CATAN MEDIA AKRILIK - teknik 2

http://thevirtualinstructor.com/acrylictransfer.html

CATAN MEDIA AKRILIK - teknik

http://thevirtualinstructor.com/acrylicapple.html

TEKNIK MELUKIS PEMBALIKAN CAHAYA - permukaan berlutsinar

http://thevirtualinstructor.com/how-to-draw-a-reflective-surface-sphere.html

PENGGUNAAN PASTEL DALAM lukisan

http://thevirtualinstructor.com/still-life-sketch-with-pastels.html

PENGGUNAAN pensil warna air ( water colour pencil )

http://thevirtualinstructor.com/watercolorpencils.html

PENGGUNAAN warna air + pen + dakwat warna DALAM LUKISAN DAN CATAN

http://thevirtualinstructor.com/watercolor-and-pen-and-ink.html

PENGGUNAAN warna air + pensil warna DALAM LUKISAN DAN CATAN

http://thevirtualinstructor.com/watercolor-and-colored-pencils.html

RENDERING - GUNA PEMADAM

http://thevirtualinstructor.com/highlightrenderingdemo.html

TEKNIK OIL PASTLE

http://thevirtualinstructor.com/oilpastelapple1.html

KOMPOSISI - 3

http://thevirtualinstructor.com/composition3.html

KOMPOSISI - 2

http://thevirtualinstructor.com/composition2.html

KOMPOSISI - I

http://thevirtualinstructor.com/composition1.html

MELUKIS MUKA

http://thevirtualinstructor.com/facialproportions.html

RODA WARNA

http://thevirtualinstructor.com/interactivecolorwheel.html

PENGGUNAAN warna air + pensil warna DALAM CATAN

http://thevirtualinstructor.com/watercolor-and-colored-pencils.html

TEKNIK HATCHING AND CROSS HATCHING

http://thevirtualinstructor.com/hatchingcrosshatching.html

Bahagian a

View more documents from razman yusof

Art Fundamentals

http://thevirtualinstructor.com/artfundamentals.html

Free Drawing Lessons

Free Drawing Lessons

SENI VISUAL-MAKNA

Pernahkah kawan menjeling kepada anda atau tarik muka masam bercuka.Tentu beliau ada sesuatu perkara atau hal atau maksud bagi menzahirkan rasa/emosi kepada anda. Apatah lagi orang muda sedang bercinta, jelingan antara pasangan yang sedang berkasih sudah tentu sarat seribu makna.Muka masam pula tentu bagi menunjukkan rasa tidak senang seseorang. Soalnya dalam seni visual cth: umpama catan potret Mona Lisa adalah gabungan hal benda ( waniata yang bernama Mona Lisa ) dan Aspek Formalistik ( Unsur Seni+ Prinsip Rekaan ) yang telah dikomposisikan oleh Leonardo de Vinci.Yang tersurat di kanvas ialah senyum Mona Lisa ( boleh kita nampak) manakala yang tersirat adalah disebalik senyumnya ( kita tak nampak) Guana rasa.........tunggu perbincangan lanjut tentang MAKNA.

Makna

Pengertian: - maksud/tafsiran/mesej yang terkandung didalam sesebuah karya seni visual.

                             

Dalam Seni Visual MAKNA berpecah dua:

Makna Tersurat

Pengertian - maksud/mesej yang dapat difahami menerusi apresiasi  berkaitan hal benda dan komposisi/aspek formalistik yang terdapat pada permukaan visual karya.

Contoh:

Senyuman/rekahan bibir yang kita nampak adalah berupa gabungan garis,jalinan,warna yang disuratkan/dilukis secara ilusi 3D diatas kanvas/permukaan 2D oleh Leonardo.Gabungan garis,jalinan.warna yang membentuk bibir Mona Lisa yang kita nampak di permukaan kanvas itulah yang kita kupas sebagai makna tersurat.Umpama kupasan berbunyi "merahnya bibir bak delima merekah". Kupasan itulah makna tersurat. Jadi apabila kita melihat karya tugas kita pertamanya ialah melihat karya tersebut dari aspek penyusunan imej tampak/ hal benda, komposisi/aspek formalistik yang digunakan oleh seniman bagi melukis/menyuratkan mesej yang hendak disampaikan kepada kita.Selalunya bentuk/imej tampak yang disuratlkan itu  jelas,nyata, konkrit dan mudah kita fahami kerana kita boleh nampak di permukaan kanvas.Atau kalau ianya arca kesannya boleh kita rasa menerusi deria sentuhan (jalinan sentuh) atau menerusi deria penglihatan/mata kita (jalinan tampak) Seterusnya kita kupas/menceritakan kesan dari apa yang kita nampak atau sentuh.

Sesudah kita mengupas permukaan visual yang tersurat beralih pula kepada makna yang tersirat.

Makna Tersirat

Pengertian - maksud / tafsiran / mesej yang terkandung di sebalik apresiasi kita  berkaitan hal benda dan komposisi/aspek formalistik yang terdapat pada permukaan visual karya.

Contoh Soalan:

Gamabarajah di atas menunjukkan karya Dzulkifli Buyung yang berjudul " Kapal Kertas " (1966 ).Media: Kapur/Pastle.Jelaskan makna karya tersebut dari aspek yang berikut:

(a)  Makna tersurat                                                                                               [ 6m ]

(b)  Makna tersirat.                                                                                               [ 6m ]

Contoh Jawapan;

(a)

Isi 1  Aktiviti:

 F1m: Catan menggambarkan sekumpulan tiga orang kanak-kanak perempuan yang H2m: sedang bermain   kapal diperbuat dari kertas koyakan buku tulis sekolah bertempat di tepi longkang selepas hujan turun.

 Isi 2  Gaya Hidup:

 F1m: Catan menggambarkan kegiatan/gaya/jenis permainan pada zaman kanak-kanak H2m: bagi mengisi masa lapang.

(b)

Isi 1 Taraf Hidup:

F1m: Kanak-kanak yang ditonjolkan mungkin berasal dari masyarakat golongan kurang berpengetahuan kerana H2m:sanggup mengoyak buku pelajaran.

Isi 2 Peribadi- kesucian jiwa di alam kanak-kanak

F1m: Aktiviti bermain sambil berpakaian sekolah tanpa menghiraukan kebersihan tempat bermain serta merosakkan buku pelajaran H2m menggambarkan keriangan,kegembiraan, kenakalan, keharmonian serta keihklasan jiwa manusia yang bergelar kanak-kanak 

SKIMA MARKAH :

I isi  = 3 markah  ( F1m + H2m )

2 isi = 2 X 3 markah / 2 X ( F1m + H2m ) = 6 markah.

Draw a rose

Step by step: The Rose

Here is the photo I chose is not my purpose to make a perfect reproduction, just inspire me for a nice drawing.	I begin by defining the main features with a 2B graphite pencil. I do mostly freehand, but I use a regular rule to calculate the distances between elements. You can also use the method of small tiles for this essential step.
I start with the central petal with a graphite pencil 9b, I support more or less strong according to the contrasts. I blend a lot on the finger because I find it rather shaded.	I continue to fill the central observing my model, for now it does not look like much, but the contrasts are very important from the outset to avoid drawing a "gray", without nuances.
I finished the whole top of the flower in the direction of small "ribs" of the petals. The shadows will not fit anywhere, to give the "matter" it is imperative to follow the direction of shadows and light.	Next, I attack the left side of the rose: being right-handed, I feel obliged to follow this direction to avoid me to get your hands on some already made and to spread everywhere.
I finished the rose. I only use a graphite pencil 9b. I go back and forth on the dark areas, and I hesitate not to go all black. For highlights, I dab my gum bread and I blend with a Kleenex. I always feel the ribs to give the matter.	I then ombe of the rose to make. I support very hard with my pencil and 9b with a Kleenex I blend in to avoid overflowing the shadow stops "net". In the shadow of the rod, I use only my kleenex I rubbed in the dark area.
I keep up with the shadows of my all dirty kleenex graphite. I also place the navel that will help me follow the shadow of the lower abdomen and the stem.	I now place the shadows of the lower abdomen. I notice that there is a circular motion around the navel, I try to respect it. I go without pressing the gum bread on the bright areas.
I could stop there but I think the bottom of the drawing is a little empty. So I decided to add a small red felt calligraphy. For the highlight, I fly in graphite: I am the meaning of the letters but in a staggered manner.	Now I see all the shadows, light and contrast to give a harmoine drawing. Once it seems to me good, I sign it;)

DRAWING CLOTHING

 
On a less general than the portrait seems to pose few problems is the representation of clothing. In this tutorial, the clothes can be summarized in two points: the folds and textures.

The folds

About the contours and folds of clothing, there is no explanation miracle: it is essential, above all, know watch. 
Then for practice, make folds of a garment is very similar to the outline of a hair. 
We then trace the folds, to see some stitching if they are very visible.

Shadows & volumes Once the main lines are drawn, we must give the impression of volume.  In fact, it's not very complicated: any good self-respecting folds is composed of three parts. Part clear, one dark and one lighter again. Or vice versa. Look in a mirror, you see, it never misses. Explanations:  So I said that folds is composed of three parts: 1: Part clear, 2: A dark ... 3 ... clear and a new game you have below a few exceptions. It is when the fabric is folded upon itself for example.

Textures On textures, you must first do so as we feel. But there are still a few things depending on the materials.

Wool It is a first layer that is slightly blurred (the fingers is preferred). It then marks the lines with the graphite mine (not too cut is better). Pencils to use depending on the color of the dress of course.  As in the example below, you can darken or lighten certain areas on the contrary, it is best to avoid differences in shade too high. Another example, a skirt, the more clear:

The Jean Here too there is a layer that is blurring with the fingers. It then returns with the graphite that is tilted as much as possible to be touched very little to allow a layer just a little irregular. It is very important here to mark the seams. Explanations:

We see in this close-up look that is rather irregular (but less than for wool). Here, in addition, the seams are white, to do with the stump. 

The whole to be fairly regular (in color) and do not involve large differences in hue. And to a great transition to the next texture, here's an example (from the same drawing) that shows the difference in texture between jeans and a blouse of cotton:

Cotton Here, it works the same way as for the skin. It is smooth all the cotton in order to get a smooth result is uniform. It clarifies areas of folds that are lit. The contrast should be quite similar to that of the skin, but with the light areas a little more pronounced. For the pile is the same.

Silk For silk and satin, we work at the beginning as for cotton. The difference will be in the contrast is much greater. The Drive is a lot parts that need to be (with seven or even 8B). The light parts are worked either with the stump or with gum bread. It still leaves a light veil. Take note of this example that the slightest frown tissue results in a very dark folds. Similarly, one can see reflections very clear, almost white. The folds of the fabric are worked to 8 and 9B and are clearly delineated, almost without gradient.

Wet clothing If you're lucky, the dress will be white (the color of wet black and white, uh ...). In short, you will understand, the wet, it is not obvious. The best is yet to do as if there were no clothes and not to make the folds. 1: This has been done here. If you look closely, there is no - or little - the difference in color between the locations where the tissue where there is none. 2: For cons, the folds are quite pronounced. Already because he must show that there are still a few people, especially because what is wet reflects more light. Specifically, it darkens very strong, did not support the least possible areas clear and then we took his gum and we go merrily. 3: It remains then that arm of patient, observe, and to all those little folds that are very important for realism (that as for small and hair that always exceed that go a little in every sense). It must be made ​​with a 7 or 8B well cut.

The reasons After, being patient, it is always possible to make patterns instead of a stupid piece of fabric together.  You can also try making a wool sweater with embroidered motifs, and all wet, but then I asked to see the result!

This tutorial from edible Graphit-art.com