Dr Mahmoud Zakaria finished his PhD in Mechanical Engineering from University of Malaya in 2019. His research was on the laser cladding of iron-based metallic glass on nickel-free stainless steel for biomedical applications. During his PhD, he successfully established an excellent record in publishing in ISI-indexed journals. In 2021, he received a Postdoctoral position in Faculty of Engineering, University of Malaya. during his academic career, he has successfully secured 5 international grants and 1 local grants worth more than USD 135k. His experience lies in the field of coatings, metallic glasses, biomaterials and additive manufacturing. His h-index is 6

Dzul Afiq Zakaria is an artist, designer, researcher, academician, and creative thinker with experience in the field. In addition to being proficient and possessing an acute eye for aesthetics, he consistently produces unique, well-considered works of art and designs. With an academic background in art philosophy, theory, the visual arts, and graphic design, he always strives to push the boundaries of artistic practice by experimenting with new techniques. He keeps an eye out for innovative developments in the worlds of art, design, and academia. Within the complex terrain of contemporary artistic expression, Dzul Afiq Zakaria emerges as one of the figures whose artistic endeavours transcend conventional boundaries, deftly fusing abstract expressionism with the culturally significant Islamic and Malay art forms.    During his doctoral studies, he undertook a journey that delved extensively into the core principles of Islamic and Malay art philosophy and aesthetics. With resolute commitment, he expertly navigated through the complex pathways of these time-honoured customs, seeking to uncover the philosophical foundations that have profoundly influenced the manifestation of art across many phases. Dzul's thorough investigation shed light on the intricate relationship between spirituality, culture, and artistic production. Deep reverence for tradition and a strong recognition of the ever-changing nature of artistic dialogue distinguished his scholarly endeavours. He engaged in a comprehensive analysis of Islamic artistic principles, exploring the complicated patterns and symbolic themes that have been present for several ages. This investigation enriched Dzul's creative output, resulting in a spiritual resonance that pays tribute to the profound interconnectedness between the visual realm and the spiritual, developing expertise not only as a painter but also as a philosopher of art, possessing the necessary intellectual capacities to analyse and reinterpret the fundamental nature of artistic creation. Concurrently, Dzul actively engaged with the realm of Malay arts, adeptly traversing the intricate cultural fabric that interconnects the archipelago. He engaged in an examination of the complex interplay between form and function, demonstrating an awareness that each line, colour, and composition possesses multiple levels of historical import and cultural remembrance. Nuanced comprehension imbues his canvases, evoking a profound sense of connection to the enduring history of Malay and Islamic cultural heritage. Dzul's exploration of Islamic and Malay art theory and aesthetics has significantly influenced his artistic body of work. The body of his work serves as evidence of the lasting influence of tradition, the capacity for intellectual exploration to bring about significant change, and the limitless opportunities that emerge when creativity intersects with meticulous academic study. He employs his paintings as a means to engage in a discourse that surpasses temporal and cultural boundaries, serving as a poignant reminder that art possesses a universal communicative power that resonates deeply with our collective human essence. As a result, his academic work provides a solid foundation for the growth of their visual communication, as well as a useful framework for exploring abstract expressionism in the context of Islamic and Malay aesthetics.    Furthermore, beyond the canvas, Dzul's expertise extends into the realm of graphic design and visual thinking. He approaches these disciplines with the same fervour and philosophical depth that characterise his painting, recognising that design is not simply about aesthetics but a language in its own right. His designs are a testament to his ability to distil complex ideas into visual form, creating compositions that speak directly to the heart and mind. Dzul's contributions to the discourse of art philosophy, aesthetics, designs, and visual arts, particularly in the context of Islamic and Malay arts, have been highly transformative and significant.  

Dr. Yanti Idaya Aspura Binti Mohd Khalid is a Senior Lecturer at Department of Library & Information Science in the Faculty of Computer Science & Information Technology, University of Malaya. She was a Lecturer at Management and Science University, and started her teaching career in 2001; and was then appointed as Senior Librarian (2003-2015) at Library of International Islamic University Malaysia before joining the University in 2015. She graduated with Bachelor in Human Sciences (Political Science) in 2000 and MLIS (Library and Information Science) in 2001 both from International Islamic University Malaysia. Dr. Yanti Idaya obtained her PhD in 2014 from National University of Malaysia in System Science and Management. Her research interests include Semantic Web, Ontology, Information Retrieval, Archive Management, Information Behavior, Digital Library, Social Media, Information Management, Information Literacy, Open Access and Scholarly Publication and Bibliometric. She is at present the editorial board member of the Malaysian Journal of Library & Information Science (JIF 0.423 JCR 2012).