Master Class. Watercolor landscape step by step
When the word "homeland" pronounced at Berg, he grinned. He did not understand what it means. Motherland, fathers land, the country where he was born - ultimately not all of whether, where the person rushes to the light. One comrade was even born in the ocean on the cargo ship between America and Europe.
Where is the birthplace of this person? - asked himself Berg. - Is it really an ocean - this monotonous plain of water, black from the wind and the oppressive heart is constant alarm?
Berg saw the ocean. When he studied painting in Paris, he happened to be on the shores of Lamaneche. The ocean was not akin to him.
Land of fathers! Berg did not feel any attachment to his childhood, nor to the small Jewish town on the Dnieper, where his grandfather is blind for a dust and shill.
The hometown is always remembered as a faded and poorly written picture, densely distressed by flies. He came back like dust, sweet sock of lumps, dry poplar, dirty clouds over the outskirts, where soldiers - defenders of the Fatherland Muscarmalas.
During the civil war, Berg did not notice the places where he had to fight. He shrugged mockingly when the fighters, with special light in his eyes, said that here, they say, soon we will soon with whites of their own places and drink horses with a horse from herd don.
Freight! Berg said gloomily. - In such as we, there are no and can not be homeland.
Eh, Berg, sugar soul! - The fighters answered with heavy reproof. - What a fighter and the creator of a new life, when you don't love the land, eccentric. And another artist!
Maybe therefore Berg and did not manage to landscapes. He preferred a portrait, genre and finally poster. He tried to find the style of his time, but these attempts were full of failures and ambiguities.
The years passed over the Soviet country, like a wide wind, are the wonderful years of labor and overcoming. The years accumulated the experience, tradition. Life turned like a prism, a new face, and in it fresh and at times not quite for Berg clearly refracted by old feelings - love, hatred, courage, suffering and, finally, the feeling of the motherland.
Somehow early autumn Berg received a letter from the artist Yarta. He called him to come to the Murom Forest, where he spent the summer. Berg was friends with Yartsy and, moreover, he did not leave Moscow for several years. He went.
On the deaf station, Vladimir Berg moved to the train of the narrow-skinned road.
August was hot and windless. The train smelled of rye bread. Berg sat on the foot of the car, greedily breathe, and it seemed to him that he was breathing not with air, but amazing sunlight.
The grasshoppers shouted in the glades, overgrown with white dried cloves. On Tsulistankha smelled with nubile field flowers.
Yartsev lived far from a deserted station, in the forest, on the shore of a deep lake with black water. He removed the hut at the forester.
Berg on the lake Son Lesternik Vanya Zotov - a sutured and shadowing boy.
The cart was told on the roots, creaked in deep sands.
Orioles sadly whistled in the armor. Yellow leaf occasionally fell on the road. Pink clouds stood high in the sky over the peaks of mast pines.
Berg lay in the cart, and his heart was deaf and swirling hard.
"Must be, from air"? - thought Berg.
Lake Berg saw suddenly through the sediment of thinned forests.
It lay on Koso, as if risen to the horizon, and behind him was shonened through the thin MGLU, the gold birches threatened. Mongle over the lake hung from recent forest fires. On black, how to manage, transparent water floated leaves.
On Lake Berg lived for about a month. He was not going to work and did not take oil paints with him. He brought only a small box with French Watercolor Lefranka, which remained from Parisian times. Berg treated with these paints.
All days he lay in the glades and curiously considered flowers and herbs. Especially struck him, his black berries were hidden in a whin of carminous petals.
Berg collected rosehip berries and odorous juniper, long cheva, Osin leaves, where black and blue spots, fragile deprived and worst carnation were scattered along the lemon field. He thoroughly considered the autumn leaves from the inside, where the yellowness was a little touched by light lead hoarfrost.
In the lake, olive femois beetles ran, the fish played dull lightning, and the last lilies lay on a quiet surface of water, as on black glass.
On the hot days of Berg heard a quiet trembling ringing in the forest.
Ranked the heat, dry herbs, beetles and grasshoppers. At the sunsets, the crane flocks with a knage flew over the lake south, and Vanya spoke Berg every time:
It seems to throw us the birds, fly to the warm seas.
Berg first felt a stupid insult, "the cranes seemed to him by traitors. They threw unfortunately this desert, forest and solemn edge, full of unnamed lakes, impassive thickets, dry foliage, measuring buzz of pines and air smelling with resin and marsh mums.
Chudaki! - noticed Berg, and the feeling of resentment for empty forests did not seem funny and childly to him.
In the forest Berg met once grandmother Tatiana. She fell out from afar, from the fence, mushrooms.
Berg wandered with her on the whirlpools and listened to the leisurely Tatiana stories. He learned from her that their edge - Forest Greuman - was famous from the long-time-betting times with his painters. Tatiana called him the names of famous shutters, painted wooden spoons and dishes with gold and cinnabar, but Berg never heard these names and Red.
Talked Berg little. Occasionally he was moved by several words with Yartsy. Yarns have read all days, sitting on the shore of the lake. He either did not want to tell him too.
In September, the rains went. They rustled in the grass. The air from them warmed, and the coastal thickets smelled wildly and sharply like a wet animal skiing.
At night, it rains leisurely noisy in the forests as deaf, unknown to the leading roads, on the tested roof of the wagon, and it seemed that they were written on the whole autumn over this forest country.
Yartsev gathered to leave. Berg became angry. As it was possible to leave at the height of this extraordinary autumn. The desire of Yarteva to leave Berg now felt just like the cranes once, it was treason. What? Berg could hardly answer this question. Treason to forests, lakes, autumn, finally, warm sky, frozen frequent rain.
I stay, "said Berg sharply. - You can run, this is your business, and I want to write this fall.
Yartsev left. The next day, Berg woke up from the sun.
There was no rain. The light shadows of the branches were trembling on the pure floor, and a quiet blue region was shining outside the door.
The word "radiance" Berg met only in the books of poets, considered him a shame and deprived of clear meaning. But now he understood how surely this word passes that special light, which comes from the September sky and the Sun.
A web flew over the lake, every yellow leaf on the grass burned from light like a bronze ingot. The wind carried the smells of a forest bitterness and sweestick herbs.
Berg took paints, paper and without drinking even tea, went to the lake. Vanya transported him to the far bank.
Berg hurried. Forests, burned illuminated - the sun, seemed to him with piles of light copper ore. Pensively whistled in the blue air of the last birds, and the clouds were dissolved in the sky, waving for Zenit.
Berg hurried. He wanted all the power of the paints, all the ability of his hands and a tempering eye, all that was trembling somewhere on the heart, give this paper to at least in the hundredth of the share of the magnificence of these forests dying the greatest and simple.
Berg worked as obsessed, sang and shouted. Vanya never seen him. He watched every movement of Berg, changed it water for paints and served a porcelain cup of paint out of the box.
Deaf, dusk passed a sudden wave in foliage. Gold Merclo. Air tucking. Far-Terrible Ropot swept away from the edge to the edge of the forests and measurement somewhere over the gars. Berg did not turn around.
Thunderstorm comes! - Vanya shouted. - It is necessary to go home!
Autumn thunderstorm, "answered scattered Berg and began to work more fearful.
Thunder Salted the sky, shuddered black water, but in the forests still wandered the last reflections of the Sun. Berg hurried.
Vanya pulled his hand:
Look back. Look, the fear of what!
Berg did not turn around. He felt his back that there was a wild darkness, dust, - already the leaves flew to a strain, and, fleeing frightened birds lowered.
Berg hurried. There were only a few smears.
Vanya grabbed his hand. Berg heard the rapid roe, as if the oceans went on it, flooding the forests.
Then Berg looked around. Black smoke fell on the lake. The forests swore. Behind them, the lead wall was noisy than a lightning crack. The first heavy drop clicked on hand.
Berg quickly hid an etude in the box, removed the jacket, wrapped the box with her and grabbed a small box with watercolor. Water dust struck the face. The blizzard was spinning and wet's wet leaves.
Lightning split Neighbor pine. Berg Ogloch. The shower fell from a low sky, and Berg with Vanya rushed to Chen.
Wet and trembling from the cold Berg and Vanya in an hour reached the wagon. In the guardhouse Berg discovered a loss of a box with watercolor. Paints were lost, - magnificent paints Leferanka. Berg was looking for them for two days, but, of course, did not find anything.
After two months in Moscow, Berg received a letter written by large porey letters.
"Hello, Comrade Berg," wrote Vanya. - Ensure what to do with your paints and how to deliver them. As you left, I was looking for them for two weeks, everything was asked, while I found it, only heated greatly - therefore it was already raining, but now I go, although it is still very weak. Paphan says that I had inflammation in the lungs. So you are not Cruggy.
Send me if there is what opportunity, a book about our forests and all sorts of trees and color pencils - I really hunt me to draw. We have already fell snow, yes, I said, and in the forest, where under what Christmas tree, we look, and sits the hare. In the summer we will be very waiting for you in our native places.
I remain Vanya Zotov. "
Together with a letter, Vanya brought a notice of the exhibition, - Berg had to participate in it. He was asked to report how many of their things and under what name it will be exposed.
Berg sat down to the table and quickly wrote:
"I exhibit only one etude watercolor, made by me this summer, is my first landscape."
It was midnight. The shaggy snow fell outside on the windowsill and glowed with magical fire - the reflections of street lamps. In the next apartment, someone played the Royal Sonatu Grieg.
Merly and far beat the clock on the Spasskaya Tower. Then they played the "International".
Berg sat for a long time, smiling. Of course, Lefranka's paints will give Vana.
Berg wanted to trace, which elusive paths had a clear and joyful feeling of the Motherland. It matures for years, decades of revolutionary years, but the last push gave the forest edge, the autumn, screams of the caravel and Vanya Zotov. Why? Berg could not find a response, although he knew that it was so.
Eh, Berg, sugar soul! He remembered the words of fighters. - What a fighter and the creator of a new life, when you don't love your land, eccupas!
The fighters were right. Berg knew that he was now connected with his country not only by reason, not only his dedication of the revolution, but also with all my heart, as an artist, and that the love of his homeland made his smart, but dry life warm, cheerful and a hundred times more beautiful, The earlier.
One of the most wonderful things in Maine is his stony beaches, diluted with pebbles of a wide variety of forms, colors and sizes. This year, I finally decided to capture this stone multiweight in watercolors. And that's what I did ...
Want to know how I managed to create these curious textures on the stones and this wavy frame? Read and find out!
Once in the evening, during the low tide, we went to the beach with a friend to make a couple of sketches.
While the girlfriend diligently draw me, I concentrated on a pile of stones under my feet.
At first I sketched the general outlines of stones with a pencil.
Then I covered the drawing with a peel handle with black ink and applied the first layer of watercolor in raw.
I tried to achieve color diversity, alternating darker shades with bright and contrasting.
In some cases, I waited until the paint snacks the paint and added a little more, slightly darker shades. So it turned out a divorce, with the help of which I can then create a texture on the stones.
It's all that I had enough time on the beach. The sun was already sake, and I needed to cook dinner, so I collected things and went home.
At home, in the workshop I continued to work on the pattern and focused on creating textures. I looked slightly a gray cobblestone in the upper left corner, and took a couple of dark, earthy shades of watercolor, black watercolor pencil and sprayer for paint. Holding a sprayer over a stone, I have a little rubbed about him a pencil trash, like on a grater so that the pigment particles fall into the drawing.
Throwing a little they stick to paper and began to remind the texture of granite.
(When the paper dries, unnecessary pigment particles can be deleted, turning the sheet with a pattern down and knocking a slightly knob on it from the reverse side)
I used the same technique on a gray stone in the lower left corner of the picture, but this time I took a round brushes and slightly touched her pencil crumb in several places to soften the effect slightly, and give stone individuality.
When I wanted to give a pebble of a dressed look, I did such a specks, applying a tip of a round brush ...
And then I smeared a little paint with my finger, so that the specks do not look like ordered.
This method is very effective for creating a spotted texture.
As I move forward, I added new watercolor layers over the dried base layer to make the colors deeper and outline the shadows. I applied a little salt on some places.
After the salt dried out, the expressive texture turned out, which just came up for granite stone.
So the drawing looked at an early stage when I just started adding textures ...
When I wanted to add a stone texture, but worried that the paint would fall into the neighboring, I used a masking film to isolate it.
I cut off a piece of film (exceeding a stone size about 2 cm on each side), put it on the area with which it was going to work, and using the sliceser, gently cut the film around the stone (be careful, do not ride the paper).
Then I took off the cut piece of the film from this site.
The surrounding parts of the sheet I covered paper strips. Now that all paper around is protected, you can add texture with any ways. For example, I brought the paint with a mint plastic wrap ...
On this cobblestone, I sprayed paint, and then got intoxicated some splashes so that they would become brighter, while others left intact.
When all edges are closed with a film, it becomes easy to apply paint on small pebbles with a sponge.
Having finished with a sponge and splashes, I removed the film.
After I was satisfied with textures and shadows on the stones, I added dropping shadows. When I took a snapshot to handle on the beach, the sun already came, and the discarded shadows were very expressive. Now, I decided to afford a few creative freedom and turned the time to reverse, making the shadow in short. (I apologize, I forgot to take a picture of the shadows).
The last steps were adding cracks and grooves on some stones
and splashing the white opaque watercolor on this naked.
Using diluted water opaque white paint, I painted bright streaks on one of the major stones. I did not want the white paint too high up on a general background.
The picture is finished! I had the most difficult thing, it was necessary to decide how to do with the surrounding white space.
I decided to make a frame of paper adhesive tape. I broke the pieces of green ribbon along the two halves so that the edges turned out uneven and wavy.
Then I stuck pieces of tape at a distance of about 5 mm from the picture, the edges outside, so that they intersect in the corners. (Before using a camouflage tape, do not forget to stick it a couple of times on some fabric, it will make it less adhesive, and will save you from risk to break the paper if you have to shake it).
The top layer of ribbon in the corners I cut with a slicer at an angle of 45 degrees.
Then cut off an extra piece of ribbon, protruding from the edge.
It turned out a neat corner.
It's time to paint the remaining space at the edges. Since I was going to write on raw, I put paper towels under this sheet to protect the album from the paint. Mixing the same shades that were used for stones, I began generously put paint at the edges of the picture.
It was very important to comply with the correct consistency. Colors should flick smoothly from one to another, but not mix completely. I achieved such an effect so that all shades were well distinguishable and echoed with the colors of the stones, and did not merge into the dirty porridge.
After the edges were dried, I removed the adhesive tape and found that in some places in the corners, paint still cried under it. Damn it!
Without panic! I collected a part of the paint with the help of a dry brush, and the fact that it was not possible to remove, just painted the white opaque watercolor.
Now it was possible to continue to work on the design of the frame. To facilitate the work I needed a piece of dense window mesh. I simply put it on paper and read the pencil on it, smooth lines diverged from the cents of the sheet to the edges at a distance of about 5 mm from each other.
This method is convenient to place parallel lines without long, painstaking measurements.
The only problem was the fact that I broke the pencil about the lattice, but in any case it turned out much faster than if I used a ruler.
I lined each line with a featful handle ...
Lines in the corners were drawn by hand.
Everything looks great, but I decided to go on. As always!
I glued a strip of camouflage tape at a distance of 1 cm from the edge of the paper to use it as a guide.
Then I spent the lines from the tape to the edge of the paper between the already drawn lines to darken the frame around the edges.
Work completed!
I had a temptation to add more details (spend another thin line around the drawing), but I decided to leave more free space. I had to remind myself that the free, breathing space is always good. It is completely optional to fill it.
When I look at this color picture, she transfers me back to Maine. I remember the happy clock, spent on the beach, chatter with a friend, a soft noise of waves, splashing about the shore and a feeling of absolute calm. Drawing allows me to feel the moment when I am in the process, and returns me back to those wonderful times when I look at the finished job. Many pleasant memories found the shelter between the pages of my albums.
Master class "Watercolor landscape"
The lesson of painting on pleasing sessions for teachers and students of 3-4 class DHS on the topic: Etudes in the water.
Ponomareva Lyubov Innokentievna, teacher Maou Doda "Odosh No. 3" Mo Bratsk, Irkutsk region.Master - class for students of dhsh 3-4 class (14-15 years) and teachers.
Purpose: Visual manual, gift.
Purpose: Acquaintance with the main methods and receptions of the sequential execution of the Etude Landscape Watercolor.
Tasks:
Improvement of skills and skills in the fulfillment of a watercolor landscape.
Development of creative abilities.
Education of love and interest in the image of nature.
Materials: Watercolor (St. Petersburg, "Neva", "Black River" or "Leningrad"); Round brushes, protein №3, №6; Watercolor paper, water bank, palette, pencil.
Hello, dear colleagues and art lovers!
My master class is called "Watercolor Landscape".
Landscapes are performed at the plenuarial classes, and are of great importance, since they contribute to the visual and practical study of the laws of the light-air perspective, the acquisition of new knowledge in the development of watercolor techniques and the methodological sequence of work.
We choose the motive of the landscape with water and learn to write reflection.
There are two main watercolor techniques - this is a lesing, or multilayer painting, and "a la prima" - in raw, as well as derivatives from them numerous combined techniques aimed at identifying the effects, multi-line and image formation.
We write a landscape in the traditional technique of multilayer painting. This technique suggests the consistent layering of the colorful layers after the previous layer is burned. Moreover, the first layers are transparent, the subsequent partially overlap them, gradually drag and satisfy the color system of work. You can not immediately write with dark and bright colors, because in the absence of it bleached in watercolors, it is quite difficult to breathe something, and the watercolor-material is fresh, light, transparent, comes from the word "Aqua", which means water. The color is made up with a large amount of water, so it is used round, a squirrel that keeps the water well, and watercolor paper is well absorbs.
Stages of work.
1.Mimitive landscape is not very complex, so we carry out the drawing at once with a brush, cold or warm.
2. Fill the watercolor fill of the background with brush No. 6 from top to bottom, using ultramarine and ocher for this, because warm shades are present in the blue sky on a sunny day.
3. Covers and shores of the river are closed with light and warm green. Better if the green color is obtained as a result of mixing. As you know, in the watercolor box you are not offered colors, but paints. To get a color, you need to mix at least two colors.
4. In this etude, dominant paints, brown, ocher, green. All subsequent stages of work are performed by the deceased previous layer. Determine the field of shrub in the distant plan.
5. Supply the half of the second plan, considering that the top light, and the bushes are large hemispherical volumes.
6.Prises reflection in water. In this river, a very weak flow, so the reflection is almost mirrored. As a rule, it is always darker and the warmer of real objects. We write reflection by vertical strokes, mirror repeating the shape of the bushes.
7. Piss water, with a sky reflecting in it, darker color.
8. Enhance brighter shades of the green shore of the first plan, not forgetting, however, about watercolor transparency.
9. In the shade of shrubs we are looking for shades of cold color. We start writing ate in the far plan. In relation to the shrub, they are much darker.
10. Dark, almost flat, as they are far away, we write them a thinnerous brush.
11. Enhance the shadow in the bushes and the water of the first plan, which gives the feeling of space.
12. Show reflection of firings in water, we increase the contrast and color density in the reflection of the bushes.
13. We emphasize the branches in the shrub, we specify the reflections of the first plan.
14. Etude ready. Success in creative work!
Watercolor technology is quite diverse, but at the same time difficult. Paints need to be diluted with water, due to this they become more movable. In turn, it allows you to use various techniques: work fine details, perform wide fills, pour one smear to another.
Studying drawing, it is useful to perform etudes in watercolor. It is very important to see the work holistically and feel a picturesque environment.
- Do not be afraid to draw. Pictitate vegetables, fruits or landscapes can everyone, the main thing - to believe in yourself and find inspiration.
- The quality plays an important role, the final result depends on it. You need to try out all the occasional sheets of sheets to choose for yourself perfect paper. On sheets you need to make a note (paper weight, its variety and which result it turned out).
- Visiting a park or other picturesque place, you need to take a camera with you. After all, photography in the future will be able to inspire new work. Starting to create new etudes in watercolor, it is the pictures that will be reminded how they should look.
- To remove the excess moisture from the brushes, you will need napkins or paper towels.
Etudes watercolor: fruits and vegetables
Watercolor painting training is carried out in stages. Start with simpler tasks, but only then go to more complex. To begin with, any fruits or vegetables can be used as a nature. The main task in this case is the transfer, tones and drawing the volume of objects with the background and falling shadows.
At the first stage, it is necessary to draw out the outline with a simple pencil. It is better not to use the eraser, but simply draw a thin slightly noticeable clarifying line. In order not to forget about the shadows, you can slightly stick the necessary sections.
Next, leaving the glare in the right places, the entire surface of the pattern is poured the brightest shade. When the raw substrate is ready, start writing the selected vegetable or fruit. The first should be halftone, then, pushing off from him, write shadows and light. In completion, it remains to clarify the tonal solutions.
Having mastered the etudes of vegetables, the watercolor will no longer be a problem, and then you can move to the image of several vegetables or fruits, then the jug and still life.
How to draw a landscape watercolor
The atmosphere of watercolor etudes is just an instant, the fleeting state of nature, which managed to capture the watercolor artist.
Starting to draw etudes first, you must imagine in my head. The artist must determine how much space on the sheet will occupy the sky, and how much - the earth. Often the horizon line is lowered slightly lower than the middle, and it is composite correct. Watercolor etuds begin to depict from the sky, especially if the artist chose a wet technique.
At the second stage, draw landscape planes. Strengthen the tones of dark plots. At this stage, it is necessary to concentrate not only on the planes, but also on separate items. The final stage is work with thin brushes, they draw small details that draw a picture completed.
Etudes of flowers watercolor
When a novice artist begins to draw a bouquet of flowers, the first thing he sees is a lot of little twigs and flowers. However, do not be perplexed. Holding for work, first of all, it is necessary to harmoniously arrange flowers in the right order. The back plan creates small flowers, they are depicted further and they must be smaller.
From the edges of the sheet you need to retreat 3-4 cm - it will be a frame for which it is impossible to implicit. The preliminary picture must be painted with a pencil, while it is not worth putting it on it so as not to deform the paper. The composition should resemble a geometric shape (triangle or oval).
Working paints, on the palette it is necessary to prepare a selection of the necessary cold and warm shades, which will be present in the picture. Start work with the background, originally working with light paints, and then the darkening areas with a shadow.
Then go to drawing colors. Initially, light shades are planned, and after that, the shadow on the petals is added to the luster thin layer. It is necessary to pay attention to the fact that in the background there are no many small details.
Etudes watercolor need to write generally, it is better to do it "for raw" so that one color smoothly moved to another. This is how unique shades are created, and the drawing is alive. It is only necessary to draw small petals and stems with a thin brush.
Watercolor is very similar to gouache, so they can be used together. The difference between these colors in transparency. Watercolor more transparent than gouache. This property defines the final result. However, these two techniques are based on similar techniques.
Creating watercolor etudes, it is necessary to control the amount of water in which the paint needs to be breeded. The liquid not only dissolves the paint and makes it more transparent, but also determines the degree of clarity of the future pattern. Therefore, it is best to study watercolor equipment from the definition of the required amount of water.
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syktyvkar, Russia
(from experience)
annotation
This article DiscussestHE POSSILITY.of Watercolor.aS An Art.technology.and Methods.styling.motif., as a Method offorming.the Future.creativityof the artist.
The Author Analyzes Thetechnicaltricks and.ways of workingiN.watercolors and.copyrights.are offeredrecommendationsfor the Implementation ofwatercolor Sketchesto withstandgraphically.expressivesTYLE OF.work.
Keywords:
watercolor., painting.technology., techniques., means of Expression, plein Air.watercolor., watercolor.sketch.; aRTIST.tips.;
The academic course "Painting" in the vocational training system is aimed at the development of technical techniques of various pictorial technologies in the process of studying the theory of flower science and color. In the classic teaching of "academic painting" it was advisable to start with studying watercolor technology and therefore in the practice of learning, students "Watercolor" began to be perceived as the technology of painting and, accordingly, training in the practice of mastering picturesque techniques. Start the course of mastering picturesque techniques from the development of watercolor paints technology, today is not popular today, as the technology requires learning patience, doctriness, care, which is not always easy to work with students and hardly absorbed in the educational process. Nevertheless, used in the process of training in painting watercolor, can form in students creative thinking methods, if you include training tasks in the training course, allowing you to interpret the painting of watercolor techniques into graphically expressive spots and lines that enhance the content of the image "Motive".
Arthur Fonvizin.
Bibliography
1.Magic Watercolor Arthur Fonvizin. Access code
application
Toroughlova N.G. Gingerbread house. 2007, boom. watercolor
Toroughlova N.G. Old birch. 2007, boom. watercolor
Toroughlova N.G. Izba. 2013, boom. watercolor
Toroughlova N.G. Oblaschevsky gave 2007, boom. watercolor
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Brief description of the document:
Natalia Gennadievna Torlopova
syktyvkar, Russia
Graphic interpretation of watercolor etud
(from experience)
annotation
The article discusses the possibilities of watercolor as artistic technology and methods of stylizing the motive as the method of forming the creativity of the future artist.
The author of the article analyzes the techniques and technical ways to work in watercolors and are offered by the author's recommendations for the implementation of watercolor etudes, allowing to withstand graphically expressive work stylistics.
This article Discusses the Possibility of Watercolor AS An Art Technology and Methods Styling Motif, As a Method of the Forming the Future Creativity of the Artist.
The Author Analyzes The technical Tricks and Ways of Working in Watercolors and Copyrights Are Offered Recommendations for the Implementation of Watercolor Sketches to Withstand Graphically Expressive Style of Work.
Keywords: watercolor; painting technology; technique; means of expressiveness; Watercolor plenier; Watercolor etude; artist councils;
watercolor., painting Technology, Techniques, Means of Expression, Plein Air Watercolor, Watercolor Sketch;aRTIST. tips.;
The academic course "Painting" in the vocational training system is aimed at the development of technical techniques of various pictorial technologies in the process of studying the theory of flower science and color. In the classic teaching of "academic painting" it was advisable to start with the study of watercolor technology and therefore in the practice of learning, students "Watercolor" began to be perceived as the technology of painting and, accordingly, training is based on the practice of mastering picturesque techniques. Start the course of mastering picturesque techniques from the development of watercolor paints technology, today is not popular today, as the technology requires learning patience, doctriness, care, which is not always easy to work with students and hardly absorbed in the educational process. Nevertheless, used in the process of training in painting watercolor, can form in students creative thinking methods, if you include training tasks in the training course, allowing you to interpret the painting of watercolor techniques into graphically expressive spots and lines that enhance the content of the image "Motive".
Watercolor is an interesting, but complex art technology. With the help of watercolors, you can create remarkable scenic sketches that transmit light color nuances and have tender transitions of the same color to another. Classic techniques of watercolor letters make it possible to finely betray the picturesque space and sculpt the volume of images of the objects with illusory transmission of materiality.
Watercolor, originally was the technology of graphics: it was performed illustrations of manuscripts and books, architectural projects and sketches of articles. And today it is popular in the field of graphic artists to create illustrations and machine graphic sheets. In the practice of modern artists working with watercolor, the picturesque decision of the etude is not so often found, which is technically a variety of shades and colors of the plastic stain. To give etude, painting artists often use the technical technique of "raw", which allows paint to spread freely on paper, arbitrarily flow and mix, creating softness and greater associativity of the color used. But it is not a fact that only wet paper helps to solve picturesque tasks. In the history of watercolor there is an example of a different approach. These are watercolor works of an outstanding Russian artistArthur Fonvizin."Some artists and art historians believe that Fonvizin performed its watercolors on the wet surface of the paper. This is not true. The artist did not work on a pre-dipped paper, when it depends entirely on the whims of the paint spreading on wet paper. " Despite the fact that the artist worked in the watercolor technique "on dry", which assumed a thorough thinking of the sequence of overlaying the colorful layers, as a result, the freshness and soundness of the color, the directness of the performance and the seeming ease of watercolor spots remained. Some incompleteness of his work impresses special conciseness and expressiveness.
Artwork in Watercolors involves high performing quality requires the artist of the virtuosity and the courage of possession of artistic material. For many artists, watercolor remains favorite technology in the implementation of creative potential. If in the educational process with students to use watercolor not only its pictorial potential, but also its real graphic capabilities, putting the challenges in the learning efforts to interpret picturesque stains into a graphically expressive image of the elements of the "motive" elements, then this gives us real ways to form students' creativity . These may be tasks: to limit the color palette to 3 colors; Accounting for the associative features of the form of color spots; accounting of tone stains and its position, to solve spatial plans; Solutions of etude lines, various on the technical execution and character of the pressure, or the lines varying from the nature of the equipment used (brush, stump, mastikhin, bristle brush, comb ...), etc.
Among the artists of our republic, several names can be called, which, of course, give preference in their creative activities of this technology and use its technical capabilities according to their personal interpretation. This is Vladimir Kokachev, Tatyana Vasilyeva and Vitaly Trofimov. So, the works of V. Kokacheva, made in the technique of "raw", impress the soft plastle, ease and extremely cheerful, because the author is not afraid to enter a clean color in the picture. Watercolor works of Tatiana Vasilyeva - poetic and thin in color nuances, contain a kind of author: gentle, lyric and feminine interpretation. Watercolor landscapes Vitaly Trofimova are energetic, powerful with its wet fills and at the same time rich color of the elements, skillfully organized into a restricted northern flavor, transmitting the impression of monumentality and significance is determined by a limited palette of the paints that the artist uses. The strongests of his watercolor that the most beloved theme of the artist is being implemented - a unique supremacy landscape. Each artist knows how to find adequate techniques in watercolors, corresponding to their personal perception of the surrounding world. Their work lives on the verge of "painting" and "graphics".
For the acquisition by the artist practical experience in watercolors, in addition to working in an educational workshop, an exit to the plenier can be more useful. A rapidly changing light environment limits the time to perform the Etude, during the execution of which, the experience and knowledge of the artist, who intuitively lead the artist's hand and instantly interpret the observed in the artistic image. Thanks to its unpredictable fluidity, plasticity, the ease of tone in combination with the variety of technical techniques and various equipment, it is possible to perform an etude as a means of pictorial color, and solve its image using graphic sketch. The graphic sheet can be created in memory in conditions of workshop based on a picturesque watercolor etude, created in the Captive Condition, which will allow you to dry up and the composition of the work, the course of its implementation, so to speak, the director and the construction of the "image".
Watercolor etudes that us performed in the plenier can be determined as a genre of "reportage graphics". Fast etudes fix a landscape or architectural motive, the light state or the color wealth of the natural environment, almost similar to "photo reports" from the scene of events. But almost every motive, created in the process of observing the natural state and carried out by watercolor paints, brings his personal, emotional experience. The album with sketches and etudes retains in memory of seen by the not indifferent viewer: landscapes and architecture, attractions and landscape features. In Etude, the artist can fix the impression of the impression of the day or time of the year, which can be expressed by the choice of palette of paints, color or character of the execution of images of images, or combinations thereof. Also, the state and content of the work has an emotional impulse, which is experiencing an artist when perceiving one or another landscape, through which he is currently traveling. The light state of the medium changes so quickly that in the pleaerre there is no need to strive to make long-term etudes. Very optional process of performing a watercolor etude, we strive to convey only an accurate "copy" of the observed phenomenon or the selected landscape motive, or the colors of the medium. In the process of working on the etude, one-time interpretation of what has seen in the image on the sheet. Form and configuration of spots strengthens the artistic image that the artist creates. The choice of color and color-tonal solutions, variety, or on the contrary, the limitations of shades are enhanced and specified the depicted. The formable abis of color combinations and spots makes aesthetics into the finished etude. Time to execute etude is maximally compressed, performed for 20 to 30 minutes, therefore requires the performer of the maximum concentration of attention when observed. After pouring the color of the main stains, the motive is given the opportunity to dry the first layer. The details are finalized by dry, while changing the size and nature of the brush, or other equipment is used (Mastichein, dry bristle). The described technique of Etude reflects our individual manner and authorship of the performing style in the plenuner watercolor etudes. This solution does not arise from an empty place, for this you need a technical and creative experience accumulated in watercolors.
The formation of its own watercolor graphic handwriting helped numerous experiments to consolidate the provisions of the theory of flower science and painstaking study of composite tools and techniques of the audience in the performance of a variety of still lifes.
The sequence and some techniques of work in watercolor when creating an Etude landscape motif, stylistically generalized in a graphic sheet, we will try to disclose in this article and offer some recommendations for students to assimize such experience.
What determines our watercolor etudes like graphic images? Means of expressive art graphics are a tonal spot, a line and a barry of the receipt of a spot, which largely depends on the temperament of the artist. Images in the graphic sheet have expressive tonal gradations and clearly detected silhouettes or abrasions. In the process of writing a landscape motive, the initial moment of thinking of the order of color spots is very important: large and medium, which determine large tonal ratios of the depicted. Then, the scale of the elements, their form and dynamics of silhouettes, the location of the combinations of spots in a given format is assumed to make their sustainable equilibrium. And only after that we proceed to the sketch. The drawing should be careful and quite detailed. It is immediately solved by the task of the overall composition of the motive, taking into account the scale of large masses of the landscape: sky, land, panoramic objects and images, elements defining the compositional center and the idea of \u200b\u200bmotive. When working on a drawing of a landscape, an eraser should not be actively used, which damages the surface of the sheet. When performing a long, multi-sessenger etude, it is best to make a pre-worked cardboard on fine paper and gently translate it to Torchon. If the etude is performed in one session, we recommend the drawing to perform diluted ultramarin with a thin brush.
Before proceeding to work in the colors, it is necessary to moisten the entire surface of the sheet with a sponge to get rid of excess glue, dust or excessive drying of Torchon. Work in color should be started with the brightest tones, and end with dark, warm and tight places and semi-dry brushes.
For each individual work, we limit the paint group, the so-called color palette: it is better to limit it with 4-5 colors. Paints, which, thanks to their diverse mixing, allow you to create a tonal wealth, and intersect the elements of the motive into the necessary and uniform flavor. To achieve the richness of color contrasts and isolation of composite accents of motive, paints of warm and cold tones are always present in the selected group of paints.
Working with watercolor paints is very important to comply with the mixing technology of paints and the sequence of overlaying them onto the working sheet. Each subsequent layer is applied to a carefully deceived previous one. According to us, the Etude landscape motive leaves from twenty minutes to an hour, the hurry in work, as not paradoxically, is not needed, and even harmful. Why is it so important for beginners, to observe in the watercolor technological chain? This is primarily due to the technical characteristics of watercolor and maintaining its main property - transparency.
Traditionally, we begin work on the landscape etude from the pouring of the sky, while trying to immediately create a possible schedule of clouds, if any. Or a wide brush, filled with color, playing dynamically and pour the kel on the surface that we are as defined as the sky. While the paint freely slides on wet paper, it is possible to complicate a flaper when adding other colors, such as ocher or pink. Working over the stain of the sky, the brush should be opened quickly and carefully, in some places to leave areas of white paper to solve light, drawing or highlights of some parts of the clouds, sky.
The work on the etude should take into account the spatial features of warm and cold tones that help correctly solve the tonal tasks of the picturesque plans. Therefore, you can take a lot of blue (ultramarin, FC, cerema or cobalt, depending on the state of the day) and while the paper is wet, the dynamic horizontal smear is to schedule a long-distance line. The details are not needed here, it is important to get the contrast between the sky and the Line of the Earth.
The graphic style of the etude is also characterized by how or what methods we introduce color stains into the space of the format being developed. The air perspective requires the competent use of spatial color quality: the tonal development of plans requires the use of blue paints and dilute water of the plates in the distance of the far plan; and warm, with strong color contrasts of images of large elements as anterior Etude Plan. The silhouettes of the elements of the motive depicted by us are clearly detected by the reception of flat fill in and stylized spots, without transmitting the illusion of volume. The color of the spots in the etudes will never be homogeneous and monochrome, because It will not allow the watercolor itself - fluid and mobile. In the first stage of registration, fill in the format completely, lighter tones and flowers, which will then enact the next step elements of the foreground, according to the previously written color laying. One of the important features of watercolor paints is manifested in obtaining a clearly detected colored stain on paper, even with a small saturation of its color. Therefore, it is not necessary to achieve the actually observed tonality and chromaticity of the images depicted (you can take a couple of tones lighter or, on the contrary, darker). But the lightning relationship between large elements of the scenery and in the transfer of lighting and the volume of parts should be respected as accurate as possible.
After determining the large color-tonal relationships, when there are practically no sections of white paper, we begin more detailed elaboration of individual expressive silhouettes: the most expressive and characteristic details of the landscape motive are introduced: houses, trees, herbs, etc. (see "Old Birch"). Their stains do not necessarily have a dense monotonous plane, the color in it can be distributed from light to the dark, or vice versa. In the spot itself it is possible to fill with a variety of shades, but a single tonality. We should not forget that the color of the etude is conditional. All this allows you to correlate this stain with a specific image, for example, the crown of a tree can have one spot that is enriched with various shades in the free manner of "A la Prima" in one reception, but not more than 2-3 colors. At this stage of work, it helps us, thought out earlier, the organization of the composition of the sheet: the director of the main elements and parts, the selection of important and characteristic details. Work is carried out by the masses of the average size, the fillings are made when rushing, and when - more transparent. The tint of the color of the object is achieved both by mixing multiple colors and clean color, diluted with various water. This is permissible in the chart. It is very good to introduce gas soot solutions, as this paint allows you to muffle a very bright tone of the stains or to lead it into the depths of the sketch. To clarify the spatial relationship in the etude, it is useful to use divorced ultramarin or emerald paints that have subjectivity to remove the image into the depths of the format and have lescing qualities.
For the formation of the tonal masses of the elements of the landscape, various technical potential of artistic brushes and equipment should be used. For Sky and Earth: Wide Flusted Brushes or Round Large Rooms. For details - the finest patch first numbers of "protein" and "speakers", fan or even bristles. For high-format etudes, you can use a sponge. For graphics and details of the elements, you can use the following techniques: "spray", "tying", "scratching" with a comb, knife, reverse end of a brush or a masticine; To create an invoice or a peculiar graphic pattern, an embossing is used: when a fragment of textured materials is applied to a wet colorful surface (knitwear, corrugated cardboard, leather, etc.). The choice of reception is not prescribed, it is prompted by our emotional attitude in work and a grain material.
To complete the etudes, you can once again pay attention to the graphics linear elaboration of the details to give landscape a stylistic graphical completion. Work is carried out by thin brushes. You can still apply a line specifying the form characterizing some small details of images. An openwork pattern can be suggested by the siltegone fill or abras of the main elements of the landscape image. The introduction of such a reception softens the excessive contrast of the silhouette and gives the picture softness and plastic. The adjustment, thus, the etude is characteristic of work performed by several sessions.
In some works, this stage is lowered by us. It happens when, during the initial development of color-tonal relations, laconic and characteristic color spots are almost immediately obtained, which are clearly outlining the necessary elements of the motive and precisely characterizing them. Such etudes reflect the "A la Prima" method known in the pictorial practice. In this case, the drawing with small brushes is appropriate to study the foreground details.
Based on the described practical experience, you can make a number of recommendations. Watercolor Etude Landscape in the graphics manner is obligatory, the solution of the following tasks:
1. observation of image objects, selection of characteristic and typical;
2. creating clear spatial plans (far, medium and foreground);
3. compliance with the technological chain in working with watercolor paints;
4. obtaining a beautiful and expressive silhouette performed by watercolor fill;
5. development of the fill equipment of the image of the image object silhouette, creating a combination of thin in color and transparency of spots;
6. graphic refinement - lines of the drawing of the motive and elements made by thin brushes.
Bibliography
1. Watercolor Arthur Fonvizin. Access code http://mizrah.ru/post155983442/
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