Created in conjunction with Visit Malaysia Year (VMY) 2026, her artwork, “Malaysiaku: Bermulanya Di Sini”, unfolds as a vertical visual narrative, inviting viewers to read it from bottom to top.
Yuslinda, 49, who works under the pen name Roselin, said the composition begins with life before Merdeka, moves through the colonial period, and culminates in contemporary Malaysia.
“The opening section of the drawing depicts village life pre-independence, including traditional Malay houses, paddy fields, village plants and livestock as symbols of a self-sustaining way of life.
“As the drawing enters the colonial era, I included elements such as rubber-tapping activities, trishaws and shophouses, as well as historical symbols like the Sultan Abdul Samad building and the National Monument, which represent the struggle and sacrifice in the fight for independence,” she outlined.
The upper section, meanwhile, illustrates modern Malaysia through development elements such as oil palm plantations, Proton Saga as the first national car, public transport systems, Malaysia Airlines aircraft, and Kuala Lumpur’s skyscrapers.
The detailed pen drawing took about eight months to complete, beginning with research and the study of historical materials before being translated into pencil sketches and, finally, fine pen lines.
Rendered largely in black and white, the artwork uses colour sparingly – limited to the Malaysian flag and the country’s first light rail transit system, the STAR LRT.
“This approach ensures the audience remains focused on the story and structure of the drawing,” Roselin explained.
“In that regard, every line, shape and shadow plays an important role in conveying meaning and helping to highlight the details and narrative arrangement in this work.”
The former landscape architect added that the entire piece was created by hand, with lines carefully layered to form depth and shading.
“Drawing with a pen inevitably comes with mistakes because the sketch cannot be erased, so I have to correct errors using lines and ‘hatching’ techniques so that the mistakes are not obvious.”
Roselin shared that the artwork was produced as a limited edition of just 20 prints. The project, she added, is her personal creative contribution to introducing Malaysia ahead of VMY 2026.
“This drawing also conveys the message that our country’s beauty lies not only in colourful visuals but also in its meaning, history and soul.
“Therefore, I hope visitors will see Malaysia not merely as a tourist destination, but as a destination where history, nature and identity are deeply interconnected,” she concluded.