FULL FLIPBOOK

My illustration

Diary.

FARHANA SALLEH

My illustration

Diary.

by Farhana Saeh

UITM PUNCAK ALAM Ad241 -1A 2021898156

Table
Content

MYSELF
ACKNOWLEDGEMENT
FOREWARD
INTRODUCTION
THE MATERIAL

PENCIL
PENCIL COLOR
PEN INK
WATERCOLOR
DIGITAL MEDIA
WATERCOLOR

TECHNIQUE

STIPPLING
FINAL STIPPLING
STIBBLING
FINAL STIBBLING
CROSS-HATCHING
FINAL CROSS-HATCHING
TONAL
FINAL TONAL
CIRCLING
FINAL CIRCLING
CONTOUR
FINAL CONTOUR

DRY ON DRY
FINALDRYON DRY
WETON DRY
FINALWET ON DRY
WETON WET
FINALWET ON WET
FILTER MEDIA
FINAL OCEAN RIPLE FILTER
FINAL CUTOUT FILTER
FINAL DRYBRUSH FILTER
THE TOOLS USED
TOOLS
CONCLUSION
REFRENCES

Myself

My name is Nurul Farhana bt Wan Mohd Salleh.I am also the youngest child in my family.
I live in Kemaman, Terengganu. My professional aspiration is to obtain a bachelor’s
degree in graphic design related course at the university, which would promote my
career goal of being a graphic designer. The reason why I want to pursue a degree in
the graphic design line is to someday be able to be a professional graphic designer.
Hence, I study hard because without a degree I cannot attain these goals. Aside my love
for everything design related, I love to travel and meet new people. I am an outgoing
person and I love to have fun. My live centres on improving humanity and I love where
I am at right now. My favourite subjects are art, literature and music. I love to draw,
paint and read books. This is how I often clear my head or distress myself. I desire to
go to the university and obtain a degree in any art related course. This will help me to
become a successful person and also impact the lives of others while I am at it.
Although, I love my art classes and literature lessons too. I’m always looking for ways
to develop my skills and learn new things not just in school but outside the school
environment. I share ideas with my friends, we learn interesting things about one
another, and most of the people. I associate with I met with while on the lookout for
ways to advance my skills.

Farhana Salleh

Acknowledgmnet

In the accomplishment of this project successfully, many people have bestowed upon
me their blessings and the heart pledged support, this time i am utilizing to thank all the
people who have been concerned with project.

I would like to thank my parents and friends who have helped me with their valuable
suggestions and guideline has been helpful in various phases of the completion of the
project. Last, but not least, I would like to thank my classmates who have helped me a lot
to success this project.

The success and final outcome of this assignment required a lot of guidance and
assistance from many people and we extremely fortunate to have got this all along the
completion of our assignment work. Whatever we have done is only due to such guidance
and assistance and we would not forget to thank them. I respect and thank to Madam
Ainun Jariah bt Yaacob for giving we an opportunity to do this assignment work and
providing us all support and guidance which made me complete the assignment on time,
We extremely grateful to her for providing such a nice support and guidance.

Foreword

Introduction

An illustration is a decoration, interpretation or visual explanation of a text, concept or
process, designed for integration in print and digital published media, such as posters,
flyers, magazines, books, teaching materials, animations, video games and films. An
illustration is typically created by an illustrator. Digital illustrations are often used to
make website and application more user-friendly, such as the use of emoji to accompany
digital type. Illustration also means providing an example either in writing or in picture
form.

In my diary illustration, I choose this subject matter because, first, I choose grapes as my
pencil color material. The material of color pencil, I make three technique, which is
circling, tonal and contour. A circling technique is make repetition circle on the sketch.
Next, tonal drawing refers to the effect produced by pencil strokes applied so closely
together and so compactly that they appear to merge. Contouring is a technique for
sculpting and adding dimension to your face by using makeup that is slightly darker or
lighter than your actual skin colour.

Next, I choose subject matter from internet which is, pear, cherry and eggplant. First,I
choose pear as my ink material while I choose cherry as my pencil material. I make
three technique which is cross-hatching, scribbling and stippling. Cross-hatching is
technique filling in the appropriate areas with a mass of parallel lines, of varying length.
When these lines are crossed by others, the process is known as cross-hatching.
Scribbling is an excellent technique to use when drawing specific subjects like trees or
hair because it not only creates values, but also transmits a sense of texture. When
stippling, tone and texture is built up by applying dots in different densities. This technique
takes time and you have to make sure that you don't start creating lines instead of dots.

In addition, eggplant is my subject matter of watercolor material. I make three technique
which is, wet on wet, dry on dry and wet on dry. Wet on wet painting is a painting
technique in which new paint is applied to previously applied paint that has not dried yet.
The dry on dry technique is also known as a dry brush technique. Paint with the Royal
oval wash brush, then dry it out even more on a sheet of paper towel before lightly
brushing onto your paper. Applying wet paint onto dry paper, or wet paint onto an area of
dry paint. This technique allows for more control and crisp, defined edges. The paint will
only go where your brush takes it.

“Painting is
just another

way of
keeping
a diary.”

- Pablo Pica o -

The
Material

Pencil

STIPPLING

2b + 4b + 8b

CROSS- HATCHING
2b + 8b

SCRIBBLING

2b + 4b + 6b

Pencil Colour

TONAL

Luna color pencil

TONAL

Luna color pencil

CIRCLING

Luna color pencil

Pen Ink

CROSS-HATCHING
artline marker

SCRIBBLING
artline marker

STIPPLING
artline marker

WET ON DRY

DRY ON DRY

Watercolor

WET ON WET

OORRIIGGIINNAAL L ORIGINAL

CUTOUT FILTER DRY BRUSH FILTER

Digital Media

ORIGINAL OCEAN RIPLE FILTER

“There is
nothing
more truly
artistic than
to love people”

- Vincent Van Gogh -

Technique

Stippling

Step 1 Step 2

Choose a starting point. Looking at the Keep all the dots evenly spaced. Although
original image, decide where you will you can put some dots close together and
begin your stippling on your drawing. others far apart, the nished work will look
Typically, it is easiest to choose the darkest more attractive if the dots are evenly spaced.
point on your drawing. That is because Be careful to always lift your pen completely
you have more room for mistakes in the off the paper before setting it back down.
dark sections, because you can just add Than if you are patient and take your time.
more dots to cover up anything you might Stippling is a very time-intensive practice, so
do wrong. be prepared to put many hours

Step 3 Step 4

Add in detail. As the major shapes begin to Finish your project. Stippling can take a very
appear, start adding small dots in patterns long time to complete, so don’t rush your
to form lines and shapes. From far away, work. When, however, you believe you are
these dots will appear to be lines. Close-up nished with your work, take a step back
though, you’ll see them as they really are. and look at it from afar. The true test of
pointillism is its ability to create shapes and
gures at a distance, not just when you’re
standing close. If your stippling is dense, from
far away the dots should look like shapes
that were drawn, rather than just dots.

Final Stippling

Stibbling

Step 1 Step 2

Draw what your subject feels like or what Don’t stop the pencil, and don’t pick it up off
it’s doing. When you do a gesture drawing, the paper. Gesture drawings should only
you’re not only making a loose, scribbly take about a minute or two to complete.
sketch of what the subject looks like, but You don’t work at gesture drawings you let
you’re also trying to determine what them happen. Just put the pencil to paper
you feel is the essential character or action and begin to draw loosely with an
of your subject. uninterrupted movement of your hand and
shoulder.

Step 3 Step 4

Make your scribble t the paper so no part If you need to make a mark on the top of
of your subject matter is left off. If you start the paper for the topmost part of your
too large, just scribble it smaller right on the subject and then make a mark on the
paper. This is one of the most important bottom for the lowest part, do it. By
parts of gesture drawing. consciously trying to make whatever you
draw t on the paper, you’ll get in the habit
of seeing how the size of the various parts
of your subject are related

Final Stibbling

Cross Hatching

Step 1 Step 2

Sketch the outline of an object in pencil. Draw hatch lines where shadows fall on the
Before cross hatching, you'll need to draw object. Sketch your base layer of standard
the actual shape or object you want to hatch marks into the outline. Keep the hatch
shade. marks in each section parallel to one another.
For this step, use a pencil and press lightly.
Step 3 Place more hatch marks closer together in
sections that need heavier shading.
Add in cross hatch lines. Sketch a layer
of perpendicular or near-perpendicular Step 4
cross hatch marks over the base layer
of hatch lines. Try to keep the spacing, Go over the outline of the drawing rst,
number, and placement of these cross then work on tracing each section of cross
hatch marks similar to that of the base hatch marks. Work carefully and try to
hatch marks, so areas of the drawing follow your previously created marks as
with more hatch marks should also have closely as possible. You can add additional
more cross hatch marks cross hatch marks as needed, but try not
to get carried away since you won't be able
to undo any of the marks you make in
this step.

Step 5

Use a sharp pencil or ink. Since cross
hatching requires you to draw thin lines
close together. Even if you want the nal
drawing to be inked, it's still a good idea
to start the drawing with pencil. Use a
drawing pencil, mechanical pencil or
use ink 0.5-1.0mm

Final Cross Hatching

Tonal

Step 1 Step 2

Doing this can be an easy way for you Learn how to simplify when making a tonal
to be able to get an idea of what the value drawing. In order to simplify you need
values look like without the distraction to compartmentalize the values you see into
of colour. simply take a photo of it and categories. For example, all the light values
put a monochromatic lter over it. you see should be categorized as ‘light values’,
It can be a great tool all the middle value values you see would be
in the ‘middle value; category, and all the
dark values you see would be in the
‘dark values’ category.

Step 3 Step 4

When making a tonal value drawing Main values present Light, medium and dark.
even more complex objects can easily be By only using three values, we can get a sense
simplied by categorizing their values. of light from the drawing very quickly. In
addition, there are very clear value shapes.
For example, if you look at the petals you
will notice that they have very clear and
distinctive shapes.

Final Tonal

Circling

Step 1

Firstly, draw the subject matter using the
material that you use. Use the light pencil
to draw the subject matter.

Step 2

Do the circling technique around the subject
matter. Fulll the subject matter with full off
small circling. On the darkens part, make sure
do more circling these part to looks different
with the shadow.

Final Circling

Contour

Step 1

For your rst contour drawing, we recommend choosing
just one object to draw, as this will be easier to focus on
than several objects. Put the object or place your seat in
a spot where you have a clear view of the object.

Step 2

contour art begin by drawing lots of short lines because
they aren’t used to not looking at their paper, and they
don’t want to make too big of a mistake by drawing a
long line that doesn’t follow the object’s lines.

Step 3

It can be tempting to rush through contour drawing
exercises, especially if you’re used to drawing detailed
pieces where the outline is only the rst step. Slow down
and concentrate on replicating the outline of the object.

Final Contour

Dry On Dry

Step 1 Step 2

Recommend a watercolour paper that has a A small, medium and large round brush,
weight of 140lb. (300gsm). Our 300 Series a at brush, and a mop brush is a great
Watercolour paper is a great, economical way to start. Each brush is created for an
place to start that will let you practice, intended purpose.
experiment and create beautiful work.

Step 3

The dry-on-dry technique is also known as a dry
brush technique. Use only the minimum amount
of water when picking up paint with the Royal
oval wash brush, then dry it out even more on a
sheet of paper towel before lightly brushing onto
your paper. This technique is good for creating
a rough-looking texture. You can vary the
pressure you put on your brush, and also use
different shapes and sizes of paintbrushes to
achieve different results.

Final Dry On Dry

Wet On Dry

Step 1 Step 2

Recommend a watercolour paper that A small, medium and large round brush, a
has a weight of 140lb. (300gsm). Our at brush, and a mop brush is a great way
300 Series Watercolour paper is a great, to start. Each brush is created for an
economical place to start that will let intended purpose.
you practice, experiment and create
beautiful work.

Step 3 Step 4

Applying wet paint onto dry paper, or Your paper is dry. You load your brush
wet paint onto an area of dry paint. This with your colours and then apply them on
technique allows for more control the dry paper. This also creates hard edges
and crisp, dened edges. The paint will and you need to soften them immediately
only go where your brush takes it. before the washes is completely dry. I use a
moist brush and then soften my edges. You
also can use this method for mixing colours
on your paper. Just apply your colours
maybe side by side and let them ower into
each other. As long as the wash is wet the
colours will ow.

Final Wet On Dry

Wet On Wet

Step 1 Step 2

Recommend a watercolour paper that A small, medium and large round brush,
has a weight of 140lb. (300gsm). Our a at brush, and a mop brush is a great
300 Series Watercolour paper is a great, way to start. Each brush is created for an
economical place to start that will let intended purpose.
you practice, experiment and create
beautiful work.

Step 3 Step 4

Wet paint is applied to wet paper, or It's important to lay down your light colours
added to a wash of fresh paint. This rst and work towards the darker colours.
creates a uid, fun and unpredictable Have patience there's no rush. We start
effect. There is less control with a wet with the light colours rst because once you
on wet technique. To try it, lay down lay down the dark colours, it's hard to undo.
clean water on the paper, then add Due to the transparency of watercolour,
watercolour paint to the wet areas. your light colours won't show if they're
You'll see the paint ows to the covered up by dark colours. Also, the white
wet areas. and light areas of your painting are coming
from the paper

Final Wet On Wet

Filter Media

Make two layer and using ocean
riple lter and erase part of orange
to focus their subject. Adjustment
their saturation to see their effect.
Using Photoshop software added
with cutout lter and add on blue
colour on colour balance. Adjustment
their contras to see more effect.
Make dry brush lter on the software
Photoshop. Add on contrast to see
their outline of the subject matter.
Adjustment the saturation to make
background of darker from subject.

Final Ocen Riple Filter

Final Cutout Filter

Final DryBrush Filter

“Art is not
what you see,

but what
you make
other’s see”

- Edgar Degas -

The
tools Used



Conclusion

Lastly, with the projects I have done, I have gained a lot of experience. among them is the
experience of being patient when the things we do cannot satisfy ourselves. however, with this
project, I gained a lot of knowledge about new skills such as, how to use watercolour and how to
apply on paper. Furthermore, I also feel proud because from the beginning I did not know that
dry media likes can use many techniques, for example, circling, tonal, contour and so on. This
project also gives me how to be condence and express my feelings through art. Another
experience I got was about time. time taught me, for example, when using watercolour and
using wet on dry technique, when it is a little late, the colour will change and not get the colour
we want. with time, I learned not to waste time in this project because time also gives great
impact in completing this project perfectly.

Refrences

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“Art is a
way of
survival”

- Yoko Ono -



I Dream of Painting,
and then I Paint
My Dream

- Vincent Van Gogh -

Farhana Salleh