LUKISAN

1.0 Definisi Lukisan

Lukisan merupakan hasil kerja seni yang dibuat di atas sesuatu permukaan rata untuk
meluahkan perasaan berbentuk imej dengan menggunakan media kering atau menggunakan
warna paling sedikit. Lukisan adalah lanjutan beberapa lakaran ringkas bagi merakamkan
informasi visual kepada sesuatu kegiatan lain seperti catan, kolaj, montaj dan cetakan.
Penggunaan alat dalam sesebuah lukisan terhad kepada media kering seperti pensel, pensel
warna, pastel, arang, pen dan dakwat. Lukisan mengaplikasi garisan, rupa, bentuk, saiz, warna
dan jalinan.
Alat, Media dan Bahan
Pensil H- Adalah sejenis pensel jenis keras
Pensil B (2B - 8B) - Adalah sejenis pensel lembut
Pensil warna- Terdiri daripada berbagai jenis warna
Arang- Dapat memberi kesan legap dan mudah mendapat kesan
Pen dan dakwat- Mempunyai kesan garisan yang lebih halus
Soft Pastel- Didapati dlm pelbagai warna,mempunyai kesan lembut
Krayon- Juga lembut dan mempunyai kesan lilin
Pen marker- Menghasilkan kesan garisan tebal
Marker pelukisan (rendering marker)
Kapur -Kesan garisan yang tebal dan mudah tanggal
Jenis-jenis Kertas Lukisan
Kertas lukisan biasa sesuai untuk pensel, pen, arang dan krayon lembut.
Kertas cat air - tebal dan bermutu tinggi, mahal tetapi baik untuk digunakan.
Bod bristol - merupakan kertas bod putih yang keras dan licin yang dicipta untuk pen.
Kertas Ingres - kertas ini mempunyai permukaan yang halus dan berbulu. Ia terdapat dalam
pelbagai warna yang cerah. Biasanya digunakan untuk lukisan pastel
Lain-lain kertas seperti brown paper, kertas komputer, kertas arkitek, kertas taip, kertas
fotokopi, kertas suratkhabar.

Teknik
i. Coreng / conteng
ii. Garisan kontur
iii. Titik
iv. Pangkah silang
v. Garisan selari.
Menentukan Tema atau Subjek
(i) Lukisan figura -imej yang berkaitan dengan manusia atau haiwan
(ii) Lukisan alam benda - objek kaku atau tidak bernyawa
(iii) Lukisan lanskap - pemandangan di luar studio atau di dalam studio
Dalam menghasilkan lukisan yang bermutu, kita perlu mengambil kira beberapa aspek
seperti berikut:
(i) Asas senireka (unsur-unsur seni dan prinsip-prinsip rekaan)
(ii) Perspektif (1, 2, 3 titik lenyap)
(iii) Tetingkap fokus iaitu kaedah memilih sudut pandangan
(iv) Kesan cahaya pada imej
(v) Pembentukan bayang-bayang
(vi) Teknik (garisan selari, conteng, titik, teknik campuran dll)
(vii) Jenis alat, media dan bahan yang hendak digunakan
(viii) Teknik mengukur objek mengikut kadar banding

Lukisan merupakan kerja-kerja peringkat awal bagi menghasilkan kesan garisan dalam usaha
untuk menimbulkan sesuatu imej dengan menggunakan media kering atau media basah ( bukan

sapuan ). Media yang sering digunakan adalah seperti pensil, kapur, pen, krayon, arang, pastel,
marker pen dan pensil warna. Penggunaan warna dalam lukisan adalah terhad. jelasnya lukisan
bermaksud garisan yang membentuk imej tanpa menggunakan warna atau warna yang terhad.
Asas Sebelum Melukis
1. objek/ item
2. pencahayaan
3. perspektif

1. Objek / item
* Mengenal pasti objek yang
* Bentuk dan struktur
* Jalinan pada permukaan objek tersebut
* Warna - sekiranya menggunakan warna

hendak dilukis.

Kesan Cahaya dan Bayang

* Apabila melukis sesuatu objek, aspek bentuk, cahaya dan bayang adalah penting.
* Kesan cahaya amat penting bagi menimbulkan bentuk objek yang dilukis.
* Rupa yang berjisim akan kelihatan sempurna apabila dimasukkan unsur cahaya dan bayang
2. Pencahayaan
* Kesan dan kajian cahaya pada objek yang hendak dilukis
*

Kesan arah cahaya

* Kesan bayang objek

* Kualiti ton yang wujud

* Kesan Pantulan cahaya

3. Perspektif

* Pemahaman tentang perspektif amat penting bagi menentukan kedudukan objek yang kita lukis.
* Kedudukan pelukis akan menentukan objek yang dilukis
* Perspektif berbeza apabila dilihat dalam kedudukan yang berbeza
Jenis-jenis titik perspektif
1. Perspektif 1 titik lenyap

2. Perspektif 2 titik lenyap

3. Perspektif 3 titik lenyap

Peralatan
Alatan asas yang digunakan ialah :

Pensil
Pen
Dakwat
Arang/ charcoal
Pastel
Krayon
Marker

Pensil digunakan untuk membuat lakaran asas bentuk @ rupa

Pen dakwat digunakan untuk membuat pelbagai garisan / lorekan bagi memperlihatkan
struktur objek yang dilukis.

Pen pelbagai saiz mata digunakan bagi memperlihatkan jenis garisan yang digunakan.
Apabila membuat garisan / lorekan, pen hendaklah dikawal sebaik-baiknya untuk

memdapatkan kesan yang dikehendaki.

Garisan/ lorekan perlu dibuat dengan konsisten

Jika perlu, kertas lukisan hendaklah dipusing-pusingkan untuk mendapatkan kesan yang
dikehendaki.

Teknik Lukisan

Teknik Garisan

menggunakan pen, pensil atau dakwat, garisan disusun membentuk imej dan menimbulkan
bentuk untuk menimbulkan bentuk objek hendaklah menggunakan kualiti garisan.

Teknik Garisan Silang

Teknik Titik / Pointilistik

Menggunakan pensil, pen atau pen teknikal.

Titik-titik diolah dan disusun bagi menghasilkan ton yang dapat menimbulkan bentuk objek
yang dilukis.

Gabungan Teknik Melukis

Kaedah Melukis

Langkah 1
Kaji subjek yang hendak dilukis dan bahagikan subjek kepada bentuk-bentuk
mudah
Langkah 2

Mulakan dengan membuat

bentukbentuk geometrik yang
mudah. gunakan pensil dahulu

Langkah 3

Gunakan garisan bandingan menegak dan melintang untuk membetulkan subjek pada kertas
lukisan. Betulkan dengan menggunakan pensil.

Langkah 4

Buatkan perincian dengan pensil pada subjek yang dilukis. Perincikan bahagian ton cerah dan
juga ton gelap.
Langkah 5

Dengan menggunakan pen, lukis nkembali ke atas lakaran pensil yang dibuat. Dengan pelbagai
teknik garisan, perincikan subjek yang dilukis. Utamakan nilai ton cerah dan gelap dalam subjek.
Contoh-contoh Latihan Melukis
1. Alam Benda

Timbulkan bentuk pada objek-objek dalam lakaran di atas dengan memperlihatkan kesan
cahayanya.
Pemandangan
Alam Semulajadi

Drawing in Dry Media | Drawing

Techniques and Media
Updated on April 17, 2013 dicapai daripada
http://hubpages.com/art/Drawing-in-Dry-Media-Drawing-Techniques-and-Media

The dry media vary according to

the sources of the pigment and
the nature of the binding agent.
The quality of the line left by the
instrument depends on the
friction between the medium and
the ground on which it is applied.
The texture of the surface
abrades the drawing point or
edge, picking up small particles of pigment and thereby creating the line or tone.

Charcoal, which is manufactured by the slow carbonizing of sticks of wood (usually willow), is an
extremely friable material that crumbles readily when drawn across any textured surface. A broad
medium unsuited to fine line drawing, it is ideal for covering wide areas and has a rich tonal range
from the palest gray to pure black, depending on the pressure of application. Compressed charcoal in
crayon or pencil form is harder than the natural, or "vine," type.
Historically, the most significant dry medium has been natural chalk. It is found in several colors, but
black, white, and reddish chalks are most often used in old master drawings. The particular quality of
the chalk depends in part on the deposit from which it is cut. Generally, however, red chalks tend to be
harder than black and have been preferred therefore for a neater line and more precise manner of
draftsmanship. Artists have often combined several colors of chalk in a single drawing to produce a
pictorially rich image, not unlike the chiaroscuro drawings in wet media.

Artificially prepared chalks and pastels are fabricated by mixing a paste of powdered pigments and
water-soluble binding agents; this paste is then formed into sticks and dried. Crayons are made in a
similar fashion but with an oleaginous binder; their fatty substance leaves a rather different mark than
chalk, one that is firmer and chromatically more intense and hence less capable of subtle gradation.
The medium of metalpoint is suited to an extremely fine and delicate manner of drawing. The
implement itself is a stylus made of metalmost commonly lead, often silver, and occasionally gold.
When drawn across a specially prepared surface, usually a tinted ground, the stylus leaves a delicate
line. But the metalpoint is not responsive to variations in pressure, and its line is basically uniform.
Popular in the late Middle Ages and early Renaissance, the medium has been little favored since the
16th century.
The modern graphite pencil, in extensive use since the late 17th century, might be considered the
successor to the metalpoint. Closer to chalk in its friability, however, it is a much more pliable medium
than metalpoint, with a greater chromatic and textural adaptability.

The Function of Drawings

Updated on April 17, 2013

Villard de Honnecourt Silhouettes

Throughout the history of postmedieval art, at least until the 20th century, drawing has been a
technically ancillary, although essential, activity. It has served many purposes; but, unlike paintings,
drawings were not often made as ends in themselves, as finished works of art. One of drawing's
primary functions has been as a means of recording and preserving visual knowledge. Its other main
function has been to serve in the preparation of other works of artpainting, sculpture, or architecture.

Drawings for Reference

In medieval art, drawing was the fundamental carrier of visual traditions. Pictorial formulas and
iconographic types were recorded in drawings and collected in albums that became part of the working
material of the studio. From such a collection of exempla, or simile drawings, the artist could select the
appropriate model for the task at hand. Each page of such a model book generally contained several
motifs, distributed over the surface so as to maintain the clarity of each. The linework of the drawing
was characteristically simple, intent on preserving the basic pattern. The most famous of these model
books is the 13th-century album of Villard de Honnecourt.
The tradition of the model book continued through the 18th century, although the character of the
drawings changed considerably. Toward the end of the 14th century, studies after nature were
incorporated in the albums. These studiesas exemplified by the beautiful drawings of birds and
animals by the early Renaissance painter Pisanellopreserve a different kind of visual knowledge,
based on the direct observation of nature rather than on earlier prototypes.
In the late 15th century in Italy drawing was further developed as a means of preserving knowledge
gained in the new investigation of nature. The study of human anatomy was initiated by artists during
this era, and drawing was the indispensable means in this experience. In the anatomical drawings of

Leonardo da Vinci the eye and hand of the artist combine to decipher intricate organic forms and to
record the new knowledge with clarity.

Preparatory Drawings
Simile drawings and studies of nature by their very purpose were intended to be preserved for future
reference. Preparatory drawings, however, were in a sense consumed as they served their function
and were replaced by the finished work of art they helped create.
In medieval and early Renaissance mural decorations, preparatory drawings were done directly on the
wall. The design was sketched first with chalk or charcoal and then fixed, the basic lines retraced with
a brushusually with a red-ocher color called sinopia in Italian. This drawing would eventually
disappear beneath the layer of fine plaster to which the colors were applied.
Not until about 1400 did paper become cheap enough to allow the artist to use it freely as a ground for
dispensable drawings. In the Middle Ages the artist might work out his first ideas on wax tablets that
could be reworked and reused for each new project. As paper became more plentiful, however, it
replaced the wax tablet and expensive parchment and vellum as the common drawing ground, and in
the course of the 15th century new approaches to drawing and new categories of drawing evolved.

The artist could now experiment in drawing, working out his ideas in many small-scale sketches on
paper, slowly developing them until he was satisfied with a final composition. By their very nature, such
sketches are tentative, open statements, freely executed. Through their meandering lines the
draftsman explores the possibilities of various solutions. In the course of such exploration, new
unforeseen ideas are discovered, and sketching thus becomes a seminal experience in artistic
creation. Leonardo da Vinci, if not the first artist to utilize this approach, was the first fully to
comprehend the great potential and theoretical implications of the process.
In the second half of the 15th century in Italy, drawing on paper also came to replace the
preliminary sinopia drawing in the preparation of fresco decorations. Instead of drawing directly onto
the wall, the artist now prepared a cartoon (cartone in Italian), a full-size, carefully executed drawing
on large pieces of heavy paper. The entire composition was thus elaborated in drawing and then
transferred to the wall.
In the procedure evolved during the Renaissance, between the first rough sketches and the finished
cartoon lay a series of intermediary studies of the composition as a whole and of the various details
in particular, studies of the human figure, drawings made from a living model or from sculpture.
Exercises in drawing the human form became, in the 16th century, the fundamental educational
experience of the young artist, and even today life drawing is a standard feature of most art school
curriculums.
Another category of drawing related to the preparation of painting is the modello,or presentation
drawinga finished small-scale design intended to give the patron some idea of the final composition.
These drawings vary in technique; often they are chiaroscuro designs, but they might also be executed
in chalk or pen and ink.
It is impossible to distinguish absolutely between drawings with a specifically preparatory function and
those done apparently with no immediate end in view. Casual sketches after nature, for example, may
inspire more complex pictorial ideas and thus participate in the preparatory process. Furthermore, an
artist's stock of drawings serves as a record of his experiences, as a source of new ideas, and in this
way even the most random notation might eventually become as functional as a medieval simile
drawing.

Pensel warna

Arang

Soft Pastel

Pen Maker/ Pen Magic

Pensel
Pensel

Oil Pastel