Jalinan

Apa Itu Jalinan

1. Jalinan merupakan kesan yang terdapat pada permukaan sesuatu benda, seperti kesan pada permukaan kulit durian, kulit rambutan, tapak kasut, kulit kayu, bulu kucing, belang pada harimau dan lain-lain.

2. Jalinan pada benda buatan manusia dan benda ciptaan Tuhan memberi kesan tampak yang berbeza.

3. Setiap objek yang berjalinan, mempunyai fungsi dan nilai-nilai yang tersendiri.

jalinan pada kulit harimau belang

jalinan pada kulit siput

Contoh Jalinan Pada Alam Semulajadi

rekahan pada tanah

jalinan kasar pada permukaan batu

Contoh Jalinan Pada Benda Buatan Manusia

jalinan pada langit-langit rumah

Jenis-jenis Jalinan

1. Jalinan Sentuh

a. Merupakan kesan permukaan yang dapat dilihat dan dirasa melalui sentuhan seperti, permukaan batu, kulit kayu, kulit kerang

b. Jalinan sentuh dapat dipindahkan ke permukaan 2 dimensi melalui beberapa teknik seperti capan, cetakan, gosokan dan sebagainya

Jalinan Sentuh - kulit kerang

2. Jalinan Tampak

merupakan kesan jalinan yang hanya dapat dilihat tetapi tidak dapat dirasa melalui sentuhan seperti, sayap rama-rama, kulit tembikai, kertas pembalut hadiah, kertas dinding, corak tekstil dan sebagainya.

Jalinan Tampak - kertas dinding

Jalinan Tampak - kulit tembikai

Fungsi Jalinan

1. Sebagai Penyamaran - seperti sesumpah, serangga, harimau dan kuda belang

jalinan pada kuda belang

 

2. Menahan Geseran - tayar kereta, tapak kasut

tapak kasut

3. Sebagai hiasan - corak pakaian, corak kertas dinding

corak

4. Pengaliran air dan udara

jala ikan



Warna - Unsur-unsur Seni Reka

Pengenalan Warna

1. Tuhan telah menjadikan alam ini penuh dengan warna warni yang boleh dinikmati oleh manusia;
2. Manusia boleh membina imej dirinya dengan penampilan warna yang tepat dan sebuai mengikit situasi tertentu
3 Roda warna adalah gambaran visual warna ditetapkan mengikut hubungan warna antara watu sama lain.
4. Bermula dengan posisi roda warna, warna asas mempunyai jarak yang sama daripada satu sama lain, kemudian tercipta warna sekunder dan tertier.

5. Istilah-istilah ini merujuk kepada kumpulan atau jenis warna

roda warna

Jenis-Jenis Warna

Warna Asas

warna asas - merah, biru dan kuning

1. Warna asas atau warna primer merupakan warna dasar sesebuah warna
2. Warna-warna yang tidak boleh dibuat daripada campuran warna lain tetapi boleh menghasilkan warna kedua dan ketiga
3. Mempunyai kuasa yang hebat
4. Digunakan dalam penghasilan seni seperti poster, bendera, logo, lencana dan sebagainya

Warna Sekunder

warna sekunder - jingga, ungu dan hijau

1. Juga dipanggil warna kedua
2. Warna sekunder dicipta daripada campuran dua warna asas.
     Warna sekunder = warna asas + warna asas
3. Warna sekunder ialah jingga, ungu dan hijau
     a. Jingga = merah + kuning
     b. ungu = merah + biru
     c. hijau = kuning + biru

Warna tertier

warna-warna tertier

1. Dicipta daripada campuran warna asas dan warna sekunder di sebelahnya dalam roda warna
    warna tertier = warna asas + warna sekunder
2. Warna tertier terdiri daripada
     a. biru ungu = biru + ungu
     b. biru hijau = biru + hijau
     c. kuning jingga = kuning + jingga
     d. kuning hijau = kuning + hijau
     e. merah jingga = merah + jingga
     f. merah ungu = merah + ungu

CATAN - Media Catan

Catan Cat Poster


Catan Cat tempera


Catan Cat Gouche


Catan Cat Minyak


Catan Cat Air

Lukisan Kreatif

Cuba anda lihat gambar di atas, macam real kan? Percayakah anda bahawa lukisan yang penuh seni ini hanya memerlukan kapur berwarna dan lantai sahaja? Namun, inilah satu lagi hasil kreatif manusia yang sentiasa bijak mencipta kelainan.
















Memang menarik dan kreatif. :-)

Abstract Art

Abstract art nonrepresentational art. Ornamental art without figurative representation occurs in most cultures. The modern abstract movement in sculpture and painting emerged in Europe and North America between 1910 and 1920. Two approaches produce different abstract styles:
images that have been 'abstracted' from nature to the pointwhere they no longer reflect a conventional reality, andnonobjective, or 'pure', art forms, without any reference to reality.
Abstract art began in the avant-garde movements of the late 19th century - Impressionism, Neo-Impressionism, and Post-Impressionism. These styles of painting reduced the importance of the original subject matter and began to emphasize the creative process of painting itself. In the first decade of the 20th century, some painters in Europe began to abandon the established Western conventions of imitating nature and of storytelling and developed a new artistic form and expression.
Wassily Kandinsky is generally regarded as the first abstract artist. From 1910 to 1914 he worked on two series, Improvisations and Compositions, in which he moved gradually towards total abstraction. His highly coloured canvases influenced many younger European artists.
In France around 1907, the Cubists Pablo Picasso and Georges Braque also developed a semi-abstract style; their pictures, some partly collage, were composed mainly of fragmented natural images. By 1912 Robert Delaunay had pushed Cubism to complete abstraction. Many variations of abstract art developed in Europe and Russia, as shown in the work of Piet Mondrian, Kasimir Malevich, the Futurists, the Vorticists, and the Dadaists.
Sculptors were inspired by the new freedom in form and content, and Constantin Brancusi's versions of The Kiss 1907-12 are among the earliest semi-abstract sculptures. Cubist-inspired sculptors such as Raymond Duchamp-Villon (1876-1918) and Jacques Lipchitz moved further towards abstraction, as did the Dadaist Hans Arp.

Two exhibitions of European art, one in New York 1913 (the Armory Show), the other in San Francisco 1917, opened the way for abstraction in US art. Many painters, including the young Georgia O'Keeffe, experimented with new styles. Morgan Russell (1886-1953) and Stanton Macdonald-Wright (1890-1973) invented their own abstract style, Synchronism, a rival to Orphism, a similar style developed in France by Delaunay - both emphasized colour over form.

Abstract art has dominated Western art from 1920 and has continued to produce many variations. In the 1940s it gained renewed vigour in the works of the Abstract Expressionists. In the 1960s Minimal art provoked outraged reactions from critics and the general public alike.

text is taken from:
The Hutchinson; Dictionary Of The Arts;
Movements, Terms, People: from Ancient Art to World Music.
© Helicon Publishing Ltd 1994. ISBN 1-85986-047-8 (paper).

Colored Pencil Drawing - How to Draw a Green Apple

Step 1- Draw a light outline of an apple with any graphite pencil. It should be a fairly easy outline considering the subject.

Step 2- I want my darkest tones to be laid down first. It will give me a base to compare other tones to. I am using "olive green" for this area. Throughout this entire tutorial I am using the circulism method of shading. If you'd like to know more about this method refer to my circulism tutorial.


Step 3- The olive green color is not dark enough so I go over it with sepia.


Step 4- I work to the left of my dark area but make sure that everything is lighter than this. I am using olive green again. There will be two highlights in this area so I shade around them.

Step 5- My highlights are going to be very subtle so I carefully shade them in with olive green making sure that they stay lighter than the surrounding area. After that, I move down to the bottom of the apple still using olive green. Areas that need to be darker than the olive green recieve sepia overtop. I want my dark areas to transition into light in the next few steps. My lighter areas are going to be colored with some browns. I start these areas with light umber.


Step 6- I move back up to the upper part of the apple. I am going to put another subtle highlight above the other two. This time I use rosy beige for the highlight. Above that highlight will be another small one. This one I color with french grey 20%.


Step 7- At the top left edge of the apple I want it to be brownish so I use light umber. At this point I start transitioning my darks into lighter colors. I use limepeal and light umber for these areas. I want there to be some highlights around the crown of the apple. I use yellow ochre for these.


Step 8- I put another subtle highlight in the lower left part of the apple. I use french grey 20% for this. More transitioning in this area from dark to light.


Step 9- In the right center part of the apple I want it to be a warm color just to give the drawing some color variety. I apply rosy beige to this area but more colors will be layered on top later on.

Step 10- As I mentioned earlier I want my lighter, right side to have alot of brown colors. I transition from my dark area into light with burnt ochre and layer a little limepeel on top. I lay down sand color on the upper right edge.

Step 11- I continue working on filling in the rest of the apple. For the reddish area I've used a combination of henna and pink. Be careful with pink. It's easy to over-do it. For the upper part of the apple I used limepeel with some light umber layers in certain areas. I want a brilliant white highlight on the upper right part of the apple so I shade around this area. Make sure to keep this highlight very clean.


Step 12- More layers of light umber are added in the brownish areas. There is a tool made by Prismacolor called a colorless blender. It's basically a pencil that applies no color or tone and doesn't absorb any either. I am using this tool to blend the colors together. Compare this picture to step 11 and you will notice it's a lot smoother and polished looking. After the colors are blended I start on the stem. I use tuscan red and dark umber.


Step 13- I finish working on the crown of the apple and blending the colors with my colorless blender.

Step 14- This drawing is very plain looking at this point so I am adding a background. Burnt ochre is applied using circulism again. Make sure your color is consistent all the way to the edges of the apple.

Step 15- I have covered the whole wall with burnt ochre. Where my table surface meets the wall, I make that area darker with dark umber.


Step 16- Again, using my colorless blender, I blend all the color together. At the upper right corner I leave the wall unblended because it gives the wall a texture and suggests a light source.

Step 17- I start on the table surface. I apply burnt ochre but not quite as dark as the background wall. I am doing a reflection on the table also. Just basically draw the apple upside down for this reflection. The dark part of the apple is on the left side so the darker part of the reflection should be on the left also.


Step 18- The drawing is finished. From start to finish this took me probably about 7 or 8 hours.

I hope thishas helped you in some way or another.