Painting work. Stages of performing the graduation work on painting
the past fascinate with its paints, the game of light and shadow, the relevance of each accent, the general condition, color. But what we see now in the galleries, preserved to the present day, differs from the fact that the author's contemporaries were challenged. Oil painting has a property to change over time, the selection of paints, technique of execution, finishing work and storage conditions affects it. This is not given the minor mistakes that could allow a talented master experimenting with new methods. For this reason, the impression of the canvas and the description of their kind over the years may differ.
Technique of old masters
Oil painting technique gives a huge advantage in the work: the picture can be written for years, gradually simulating the form and prescribing the details with thin layers of paint (lescing). Therefore, a cabinet letter, where immediately trying to make a complete picture, is not typical for the classical manner of working with oil. The thoughtful phase of applying paints allows you to achieve amazing shades and effects, since each previous layer during lescing is shifted through the next one.
The Flemish method, which so loved to apply Leonardo da Vinci, consisted of such stages:
- On the bright soil, the drawing was made in one color, sepia - contour and basic shadows.
- Then a thin submarine with the plowing volume was made.
- The final stage was several lescing layers of reflexes and detail.
But the dark brown is surrendered by Leonardo over time, despite the thin layer, it became a lot of coming through the colorful image, which led to the darkening of the pattern in the shadows. In the main layer, he often used Lugged Umbra, Yellow Ohru, Berlin Azure, Yellow Cadmium and Loggy Siena. Its final applying paints was so subtle that it was impossible to catch it. Actually developed sFUMATO method (Shading) allowed to do it easily. Her secret in highly diluted paint and work with a dry brush.
Rembrandt - Night Watch In the Italian method, Rubens, Velasquez and Titian worked. He is characterized by such stages of work:
- Applying color soil on the canvas (with the addition of any pigment);
- Transferring the contour of the pattern to the ground with chalk or coal and fixing it with suitable paint.
- Podmuelov, places are dense, especially in the illuminated places of the image, and in some places completely absent - left the color of the soil.
- Final work in 1 or 2 reception by armores, less often with thin lescing. Rembrandt Bowl the layers of the picture could reach a centimeter in the thickness, but it is rather an exception.
This technique was of particular importance to the use of overlapping additional colors, which allowed the rich primer to neutralize in places. For example, a red primer could be leveled with a gray-green submarine. Work in this technique was faster than in the Flemish method, which was more like customers. But the wrong selection of the color of the soil and paints of the final layer could spoil the picture.
Coloring paintings
In order to achieve harmony in a picturesque work, use the full effect of reflexes and complementing colors. There are also such small tricks as the use of colored soil, as is customary in the Italian method, or a painting painting with a pigment.
Colored soils can be adhesive, emulsion and oil. The latter are a pastous layer of oil paint required color. If the white base gives the effect of the glow, then the dark gives the depth of the paints.
Rubens - Union of Earth and Water Rembrandt wrote on dark gray soil, Bryullov - Based on the Pigment Umbra, Ivanov toned the canvas with yellow okra, Rubens used the pigments of English Red and Umbra, Borovikovsky preferred for portraits a gray soil, and Levitsky -Sero-green. The darkening of the canvas was waiting for everyone who used earthen paints in excess (Siena, Umbra, Dark Ozz).
Bush - gentle flavoring of the gun blue and pink shades For those who make copies of the Grand Artists in digital format, this resource will be interested in this resource, where the artists web palettes are presented.
Laco coating
In addition to earthen paints, darkening with time, coated varnishes based on resins (rosin, digging, amber) also change the lightness of the picture, giving it yellow shades. To artificially give an old canvas, a figment of ocher or any other similar is specifically added to the varnish. But the strong darkening will rather cause excess oil in operation. He may also entail cracked. Although such the effect of the craklera is more often associated with the work on the sevenpiece paint.It is unacceptable for oil painting: they write only to dry or still raw layer, otherwise it is necessary to scrape it and register again.
Brullov - the last day of Pompeii Anna Klimova
Project "Amazing Painting Opportunities"
Project« Amazing painting opportunities»
Relevance project
Advanced pedagogical experience shows that at the present stage of the development of society, it is not enough just to teach a child. Activity, independence, initiative, creativity are leading in determining the focus of identity development in modern conditions. The implementation of independent, practical and creative activities of children in the field of artistic - aesthetic development is aimed, above all, on the comprehensive development of the identity of the child.
The effect of art on the formation of a person's personality, its development is very large. V. A. Sukhomlinsky wrote: "During childhood, mental processes should be as close as possible are associated with alive, bright, visual objects of the surrounding world. The emotional saturation of perception is the spiritual charge of children's creativity. "
Acquaintance with outstanding artworks, preschoolers learn to understand the harmony of nature, know the culture and history of Russia, assimilate the norms of behavior and spiritual values \u200b\u200badopted in society, get acquainted with the life and labor of people in various fields of activity, special place painting It takes in the development of speech. Via painting Development is developing activity: Ability to make a generalization based on the analysis, compare and explain, develop inner speech (inner speech helps the child plan and express their judgments, relate to the conclusion that arose as a result of the perception of the artist's plan, also she contributes to the manifestation of their own intellectual and emotional associations). Art contributes to the perception of various feelings and the formation of the initial foundations of the worldview. Children enrich their moral experience, they have a moral consciousness. They learn to compare their experience with the experience of people depicted by the artist, and transfer perceived in the genre painting Methods of relationships between people into real life situations.
It is important that the formation of a comprehensively developed personality of a preschooler occurs in a single process of familiarizing children with visual arts, with folk creativity, culture, aesthetic values, with the nature of the native land. Composition painting rich in their ideological content and perfect on artistic form. Therefore, they form the artistic tasch of preschoolers, the ability to understand and evaluate the beautiful, not only in art, but also in life, nature, everyday life. Painting Recreates all the wealth and diversity of the world with spatial depth, volume, color, light and air.
Thus, the contradiction arises between painting opportunities As the means of comprehensive development of the personality of the preschooler and its insufficient use in the pedagogical process.
purpose project: Comprehensive development of preschoolers in the process of familiarization with painting.
Tasks project:
1. To introduce children with Russian artists and their works and cause sustainable interest in children painting;
2. To encourage parents and children to actively interact with teachers, stimulating the desire to look for additional information on the topic;
3. Develop a system for familiarizing children with painting(prospective planning for the school year);
4. Raise the level of knowledge of teachers and parents about possibilities of exposure to painting on the comprehensive development of the child.
A type project
In time - long-term;
Duration project - September - April (2013-2014 uch.)
By dominant B. project activity - practical - oriented;
By the nature of contacts - intragroup;
By the number of participants - collective;
The age of children is 5-6 years;
Participants project - Pedagogues, children of the senior group, parents;
Product design Activities - promising planning, cycle of classes, materials and additional information on the topic.
Expected results
1. Formation of children's knowledge systems about artists and their works;
2. Systematization of guidelines;
3. Selection of literature and development of a promising plan for familiarizing children with painting;
4. Systematic use in the work of cycles of classes to familiarize children with painting;
5. Promoting a methodological base for additional information and materials to study in familiarization of children with painting.
Main steps project
1 - Creating a practical oriented problem
Come to study children with painting, I exhibit reproductions with the image of the autumn landscape. In the course of the classes, listen to music, we read passages from the poems that help perception picturesque painting. Children correlate musical and literary works with reproduction and justify their choice, but there is one reproduction (Savrasov A. K., "Fall. Creek village »to which there is no suitable music and poem. Rises question: "What to do?".
2 - nomination hypotheses to resolve the problem
Children offer to attract a librarian who comes to them weekly and ask him to help make a selection of verses about autumn. And also, refer to the musical leader with a request to choose musical works. Suddenly Valya recalls that not so long ago, her sister - a schoolgirl taught a very beautiful poem about the fall and promises to ask mom so that she recorded it to us and so on.
3 - distribution to groups
After we have decided that we need to work for further work, I offer children to discuss this problem at home with parents and attract them to a joint search for information, and maybe the addition of our plan to solve the problem. Thereby, discuss The problem and ways to solve it once again, children with their parents are combined into a micro group, to collect the necessary information.
4 - Practical resolution problems:
Creating a phonometh classical music, children's songs;
A selection of works of literature (stories and poems, Russian folklore (Proverbs and sayings);
Selection of illustrations for viewing;
Exhibition of children's work on drawing, appliqués, modeling and manual work;
Excursions to the exhibition hall, Winter Garden KDC "Arctic";
Walks and excursions;
Formation of the electronic catalog of works painting;
Drawing competition "Seasons";
5 - Representation of the results
All collected, with the help of parents, teachers, the librarian information was accumulated, summarized and systematized. After processing collected information:
Written a promising plan for familiarizing children with painting, indicating sources and selection of additional materials;
A number of abstract developed classes: "What and how does it say painting» , "The paints of evening landscapes. Consider painting I. I. Levitan "Summer evening", "Golden autumn. Consider painting I. I. Levitan "Golden autumn""Such a different fall. Consider and comparing landscape paintings "Golden autumn" I. I. Levitan and "October" E. E. Volkov, " "Winter" I. I. Shishkin "and others;
Prepared thematic presentations: "Hello Autumn Golden", "Signs of autumn", "Autumn through the eyes of artists", "Russian landscape painting» , "Still life", "Primitive Art", "Landscape painting. Russian artists landscape players " and etc. ;
Consultation for teachers about the impact painting on child development: "Russian landscape painting» , "Organization of perception of still life by children of preschool age", "Autumn, singing by poets and painters in works of art "and others;
Seminar - Workshop for teachers "The nature of winter in the works of artists";
Subject week "Winter fun", "Autumn Etudes";
For parents, folders are exhibited - mobile "The poetic image of nature in the children's drawing", "Art and Education", "Learning to observe the nature" and etc. ;
Open occupation for parents using collected information "There is a wizard winter ...";
Monitoring the enrichment of knowledge of children and the level of formation of ideas about painting.
Bibliography
1. Ashikov V. Pre-school education in the new century // Pre-school education. -2000. - №1. - P. 8-11.
2. Education and training of children of the sixth year of life. / Ed. Ushakova O. S., Paramonova L. A. - M.: Education, 2001. - 160c.
3. Grigoriev G. G. Fine activity of preschoolers. - SPb.: Childhood-press, 1997. - 224c.
4. Children and landscape painting. Seasons. Learning to see, appreciate, create beauty. - SPb.: Childhood - Press, 2004. - with. 272 / Program Library "Childhood"
5. Zubareva N. M. Children and Fine Arts. Still life and landscape in the aesthetic education of children 5 - 7 years. M., "Education", 1969. - 111 p.
6. Kazakova T. G. Develop creativity from preschoolers. - M.: Enlightenment, 2005. - 146c.
7. Komarova, T. S. Children's artistic creativity. - M., 2005. - 160 p.
8. Krasnushkin E. V. Fine art for preschool children: Still life, landscape, portrait. For working with children of 4 -9 years. - M.: Mosaic Synthesis, 2012. - 80 s.
9. Medvedev L. G. Formation of a graphic artistic image in the exercise in Figure, 1986.
10. Mikhailova T. Feeling and color. Technology "Emotional Molding" of children in the process of mastering technology painting. // Art at school. from. 39, 2010.
11. Panksenov G. I. Painting. Form, color, picture: Tutorial for studies. Higher. Hood educational institutions. - M.: Publishing Center "Academy", 2008.
12. Psychology of the gifting of children and teenage: Tutorial / Yu. D. Babayev, N. S. Leithes. - M.: "Academy", 2000.
13. Sakulina N. P., Komarova T.S. Fine activity in kindergarten. - M.: Enlightenment, 2003. - 208c
14. Chumicheva R. M. Preschochnikov about painting: KN. For educators children. Garden. - M.: "Education", 1992. - 126 p., 16 liters. Il.
15. Federal State Educational Standard of Preschool Education (appliance. Order of the Ministry of Education and Science of the Russian Federation of October 17, 2013 №1155)
Technique painting - A set of techniques for the use of art materials and means.
Traditional painting techniques: Enkauska, tempera, wall (lime), glue and other types. Since the 15th century, the popular painting technique with oil colors is becoming; In the XX century, synthetic paints appear with a binder of polymers (acrylic, vinylik, etc.). Gouache, watercolor, Chinese mascara and semi-core technique - pastel - also refer to painting.
WATERCOLOR
Watercolor (from Italian. "Aquarello") - means painting water-based paints.
In watercolor there are many artistic techniques: work on crude paper ("A La Prima"), work on dry paper, fill, washing, using watercolor pencils, carcasses, work dry brush, use of masticine, salt, multilayer painting, use of mixed equipment.
Watercolor technician varieties:
durable - painting on dry paper, while drying out each layer of paint before applying the subsequent
in raw, wet watercolor, Alla Prima - painting on crude paper. Wet technique uses watercolor spreading and creates unusual color effects. Using this reception requires knowledge of the degree of humidity of the paper and the experience of using the reception itself.
Alla Prima (Alya approx) (happened from Ital. Alla Prima - at the first moment) - a type of oil and watercolor painting technique, providing for the execution of the picture (or its fragment) for one session, without prior registration and submarine.
Pouring is a very interesting technique in watercolor. Smooth flower transitions allow you to effectively depict the sky, water, mountains.
Mastichein is used not only in painting by oil, but also in watercolor painting. Mastichean can emphasize the outlines of mountains, stones, rocks, clouds, sea waves, depict trees, flowers.
Absorbing salt properties are used to obtain interesting effects in watercolor. With the help of salt, you can decorate the meadow with flowers, get a movable air environment in the picture, moving tonal transitions.
Multilayer painting is saturated in color. In multilayer painting, all artistic techniques for working with watercolor are used.
Watercolor is one of the most complex picturesque techniques. The main quality of watercolor - transparency and airiness image. Seeming simplicity and ease of drawing watercolor deceptive. Watercolor painting requires mastery of possession of a brush, skill of vision of tone and color, knowledge of the laws of mixing colors and applying a colorful layer on paper. In watercolor there are many techniques: work on dry paper, work on crude paper ("A La Prima"), the use of watercolor pencils, carcasses, multilayer painting, work dry brush, fill, washing, using masticine, salt, use of mixed equipment.
Watercolor, despite the seemingly simplicity and ease of drawing, the most complicated pictorial technique. Watercolor painting requires mastery of possession of a brush, skill of vision of tone and color, knowledge of the laws of mixing colors and applying a colorful layer on paper.
For watercolor work, paper is one of the most important materials. It is important its quality, type, relief, density, graininess, sizing. Depending on the quality of paper, watercolor paints are applied differently on paper, absorbed, dry out.
PENCIL
Pencil - drawing material. Distinguish pencils in black and colored. The drawing with a pencil is performed on paper using hatching, tonal stains, transmission of lighting.
Watercolor pencils - view of colored pencils, water-soluble. Taking watercolor pencils are diverse: blurring with watercolor pencil water, work watered in water with watercolor pencil, work with a pencil on wet paper, and others. Figure is more complicated.
With the help of a pencil, you can get infinitely many shades, gradations of tone. The figure uses various softness pencils.
Start work on a graphic pattern from a structural pattern, i.e. The pattern of external contours of the object using the line of construction is usually a pencil of medium softness H, Hb, B, F, further in the tone figure, in which there are no line of contours of items, and the boundaries of the objects are denoted by hatching, if necessary, use softer pencils. The hardest is 9H, the most soft 9b.
In the drawing, the pencil is preferably as possible to make corrections as possible and carefully use the erasing gum, so as not to leave the spots, so the drawing will look fresh and neat. Neose to the pencil drawing is better not to use for the same reasons. Towing applied to tone. Strokes can be different in direction, length, discharge, pressed a pencil. The direction of the stroke (horizontal, vertical, inclined) is determined by the shape, the size of the item, the surface movement in the figure.
The portrait of the pencil is obtained very realistic and filled with light. After all, with the help of a pencil, you can transfer a lot of shades, depth and volume of image, lighting transitions.
The drawing with a pencil is fixed with the fixative, so the drawing does not lose its clarity, it does not smear even when it is touching it and is preserved for a long time.
BUTTER
Oil painting on canvas is the most popular painting technique. Oil painting gives the master a limitless number of ways to image and transmitting the mood of the surrounding world. Pastomine or air transparent strokes, through the canvas, the creation of the relief of the masticine, lesing, the use of transparent or crumbling paints, various variations of mixing colors - all this variety of techniques of painting oil allows the artist to find and pass the mood, the volume of the items depicted, the air environment, create an illusion Spaces, convey the wealth of shades of the surrounding world.
Oil painting has its own peculiarity - the picture is written in several layers (2-3), each layer must dry for several days depending on the materials used, so the painting of oil is written from several days to several weeks.
The most acceptable for oil painting is linen canvas. Linen canvas durable, distinguished by living text. Linen canvases are different grain. For portrait and painting with a detailed drawing, use fine-grained, smoother canvas. The coarse-grained canvas is suitable for painting with severe texture (stones, rocks, trees), pastoral painting and painting Mastichine. Earlier in painting, the technique of lescing, applying paints with thin layers was used, so the roughness of the linen layer gave the painting the elegance. Now in painting is often used by the technique of pastoral smears. Nevertheless, the quality of the canvas is important for expressiveness of the picture.
Cotton canvas - durable and inexpensive material, suitable for painting pasta strokes.
In painting, oil also uses such bases as burlap, plywood, organic, metal, and even paper.
Canvas are stretched on the cardboard and on the subframe. Canvas on cardboard thin and usually do not extend large sizes, and do not exceed the size of 50 * 70. They are light and comfortable in transportation. Canvas on the subframe more expensive, ready cans on the subframe can reach 1,2m per 1.5m. The finished picture is drawn up in the frame.
Before working butter, the canvas are sinking and ground. It is necessary so that the oil paint does not destroy the canvas, and that the paint lay well on canvas.
Pictures with oil paints most often write, installing canvas on the easel. In oil painting, use the work technique of a masticine. Mastichein is a flexible tool in the form of a knife or blades with a curved handle. Different form of Mastichene helps to achieve various textures, relief, volume. Mastichean can also be applied smooth, smooth strokes. Mastichene blade can also be used to create thin lines - vertical, horizontal, chaotic.
PASTEL
Pastel(from Lat. Pasta - Dough) - Technique of painting and drawing on a rough surface of paper and cardboard pastels. Pastel is one of the very unusual species of fine materials. Painting pastel air and gentle. The subtlety and grace of pastel technology gives the pictures of the liveliness, somewhere fabulous and magic. The technique of "dry" pastels is widely used by the technique of "eraser", which gives the effect of soft transitions and tenderness of color. Pastel is applied to grouse paper. Paper color matters. The background color, awaiting through the pastel strokes, causes a certain mood, relaxing or enhancing the color effects of the drawing. Pastel's paintings are fixed and stored under glass.
Pastel technique has gained wide popularity and reached his heyday in the XVIII century. Pastel has a property to attach unusual softness and tenderness. In this technique you can make any plots - from landscapes to the drawings of people.
The benefits of pastels are in great freedom for the artist: it allows you to shoot and block entire picturesque layers, at any time stop and renewed. Pastel connects painting capabilities and drawing. It can be drawing and writing, working with a hatching or picturesque stain, dry and wet brush.
Pastel Types:
dry - made from pigment by pressing without adding oil
oil- produced from pigment with flax oil by pressing.
wax - produced from pigment by pressing with the addition of wax
Pastel's techniques are diverse. Pastel touches are rubbed with their fingers, special stoves, leather rollers, silk square brushes-brushes, soft tampon. The technique of pastels is very subtle and complicated in its overlapping pastel "lesing" color on color. Pastel is superimposed by stains, strokes, lescing.
For the operation of pastel pencils, the foundations that hold pastels preventing it is necessary. Pastels work on rough grade paper, such as "Torchon", Watman, emery, on loose, darning cardboard, suede, parchment, canvas. The best reason is the suede on which some of the classic works have been written. Pastel drawings are fixed with special fixatives that prevent pastel squeezing.
The unsurpassed pastel master was Edgar Degas. Degas possessed a sharp eye and an infrequent pattern, which allowed him to achieve invisible effects in pastels. Never more pictures pastels were so tremendous, virtuosively careless and so precious in color. In their later works that resemble a festive kaleidoscope of lights, E.Dega was obsessed with the desire to transfer the rhythm and move the scene. To give paints a special shine and make them glow, the artist dissolved pastel hot water, turning it into a kind of oil paint, and brushed it on canvas. In February 2007, at the Sotheby's auction in London, Pastel Degas "Three Dancers in Violet Skirts" was sold for $ 7, 87 million. In Russia, such masters worked in Russia as repin, serov, Levitan, Kustodiev, Petrov-Vodkin.
Sangin
Color gamut Sangina, drawing material, from brown to close to red. With the help of Sangina, the tones of the human body are well transmitted, so the portraits performed by Sangina look very natural. Machinery drawing from nature with Sangina is known from the Renaissance (Leonardo da Vinci, Rafael). Often Santong combined with coal or Italian pencil. To ensure greater durability, sanguine drawings are fixed with a fixative or placed under the glass.
Sangin is known since antiquity. It was then that Sangin allowed to enter a color of corporal color in the drawing. The widespread extension of the Sangina drawing was obtained in the Renaissance Epoch. Revival artists have developed and widely used the technique of "three pencils": they applied a drawing of santha or sepia and coal to toned paper, and then white chalk laid the desired sites.
Sangin(from Lat. "Sanguineus" - "Blood-Red") - these are pencils of red-brown tones. Santgina is made of thin-travesty burned siena and clay. As pastel, coal and sauce, Santgina is a soft material that is given a form of four-marched or round chalks.
With the help of Sangina, the tones of the human body are well transmitted, so the portraits performed by Sangina look very natural.
Sangina's technique is characterized by a combination of wide smears and decisions with strokes of acutely sharpened Sangina strokes. Beautiful sanguine drawings are obtained on a tinted background, especially when coal and chalk (three pencils technique ") are added to the main material).
For the drawing, they choose the Song of this shade, which better meets the peculiarities of nature. For example, the naked body is well drawing with a reddish Sangina, and the landscape - sanguine grayish brown or sepia color.
Sometimes Sangin is combined with coal, giving cold shades. The contrast of warm and cold shades gives special charm such work.
To ensure greater durability, sanguine drawings can be fixed with a fixative or put under the glass.
TEMPERA
Tempera(From Latin "Temperare" - to connect) - a binder of paints consisting of a natural or artificial emulsion. Before improving oil paints, I. Van Eyk (XV century) medieval egg tempera was one of the most popular and common types of painting in Europe, but gradually she lost its meaning.
In the second half of the XIX century, the disappointment that occurred in the later oil painting was the beginning of the search for new binders for the paints, and the forgotten temperature, well-preserved works of which are eloquently talking for themselves, again attracts interest.
In contrast to the oil painting and the old Temper, the new temperature does not require a painting of a certain system of painting, providing full freedom in this regard, which it can use without any damage to painting strength. In contrast to oil quickly dries. Temperal paintings covered with lacquer, are not inferior to oil painting, and in relation to immaculateness and durability, tempera paints even exceed the oil.
Materials and techniques are diverse graphics, but, as a rule, the basis is a paper sheet. Color and texture of paper play a big role. Colorful materials and techniques are determined by the type of graphics.
1The article discusses some issues of work with watercolor paints in painting classes. Watercolor is attractive to its availability, cleanliness of color relationships. With the apparent simplicity of watercolor, the complex technique of machine painting. Special attention is paid to materials, tools, technological aspects of watercolor painting: methods of lescing, "Alla Prima", "for raw". In work on long-term etudes, the first is used more often. For painting at the plenier, in fast etudes, the Alla Prima method is more suitable. It should be understood that the mastery of watercolor painting is not known for the books. Everything is known in long-term practical work, on personal experience. Therefore, practice is the best method of mastering watercolor painting technique.
instruments
materials for painting
letter method
watercolor painting
1. Bed G.V. Foundations of fine letter: drawing. Painting. Composition. Ed. 2nd, recreation. and add. M.: Enlightenment, - 1981. - 239 p.
2. Vasilyev A.A. Painting Still Life: Watercolor: studies. Benefit. Ed. 3rd, recreation. and add. Krasnodar: Publishing House of the Kuban State. University, 2004. - 98 p.
3. Volkov Yu.V. Work on picturesque etudes. M.: Enlightenment, 1984. - 31 p.
4. Skripnikova E.V. Still Life: Composition, Figure, Painting: Tutorial / E.V. Skripnikova, A.I. Sukharev, N.P. Golovacheva, G.S. Baymukhanov. - Omsk: Publishing House of OMGPU, 2015. - 150 s.
5. Skripnikova E.V., Golovacheva N.P., Sukharev A.I. Painting Still Life: Tutorial. - Omsk: Boudpo "IROOO", 2015. - 92 p.
6. Shchetinin I.D. Watercolor: Practical guide. Kurgan: Publishing House "Fort Dialog - Kurgan", 2009. - 31 s.
Formulation of the problemWatercolor technology is studied by students at the faculties of the arts of pedagogical universities in the first year. In the field of painting, there are not only picturesque tasks to students: finding a general color of the production, colorone relations of objects and background, transmission volume of objects in certain light conditions, study of laws and rules of the air perspective, but also compositions and patterns. First, the task is to learn how to compose: to determine the proportions of the sheet format, find the size of the image in it, place items on the visual plane relative to each other. Secondly, learn to understand and draw objects of various designs and forms, taking into account the angle and the horizon line, learn the laws and rules of the linear perspective. In our article we consider only watercolor painting technology: materials, tools, various technological methods.
Watercolor is attractive to its availability, cleanliness of color relationships. With the apparent simplicity of watercolor, the complex technique of machine painting. To master and understand it, you need to carefully study materials and tools (paints, paper, brushes). After all, any creative process begins with this.
Watercolor (from lat. aqua.- "Water") - paints, watered with water, and in a professional artistic environment - and works of painting performed by such colors. Colorful pigments used to prepare aqua-skin paint, the same as in other paints. But the watercolor pigment is extremely thin, brought to the state when, being in the water, it does not settle it for a long time. Glue - a binder of this pigment - should be dissolved in water, be colorless, elastic. Various vegetable adhesives are used as a binder in watercolor paints (gummyra-bik, dextrin, cherry glue, honey, etc.), and they also contain a plasticizer in the form of glycerol. Glycerin does not give paint to become fragile and disperse, as it keeps moisture. In the watercolor, sometimes add bile by bile, so that it easily lay onto the paper surface and did not roll during the letter, the antiseptic (phenol), which prevents the destruction of paint from mold.
Watercolor paints are easily dissolved in water, it is cleaned with a washing and give a transparent layer that does not prevent the reflection of light from paper. But some paints have greater transparency (carmine, alaty, emerald green, etc.), they are fully solven-rolled in water and more smoothly fall on paper. Other (cadmium Zavty, lemon, etc.) have density, "hiding", forming surface coatings.
Store watercolor paints better in a cool place, without access direct sunlight so that they do not solidify dry air.
The modern industry produces watercolor paints in a large assortment. And, no matter how rich in the palette of the paints, they would not have enough to transfer the diversity of colors around us the world. The artist expands the color palette with the mixing of paints, both mechanically and optical - overlapping one paint layer on another. It is necessary to study the properties of various colors, check their crispics, color and light resistance. It is necessary to try out all possible combinations of paints, both individually and in mixesters with each other; To understand what "dirt" do in mixtures, and what shades should pay attention to.
"Pure" watercolor painting is painting with paints without use of Belil. Since watercolor paints are transparent, the paper itself (less often cardboard) serves "Beliles". Paper for watercolor painting make different varieties of density and in texture. Color, density, paper texture are of great importance. The best watercolor is dense paper with a grainy surface, which is well pricked and bleached. There are varieties from fine-grained to rough textures resembling burlap. The texture contributes to the depth of the color of the color, allows watercolor paint to easily lie down on the surface of the sheet with smooth and transparent layers, longer hold moisture in the pores. On this paper you can perform many hours of etudes, it also allows you to wash off the failed places. On paper with a smooth surface of paint, it is bad and easily washed off with a brush when applying the last layers, to lead a long sketch on it hard.
Uniform distribution of watercolor paint on the surface of the paper interferes with the presence of fat spots. Therefore, before painting, the paper must be washed with distilled water using several drops of ammonia alcohol. The yellowed paper can be whiten if rinsed with a tampon, moistened with hydrogen peroxide.
While working should be preserved on white paper in bright places (glare, white surfaces of objects, etc.). To save bright places, you can stop the recorded places with a razor blade, a knife, and on a raw surface - and a cutlets of the brush. Another way is to cover the saved light places and glare with rubber glue. After the end of the work on the etude glue is easily removed with a soft pencil rubber band.
Paper color is a background that always participates in the construction of the flavor of the whole picture. Good paper for watercolor painting is paper having a high level of whiteness, as its surface reflects well through the layers of paints and gives them brightness, reveals the tone nuances. In watercolor painting finds the use and preliminary toning of white paper. Toned paper combines painting, creates a colorful foundation of the etude. Its tone depends on the tasks solved by the artist. In watercolors, coffee champs or chicory of various fortresses are often toned. Beautiful shades gives tea.
In order for the paper does not breed from moisture, it must be pasted on the tablet. Moisturized paper is superimposed on the tablet, which is fixed on top of the frame. When drying, paper is stretched smoothly and does not breed. For a longer preservation of humidity of paper under it, you can put a wet material. For small watercolor paper, you can use the "staircase". The staircase is a tablet of a certain size and covers its larger frame.
At the pleaire, it is convenient to work on the so-called gluing. A gluing is a pack of sheets, having a dense car-tone at the base or Phaneur. Paper sheets, cursed among themselves, form a block. Used top sheet is removed, from-covered new to work.
Watercolorists traditionally use squirrel, column and bristle bristles, but currently there are good brushes with artificial hair. These brushes are practical in work, their hair is not inferior to the columns, while they have increased worniness, greater durability. In shape they can be both round and flat. In watercolor, the greatest use has round brushes. Copy brushes are considered the best, they are stronger and elastic, they are less. The quality of the brush is checked in this way. The brush is lowered into the water, then, feeding out of the water, shake it. If the tip of the brush turned out to be sharp, then the brush is considered suitable for work.
For painting, watercolor need to have brushes of different sizes (from No. 8 to No. 16). A large round brush is a major tool in watercolor painting. It can apply large paint volumes or writing a brush tip. At first, you can do a big brush with which the artist works freely and widely, great relationships. As the experience of watercolor work accumulates and educational and creative tasks are complicated, the artist must expand and a set of brushes.
Large importance for working watercolor belongs to the palette. The palette must have a clean white color. To paint does not absorb, the palette should be solid, smooth and smooth. We use the palette of white glass in a wooden frame, bottom covered with white oil paint, or from white porcelain, faience. You can use white ceramic tiles, plate, metal plates, painted white paint as a palette; Plastic palettes can also be suitable, they are available in some sets of watercolor paints.
Often students as a palette use paper. Paper for these purposes is not suitable. From water, paper quickly comes in disrepair, turns and makes it difficult to perform work. The disadvantage when working with such a palette is that loose spacious paper takes from a colorful mixture the most valuable - well-soluble pigments, binding components, particles of paper, glue and unwanted chemicals fall into the colorful mixture, which deprives it transparency and gives in painting "Dirt "
Special easels and sketches for watercolor painting do not exist. Paints can be worn in any flat boxes. It is advisable to wear brushes, separately wrapped in a rag or put in the "kysteno". When wearing brushes in the sketchnik, they deteriorate, lose the form. Water can be worn in the flasks with a wide neck.
Pouring, thorough preparation of materials and tools for watercolor painting should not be in a burden.
There are several technological ways to work with watercolor paints. But the main ways are two ways: the method of Lesses and the Alla Prima method. In work on long-term etudes, the first is used more often. For painting at the plenier, in fast etudes, the Alla Prima method is more suitable.
Lesstation as a method of multi-layer painting is based on the use of watercolor paint transparency, its properties of optical colors when applying one transparent paint layer to another. By imposing a single layer of paint to another, you can get more saturated shades of the same color, as well as accommodate complex compound colors. When the lescing method, the depth and saturation of the color are achieved by a sequential re-cover of a well-like transparent layer with another layer of paint.
Long-term etude by lescing is carried out in a certain sequence. First make a light linear pattern with a pencil or a thin brush in any one color, then the brush is laid large image planes, but not at first force, but as pre-colorscetic preparation for subsequent painting. From the very beginning of work on Etude, we must try as much as possible to convey all the relationship of nature. It is necessary to establish a link between all the beauty of nature, all the time to compare the tone of paint in saturation and lightness.
During operation, it should be constantly compared to the color relationships of the objects depicted both in kind and in the etude, and the relationship of mutual signs: the light of one object is to compare with the light of another, shadow with shadow, etc. It is necessary to determine in nature the main contrasts - the places and items are the most bright and most dark on the strength of the tone to immediately establish the difference between the very light and darkest plot of nature. Most often it happens in the foreground or specially allocated "main" objects of nature. By performing an etude, it is impossible to be limited to work on one of any place, trying to immediately finish it, without any connection with the rest of the environment. In nature, everything is interconnected, and it is impossible to truthfully take the color of the item depicted isolated from the environment.
Make an etude should always be on the principle - from the total to the private. The entire Etude (except for bright places and glare) is discontinued (except for bright places and glare), making sure the correctness of the considered relationships, you can begin to further work - to sculpt the shape of the objects, lay the semi-tones, shadows, reflexes. In working with watercolor it is advisable to work from light to the dark. Usually, first depicted objects cover widely light layers of paints, which according to the strength of the tone correspond to the most light lighted places of the items depicted. Then shadows are applied. After that, the halftone is determined by comparing them between themselves.
When the layers are addicted to the colorful layer with all its multi-layered (preferably no more than three layers, otherwise the paint is lost transparency, the so-called dirt turns out) should remain thin and transparent to skip the light reflected from the surface of the paper. Already at first registration, it is necessary to clearly outline contrasts - the greatest differences in the luminosity and the ratio of warm and cold tones.
Cabinets, crumbling paints, it is advisable to use at the end of work to create greater materiality, substitution, te-tin. It should be remembered that when there is watercolor paints, the watercolor paints lose their color strength - they brighten about one third of their original strength. Therefore, it is necessary to make the desired colors more rich, yar-kimi, in order to avoid the lethargy of painting.
Another method of watercolor painting is the Alla Prima method, in which they write immediately, without sequential overlay of paint layers, each part begins and ends at one reception. All colors are taken at once in full force, which allows you to use the mechanical mixtures of paints, i.e. Make the desired color from several paints on the palette. When working by the "Alla Prima" method, multiple regulations are changed. This method is more applied at the plenier. Most often, watercolor artists use both methods.
To create light color transitions, especially in those mounted places, in touch of objects and planes it is necessary that the edges of the applied smears merged. For this, the paper is pre-wetted with water. This method is called the work "for raw".
To slow down the drying of paints, when working, it is possible to use the solutions of glycerol, soap or honey in water, on which the paints are different.
It should be understood that the mastery of watercolor painting is not known for the books. Everything is known in long-term practical work, on personal experience. Therefore, practice is the best method in mastering watercolor painting technique.
Reviewers:
Medvedev L.G., Dp., Professor, Dean of the Faculty of Arts Omgpu, Omsk;
Shalyapin OV, Dr., Professor, head of the department of drawing, painting and art education Institute of Arts, FGBOU VPO "NGPU", Novosibirsk.
Bibliographic reference
Sukharev A.I., Schecheninin I.D. Watercolor painting technology // Modern problems of science and education. - 2015. - № 2-2.;URL: http://science-education.ru/ru/Article/View?id\u003d21931 (Date of handling: 02/01/2020). We bring to your attention the magazines publishing in the publishing house "Academy of Natural Science"