Which definition is most consistent with the concept of aerial perspective. §8 Practical advice

04.07.2020

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Kuzmina G.N.
additional education teacher
MAU DO MEC
(painting, fine arts)

Tests for knowledge of the basic criteria of painting

1. Which of these colors is not "warm":
A) yellow;
B) red;
B) Orange;
D) blue
2. Which definition is most consistent with the concept of "aerial perspective":
A) the art of depicting three-dimensional space on a plane;
B) change in the size of objects depending on their distance from the point of observation;
C) changing the color of an object depending on its distance from the point of observation;
D) proportional change in objects.
3. Primary colors are ...
A) red, purple, green;
B) red, blue, yellow;
B) yellow, blue, green;
D) yellow, blue, orange.
4. Harmonious combination, relationship, tonal combination of different colors in the picture is called:
A) local color
B) color
B) contrast
5. Performing a painting, you must adhere to the following sequence:
A) from general to specific;
B) from cold to warm;
B) from light to dark.
6. What kind of lighting does not reveal the shape, volume and texture of the objects being depicted.
A) backlit
B) frontal
B) lateral
7. What form of painting can convey the volume of objects in space, their relationship with the environment.
A) abstract
B) decorative
C) realistic
8. What stage can be neglected when writing a short sketch of the head.
A) sculpting the form
B) color-tonal relationships
C) elaboration of details
9. The type of painting, which is based on the principle of stylization:
A) realistic
B) decorative
C) abstract
10. A type of painting, which is based on a non-descriptive color composition.
A) decorative
B) abstract
C) realistic
11. To write life, to write lively, ie. to convey reality fully and convincingly is:
A) painting
B) drawing
C) DPI
12. Work done from nature is:
A) etude
B) sketch
13. When performing a sketch of the head, which angle is most favorable for conveying volume:
A) fas
B) profile
B) three quarters
14. Certain established systems of methods of work, which were developed by various national schools.
A) painting technique
B) materials for gouache painting
15. Drawing for gouache painting is usually done6
A) coal
B) with a felt-tip pen
B) pencil
16. When working on a landscape from nature, how long does it take for the state of nature to change completely:
A) two hours
B) four hours
C) thirty minutes
17. Harmonious states, interconnection, tonal combination of different colors in a picture are:
A) flavor
B) lightness
B) monochrome
18. The main color of an object without taking into account external influences is:
A) reflex
B) local color
B) semitone
19. The main tasks of realistic painting:
A) write lively, catchy
B) write in a relationship
C) use more color
20. Which of the following thinners is used in gouache painting:
A) water
B) turpentine
B) acetone
21. What is the most important stage when writing a study for a state:
A) elaboration of details
B) color relationships
C) sculpting the form
22. How does work on a pictorial sketch begin:
A) elaboration of details
B) layout in the format
C) construction
D) laying out the basic color and tonal relationships
23. Which of these colors does not belong to the achromatic group:
A) white
B) purple
B) gray
D) black
24. If the artist depicts only seascapes, then they are called:
A) "Marina"
B) "Svetlana"
C) "Elena"
25. Applying one layer of paint to another is called:
A) glaze
B) alla prima
B) raw
26. Which color is not chromatic:
A) red
B) white
B) blue
D) blue
27. Gray appears lighter on black, and darker on white. This phenomenon is called:
A) light contrast
B) color
B) color contrast
28. Painting a complex plastic shape - a sitter's head should be based on knowledge:
A) the anatomical design of the skull
B) art history
B) linear perspective
29. Reflex in relation to the illuminated part of the sitter's head is always:
A) lighter
B) darker
B) exactly the same
30. The picturesque method, in which the color of each detail of the performance is taken at once in full force, in one layer, is called:
A) glaze
B) raw
C) "alaprima"
31. Choose the correct sequence:
A) generalization, layout, molding, construction
B) layout, molding, construction, generalization
C) construction, layout, molding, generalization
D) layout, construction, molding, generalization.
ANSWERS TO PAINTING TESTS
1.G
2.In
3. B
4.B
5.A
6.A
7.In
8.In
9.B
10.B
11.A
12.A
13.In
14.A
15.In
16.A
17.A
18.B
19.B
20.A
21.B
22.B
23.B
24. A
25.B
26.B
27. A
28. A
29.B
30. In
31. G

The concept of "Painting" (didactic unit).

1. Which of these colors is not "warm":
A) yellow;
B) red;
B) Orange;
D) blue
2. Which definition is most consistent with the concept of "aerial perspective":
A) the art of depicting three-dimensional space on a plane;
B) change in the size of objects depending on their distance from the point of observation;
C) changing the color of an object depending on its distance from the point of observation;
D) proportional change in objects.
3. Primary colors are
A) red, purple, green;
B) red, blue, yellow;
B) yellow, blue, green;
D) yellow, blue, orange.
4. Harmonious combination, relationship, tonal combination of different colors in the picture is called:
A) local color
B) color
B) contrast
5. Performing a painting, you must adhere to the following sequence:
A) from general to specific;
B) from cold to warm;
B) from light to dark.
6. What kind of lighting does not reveal the shape, volume and texture of the objects being depicted.
A) backlit
B) frontal
B) lateral
7. What form of painting can convey the volume of objects in space, their relationship with the environment.
A) abstract
B) decorative
C) realistic
8. What stage can be neglected when writing a short sketch of the head.
A) sculpting the form
B) color-tonal relationships
C) elaboration of details
9. The type of painting, which is based on the principle of stylization:
A) realistic
B) decorative
C) abstract
10. A type of painting, which is based on a non-descriptive color composition.
A) decorative
B) abstract
C) realistic
11. To write life, to write lively, ie. to convey reality fully and convincingly is:
A) painting
B) drawing
C) DPI
12. Work done from nature is:
A) etude
B) sketch
13. When performing a sketch of the head, which angle is most favorable for conveying volume:
A) fas
B) profile
B) three quarters
14. Certain established systems of methods of work, which were developed by various national schools.
A) painting technique
B) materials for gouache painting
15. Drawing for gouache painting is usually done6
A) coal
B) with a felt-tip pen
B) pencil
16. When working on a landscape from nature, how long does it take for the state of nature to change completely:
A) two hours
B) four hours
C) thirty minutes
17. Harmonious states, interconnection, tonal combination of different colors in a picture are:
A) flavor
B) lightness
B) monochrome
18. The main color of an object without taking into account external influences is:
A) reflex
B) local color
B) semitone
19. The main tasks of realistic painting:
A) write lively, catchy
B) write in a relationship
C) use more color
20. Which of the following thinners is used in gouache painting:
A) water
B) turpentine
B) acetone
21. What is the most important stage when writing a study for a state:
A) elaboration of details
B) color relationships
C) sculpting the form
22. How does work on a pictorial sketch begin:
A) elaboration of details
B) layout in the format
C) construction
D) laying out the basic color and tonal relationships
23. Which of these colors does not belong to the achromatic group:
A) white
B) purple
B) gray
D) black
24. If the artist depicts only seascapes, then they are called:
A) "Marina"
B) "Svetlana"
C) "Elena"
25. Applying one layer of paint to another is called:
A) glaze
B) alla prima
B) raw
26. Which color is not chromatic:
A) red
B) white
B) blue
D) blue
27. Gray appears lighter on black, and darker on white. This phenomenon is called:
A) light contrast
B) color
B) color contrast
28. Painting a complex plastic shape - a sitter's head should be based on knowledge:
A) the anatomical design of the skull
B) art history
B) linear perspective
29. Reflex in relation to the illuminated part of the sitter's head is always:
A) lighter
B) darker
B) exactly the same
30. The picturesque method, in which the color of each detail of the performance is taken at once in full force, in one layer, is called:
A) glaze
B) raw
C) "alaprima"
31. Choose the correct sequence:
A) generalization, layout, molding, construction
B) layout, molding, construction, generalization
C) construction, layout, molding, generalization
D) layout, construction, molding, generalization.

ANSWERS TO PAINTING TESTS

G
V
B
B
A
A
V
V
B
B
A
A
V
A
V
A
A
B
B
A
B
B
B
A
B
B
A
A
B
V
G

Attached files

|| Chapter 3 || Chapter 4 || Chapter 5 || Chapter 6 || Chapter 7 || Chapter 8 || Chapter 9 || Chapter 10 || Chapter 11 || Chapter 12

When performing a piece of painting, you must adhere to a certain sequence. Usually, an artist begins work on a painting or wall painting by completing several small sketches, in which he concretizes his idea. For the same purpose, he can perform sketches from nature.

Then the artist makes a drawing of the future painting. He can use a pencil, charcoal or thinner paint and a thin brush for this. It is possible to produce the so-called "tracing paper" or "cardboard" in the case when the drawing needs to be transferred to some surface. Sometimes artists skip this stage of work and immediately start painting with paints without a preliminary drawing.

There are many ways to paint on a plane. Some artists prefer to use the glaze technique: apply thin transparent layers over the dried paint layer. Others achieve the desired color scheme in one coat, while still others use separate strokes.

The artist can simultaneously work on drawing, composition, sculpting forms, transferring space and color. P. Cezanne loved to work so much, especially when he painted his landscapes or still lifes from nature.

However, this path is not available to everyone. One must have excellent visual memory, accurate drawing, compositional thinking, and an impeccable sense of color.

Most artists prefer to work from the general to the particular, gradually applying the main color of objects and following the modeling of the volume. Then they clarify the nuances of color, color reflexes, and the overall coloring of the picture. At the last stage, they again proceed to generalization. For the sake of achieving the integrity of the work, you can remove unnecessary details, weaken contrasts, highlight the main thing. This is how the wonderful artist A. A. Ivanov loved to work. He did a great deal of preparatory work before creating the painting "The Appearance of Christ to the People." Numerous pictorial sketches exhibited next to this painting in the Tretyakov Gallery help to trace the creative search of the author.

For educational purposes, it is better to work on a pictorial composition consistently. Find out some of the secrets and secrets of painting will help you say the masters, placed at the end of this book.

Artists-painters convey the beauty of the world around them with the help of paints. You can choose any base: canvas, paper, cardboard, board, wall, etc. The base is usually primed with special compounds. Painters use a variety of paints: gouache, watercolor, oil tempera, etc. Are the paints applied to the bases? round and flat brushes of different thicknesses. Sometimes they use a palette knife for this, a rag, they even apply paint with a finger, but it is still better to create paintings with the help of special tools, and not with improvised means. The writing technique, its features largely depend on the properties of paints, solvents, tools.

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Rule of transmission of motion. The subject in the painting will appear to move under the following conditions:

* if one or more diagonal lines, directions of movement are used on the cardine; * if you leave free space in front of a moving object;

* if you choose a certain moment of movement, which most clearly reflects its character, it is its culmination.

In addition, the image will appear to be moving if it recreates not one moment of movement, but its successive phases. For example, on the ancient Egyptian relief. Each of the figures froze in a certain position, but looking at the composition in a circle, you can see the sequence in movement.

The movement is understandable only when considering the work as a whole, and not individual moments of movement. Free space in front of a moving object makes it possible to mentally continue the movement, as if inviting us to move with it.

In another case, when the object is depicted too close to the edge of the sheet, it seems that the movement is not possible to continue.

You can emphasize movement by using the direction of the lines in the drawing. For example, if all the lines are directed deep into the sheet. The expressiveness of the movement is achieved if the hero is depicted at the moment of the highest tension of his forces. A blurred background also gives a sense of movement. unclear, indistinct contours of objects. A large number of vertical or horizontal background lines can slow down movement.

Changing the direction of movement sometimes speeds up or slows it down. The peculiarity of our vision is. that we read the text from left to right, and it is easier to perceive the movement from left to right, it seems faster.

Static transfer rule. The composition is considered static under the following conditions;

* if there are no diagonal directions in the picture;

if objects are depicted as calm (static) by sax, there is no culmination of action;

if the composition is symmetrical, balanced or built on the basis of simple geometric schemes (triangle, circle, oval, square, rectangle).

A sense of peace can arise in a work of art under other conditions.

For example, in K. Korovin's painting "Winter", despite the presence of diagonal directions, a horse with a sleigh stands calmly, there is no feeling of movement for the following reasons: the geometric and compositional centers of the picture coincide, the composition is balanced, and the free space in front of the horse is blocked by a tree.

Highlighting the plot-compositional center: When creating a composition, it is necessary to determine what will be the main thing in the picture, and take care of how to highlight this main thing, that is, the plot-compositional center, which is often called the "semantic center" or "visual center" of the picture.

Of course, not everything is equally important in the plot, and the secondary parts obey the main one. The center of the composition includes the plot, the main action and the main characters.

The compositional focus should be the focus of attention first. The center is distinguished by illumination, color, image enlargement, contrasts and other means.

The compositional center is distinguished not only in paintings, but also in graphics, sculpture, decorative arts, architecture. For example, the Renaissance masters preferred that the compositional center coincided with the center of the canvas.

By placing the main characters in this way, the artists wanted to emphasize their important role, significance for the plot.

Artists have come up with many options for constructing a painting by placing the center of the composition anywhere on the canvas. This technique was successfully used to convey movement, dynamics of events, rapid development of the plot in the painting by V. Surikov "Boyarynya Morozova".

Rembrandt's painting "The Return of the Prodigal Son" is a classic example of a composition, where the main thing is strongly shifted from the center for the most accurate disclosure of the main idea of the work.

The plot of this picture is inspired by the gospel parable. On the threshold of their home, father and son met, who had returned after wandering around the world. Painting the rags of the wanderer. Rembrandt as if conveys a story about the difficult path traveled by his son.

One can look at this back for a long time, sympathizing with the suffering of the lost one. The depth of space arises due to the sequential weakening of cut-off and color contrasts, starting from the foreground. In fact, it is built by the figures of the witnesses of the sienna of petition, gradually dissolving in the twilight.

The blind father put his hands on his son's shoulders as a sign of forgiveness. This gesture contains wisdom, pain and longing, accumulated over the years, lived in anxiety, and forgiveness. Rembrandt highlights the main thing in the picture with light, focusing our attention on it.

The compositional center is almost at the edge of the painting. The artist balances the composition with the figure of the eldest son, standing on the right. The placement of the main semantic center at one third of the height distance corresponds to the law of the golden section.

Since ancient times, artists have used it to achieve the greatest expressiveness of their creations.

The rule of the golden ratio in composition(one third). To identify the compositional center, the most important element of the image is placed in accordance with the proportion of the golden ratio, that is, approximately at the distance "Dot of the whole. The proportional aspect ratios of the depicted objects and the canvas itself should be built on the basis of the golden ratio to achieve harmony.

Pictures with two or more compositional centers make it possible to show several events occurring simultaneously and of equal importance.

Consider Velasquez's painting "Menina" and its scheme. One compositional center of the picture is the young Infanta. The maids of honor, the meninas, bowed to her from both sides. In the geometric center of the canvas there are two contrasting spots of the same shape and the same size. They are opposite, like day and night, one white, the other black - these are two exits to the outside world - another compositional center of the picture.

One way out is a sunlit door. The other is a mirror reflecting the royal couple. The second exit can be perceived as an exit into a secular society. The contrast between light and dark principles in the painting can be understood as a dispute between the artist and the ruler.

The characters depicted by the artist are numerous enough for the imaginative viewer to compose portraits related by similarities or contrasting with each other (artist and king, courtiers and elite, beauty and ugliness, child and parents, people and animals).

In one picture, you can use several methods at once to highlight the main thing.

For example, the technique of "isolation" (the image of the main thing in isolation from the rest of the objects) can be used, highlighting the main one with size and color.

It is important to use the methods of highlighting the plot-compositional center not formally, but in this way. in order to best reveal the concept and content of the work.

Transfer of symmetry and asymmetry in the composition. Artists from different eras used a symmetrical construction of the picture. Many ancient mosaics were symmetrical. Renaissance painters often built their compositions according to the laws of symmetry. Such a construction allows you to achieve the impression of peace, majesty, special solemnity and significance of events. In a symmetrical composition, people or objects are located almost mirrored in relation to the central axis of the picture.

Symmetry in art is based on reality, replete with symmetrical forms.

For example, a human figure, a butterfly, a snowflake, etc. are arranged symmetrically. Symmetrical compositions are static (stable), the left and right halves are balanced.

In an asymmetric composition, the arrangement of objects can be very diverse, depending on the plot and design of the work, the left and right halves are not balanced.

Transfer of balance in the composition. In a symmetrical composition, all parts are balanced, an asymmetric composition can be balanced and unbalanced. A large light spot is balanced by a small dark spot.

Many small spots can be counterbalanced with one large one. There are many options: the parts are balanced in terms of mass, gon and color. Equilibrium concerns both the figures themselves and the gaps between them.

Special exercises develop a sense of balance in the composition. It is necessary to learn how to balance large and small sizes, light and dark, various silhouettes and color spots. It will be helpful here to recall your experience of finding balance on a swing.

Everyone can easily figure out that one teenager can be balanced by putting two kids on the other end of the swing. And the baby can even swing with an adult who sits not on the edge of the swing, but closer to the center.

The same experiment can be done with weights. Such comparisons help to balance different parts of the picture in size, tone and color to achieve harmony, that is, find balance in the composition.

In an asymmetric composition, balance is sometimes completely absent if the semantic center is closer to the edge of the picture. The impression of a painting changes when you look at its mirror image. This property of our vision must also be taken into account in the process of finding balance in the composition.

Compositional rules, techniques and means are based on the rich creative experience of artists of many generations, but the technique of composition does not stand still, it is constantly evolving, enriched by the creative practice of new masters. Some methods of composition become classical, but new ones appear, since life sets other tasks for art.

3 ... Gouache as one of the materials and painting techniques

3.1 Picturesque art materials and techniques

Painters convey the beauty of the surrounding world with the help of paints: gouache, watercolors, tempera, oil, etc. You can choose any base: canvas, paper, cardboard, board, wall, etc. The base is usually primed with special compounds. Paints are applied to the base with round and flat brushes of different thicknesses. Sometimes a palette knife is used for this. knife. a rag, even a finger, but it is still better to use special tools, rather than improvised means.

The paints are laid out on a palette and mixed to obtain the desired color shade. A palette is a small, thin board with a rectangular, oval, or other shape. Palette for oil painting are made mainly of wood, and for work watercolor and gouache- made of white plastic, sometimes with indentations for paints. I sometimes use it as a palette! white saucer, tile or sheet of paper. The list of paints that the artist uses is also called a palette. In this sense, the term "palette" is close to the concept of "color".

The writing technique, its features largely depend on the properties of paints, solvents, tools. Until the end of the 17th - beginning of the 18th century. artists and apprentices prepared paints on their own, usually the students were entrusted with this. They ground the stones into powder and mixed it with glue, butter, or an egg. The industrial paint industry has made the color palette more varied.

Paints for painting have special names. Very often these names are associated with chemical or natural elements (minerals, plants) from which they are made. The basis of all paints is a pigment - these are various dyes, or dyes. They are mineral, chemical, organic(animal or vegetable) origin. To prepare paints, pigments are finely ground into powder and mixed with binders (oil, glue, etc.). Organic pigments are inferior in strength to mineral ones. Now they use mainly artificial pigments, as the most persistent.

Often the name of paints comes from the binder used to make them. For example, the base of oil paints is linseed or some other oil. Glue paints are watercolors, gouache, tempera. Let's talk in more detail about glue paints, since it is they that are most often used in the practice of teaching the fine arts in pedagogical colleges and in elementary school.

Gouache- opaque (body, opaque) paint, which is diluted with water. A work of art made with such paints is also called "gouache". Gouache paints are made from pigments and glue with the addition of white. Unlike watercolor, the layer of paint applied to the paper is not transparent, but matte, dense, with a velvety surface, which is imparted by an admixture of white. When dry, the colors of the gouache are somewhat whitened (lightened), which the artist should take into account in the process of drawing. Gouache paints are bright, corrections are possible during work, just put another color on top of the unfortunate place. Dark tones can be overridden with lighter ones. White is added to the gouache to obtain a lighter tone.

3. 2 The sequence of performing a painting

When creating a painting, you must adhere to a certain sequence. Usually, the artist begins work on a painting or wall painting with several compositional sketches of a small size, in which he concretizes the swap concept. For the same purpose, he can perform sketches from nature.

To create an interesting painting, you need to learn to see interesting events, characters, motives, angles and states in the life around you. The constant execution of sketches, sketches and studies from nature develops not only the eye and hand, but also compositional thinking.

It is not so easy to see an interesting compositional motive in life. A viewfinder frame, which is easy to make yourself, can help with this. The main thing is that its opposite sides remain movable, then it will be possible to easily change the format, increase or decrease the circle of objects entering the field of view. If there is no frame, then you can simply fold your palms like this, as shown in the figure.

Choosing the most expressive subject for a composition is also not an easy task. Hundreds of people perceive and interpret the same plot in different ways, that is, they create their own version. Under the plot it is necessary to understand what the artist directly depicts on the canvas, and the content or theme can be much broader, that is, on one topic, you can create works with different plots.

It is important to try to imagine the future picture even before the start of the image. As a rule, the artist first makes a few small sketches in order to find the most expressive composition. At this stage, the format of the picture (elongated vertically, rectangular, square, elongated horizontally, etc.) and its size are determined.

The upward-facing format gives the image a slim and elevated feel. The horizontal rectangle format is convenient for depicting epic action. We have already said that the format based on the proportion of the golden ratio is well suited for depicting a wide landscape motif. The format obtained by enlarging the square with the full diagonal is equally convenient for depicting a landscape, still life and thematic composition.

An excessive increase in the vertical aspect ratio turns the image into a scroll, and an excessive increase in the horizontal aspect ratio dictates the use of a panoramic or frieze composition. When choosing a format, one should take into account the location of the main objects of the composition - horizontally or vertically, the development of the plot - from left to right, into the depth of the picture, etc.

The square format is best used to create balanced, static compositions because they are mentally aligned with equal central axes and equal sides of the edges of the image.

The composition in an oval and a circle is built with respect to imaginary mutually perpendicular central axes. The top and bottom of the image should be clearly expressed here. The oval is often used as a format for portraits, as this configuration easily correlates with the oval of a human face or the outline of a bust.

Artists also use formats of complex configuration, consisting of a combination of two geometric shapes, such as a half-circle and a rectangle.

In the sketch, the general compositional scheme, the location of the point, the relationship of the main characters are drawn without detailed drawing. Possible tone and color scheme of the sketch. Next, they move on to drawing the composition, then to its pictorial embodiment.

One of the interesting stages of work is the collection of natural material: observations of the surrounding life, sketches and sketches of the house and on the street, depending on the chosen plot. You can collect material from nature immediately after choosing a plot, or do it after the first sketch of the composition.

Then the artist draws the future painting using a pencil, charcoal or liquid paint and a thin brush. It is possible to make so-called tracing paper or cardboard, if the drawing needs to be transferred to some surface. If something does not work out in the drawing, you can once again go to the sketches, work out the details that caused difficulties, and then refine the drawing using the collected natural material. You can even make a new compositional convicts. "

After that, they move on to the pictorial solution of the canvas. First, underpainting is performed with liquid diluted paints, in which the general color and tone relationships of objects, their local color are determined. Then they proceed to the main stage - the actual pictorial solution of the canvas. It is better to do everything from the general to the particular, gradually applying the main color of objects and spruce behind the modeling of the volume. It is necessary to clarify the contrasts and nuances of color, color reflexes, the general coloring of the picture. At the last stage, they again proceed to generalization. For the sake of achieving the integrity of the work, unnecessary flying should be removed, contrasts should be weakened, and the main thing should be emphasized.

The listed stages of performing a painting are very important, especially for educational purposes. However, it happens that artists refuse any stage. Everyone works differently. Some carry out a detailed sketch, while others write clean immediately, without a preliminary pencil drawing. Someone is persistently looking for everything in nature, they flew for a picture, makes sketches in various states of nature, draws models in appropriate costumes and poses, studies the necessary historical or art history material. Another artist trusts his visual memory and imagination more and generally refuses to study nature.

The artist can simultaneously work on drawing, composition, sculpting form, transferring space and color. So he loved to work P. Cezanne, especially when he painted his landscapes or still lifes from nature. However, this path is not available to everyone. One must have excellent visual memory, accurate drawing, compositional thinking, and an impeccable sense of color.

Most artists prefer to complete all the necessary steps to create a piece of painting. This is how L.A. Ivanov loved to work. He did a great deal of preparatory work for the painting "The Appearance of Christ to the People." Numerous pictorial sketches, exhibited in the State Tretyakov Gallery, help to trace the creative search of the author.

All of the above about working on a painting does not need to be understood as a permanent, obligatory and unchanging order. However, following the rules helps to achieve good results, to master the skill.

3. 3 Method of working on a picturesque still life

painting gouache color composition

Still life painting is fundamental in the educational process. This is a necessary stage in setting the hand, eye, developing a sense of color, and the integrity of vision. Through still life, the real world in all its diversity is cognized. Still life is not a random collection of objects. An active attitude to nature, a sense of beauty should be manifested at every stage

The sequence of still life images from household items: First stage. Performing a detailed drawing of a still life with thin lines, identifying the main proportional relationships and the design of objects.

Second phase. Performing underpainting. The first lining of local colors of objects and draperies. The color of the objects is compiled on a palette using white mud.

Stage three. Revealing color and tone relationships. Elaboration and refinement of details in light on dark and dark on light. Gouache allows you to make changes to the work; if something doesn't work out, cover one color with another. Generalization and completion of work.

Sequence of the image of the landscape Gouache: First stage. Drawing a landscape composition. Drawing with a brush is light and free, using paint of a warm or cold color, depending on the color of the painting.

Second phase. Laying the main color of the sky, tree crowns, water. Conveying correct tonal and color relationships.

Stage three. Drawing details, summarizing and completing work. Achieving the coloristic unity of the landscape.

3. 4 Technique for working on a pictorial image of a human head

Painting a human head is based on the general principles of creating pictorial images. Let us dwell on some of the methodological features of performing head studies. The tasks of depicting the head are reduced to conveying its structure, sculpting the form with color, and identifying the individual qualities of nature. It is necessary to convey the color richness of the living human body, the connection of the human head with the environment.

Drawing for painting can be done with a pencil, charcoal, but you can draw immediately with a brush. It is necessary to convey with thin lines the constructive structure of the head, its position in space, outline the boundaries of chiaroscuro.

The work, as always, is carried out from the general to the particular: first, in the underpainting, the general tonal and color relations of large planes are determined, then the shape is molded with small strokes, the details are drawn, and at the last stage everything is generalized to achieve integrity.

It is better to start work from the darkest place in nature. The shadows on the face are very transparent. hardly hide the vivid complexion. By comparing the lighted parts of the dyne with these, it will be easier to find the semitones. White paper temporarily replaces illuminated surfaces. Take your time to write out each lash if other parts of the face have not yet been resolved at least in general. Work at the same time all parts of nature, work by the method of relationships. In the process of transferring the volume of the head, pay attention to that. so that the strokes fall in shape. The subtle color variety depends on a variety of reflexes. The color of the face and clothing always takes on a hue complementary to the color of the background.

At the last stage of work, pay attention to the expressiveness of the silhouette of the head, its contact with ([young. Somewhere it is necessary to dissolve the contour lines, and in other places, on the contrary, to make them clearer. If the painter has a holistic vision of nature, he will complete the work correctly.

The sequence of performing a pictorial sketch of the head of a living model: First stage. Drawing with a brush. Outline the general shape of the head and its position in space. Draw parts of the linden tree, the shape of the hairstyle without unnecessary details.

Second phase. Laying the main color of the face, hair, background, adherence to the correct tonal and color relationships.

Stage three. Prescribing details, generalizing and completing work, achieving portrait likeness, conveying the character and image of the model.

3. 5 Methods for working on a pictorial image of a human figure

For educational purposes, the figure of a person is depicted but with a belt and in full growth. Painting a figure requires knowledge of plastic anatomy, perspective, the laws of color science. It is useful to perform several sketches of this object with one paint (grisaille) before working on a pictorial depiction of a human figure.

At the very beginning of the work, it is important not just to plant or put nature in a certain pose, but to study its characteristic features and movements, to think over the choice of a costume. Therefore, it is recommended to make a pictorial sketch of nature. In the process of searching for the most successful compositional solution in sketches, it is necessary to determine the plastic placement of the figure in the selected format, the general color. The nature of the model decides the whole composition.

The underpainting defines the basics of tonal and color solutions. Further, transferring the volumetric, material and spatial qualities of the model, it is necessary to sculpt the form with strokes and work with relationships.

When depicting a human figure, it is imperative to find color relationships in connection with the surrounding objects and the background. One and the same drapery next to the illuminated part of nature will appear somewhat darker, and in the vicinity of its dark places - somewhat lighter.

At the last stage, you should pay attention to the material and texture characteristics of the face, hair, clothes. The face and hands are always more elaborate than accessories and backgrounds. It is important to complete the work on time, to avoid fragmentation, excessive elaboration of details and sketchy incompleteness. Various creative approaches to depicting a human figure are possible.

The sequence of performing a pictorial sketch of a human figure: First stage. Drawing with a brush. They outline the general movement of the figure, its proportions and position in space. Draw the head and neck. torus, arms, legs without unnecessary details.

Second phase. Laying the basic color of the body, hair, clothes, background, transfer of correct tonal and color relationships.

Stage three. Drawing details, generalizing and completing work, conveying the character and image of the model.

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