Teknik-teknik mewarnaWashesThe most basic watercolor technique is the flat wash. It is produced by first wetting the areaof paper to be covered by the wash, then mixing sufficient pigment to easily fill the entirearea. The pigment is applied to a sloping surface in slightly overlapping horizontal bandsfrom the top down. Once complete the wash should be left to dry and even itself out - dontbe tempted to work back into a drying wash, the results are usually disastrous!A variation on the basic wash is the graded wash. This technique requires the pigment to bediluted slightly with more water for each horizontal stroke. The result is a wash that fades outgradually and evenlyGlazingGlazing is a similar watercolor technique to a wash, but uses a thin, transparent pigmentapplied over dry existing washes. Its purpose is to adjust the color and tone of the underlyingwash. Non staining, transparent pigments such as Rose Madder (or Permanent Rose), CobaltBlue and Auroline are ideal for glazing as they can be applied layer after layer to achieve thedesired effect. Be sure each layer is thoroughly dry before applying the next.Wet in WetWet in wet is simply the process of applying pigment to wet paper. The results vary from softundefined shapes to slightly blurred marks, depending on how wet the paper is. The wet inwet technique can be applied over existing washes provided the are thoroughly dry. Simplywet the paper with a large brush and paint into the dampness. The soft marks made bypainting wet in wet are great for subtle background regions of your painting.Dry BrushDry brush is the almost the opposite watercolor technique to wet in wet. Here a brush loadedwith pigment (and not too much water) is dragged over completely dry paper. The marksproduced by this technique are very crisp and hard edged. They will tend to come forward inyour painting and so are best applied around the centre of interestLifting OffMost watercolor pigment can be dissolved and lifted off after it has dried. Staining colors
such as Phthalo or Prussian Blue, Alizarin, Windsor Red, Yellow or Blue are difficult toremove and are best avoided for this technique. The process for lifting off is simple - wet thearea to be removed with a brush and clean water then blot the pigment away with a tissue.Using strips of paper to mask areas of pigment will produce interesting hard edged lines andshapesDropping in ColorThis technique is simply the process of introducing a color to a wet region of the painting andallowing it to blend bleed and feather without interruption. The result is sometimesunpredictable but yields interesting and vibrant color gradations that cant be achieved bymixing the pigment on the palette.Spraying Watercolor Techniques- I use a trigger type sprayer to put droplets of water on the painting surface and then drop incolor. The paint follows the droplets across the page, and since the droplets run into eachother, the paint does not appear to be polka dots! I use this for painting all kinds of treefoliage.You can also sprinkle water into paint that is already on the page (if the paint is still damp)and then blot if necessary to create texture. On canvas and Claybord®, the paint is easilylifted by blotting, as these surfaces do not absorb the paint.Back Wash Textures- Also called “Blooms”. As stated above, the blooms can be very effective. They are causedwhen the paint on the paper is still quite damp, and a drop of water or pigment that is verywet, is dropped on the surface. The excess water makes the pigment float to the edge of thepuddle, creating a dark, jagged line around it. Sometimes this is good! Usually it is anaccident, but I have been known to use if for certain effects, especially when paintingflowers.Alcohol Textures Watercolor Techniques- Of course, you know that alcohol and water don‟t mix, therefore, alcohol, when sprinkledinto a wet wash of colour creates a texture. It repels the paint and pushes it aside. The effect isdifferent if you sprinkle alcohol first, and then add the paint. Quite an interestingphenomenon.
When alcohol is sprayed onto the wet pigment, it causes a "foam" appearance and is greatwhen painting water that is rushing over rocks, ocean waves, etc.When it is applied to dry paper, and then the paint is applied, it seems to leave dark spots onthe page. This is not always the case. It may have to do with the sizing in the paper. You justneed to try it first on a scrap of paper like the one you are painting on, so you can better seethe result you will get.Tissue Paper Texture- Tissue paper is useful in creating textures in foliage, rocks, etc. The paint on the surfaceshould not be so wet that it is still shining or you would pick up all the paint with the tissue.Paint that has “lost its shine” is still damp enough to have textures created by the blotting oftissue.Heres what the tissue paper technique looks like when Im finishedPlastic Wrap Texture Watercolor Techniques- Plastic wrap can be applied when the paper is wet, but must stay on the surface until thepaint is dry. First, create wrinkles in the plastic by wadding it up, and then flatten it out on thesurface of the paper (canvas or Claybord®). It can be pulled and stretched in differentdirections to alter the texture.To add to the texture, salt can be applied under the plastic. When the plastic is removed youwill have a texture much like thisIf you need directional lines in your texture, it can be pulled and stretched in differentdirections to alter the texture.Plastic wrap can also be used on heavier pigment as a blotter like the tissue. It will pick upthe pigment and leave wonderful textures.Make sure that the pigment is not really shiny and wet with lots of watr. It needs to be juicy,with only a tiny bit of water added, so that the plastic can pick up the pigment to createtexture.If the pigment is too wet and thin, the color will just run back together after you lift theplastic off the surface. Timing is everything when using these techniques
rujukan : http://www.watercolor-painting-tips.com/watercolor-techniques.html Wet Into WetThis watercolor technique is sometimes also referred to as wet-on-wet, or wet-into-wet. Itrefers to the process of applying pigment to paper by first wetting the watercolor paperthoroughly, and applying a wet brush loaded with pigment to the wet paper. As the pigmentspreads it creates very soft edges and gradations in value. If the pigment is sedimentary, theparticles will flow in the water until they settle into the pockets of the paper, or until the waterevaporates, leaving the pigment adhered to the paper. This is a wonderful technique forpainting water, skies, and objects in the distance affected by aerial perspective. See also“variegated washes.”here is an example. watchit carefully, how the colors bled with each other. the timing is veryimportant, i.e. how much time you will wait before the first stroke of color. Dry BrushTechnically, the Dry Brush technique utilizes no water or medium, only paint to wet thebrush. However in practice some water or medium is needed to make the paint flow at all.The texture of the paper, the brush hairs and the angle of the stroke create broken areas ofpaint. The effect is highly textured and is used for creating a variety of textured surfaces suchas foliage, bark, stone, clouds, etc.. Layer by LayerLayer by layer is a technique where colors are applied layer after layer when the previouslayer is completely DRY. this is used when details are to be achieved. also portrait is a goodpractice in this process as there is a little chance of a miss-paint. but one problem is the hardedge. you have to be very careful. again too much light after a too much dark layer maycreate unwanted separation. giving you an example.Rujukan : http://watercolor4all.wordpress.com/techniques/
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Rules of thirdLeading lineslakaran akhirKajian warnaProses penghasilan karyapenyata karyaRUJUKAN/BIBILIOGRAFIhttp://watercolor4all.wordpress.com/techniques/http://www.watercolor-painting-tips.com/watercolor-techniques.htmlhttp://www.scribd.com/doc/46539012/SEJARAH-CATAN-DUNIAhttp://prpm.dbp.gov.my/Search.aspx?k=kemelut.http://sajak2pendek.blogspot.com/2011/05/kemelut.htmlhttp://prpm.dbp.gov.my/Search.aspx?k=kemeluthttp://ms.wikipedia.org/wiki/Seni_lukishttp://seni-lukis.blogspot.com/2005/05/lukisan-bayu-papar-soal-kemasyarakatan.htm
Kos perbelanjaan PERKARA UNIT JUMLAH (RM) Tulip artist‟s drawing pad 4 23.20 Drawing paper 1 7.40 Cloth tape 2 2.40 Metal card ring 1 4.50 Adhesive cube 3 9.00 Reinforcement rings 1 2.40 Brush 3 21.50 Colour 1 19.00 Palate 1 6.00 Catridge black and colour 2 154.00 Mounting board 3 8.40 A4 colour paper 2 2.00 A4 extra black paper 2 12.00 A4 premium paper 1 13.90 Gum 1 2.00 Jumlah 28 287.70
RumusanTAJUK: CETAK ROMPAKTEMA: KEMELUT Berdasarkan soalan Seni Visual STPM 970/3 tahun 2012, saya telah memilih tajuk„kemelut‟Sebagai tajuk hasil karya saya. Banyak yang telah saya pelajari dengan penghasilankarya saya ini kerana berjaya melakukannya dengan baik dan mengikut kehendak sepertiyang telah ditetapkan. Melalui tajuk „kemelut‟, saya telah menganalisis kemelut cetak rompak yang semakinberleluasa. Kewujudan cetak rompak telah banyak merugikan pihak industri seni tanah air.Berdasarkan karya ini saya telah meletakkan gambar perompak yang sering dikaitkan dengangejala cetak rompak. saya juga meletakkan CD ROM kerana terdapat CD ROM yangmengandung hasil dari cetak rompak. Selain itu, saya juga meletakkan gambar bangunan runtuh sebagai kesan daripada gejalacetak rompak yang menunjukkan kejatuhan industri perfileman.Justeru,saya memperlihatkanlogo hak cipta yang dikunci oleh phak yang tidak prihatin dan menunujukkan keadaan yangdihadapi oleh para pengkarya apabilah hasil seni mereka dikuasai. Oleh itu, kemelut cetak rompak yang saya hasilkan dapat menyedarkanindividu,masyarakat dan negara agar negara kita bebas dari aktiviti cetak rompak dan ahli-ahli seni tanah air dapat mempersembahkan lagi pelbagai filem yang terbaik tanpamemikirkan kerugian lagi.