challenge and an evaluative benchmark of students’ artistic competence. In Malaysia, where public and private higher education institutions (IPTA and IPTS) have been striving to improve creative industry readiness, the mastery of hyperrealistic techniques is often perceived as an indicator of advanced artistic ability and discipline (Aziz, 2021). However, despite the increasing relevance of hyperrealism in the global creative industry, research examining students’ capabilities in producing such works remains limited.

Internationally, hyperrealism has been studied as an advanced stage of realism, intersecting with both fine art traditions and digital illustration practices (Nguyen, 2022). While many Western institutions integrate hyperrealism into specialized fine art curricula, Southeast Asian institutions often treat it as an elective or supplementary skill. In Malaysia, the focus has primarily been on foundational drawing, design principles, and digital art skills, with relatively less emphasis on hyperrealism as a core learning outcome (Rahman & Yusof, 2020). This gap indicates the need for conceptual inquiry into how students in IPTA—both public and private—perceive, adopt, and master hyperrealistic illustration techniques.

Moreover, the rapid advancement of digital technologies and artificial intelligence (AI) has reshaped how hyperrealism is perceived and practiced. Digital platforms such as Procreate, Adobe Photoshop, and AI-assisted design tools are now widely available to students, offering shortcuts to achieving hyperrealistic effects (Tan & Lee, 2023). While these tools enhance efficiency, they may also reduce the emphasis on manual skill mastery, raising critical questions about whether hyperrealistic drawing in its traditional form still holds the same value in contemporary art and design education. This creates a pressing need to explore whether Malaysian students are adequately prepared to balance manual hyperrealistic techniques with digital innovation.

At the same time, cultural and institutional differences between public and private universities may influence students’ exposure, resources, and pedagogical experiences in hyperrealism training. Public institutions may emphasize traditional studio practice with limited resources, while private institutions often incorporate advanced technological tools but may not prioritize intensive manual drawing (Lim, 2024). The disparity potentially creates uneven learning outcomes, further highlighting the importance of a comparative study across IPTA in Malaysia.

In addition, while hyperrealism requires advanced technical skills, it also demands strong cognitive, perceptual, and psychological engagement. It involves a high level of patience, perseverance, and visual accuracy—qualities that may not always align with students’ preferred learning styles in fast-paced digital environments (Chong, 2022). This mismatch between required skills and students’ attitudes toward labour-intensive artistic processes represents another underexplored issue in the Malaysian context.

Given these considerations, this study aims to fill the conceptual gap by investigating the challenges, capabilities, and pedagogical approaches associated with hyperrealistic illustration among graphic design students in Malaysian higher education institutions. By developing a framework based on TPACK (Technological Pedagogical Content Knowledge) and TAM (Technology Acceptance Model), this paper seeks to provide a theoretical foundation for future empirical research, thereby contributing to the broader discourse on art education and digital transformation.

LITERATURE REVIEW

2.1 Hyperrealism in Art & Design Education

Hyperrealism as a visual art form requires mastery of perceptual accuracy, fine motor skills, and affective engagement (García, 2022; Johnson, 2021). In art education, studies emphasize that hyperrealistic drawing enhances visual literacy and technical discipline, but it is often underemphasized in formal curricula in Southeast Asia (Nguyen, 2023).

2.2 Traditional vs Digital Media

Digital drawing tools accelerate corrections and iterations, while traditional methods strengthen tactile learning and observational discipline (Chong, 2021; Lee & Ng, 2022). A Malaysian comparative study found that students with digital access progressed faster in detail refinement but lacked patience in traditional methods (Rahman & Lee, 2021).

2.3 Pedagogical Approaches

Deliberate practice, scaffolded instruction, and peer critique have been identified as effective in hyperrealism training (Miller & Chang, 2020; Abdullah, 2023). In the Malaysian context, structured feedback loops significantly improve student outcomes (Wong & Hashim, 2022).

2.4 TPACK and TAM in Art Education

The TPACK model helps educators balance content knowledge, pedagogy, and technology, while TAM explains students’ willingness to adopt digital and AI tools (Lim et al., 2022; Abdullah, 2023). Both models have been applied in Malaysia but rarely in skill-based visual art disciplines (Sulaiman & Karim, 2024).

2.5 AI and 3D Tools

AI-driven proportion correction and 3D models provide students with accuracy aids (Tan, 2023; Patel, 2022). However, scholars caution against overreliance, which may undermine manual observational skills (Huang, 2021).

2.6 Psychological and Affective Factors

Self-efficacy, grit, and motivation strongly predict sustained engagement in hyperrealistic drawing tasks (Wong & Hashim, 2022; Kumar & Devi, 2023). Excessive cognitive load and perfectionism can hinder progress (Li, 2021).

2.7 Malaysian & Southeast Asian Context

Equity of access between public and private institutions remains a key challenge (Rahman & Lee, 2021). Regional studies in Thailand and Indonesia show similar disparities in facilities and digital infrastructure (Prasetyo, 2023; Suriyaporn, 2022).

2.8 Conceptual Framework

The conceptual framework of this study integrates TPACK and TAM theories to explain how pedagogical approaches, technology acceptance, and psychological factors influence students’ hyperrealistic illustration skills. The framework also considers the mediating role of the learning environment (public vs. private universities in Malaysia).

Figure 1: Conceptual Framework of the Study

METHODOLOGY

3.1 Research Design

This study adopts a qualitative conceptual research design, focusing on synthesizing theoretical perspectives and prior studies to construct a comprehensive framework for understanding students’ ability to produce hyperrealistic illustrations. Rather than testing hypotheses, the design emphasizes exploration of key constructs such as pedagogical approaches, technological acceptance, and psychological readiness.

3.2 Research Instrument

Although no primary data collection is conducted in this conceptual stage, this paper proposes suitable instruments for future empirical validation. Possible instruments include:

1. Semi-structured interview protocols to capture students’ learning experiences, challenges, and attitudes toward hyperrealism.
2. Observation checklists for assessing classroom practice and students’ drawing processes.
3. Survey questionnaires based on TAM and TPACK dimensions to measure students’ perceptions of technology, pedagogy, and artistic skill development.

3.3 Research Sampling

For future research, the study proposes purposive sampling of graphic design students enrolled in both public and private universities (IPTA and IPTS) across Malaysia. The sampling frame would ideally include:

1. Undergraduate students in diploma and bachelor’s degree programs.
2. A mix of students with prior drawing background and those primarily trained in digital illustration.
3. Target sample size of approximately 150–200 participants, ensuring representation from at least 3–4 universities.

3.4 Reliability and Validity

To ensure methodological rigor in potential empirical applications:

1. Reliability can be tested through pilot studies of the questionnaire and consistency in observation rubrics.
2. Content validity can be achieved by expert review from art educators and curriculum designers.
3. Construct validity can be supported by aligning survey items with established models such as TAM and TPACK.
4. Triangulation of data sources (interviews, surveys, observations) will further enhance validity.

3.5 Data Analysis

In line with the qualitative orientation of this conceptual framework:

1. Thematic analysis will be applied to interview and observation data, identifying recurring patterns in students’ challenges and strategies for hyperrealistic drawing.
2. Content analysis will be used to map student responses against the dimensions of TPACK (technological, pedagogical, content knowledge) and TAM (perceived ease of use, perceived usefulness).
3. Descriptive statistics (if surveys are conducted) may be applied to highlight trends, but the emphasis remains on qualitative interpretation and theoretical refinement.

DISCUSSION

The findings and gaps identified in the literature suggest that hyperrealistic illustration remains an underexplored area within Malaysian higher education, particularly in graphic design programs. While previous studies have examined traditional versus digital art practices (Kumar & Abdullah, 2021; Hassan & Lim, 2023), few have focused specifically on hyperrealism as a pedagogical challenge that requires advanced technical, perceptual, and cognitive skills. The conceptual framework proposed in this paper (TPACK and TAM integration) provides a valuable lens to understand how technology acceptance, teaching approaches, and psychological readiness collectively influence student performance.

In public universities, resource limitations and larger class sizes may hinder individualized instruction in hyperrealistic techniques, while private universities may emphasize market-driven outcomes and technological integration (Lim, 2024; Abdullah & Musa, 2021). This discrepancy highlights the need for comparative studies to better understand institutional differences. Moreover, the introduction of AI-driven tools for hyperrealistic rendering raises important questions about authenticity, creativity, and the future role of manual skill in art education (Wong & Quek, 2025).

RECOMMENDATION AND FUTURE DIRECTIONS

The study of hyperrealistic illustration in higher education presents valuable insights, yet several areas require expansion to enhance its academic and practical contributions. Future directions should aim to validate the proposed framework empirically, incorporate diverse voices, and strengthen links to industry and pedagogy.

5.1 Empirical Validation of Framework

Future research should adopt mixed-method approaches, including surveys, semi-structured interviews, and classroom observations, to triangulate findings. Empirical validation can demonstrate how TAM and TPACK dimensions operate in real classroom environments and how they interact with students’ technical, motivational, and cognitive development. Previous studies have shown the importance of combining quantitative and qualitative methods to capture student engagement (Alias & Ibrahim, 2020; Chai et al., 2021).

5.2 Incorporating Student and Instructor Voices

Including student and instructor perspectives will enrich the analysis by presenting lived experiences of challenges and strategies in mastering hyperrealism. Studies in Southeast Asia emphasize that personal narratives help reveal hidden barriers in art education, such as lack of access to resources and individual learning differences (Kwan & Lim, 2021; Han & Xu, 2020).

5.3 Industry and Employability Linkages

Collaboration with creative professionals should be prioritized to align hyperrealistic illustration with industry expectations. Employability studies highlight that advanced manual drawing skills remain relevant, particularly in advertising, animation, and digital media industries, even as AI technologies reshape workflows (Tan & Wong, 2023; Mohd Noor & Aziz, 2024). Such collaborations can clarify whether hyperrealism provides students with unique advantages in a competitive labor market.

5.4 Comparative Socio-Cultural and Economic Analysis

Future work should explore the influence of socio-cultural and economic contexts on students’ access to hyperrealistic illustration training. Comparative studies of public and private universities in Malaysia indicate significant differences in resource allocation, curriculum design, and cultural emphasis (Rahman & Hassan, 2020; Abdullah & Hashim, 2022). Broader regional analysis in Southeast Asia could further reveal patterns of inequality and opportunities for policy intervention.

5.5 Balancing Pedagogy: Technical Mastery and Creative Expression

A crucial future direction is the development of pedagogical models that balance technical mastery with creativity. While hyperrealism demands precision, educators should also encourage innovation and personal expression to prevent mechanistic reproduction of imagery (Ramli & Daud, 2021; Fadzil & Razak, 2021). Integrating peer critique, studio-based experimentation, and digital augmentation may enhance both skill acquisition and artistic originality.

5.6 Artificial Intelligence as Tool and Disruptor

The role of AI in art education deserves further investigation, both as a supportive tool for learning and as a disruptor of traditional practices. Scholars have noted that AI can accelerate technical processes but also raises ethical and philosophical questions regarding authorship, originality, and artistic value (Park & Choi, 2022; Kim & Lee, 2023). Future research should examine how AI can be integrated responsibly into hyperrealism pedagogy while safeguarding creative authenticity.

By addressing these areas, future research can provide deeper insight into how hyperrealistic illustration can be effectively taught and sustained in the curriculum, ensuring that students develop both technical mastery and creative expression in the evolving digital era.

CONCLUSION

This conceptual paper highlights the lack of empirical research on hyperrealistic illustration in Malaysian higher education, particularly within graphic design programs at IPTA and IPTS. By adopting TPACK and TAM as theoretical frameworks, the paper suggests future research directions focusing on pedagogical design, technology adoption, and student motivation in mastering hyperrealism. The findings emphasize the need for balanced curricula that integrate both traditional and digital methods, while addressing disparities between institutions.

Theoretical And Practical Implications

7.1 Theoretical Implications

This study contributes to the theoretical advancement of art and design education in several ways:

1. Integration of TPACK and TAM in Artistic Pedagogy – By combining the TPACK framework with the Technology Acceptance Model, this paper extends their application into the domain of hyperrealistic illustration. While these models have been widely applied in digital learning and ICT adoption (Chai et al., 2021; Lee & Ng, 2023), their integration in the context of fine art and design education provides a novel theoretical lens to understand how pedagogical strategies, content mastery, and technology acceptance converge.
2. Bridging Cognitive and Technical Perspectives – Hyperrealism requires both advanced technical drawing skills and heightened perceptual-cognitive processes. The proposed framework highlights how psychological readiness, self-efficacy, and motivation intersect with pedagogical and technological dimensions, contributing to theory-building in art education.
3. Institutional Contextualization – This study emphasizes the comparative differences between public and private universities in Malaysia, suggesting that institutional resources, teaching philosophies, and curriculum priorities act as mediating variables within the theoretical framework. This adds nuance to existing literature on higher education and creative industries in Southeast Asia.

7.2 Practical Implications

The conceptual framework and insights from this study also provide several actionable implications for educators, curriculum designers, and policymakers:

1. Curriculum Development – Art and design faculties can incorporate structured modules on hyperrealism that blend traditional drawing exercises with digital tools and AI-based applications, ensuring that students acquire both foundational and contemporary skills.
2. Teaching Strategies – Educators should adopt hybrid teaching approaches, using scaffolding, peer critique, and digital learning platforms to enhance students’ engagement and motivation in mastering hyperrealistic illustration.
3. Faculty Training and Professional Development – Institutions should invest in continuous training for lecturers, enabling them to stay updated with both traditional hyperrealism methods and emerging digital technologies that support the learning process.
4. Institutional Policy and Resource Allocation – Public universities, in particular, may need to increase access to high-quality materials, drawing equipment, and digital labs. Private universities, meanwhile, should balance industry-oriented outcomes with deeper artistic skill-building.
5. Employability and Industry Readiness – By emphasizing hyperrealism, universities can better align graduates with market expectations in advertising, animation, gaming, and digital media industries, while also fostering appreciation of artistic craftsmanship.

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