Demonstrasi Lukisan Pilihan

http://senivisual1.blogspot.com/2008/03/klip-pilihan.html

Lukisan Teknik Titik (Pointillism)

Lukisan Teknik Titik

Salah satu daripada teknik lukisan adalah teknik titik atau lebih dikenali sebagai 'pointillism'. Bagi menghasilkan lukisan teknik titik ini, alat yang diperlukan adalah sejenis pen yang dipanggil pen teknikal atau pen yang menggunakan dakwat basah. Penggunaan pen mata bola akan memberi hasil yang tidak memuaskan.

Kesabaran diperlukan dalam menghasilkan lukisan jenis ini kerana jika tidak sabar titik yang terhasil agak kurang baik dan terbentuk seperti garisan yang berekor. Bagi menghasilan lukisan jenis ini, anda perlu menghasilkan struktur rangka objek terlebih dahulu dan mengenalpasti garisan-garisan pemisah antara ton cerah, sederhana dan gelap

Mulakan dengan ton yang cerah dan tambahkan titik-titik sedikit demi sedikit bagi mendapatkan ton yang gelap
Contoh:

perbezaan dari ton gelap ke cerah

Proses melukis teknik titik

1. Buat lakaran struktur objek yang hendak dilukis dengan pensel. Dapatkan garisan kontour kawasan arah cahaya dan bayang iaitu daripada kawasan cerah ke kawasan yang gelap. Dengan menggunakan pen dakwat basah mulakan dengan titik bahagian yang mempunyai ton cerah.

2. Tambahkan titik pada kawasan yang mempunyai ton lebih gelap atau boleh menggunakan pen yang lebih tebal saiznya.

3. Siapkan dengan menambah titik-titik pada bahagian yang mempunyai ton gelap dan pastikan titik yang dibuat tidak menjadi garisan. Setelah lukisan selesai, padamkan kesan lorekan pensel.

Contoh-contoh Lukisan Teknik Titik

Lukisan menggunakan Komputer Grafik

Lukisan Pensel



Lukisan Marker

10 Tips Melukis Menggunakan Cat Akrilik

Akrilik adalah cat serba guna yang cepat kering, dan dapat digunakan langsung dari kalengnya (seperti cat minyak) atau dicairkan terlebih dahulu dengan air atau medium lain (seperti cat air). Berikut beberapa tips yang dapat membantu Anda dalam melukis menggunakan cat Akrilik:

Tip 1: Mempertahankan Cat Akrilik agar Dapat Terus Digunakan
Karena cat Akrilik sangat cepat kering, ambil sedikit mungkin cat dari kalengnya. Jika anda menggunakan palet plastic normal, semprotkanlah air untuk mempertahankan kelembaban cat akrilik pada palet. Jika anda menggunakan palet khusus (yang mampu mempertahankan kelembaban cat) – yang mana cat diletakkan pada selembar kertas lilin– anda tidak lagi membutuhkan penyemprot air, hanya saja karena anda harus mempertahankan posisi kertas lilin, anda akan kesulitan dalam memegang palet jenis ini.

Tip 2: Keringkan Kuas Anda
Letakkan selembar lap kertas atau kain di dekat tempat air anda dan biasakan oleskan kuas anda ke lap tadi setelah anda mengangkatnya dari cat. Hal ini dilakukan untuk mencegah cat menetes ke pegangan kuas yang akhirnya ke lukisan anda.

Tip 3: Tak Tembus Cahaya atau Transparan
Jika digunakan secara tebal – entah dipakai langsung dari kalengnya atau dengan sedikit penambahan air – atau jika mencampur cat dengan sedikir cat warna putih, semua warna cat akrilik akan menjadi tak tembus cahaya (opaque). Jika dicairkan, cat akrilik bisa digunakan seperti cat air atau digunakan untuk airbrush.

Tip 4: Akrilik Vs Cat Air
Ketika cat akrilik kering, ini bersifat permanen dan tidak seperti cat air, cat ini bersifat tak larut dan lukisan dapat ditimpa tanpa kuatir akan merusak lukisan di bawahnya. Lukisan cat air dapat diangkat atau dihapus menggunakan air dan kain.

Tip 5: Buat Sapuan Tipis Jika Ingin Mendapatkan Lapisan Transparan
Jika anda menginginkan lapisan transparan, anda harus menyapu dengan hati-hati. Lapisan transparan hanya dapat dibuat jika anda dapat mempuat sapuan yang menghasilkan lapisan tipis pada lukisan. Lapisan tebal akan menghasilkan permukaan yang mengkilat.

Tip 6: Tingkatkan Aliran tanpa Kehilangan Warna
Untuk Meningkatkan aliran warna tanpa kehilangan kekuatan warna yang berarti, gunakanlah medium (pencair) yang bersifat meningkatkan aliran warna (flow improver medium).

Tip 7: Mencampurkan Warna Cat Akrilik
Karena cat akrilik sangat cepat mongering, anda harus bekerja cepat jika ingin mencampurkan warnanya. Jika anda bekerja dengan kertas, membasahi kertas akan menambah waktu kerja anda (memperlambat pengeringan cat).

Tip 8: Sudut  Lukisan yang Tajam
Menempelkan selotip/plester di tepi-tepi lukisan dan melepasnya dari cat akrilik kering dapat dilakukan tanpa merusak lapisan yang ada. Hal ini akan mempermudah lukisan dengan sudut yang tajam atau keras. Pastikan plester menempel dengan kuat dan jangan menggunakan cat terlalu tebal pada ujung lukisan. Jika tidak, anda tidak akan memperoleh ujung yang tajam dan bersih ketika anda mengangkat plester.

Tip 9: Membersihkan Cairan Pelapis
Cairan pelapis dapat digunakan dengan cat akrilik, seperti halnya cat air. Begitu cairan pelapus kering pada kuas, ini hampir tidak mungkin untuk dibersihkan. Rendam kuas ke dalam cairan pengencer/pembersih akan membuat cairan pelapis dihilangkan dari kuas.

Tip 10: Menggunakan Cat Akrilik sebagai Lem untuk Kolase
Jika barang yang dipakai tidak terlalu berat, cat akrilik dapat digunakan sebagai lem dalam kolase dengan cara memakai cat ini secara tebal. (Kolase adalah seni artistik yang dibuat dari berbagai bahan yang ditempelkan pada permukaan lukisan).

Painting Drips and Drops By Karin Wells

How to paint water drips on a vertical surface in four easy steps. 

This little 8″ x 10″ painting has a lot of water drops. I add these details to a dry painting surface at the end.

I posted the largest file allowed for this so you could see better detail if you click on the above picture.

Here’s how to do it when the light source comes from the upper left:

DRIP STEP 1

I use a dark color – raw umber works for me but any transparent dark will do. You are making the shape of a drip. A drip will occur on a vertical or slanted surface. A cast shadow will be on the lower right (i.e., Darker).

DRIP STEP 2

You will be looking through the water and it creates a soft shadow on the top left and the harder, sharper cast shadow on the lower right side of the drip.

Detail (above)

DRIP STEP 3

Light will be reflected on the top right and will define the top of the drop. I use Zinc White so the original color shows through. The light does NOT touch the shadow and we want to see the untouched color of the surface between light and shadow.

DRIP STEP 4

Lastly, add a highlight in the shadow area. I use Titanium White for this as I want it to be clearly defined and opaque.

Detail (above) from Apples Still Life (below).

copy paste from

http://www.artinstructionblog.com/oil-painting-for-beginners-painting-drips-and-drops-by-karin-wells/comment-page-1#comment-198357

Charcoal Drawing Techniques

This is one of the few charcoal drawings which I drew directly from a photograph. 

In the few cases where I've done this, I give credit to the photographer. (The photographer here was American jazz photographer, William P. Gottlieb.)
Even in these cases, however, I make changes to my charcoal drawings so they are not exactly like the photograph. I make these changes to add my own personal dramatic effects, and to work within the limitations of charcoal.





My goal here was to see how far I could push my charcoal drawing techniques to make the textures look real . . . the skin, the handkerchief,the metal trumpet , the shirt , and the hair. Some people have a difficult time drawing from life because they find it hard to translate the three dimensions in real life onto a two-dimensional drawing surface.
Others can easily translate what they see whether they are creating charcoal drawings from a photograph or drawing from a live model.
In either case, you must observe very carefully, and then translate those observations expressively onto the surface of your charcoal drawings. 











Before applying any charcoal drawing techniques, you should make preliminary drawing pencil sketches.
This one wasdrawn in ink(which is unforgiving since you can’t erase!)
Some of the lines, particularly those in the hand, were done quickly in order to get the feeling of movement. These are called gesture lines. The rest of the lines can all be considered to be contour lines.
Both gesture lines and contour lines simply are lines based on close observation. The difference is, gesture lines are done quickly, contour lines are done slowly.
This first preliminary looks three dimensional because of carefully chosen lines. Referring to the numbers on the preliminary drawing above:

1. Contour lines suggest tight curly hair.
2. Contour lines suggest facial structure.
3. Contour lines suggest hand structure.
4. Contour lines suggest texture of his handkerchief.
5. Contour lines suggest structure of trumpet.

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Then I drew a second preliminary in pencil (below). I did this to further refine things before adding any charcoal drawing techniques. 

As always, I traced the last preliminary on to my good Meridian paper. (Use a light table to do this if you have one.)At this stage, I had a pencil drawing on a completely white piece of Meridian.

Then the real work began.

In order to bring the drawing alive, I had to address the lighting and the texture over the entire surface. This is all done with charcoal drawing techniques acquired through experience.

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Note the following charcoal drawing techniques:

1. The strongest highlight beside the ear; this is the only area with such a strong highlight so it has a lot of impact. For the hair I used a hard (HB) charcoal pencil. I held the pencil with my right hand, and with the forefinger of my other hand on the tip of the pencil, I rolled the lead tip across the surface. By alternating these movements with highlights, I implied tightly curled hair.
2. For the metallic look of the trumpet, I use a softer charcoal, (3B pencils and vine charcoal). I soften the shadowed areas on the trumpet with watercolour brushes.
3. Around some highlights, I use harder charcoal (HB), for sharp contrast which thereby increases the realism of the highlights.
4. To achieve the soft texture of a handkerchief (which “Satchmo” always used) I used only vine charcoal. Highlights on the handkerchief were done with a kneaded eraser.
5. Lower part of the handkerchief, which is in shadow, is done with 3B charcoal pencils, HB charcoal pencils, and blending stumps.
6. Note the very sharp edges are done here with hard HB charcoal pencils. This clearly delineates the trumpet from the texture of the surrounding handkerchief. Areas like this require clarity to add to the overall impact of the composition.

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The black background: When I started the charcoal drawing this area was a pure white piece of paper. It is very important that the black areas be evenly blended . . . otherwise it won’t look real and it will clash with the detail of the foreground figure.How to achieve a black background:

• scrape 5B or 6B pencils with an "Exacto" knife onto the paper.
• Use crumpled toilet tissue to slowly rub the charcoal dust into the paper.
• Repeat applications until the surface is completely and evenly darkened.
• Your last application should be with a harder pencil (2B) to solidify the background.

You can also buy charcoal dust but if you don’t use it often in your charcoal drawings, scraping the pencils works just fine. Just remember, a little bit of charcoal dust goes a very long way.
My next challenge was to extend the black area precisely around the outline of Armstrong’s head, hand, trumpet and handkerchief. I did those areas with a fine soft-bristle brush.



One last thing: Making white paper look black requires patience.

How to Shade Pencil Drawings

Understanding Light

In your drawings, you will generally have one light source, which determines the location of highlights and the direction of shadows. The spot where the light hits your subject directly is called the highlight, and is usually pure white. The side facing away from the light source will be in shadow. The midtones refer to the gradation of tones between the shadow and the highlight. Most objects will also have an area of reflected light. This reflection happens when light hits the surface next to your object and bounces back. You will notice that these values blend into each other smoothly, which communicates to us the shape of the object. The only time you will see a hard edge is when there is a cast shadow, otherwise the tones change gradually. The closer the cast shadow is to the object, the darker it will be, fading as it moves farther away.

Control Your Pencil

The key to smooth shading is learning how to control your pencil. You need to be aware of how you hold the pencil, how you apply your strokes, and how hard you press. For darker shadows, press slightly harder and slowly lessen the pressure as you work away. Keep in mind that you shouldn’t have to press very hard; if you want darker shadows, build them with layers of graphite. Your pencil strokes should be even and regular. You don’t want to be able to see the paper between your lines. Try to make your pencil strokes in the same direction to get smoother results. This is easier if you hold your pencil closer to the end and at an angle, using the side of the lead to shade.

The wrong way!

The right way!

Blending

Some people like the texture of the paper showing through, but I find you get the best shading results by blending. A blending stick is a small tube of tightly rolled paper that lets you smooth out pencil shading. You can use it the same way you use your pencil: on an angle with regular strokes. Again, you won’t’ need to press hard! Start at the lightest value and work towards the shadows. If your blending stick gets too dark, wipe it on a clean sheet of paper, or press it into your kneaded eraser. Learning how to shade well isn’t difficult, but it will take practice. With each drawing you’ll find yourself getting better. Remember, don’t be too timid with your shadows; a nice dark shadow will give your drawing depth. Let’s practice our new skills!

How to Shade a Sphere

A sphere is a good example because all of our elements are present: highlight, shadow, midtones, reflection, and cast shadow. To set up a maquette to draw from, get a ball and shine a table lamp toward it. This is a great way to train yourself to see the different elements of shading.

First, draw the outline of your sphere and the shadow it casts. Outline the edges of your shadows and highlights. Draw the highlight a little bit bigger than what you want it to end up being. You will be blending into it and you’ll want to keep the highlight as white as possible.

Using a medium pencil, like a B, very lightly shade the area around the highlight. Work your way to the edge of the sphere and the edge of the shadow. Squint to see the more subtle shading of this shape, and add another darker layer along the edge of the shadow. You don’t need to press any harder, just keep shading the same area until it gradually gets darker.

Using a softer pencil, like a 2B, shade in the entire shadow area. You don’t want to be able to see the transition between the midtone and the shadow area, so try to make it gradual. Again, add another darker layer where you see the darkest shadows.

Use your blending stick to blend your pencil marks together. It’s important to work from light to dark so your stick doesn’t get too dirty. If it does, wipe it on a piece of scrap paper or press it into your kneaded eraser. You want the white of the paper to show through as the brightest part of the highlight, so blend inwards, keeping the center free of graphite.

The cast shadow directly under the sphere is the darkest value, so use an even softer pencil, like a 4B, to shade it. Switch back to your 2B to shade in the rest of the shadow.

Blend out the cast shadow, paying close attention to the edges. The edges closest to the sphere are sharper, and get softer farther away. Lastly, use your kneaded eraser to clean up your edges and re-define your highlight and the reflection. Voila, a sphere!

Now you can use your skills to realistically draw virtually anything with a rounded shape. The rules are the same! A highlight, a range of midtones, the shadow with a reflection, and a cast shadow!

Happy drawing!

copy paste from

http://www.artinstructionblog.com/drawing-lesson-how-to-shade-pencil-drawings-by-miranda-aschenbrenner