1. Teknik-teknik mewarna
Washes
The most basic watercolor technique is the flat wash. It is produced by first wetting the area
of paper to be covered by the wash, then mixing sufficient pigment to easily fill the entire
area. The pigment is applied to a sloping surface in slightly overlapping horizontal bands
from the top down. Once complete the wash should be left to dry and even itself out - don't
be 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 be
diluted slightly with more water for each horizontal stroke. The result is a wash that fades out
gradually and evenly
Glazing
Glazing is a similar watercolor technique to a wash, but uses a thin, transparent pigment
applied over dry existing washes. Its purpose is to adjust the color and tone of the underlying
wash. Non staining, transparent pigments such as Rose Madder (or Permanent Rose), Cobalt
Blue and Auroline are ideal for glazing as they can be applied layer after layer to achieve the
desired effect. Be sure each layer is thoroughly dry before applying the next.
Wet in Wet
Wet in wet is simply the process of applying pigment to wet paper. The results vary from soft
undefined shapes to slightly blurred marks, depending on how wet the paper is. The wet in
wet technique can be applied over existing washes provided the are thoroughly dry. Simply
wet the paper with a large brush and paint into the dampness. The soft marks made by
painting wet in wet are great for subtle background regions of your painting.
Dry Brush
Dry brush is the almost the opposite watercolor technique to wet in wet. Here a brush loaded
with pigment (and not too much water) is dragged over completely dry paper. The marks
produced by this technique are very crisp and hard edged. They will tend to come forward in
your painting and so are best applied around the centre of interest
Lifting Off
Most watercolor pigment can be dissolved and lifted off after it has dried. Staining colors

2. such as Phthalo or Prussian Blue, Alizarin, Windsor Red, Yellow or Blue are difficult to
remove and are best avoided for this technique. The process for lifting off is simple - wet the
area 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 and
shapes
Dropping in Color
This technique is simply the process of introducing a color to a wet region of the painting and
allowing it to blend bleed and feather without interruption. The result is sometimes
unpredictable but yields interesting and vibrant color gradations that cant be achieved by
mixing 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 in
color. The paint follows the droplets across the page, and since the droplets run into each
other, the paint does not appear to be polka dots! I use this for painting all kinds of tree
foliage.
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 easily
lifted 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 caused
when the paint on the paper is still quite damp, and a drop of water or pigment that is very
wet, is dropped on the surface. The excess water makes the pigment float to the edge of the
puddle, creating a dark, jagged line around it. Sometimes this is good! Usually it is an
accident, but I have been known to use if for certain effects, especially when painting
flowers.
Alcohol Textures Watercolor Techniques
- Of course, you know that alcohol and water don‟t mix, therefore, alcohol, when sprinkled
into a wet wash of colour creates a texture. It repels the paint and pushes it aside. The effect is
different if you sprinkle alcohol first, and then add the paint. Quite an interesting
phenomenon.

3. When alcohol is sprayed onto the wet pigment, it causes a "foam" appearance and is great
when 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 on
the page. This is not always the case. It may have to do with the sizing in the paper. You just
need to try it first on a scrap of paper like the one you are painting on, so you can better see
the result you will get.
Tissue Paper Texture
- Tissue paper is useful in creating textures in foliage, rocks, etc. The paint on the surface
should 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 of
tissue.
Here's what the tissue paper technique looks like when I'm finished
Plastic Wrap Texture Watercolor Techniques
- Plastic wrap can be applied when the paper is wet, but must stay on the surface until the
paint is dry. First, create wrinkles in the plastic by wadding it up, and then flatten it out on the
surface of the paper (canvas or Claybord®). It can be pulled and stretched in different
directions to alter the texture.
To add to the texture, salt can be applied under the plastic. When the plastic is removed you
will have a texture much like this
If you need directional lines in your texture, it can be pulled and stretched in different
directions to alter the texture.
Plastic wrap can also be used on heavier pigment as a blotter like the tissue. It will pick up
the 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 create
texture.
If the pigment is too wet and thin, the color will just run back together after you lift the
plastic off the surface. Timing is everything when using these techniques

4. rujukan : http://www.watercolor-painting-tips.com/watercolor-techniques.html
Wet Into Wet
This watercolor technique is sometimes also referred to as wet-on-wet, or wet-into-wet. It
refers to the process of applying pigment to paper by first wetting the watercolor paper
thoroughly, and applying a wet brush loaded with pigment to the wet paper. As the pigment
spreads it creates very soft edges and gradations in value. If the pigment is sedimentary, the
particles will flow in the water until they settle into the pockets of the paper, or until the water
evaporates, leaving the pigment adhered to the paper. This is a wonderful technique for
painting 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 very
important, i.e. how much time you will wait before the first stroke of color.
Dry Brush
Technically, the Dry Brush technique utilizes no water or medium, only paint to wet the
brush. 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 of
paint. The effect is highly textured and is used for creating a variety of textured surfaces such
as foliage, bark, stone, clouds, etc..
Layer by Layer
Layer by layer is a technique where colors are applied layer after layer when the previous
layer is completely DRY. this is used when details are to be achieved. also portrait is a good
practice in this process as there is a little chance of a miss-paint. but one problem is the hard
edge. you have to be very careful. again too much light after a too much dark layer may
create unwanted separation. giving you an example.
Rujukan : http://watercolor4all.wordpress.com/techniques/

5. Sumber idea
Gabungan idea
Idea kesimpulan
Komposisi

6. Rules of third
Leading lines
lakaran akhir
Kajian warna
Proses penghasilan karya
penyata karya
RUJUKAN/BIBILIOGRAFI
http://watercolor4all.wordpress.com/techniques/
http://www.watercolor-painting-tips.com/watercolor-techniques.html
http://www.scribd.com/doc/46539012/SEJARAH-CATAN-DUNIA
http://prpm.dbp.gov.my/Search.aspx?k=kemelut.
http://sajak2pendek.blogspot.com/2011/05/kemelut.html
http://prpm.dbp.gov.my/Search.aspx?k=kemelut
http://ms.wikipedia.org/wiki/Seni_lukis
http://seni-lukis.blogspot.com/2005/05/lukisan-bayu-papar-soal-kemasyarakatan.htm

7. 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

8. Rumusan
TAJUK: CETAK ROMPAK
TEMA: 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 penghasilan
karya saya ini kerana berjaya melakukannya dengan baik dan mengikut kehendak seperti
yang telah ditetapkan.
Melalui tajuk „kemelut‟, saya telah menganalisis kemelut cetak rompak yang semakin
berleluasa. Kewujudan cetak rompak telah banyak merugikan pihak industri seni tanah air.
Berdasarkan karya ini saya telah meletakkan gambar perompak yang sering dikaitkan dengan
gejala cetak rompak. saya juga meletakkan CD ROM kerana terdapat CD ROM yang
mengandung hasil dari cetak rompak.
Selain itu, saya juga meletakkan gambar bangunan runtuh sebagai kesan daripada gejala
cetak rompak yang menunjukkan kejatuhan industri perfileman.Justeru,saya memperlihatkan
logo hak cipta yang dikunci oleh phak yang tidak prihatin dan menunujukkan keadaan yang
dihadapi oleh para pengkarya apabilah hasil seni mereka dikuasai.
Oleh itu, kemelut cetak rompak yang saya hasilkan dapat menyedarkan
individu,masyarakat dan negara agar negara kita bebas dari aktiviti cetak rompak dan ahli-
ahli seni tanah air dapat mempersembahkan lagi pelbagai filem yang terbaik tanpa
memikirkan kerugian lagi.

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