Painting watercolor. Watercolor painting techniques
Preview:
Study of watercolor painting
in the classroom lessons
Performed:
Gileva Olga Lazarevna
Novokuznetsk, 2013.
Introduction ................................................... .................................................. ...... 3.
1.1. Watercolor painting ............................................. .......five
1.2. History of watercolor equipment ............................................. 7
1.3. Classification of watercolor technician ............................................... .....nine
2.1. Study of watercolor technician at school .................................... ... 22
2.2. Development of a lesson on the topic: "Watercolor painting. Warm and cold paints "............................................... .................................................. ... 27.
Conclusion ............................................................... ................................................. 3 33
Bibliography................................................ ..................................... 35.
Application................................................. ................................................ 36.
Introduction
In the visual art there is a huge number of a wide variety of materials. Some of them are quite rare, others are known to everyone. Such well-known materials belongs to watercolor.
Watercolor is called paints, solvent for which water serves. They are environmentally friendly, do not require complex equipment, easy to use. Therefore, watercolor paints are used both for children and professional creativity.
Watercolor is executed, as a rule, on paper, so it is often referred to graphic techniques. At the same time, in its picturesque opportunities, it is difficult not to attribute to painting. Watercolor's uniqueness lies in its intermediate position between two extremely interesting species of fine art.
The most important feature of watercolor is its transparency. This property of the material allows you to transmit the depth of space of the light-air medium, the variability and mobility of the world around the world, a variety of color and tonal relationships.
At the same time, watercolor is portable and fairly affordable material. It is convenient to use both when working in nature and under workshop.
Watercolor has extensive technical capabilities. Watercolor works can be built on the thinnest color transitions of a transparent colorful layer or deep juicy color stains.
It can use a flat-painted or with unique champions of the spot, a different shape of colorful strokes and lines.
Watercolor has another feature. She does not like amendments. And this requires the performer of virtuoso possession not only by technical techniques of watercolor painting, but also the ability to draw confidently. That is why watercolor should be attributed to one of the most complex pictorial techniques. Of course, the process of mastering the letters in watercolor requires serious and purpose-fulfilled work.
The question arises about the feasibility of studying watercolor painting at the initial stage of learning to visual art. Answering it can be caused by a lot of arguments as "for" and "against" the use of this material in order to teach children with visual arts.
Object of study: The process of learning painting in the lectures of the visual activity.
Research Subject: Watercolor Painting Techniques in Fine Lessons.
The purpose of the final qualifying work is to determine the need to study watercolor painting techniques in visual lessons.
To achieve the goal, the following tasks should be solved:
- Allocate watercolor painting features;
- Consider watercolor technician;
- Identify the features of the study of watercolor equipment in the classroom lessons;
- Develop a lesson on the topic: "Watercolor painting"
Research methods:
Analysis of psychological and pedagogical and special literature on the topic of graduation qualifications.
Chapter 1. Theoretical Basics of Watercolor Painting Technology
1.1. Features of watercolor painting
Watercolor paints were known in ancient Egypt, in ancient China and the countries of the ancient world. For a long time, the letter was considered only one of the components of the graphic pattern. Painting Watercolor in the modern presentation arose relatively recently: at the end of the XVIII - early XIX centuries. Then she gained independence and became one of the most complex drawing techniques.
Watercolor ( fr. Aquarelle - water-mounted;italian. Acquarello) - picturesque Technique using special watercolor paints when dissolved in water forming a transparent suspension of a thin pigment, and allowing you to create an effect of lightness, airiness and thin color transitions. Watercolor combines the features of painting (tone wealth, formation of form and space color) andgraphics (active role paper In constructing an image, the absence of a specific relief of the smear characteristic of a picturesque surface).
The basis Watercolor is usuallypaperwhich is often pre-wetted with water to achieve a special blurred shape of the smear. This can serve as a special framework -washing erase - To which the sheet is stretched. Thus, during the letter, the paper can be saved from the bottom, or the paper is put on wetflannel. A simpler method is possible: a pre-humidized sheet of watercolor paper, quite well absorbent moisture, put onglassAt the same time, depending on how long the specific section of the picture is being implemented, the angle of inclination of the glass is chosen, but most often the glass is horizontally. Corresponding to its own manner opportunities, it can be allowed that water on a sheet of paper spoke in the form of a puddle or deeply absorbed and created only a separate wet area. Paint in such cases plays differently than the desired effect creates. Actually, it is in this that the most common modern understanding of watercolor equipment is. In addition, watercolors can be used by fills and point-downe equipment. It is for such techniques that the paper sheet is tensioning to the tablet, as well as the so-called watercolor blocks.
The binder for watercolor paints serve easily soluble water transparent vegetable glands -gummirabik and dextrin. As plasticizer They introduce glycerin and inverted sugar, holding moisture. Without this, paint would be easily swore and became fragile. Another additive to watercolor paints, servingsurfactant - Bull bile. It prevents the rolling of paints in a drop, facilitating drawing. To protect OT.mold Antiseptic is introduced -phenol.
According to the XIX century specialists, "for watercolor painting is also used by Bristol Cardboard,watmanskaya paper, or torch,pussybelichi., kuni., brancuka or food. Monophonic drawings are made or by the method of the province, usingsepia.or neutrality. For colored watercolors, the most common paints are as follows:gamboge, Indian yellow, Yellowocher, terr de Sienna Natural, so burning,cinnabar, carmine Garant, lacquer warranty, Cammith Zhery, Red, Venetian Red, Indian Red,cobalt, ultramarine, Berlin Azure,indigo, neutrality and sepia "
Work with watercolor paints in nature, from nature, requires speed and spent technology. At the same time, at hand there must be a vessel with clean water and a sponge, which, as a rule, participates in the process on a par with tassels. Watercolor paper quality is very important for work, but the most expensive and better paper is not always available to novice artists, and therefore it is possible to adapt to the already existing one - so much that even on the most good, but unusual paper the result may be weaker.
Modern artists successfully use watercolor pencils, as well as other materials that allow "to refine" watercolor, for example: pastel,wax crayons, gel ink, etc.
1.2. History of watercolor technology
Watercolor equipment began to develop inChina after the invention of paper inII century ad. IN XII.- XIII centuries Paper got spread in Europe, primarily inSpain and Italy. The predecessor of watercolor equipment in Europe was a painting on raw plaster (fresco), allowing you to receive similar effects.
In Europe, watercolor painting entered into use later than other generapainting. From paramount artistsRenaissance A significant mark in watercolor leftDürerwhose "hare" became a shittomatic work, then watercolors gave tributeAntonis Wang Dyk., Claude Lorren and Giovanni Castiglione. However, these examples remained single until the turn of the XVIII-XIX centuries, so even in1829.Pio de Montaber The "full treatise on painting" mentions watercolor casual as an art that does not deserve serious attention.
At the same time, the technique using weakened contours and a paintower with a brush was widely used, especially in the XVIII century, participants in scientific and military expeditions to sketch archaeological and geological objects, plants, animals, when painting architectural and topographic plans: Chinese was originally used by Chinesemascara, then mascara with varnish carmina,sepiaAnd then other water colors. In the middle of the XVIII century, the drawing by water colors was made by a popular view of the leisure for non-professionals: the spread of this entertainment was especially facilitated by those who were published in the 1780s. and charm the beauty of the English depths of travel diariesWilliam Gilpinawhich he supplied his own illustrations. As a result, at the turn of the XVIII-XIX century, efforts firstPaul Sandby, then Thomas Gurtina And finally, first of all,Joseph Turnner Watercolor has become hardly the most important type of English painting - in G. The Watercolor Society was founded (english Society of Painters in Water Colors).
In addition, the popularity of watercolor has increased and in connection with the last half of the XVIII century. Fashion byportrait miniature- Genre, who successfully began to master numerous amateur artists.
NOVATIONS GORTIN, who has begun to use watercolor for paintings of large format, and Turnner, significantly enriched the arsenal of watercolor techniques, caused a further rise in English watercolor in the work of such artists as landscape playersJohn Sell Kotman., Anthony Copli Fielding, Richard Parks Bonington, David Cox, a lot of written architectural structuresSamuel Prat, Master of NaturermortsWilliam Henry Hunt, as well as Samuel Palmer, John Varley, John Frederick Lewis, Miles Burket Foster, Freedic Walker And other masters. The role of watercolor in English visual art was fixed with writingsJohn Ryuskin, announced by Turner the largest artist of his time.
In the middle of the XIX century, watercolor has also gained wide popularity in the USA thanks to the works of such artists asWilliam Costa Richards, Thomas Moran, Thomas Ikins and Winslow Homer.
In France, the spread of watercolor painting was associated with the namesFields Demosha, Ezhen Delacroa, Henri Joseph Arpinie, as well as the masters of satirical drawingsOnor houses.
By the end of the XIX century, there was some revision of the watercolor relations, partly related to the fact that many new paints introduced into the wide use of the middle of the century with watercolorists were very short-lived, quickly fading. Nevertheless, at the turn of the ages of watercolors gave tributePaul Signac and Paul Cesanne in France, Maurice Pretardgast and John Singer Sarjent in the USA and then Vasily Kandinsky, Emil Nolde, Egon Shile, Paul Klee. and Raul Duf..
Watercolor painting of Russia reached an exceptional heyday in recent decades of the XIX and the first two decades of the twentieth century. From our contemporaries, in Russia of the late XX - early XXI centuries. The most notable phenomena in the art of watercolor became a series of works of Sergey Andriyaki and the masters of his school (Watercolor School Sergey Andriyaki) who seek to revive equipment, techniques, genres of Russian classical multi-layer watercolor.
1.3. Classification of watercolor techniques
There are many different techniques for watercolor performance. These methods can be allocated and classified only conditionally, depending on certain factors (see Appendix 1).
Depending on the degree of paper humidity, such watercolor techniques can be distinguished as "work in wet" ("English" watercolor) and "work in dry" ("Italian" watercolor). An interesting effect gives work on a fragmentary moistened sheet. In addition, you can meet and combinations of these receptions.
The essence of the reception of "Wet work" is that the paint is applied to a pre-moistened leaf water. The degree of its humidity depends on the creative plan of the artist, but usually begin to work after the water on paper ceases to "glisten" in the light. With sufficient experience you can control the humidity of the sheet with hand. Depending on how much brushes are filled with water, it is customary to distinguish such ways to work as "wet-in wet" and "dry-in-wet".
The advantages of the technique of wet: This method of work allows you to get lightweight, transparent color shades with soft transitions.
Especially successfully this method is used in landscape painting. The main difficulty lies in the main dignity - this is watercolor fluidity. When the paints are applied by this method, the artist often depends on the whims spread over wet papers of smears, which in the process of creativity can be obtained far from such as it was originally intended. At the same time, only a separate fragment, not affecting the rest, is almost impossible. In most cases, the rewritten plot will be disharmoned with the overall structure of the rest of the canvas. There may be a certain zamzaganity, dirt, etc. This way of work requires constant self-control, free possession of the brush. Only significant practice allows the artist to some way predict the behavior of paint on crude paper and ensure a sufficient level of control over its spreading. The painter must have a clear idea of \u200b\u200bwhat he wants and how he must solve the task.
Technique A La Prima is a raw painting, written quickly, in one session, at which the unique effects of divorce, overflows and paint flows are created.
Finding on the wet surface of the paper, the paint spreads along it in a unique way, making a picture of light, air, transparent, breathable. It is not by chance that the work performed in such a technique is almost impossible to copy, as each smear on wet sheet is unique and unique. Combining various color combinations with a variety of tonal solutions, you can achieve amazing overflows and transitions between the finest shades. The method of A la Prima, since it does not imply multiple regulations, it allows you to preserve the maximum freshness and a compatibility of colorful sounds.
In addition, the additional advantage of this reception will be some time saving. As a rule, the work is written "in one breath" while the sheet is wet (and this is 1-3 hours), although, if necessary, you can additionally wet the paper in the process of creativity. In fast on performing sketches from nature and sketches, this method is indispensable. It is appropriate when performing landscape sketches, when non-permanent weather states undertake to fast execution technique.
The letter recommended mixtures of two, maximum of three colors. Extra paint, as a rule, leads to tinning, to the loss of freshness, brightness, color definition. Do not be takenlated by the random of stains, each smear is designed to respond to its destination - to be strictly coordinated with the shape and pattern.
The dignity and at the same time the complexity of the A LA Prima technique is that an image instantly occurring on paper and bizarrely spacing under the action of water movement is subsequently impossible to subjected to any change. Each item begins and ends in one appointment, all colors are taken immediately in full force. Therefore, this method requires extraordinary concentration, the deposit of the letter and the perfect sense of composition. Another inconvenience can be called a limited time frame of the execution of such a watercolor, as there is no possibility of leisurely work with interruptions between painting sessions. The image is written almost without stopping and, as a rule, "in one touch", i.e. Brush, if possible concerns a separate part of the paper only one or twice, no longer returning to it. This allows you to preserve absolute transparency, ease of watercolor, avoid dirt in operation.
The work "dry" lies in the fact that the paint is applied to the dry sheet of paper one or two (single-layer watercolor) or several (layers) layers, depending on the idea of \u200b\u200bthe artist. This method allows to provide good control over the spreadability of paint, tonality and shape of smears.
Single-layer watercolor "dry". - The work is written by one layer on the dry sheet and, as a rule, in one or two touches. This allows you to save the purity of colors in the image. As you need, you can "include" paint of another shade or color in the applied, but not yet dried layer.
The single-layer method of dry-in-dry is more transparent and the air is more transmitted, but does not have the beauty of wet overflows achieved by A LA Prima technique. However, unlike the latter, without particular difficulties, it allows strokes of the desired shape and tonality, to provide the necessary control over the paint.
Used in the color, to avoid the occurrence of dirt, it is advisable to think over and cook in advance, at the very beginning of the painting session, so that they are unhindered to apply them to the sheet.
In this technique, it is convenient to work, in advance of the contours of the picture, as it is not possible to adjust the adjustment to the additional layers of paint. This method is well suited for graphic images, as the smears on dry paper retain their clarity. In addition, such a watercolor can be written both in one session, and for several (with fragmentary work) with interruptions as needed.
Another way to perform a single-layer watercolor - wet-in-dry, is that each smear is applied next to the previous one, capturing it until the game is not yet. Due to this, a natural mixture of shades and a soft transition between them is formed. To enhance the color, you can pour the brush the necessary paint to the not yet ashes of the smear. It is necessary to work fairly quickly to close the entire sheet before the previously applied strokes will dry. This allows you to create beautiful picturesque overflows, and the dry surface of the paper contributes to sufficient control over the fluidity and outlines of the smears.
Multilayer watercolor (lesing). - Lessees called the method of applying watercolors with transparent strokes (as a rule, darker on top of the stronger), one layer on top of another, while the lower no time should be dry. Thus, the paint in different layers is not mixed, and works on the lumen, and the color of each fragment is folded from colors in its layers. When working in this technique you can see the borders of smears. But, since those are transparent, it does not spoil painting, but gives it a kind of invoice. The strokes are accurately carried out in order not to damage and not blur already dried picturesque areas.
The main advantage of the technique of multilayer watercolor is the possibility of creating paintings in the style of realism, i.e. The most accurately reproducing one or another environmental fragment. Such work externally have a certain similarity, for example, with oil painting, however, in contrast to it, they retain transparency and color ringing, despite the presence of several layers of paint.
Bright, fresh lescing paints give watercolor work special combustion of color, lightness, tenderness and radiant coloring.
Lesstation is a saturated color technique, deep shadows filled with colorful reflexes, soft air plans and infinite Dale technique. Where there is a task to achieve color intensity, the multi-layer reception is in the first place.
Lesstation is indispensable in shaded interiors and remote plans to panoramas. The softness of the interior lighting in a calm scattered light with a multitude of all sorts of reflexes and the complexity of the overall picturesque state of the interior can only be transferred to the lesser technique. In panoramic painting, where it is necessary to transfer the most important air gradations of promising plans, it is impossible to use cabinet receptions; Here you can reach the goals only with lescing.
When writing in this technique, the artist is relatively independent in the issue of chronological framework: no need to hurry, there is time to think without a rush. Work on the picture can be divided into several sessions, depending on the possibilities, necessity and, in fact, the desire of the author. This is especially important when working with the images of a large format, when you can perform various fragments of the future picture separately from each other with their subsequent final association.
Due to the fact that the lesing is performed on dry paper, it is possible to achieve excellent control over the accuracy of the smears, which allows you to maximize its intention. Gradually, applying one layer of watercolor after another, it is easier to choose the necessary shade for each element in the figure and get the desired color solution.
The main criticism, aimed at this technique, is that, unlike the single-layer style of the letter, the most preserving the transparency of the paints, watercolor work performed by the lesser, lose their airiness and remind images with oil or gouache. However, if the lescing is fine and transparent, the light falling on the picture will be able to reach the paper and reflect from it.
It should be noted that the multi-layered letter of the letter often hides the texture of the paper and paints or the texture of the semi-dry brushes on the grainy sheet.
Like any painting watercolor, the lesing involves very neat work - the smears should be put carefully, so as not to lubricate the lower, already dried, paint layers. Because the perfect error can not always be corrected without consequences. If paper and image fragment allows, you can blur with a rigid column, pre-moistened in clean water, an unsuccessful place, then flush with a napkin or a cloth, and then when everything is dry, carefully restore the color.
Also, work can be performed in a combined (mixed) watercolor technique, when in one picture are harmoniously combined both the techniques "in wet" and "dry". For example, the first layer of paint is placed on a wet paper to create the desired blurring of the rear plan (or / and individual fragments of the middle and foreground), and then, after drying the paper, there are sequentially additional layers of paint with a detailed draw of the elements of medium and near plans. If desired, other options for the combinations of raw and luster letters are used.
Interesting way to work on a fragmentary moistened sheet when the latter is not fully wounded, but only in some specific places. Long smear, exciting both dry and wet papers, will acquire unique outlines, connecting, with its overall continuity, clear contours in dry places with "spread" in moistened. The tonality of such a smear will also change accordingly in different moisture regions of paper.
According to the artist's color palette, it is possible to distinguish between the monochrome watercolor - the griezail, and the multicolor is classic. In the latter, there is no limit on the number of colors used and their shades, various tones of one color are used in the griezayl, not counting the paper color. Most often sepia and, less often, black, ocher.
Sometimes the term as "dichrom" can be found in respect of watercolor works. As a rule, it is consumed extremely rarely and refers to those images, in the creation of which is not alone, but two colors.
According to the degrees of humidity, it is possible to divide not only the working surface, but also the hair bundle of the brush during the painting session. Of course, this division is more than conditionally, since, depending on the desires of the artist, one and the same brush can change the degree of moisture with each smear. At the same time, we highlight the work of dry (pressed) brush, semi-dry and wet, since the smears in these cases differ in each other.
The smear with a pressed brush with a letter "in wet" provides a smaller "fluidity", it allows you to better maintain control over the paint applied to the sheet. With a letter of "dry", such a smear can cover paper only partially, "slipping" (especially related to relief paper, medium-hearted and Torchon), which is of particular interest to specific creative solutions.
A letter to a semi-dry brush is universally and well suited for writing on paper of varying degrees of humidity. Of course, in each case there will be their own features. The wet brush is written, as a rule "dry", since the dotty strokes give a strong "spreading" on the wet surface of the sheet and are poorly controlled. At the same time, the wet brush is well suited for fills, stretch marks, washes and other techniques, when you need to save the maximum amount of water in the brush. There are techniques when the watercolor is mixed with other colorful materials, for example, with Bellyl (gouache), watercolor pencils, ink, pastel, etc. and, although the results are also very impressive, such equipment are not "clean".
In the case of a combination of watercolor with pencils, the latter complement the translucency of the paints with their bright and clear shades. With pencils, you can either highlight some details of the picturesque image, making them clearer, aqueous or all the work in a mixed technique, in which linear strokes, brush strokes and colorful divorces are present.
Pastel does not so well connect with watercolor than a pencil, but sometimes artists use it, inflicting pastel strokes over the finished watercolor wash.
Mascara, both black and color, can be used instead of watercolor. However, the mascara gives new features and is usually used in a brush wash or feathers. The combination of the drawing of black ink and abstract watercolor spots, merging and crossing the boundaries of the objects drawn to the masses, gives the work freshness and looks original.
The combination of watercolor and the pen is very successful, for example, for book illustrations.
As a rule, Belil (opaque coloring material, for example, gouache) in mixed techniques are used to "simplify" the painting process. Sometimes the "reservation" of individual places in the picture is a certain difficulty, especially when these places are small and there are many of them. Therefore, some artists write without it, and then "whiten" the necessary places of paint (for example, glare on objects, snow, trunks of trees, etc.).
When creating one work, the combination of various materials is possible, for example, besides watercolor, in the process of painting are used and bleached, and mascara and pastel, depending on the artist's creative design. In watercolors, it is possible to conditionally allocate such letters of letters as: strokes, fill, washing, stretching, reservations, "pulling" paints, etc.
Smears are, perhaps, one of the most common ways of writing in painting, which is easily distinguished by a dynamic drawing from boring work. Filled paint brush, contacting the surface of the sheet, performs this or that movement, after which it takes off from the paper, thus completing the smear. It can be point, linear, curly, clear, blurred, solid, intermittent, etc.
Pouring - the reception performed in cases where it is necessary to scroll the significant area of \u200b\u200bthe pattern in one color or make smooth transitions between different colors. It is performed on paper, tilted at an angle, as a rule, long horizontal brush strokes, so that each next smear glasses down and "captured" part of the previous one, thereby organically mercy with it in one texture. If after the fill is completed, there are excess coloring pigments, then they can be carefully removed with a sprayed brush or a napkin.
Waste - Reception of watercolor painting, which uses highly diluted paint water - it is started to write transparent layers, repeatedly passing those places that should be darker. The overall tone of each of the images of the image is eventually achieved by repeated overlays of these layers, and it is applied to each of them only after the complete drying of the previous one so that the paints are not mixed with each other. At the same time, it is not recommended to apply more than three layers of paint so that the dirt does not appear. Therefore, most often the second oppie strengthens the colors of the halftone, and the third color of the shadows are saturated and the details are introduced. In fact, the washing is a multiple pouring of one tone on another solution of one concentration. Most often, this technique is applied by architects and designers, since the usual drawing does not give the audience a visual presentation of the form and color of the construction. In addition, working in color, the architect finds the best combination of material for the perception of conceived, clarifies the tonal relationship, reaches an expressive siltegone and surround project solution.
Gradient stretching - a series of consecutive smoothly moving fragments in each other, in which each subsequent is brighter by tone than the previous one. In addition, sometimes the smooth transition from one color to another.
Often in watercolors use such a method as "pulling out" paint. To another wet scenic layer, a clean pressed brush is neatly applied, the hair absorbs part of the pigment from paper, making in the right place tone smear lighter. The best paint is drawn up with a letter "in wet", since the surface is still wet and the pigment holds weakly. If the smear is already drying, it can be carefully mixed with a clean wet brush, then "pull" the paint to the desired tone. However, on dry paper, this method is less effective.
Reservation is a part of a sheet that is saved by white in the process of painting. This watercolorist complies with the rules for the purity of this technique, refusing to Belil. Therefore, the level of skill of the artist, among other things, is determined by the ability to perform the reservation qualitatively. There are several basic ways.
"Coming" is the most difficult and most "clean" reservation. With such a letter, the artist leaves the right places of the picture not painted, carefully "bypassing" their brush. The method is performed as "dry" and "in wet". In the latter case, it should be borne in mind that the paint applied to the crude paper is spread, so the reservation should be performed with some "stock".
A method is often used as a mechanical impact on a dried layer of paint. In the right places, she is scratched with an acute subject (for example, a razor) to a white surface of the sheet. However, such a reception requires a certain skill and violates the texture of paper, which may eventually lead to negative consequences.
It is also possible to use the various so-called "masking means", which can be used almost at any stage of development of the picture, preventing paints to enter the plots closed by them.
With these solutions, you can save white bright light accents, glare, splashes, achieve a variety of effects when the overlay method is applied when the masking is applied after the first wash is applied, and the second, darker shade is applied on top.
However, with such a reservation, sharp and contrast boundaries are obtained between the colorful layer and the protected area. It is not always possible to soften such transitions, it is not always successfully possible, so it is better not to abuse the use of scarves, applying them only to create interesting and beautiful effects.
You can also create a preliminary drawing of wax crayons in the right places, without closing the large planes. Then all the work can be mixed with water and make fill with paints in the still unexplored leaf. Places originally painted with wax crayons will remain not affected by watercolor, because Wax pushes water.
Another way is to wash the paint with a wet or pressed brush. Best is performed on an uneteble layer. However, the initial whiteness of the paper is no longer possible to achieve, since part of the pigment still remains in the texture of the sheet. Instead of the brush, you can use a dry napkin, gently applying it to the specified places of the picture (for example, "creating" the clouds in the sky), etc.
Sometimes such a technique is found as removing the part of the semi-slim paint with a masticine. However, it requires a certain skill and is used only in some private solutions (for example, they can emphasize the outlines of mountains, stones, rocks, sea waves, you can depict trees, grass, etc.).
Sometimes some special effects are used when creating watercolor work. For example, salt crystals applied over a wet colorful layer absorb part of the pigment, as a result, leaving on paper unique divorces moving tonal transitions. With the help of salt, you can get a movable air environment in the picture, decorate the meadow with flowers, and the sky stars.
A certain interest is a watercolor, made on pre-crumpled paper, due to which the paint accumulates in a special way in the locations of the leaf, creating an additional volume.
Toning sheet with black tea can contribute to visual "aging" of paper.
In some cases, it justifies itself to apply the pigment to the sheet by splashing (for example, a finger with a toothbrush), because Play plenty of the smallest points with ordinary brush quite difficult and long. But it should be borne in mind that particles of paint solutions with hard hair brushes "fly out" almost uncontrollably, therefore this technique requires a certain skill.
An interesting effect gives the usual food film tightly applied to another damp paint and then neatly removed from the leaf.
In addition to the main outlined, there are still many other private techniques and ways to work in watercolor.
Thus, it can be concluded that the watercolor has broad technical capabilities. There are many different techniques for watercolor performance. These methods can be allocated and classified only conditionally, depending on certain factors. Each reception has a nearby advantage and at the same time difficulties performed.
Chapter 2. Watercolor painting techniques in fine art lessons in secondary school
2.1. Study of watercolor technician at school
At the lessons of fine art, many teachers prefer to use gouache in the educational process, not a watercolor. Although there are teachers - great watercolor lovers and supporters of its widespread use in the educational process.
The most important argument for the use of watercolor can be called what watercolor is more complex material, and therefore, thereby teaching children to serious thoughtful activities in the field of creativity. Watercolor contributes to the development of neat work, develops the ability to see the thinnest color transitions, teaches non-standard perception of the image of the surrounding reality, as well as its transfer.
In addition, in general, watercolor painting forms the elegance of the perception of the world and the subtle spiritual organization of the personality of the young artist.
Before starting work with watercolor paints, it is necessary to prepare as it should be prepared - at least minimally equip the workplace and buy the necessary accessories.
Workplace.
An ideal room for working with watercolor paints - as with most other materials - there will be a bright room with a good natural lighting day and competent, uniform artificial in the evening. Curtains and blinds will help to adjust the flow of daylight, and good lamps, including desktops, will provide good lighting in the evening.
Watercolor paints work best on Easebert or on a table that has a slope. On a flat surface, paint and water will accumulate in one place of the drawing, forming puddles. The table for working with watercolor paints should be quite large - we have to put not only a sheet of paper on it, but also all the tools that we may need in work. This is a jar with water, paint, brushes, etc.
Water.
To work with watercolor, the most common tap water is suitable. It should be pouring into a jar - of course, for children you should not take glass jars, it is better to take a jar from under green peas, coffee, olives, etc. The volume of the jar should be sufficient - about 250 ml. It is recommended to buy "Non-Filing" jars. Practice shows that in the work they are inconvenient: the volume of jars is small, so water is rapidly polluted, it is necessary to change more often - and open a jar, without shed water, it is difficult to open the jar.
Paints.
Watercolor paints are prepared from color pigments of vegetable and animal origin, or artificial, and a binder, which consists of water with the addition of glycerin, honey and preservatives.
Watercolor paints are several species:
Solid. Placed in plastic or porcelain containers. The paint is strongly pressed, therefore it is difficult to impregnate the brush.
Semi-mug. We are produced in the form of tiles with a large content of glycerin and honey, which makes them softer. These paints are well soluble in water and are widely used by professional artists.
Soft. They are produced in tin tubes in the form of pasta.
Liquid. Used most often in the book graphics. Have sufficiently saturated colors, sold in glass bottles.
The lessons advise only seven-way paints. Attention should be noted that the paint box does not bleel. In watercolor painting, light tones are achieved by adding water; Belil only give a dirty shade.
Tassels.
There are many brushes for watercolor painting. The quality of the brush is determined by hair. Brushes are:
Core
From a hair protein
From the hair of the mangusta
Food
From a hair Lani.
Synthetic.
Copy brushes are considered professional, but for schoolchildren it is recommended to buy a brush from a white hair. They are ideal for working with watercolor paints. Check the quality of such a tassel is easy: you should wet the brush with water - it should "leave the hairs", that is, to keep the sharp tip.
Pony brushes are not suitable for watercolor painting - they do not form a sharp tip needed to work with watercolor.
Watercolor brush size is denoted by number 00, 0, 1, 2, etc. The smaller the number, the thinner the brush. In the lessons, it is possible to confine their tassels No. 5 and No. 6.
Paper.
When watercolor occupations, paper quality is crucial. In no case should not draw watercolor paints on thin paper - writing, office, etc. Such paper is running even from a minor amount of water and completely unsuitable for watercolor. Paper should be tight enough.
Smooth paper (for example, Watman) is obtained by hot pressing, which gives it a special gloss. It is quite suitable for watercolor classes, but is intended mainly for professionals working with aniline dyes and airbrush. It is possible to take advantage of it to perform a particularly thin picture, however, you need a lot of experience. With excess water, the contours are blurred, and the drawing is lost; If, on the contrary, there is little water, the watercolor dries too fast, which leads to the appearance of the so-called color breaks.
To work with watercolor it is better to choose a dense, grainy paper. Such is sold in stationery stores - "Folder for watercolor", sheets of format A3. This paper, rough to the touch, does not absorb the paint too fast, does not muffle her color.
It can be noted that professional artists most often stop their choice on coarse-grained paper. It is usually very expensive, as it is done manually.
There are many watercolor painting techniques.
One of the first techniques that schoolchildren can master is "cheese technique", for example, when writing a drawing based on the patterns on the glass. Writing the picture can be performed in the form of a "artistic dictation": the child must moisten the entire sheet with water and draw under the dictation. We draw frosty morning, nature wakes up, so our paints whisper. The first woken purple paint, she woke out blue. (The sheet should be wet enough so that the colors are poured one to another, and not remained clear stripes). But together it became boring, and they woke up the emerald and green (remember that the paints whisper). Our frosty window is ready. Then you will need to give a lest to dry so that the drawing does not grow. At the second stage of the lesson, a beginner artist can be offered to become frost and draw a flying fairytale bird on the window. Easy, without pressing strongly on the brush, we conceive the bird's head, neck, movement of her beautiful wings. You can write fills, but unlike the background, the water you need to take less, and the paints are more. Do not forget to write the tail, the movement of large feathers. Then we are added details - gently draws the beak, eyes, small feathers. You can add work and other patterns, write frosty flowers, twigs, snowflakes.
The technique of writing a picture by a smear can be studied on the example of still life. To feel the specifics of working watercolor, you can first start writing a still life in one-color painting (Griezail). This can be made with black or dark brown paint. The griezaile will help to master the technique of writing with strokes, without being distracted by the selection of color and will determine how paints will behave as they dry. Usually watercolor, top, brighten about one third of the initial (raw) tone. It is necessary to perform the following conditions when writing a still life in this technique:
1. The smear should not be dry - it should not remain along the movement of the brush strips of not painted paper. But, if there is too much water on the brush, the paint flows down the paper through the paper. The paint should be transparently even in the darkest places, the paper should shine through the paint.
2. While the smear is not drying, one should not put the smears next to it - the smears should not be merged in the raw form.
3. The smear after it was put it imposed. You need to try to immediately get into the desired tone. If the smear is incorrect, it must be not corrected, but to compensate for further work at the expense of neighboring smears. You need to try to find as many color shades as possible - let there be two identical smears.
4. The first smear should be put on the darkest place - it will immediately task the tone range of still life.
5. At the beginning of work should not put more than two smears on one subject. At the same time, if one smear is put on the lighted part of the subject, another smear should be put in the shadow of this subject
6. First, you should work in the middle of the picture, where the largest number of tone relations is adjointed, gradually coming to the edges of the image. When the first penetment is made, in which no smear is put on the other, then we return again to the middle of the sheet. Now the strokes of the second penetration are put on the first to dried smears first. With each penetration of white paper between the strokes, it remains less and less until all the space of the pattern is covered with paint smears. Glare on glossy surfaces will leave white.
7. The smear can be put on the form just like both the barcode. At the borders of the shape of the smear, it is better to put along the line - it will help save the drawing.
8. Light items can be easily made too dark. They should be written when their environment will be written - it is easier to take the right tone.
In the 5-6 class, you can explore the lesser technique, the development of the lesson will be presented in the next section.
- . Development of lesson
Painting watercolor has its own history and traditions. For the first time, she appeared in China in the XII century, although in ancient Egypt used by opaque watercolor paints with the addition of Belil.
Interestingly, after all, one of the characteristic features of watercolor paints is their transparency, and in the sets never happens. In medieval Europe, as in Russia, the opaque watercolor was used to color church books or manuscripts, which highlighted watercolor capital letters or ornaments.
Water paints.
Common from the ancient Egyptian, medieval and later paints is that the solvent for them is water - Aqua. Hence the name Aquarelle, or watercolor. This term is applicable and actually to the paints, and the type of painting, they made. The main features of pure watercolor is the transparency and purity of color mentioned above. Painting watercolor, as a rule, tender, fragile and air. But until the middle of the XIII century, she had a purely applied character, which basically used for the coloring drawings, engravings, frescoes. Although such a masterpiece, as the "hare" of Albrecht Dürer, who is considered a guide, was written back in 1502.
From single hobbies to generally accepted
Wonderful single examples met and later, but it was an exception to the rules. Watercolor was bottled by such generally accepted masters of the brush, like Wang Duck, Giovanni Castiglione and Claude Lauren. In England, she received special development thanks to Joseph Turner. Although in addition to him, watercolor painting was promoted enough to make English artists. When Turner, Watercolor becomes leading in painting of this country, and in 1804 in England a watercolor society is created.
Beautiful overseas watercolorists
Watercolor and in France, other countries in Europe and America entered. It can be added that with the filing of the Argentine artist Rokho, the International Watercolor Day was announced. For the first time it was marked on November 23, 2001.
In wide access, you can see amazing works by watercolor of the Japanese artist Abe Toshiyuki, which in its extraordinary paintings reaches photographic accuracy.
Great Russian masters
But how did the watercolor painting in Russia develop? P. F. Sokolov (1791-1848) P. F. Sokolov (1791-1848) became the first major master (1791-1848), which is considered the hedge of the genre of the Russian watercolor portrait. Academician of the Imperial Academy of Arts, he left the descendants of the segment of the era, as he captured in his landscapes, portraits, household scenes to his modern Russia. Karl Brylov and A. A. Ivanov gave the tribute to watercolors. In the XVIII-XIX centuries, it becomes very popular, especially made by her miniatures. But wonderful and large works created by water colors. Especially good paintings by Ilya Repin, Mikhail Vrubel, Valentina Serov, artists of the World of Art. Society of Russian watercolorists is created in 1887.
Beauty of watercolor landscapes
All picturesque genres are under the power of water colors, but especially good landscapes. Watercolor can transmit thin color transitions, the saturation of the space by air, the richness of each tone. Therefore, the blooming gardens on the landscapes made by Aquarelle are so unique and multicolored.
Especially good works of the English artist Beatris E. Parsons (1870-1955). Landscapes in watercolor, in particular winter, made by Russian masters, are unique and unique. In wide access, there is a selection of Russian winter landscapes created by different watercolorists.
Characteristic techniques
How are effects inherent in watercolor only achieved? It is characterized by special techniques, it has its own rules and, of course, their own, special way of cooked paints. Blur and strips are specific techniques of this genre. It is necessary to immediately make a reservation that drawing watercolor is a rather complicated case requiring special skills.
Nowadays, if there is a huge amount of master classes and tips on the network, how to replace the virtuoso possession of a brush with various tricks, you can find a statement that everyone can draw. Not all. And such a reception, like lesing, is available only to strong professionals. And there are such techniques like "washing", "Alla Prima", "dry brush", "drops" and "on wet". Almost virtuosos own them perfectly.
Painting on paper
In the second half of the XIX century, a glass watercolor developed, the works of which are not inferior to oil painting. Their essential difference is not only in paints, but also in the material on which works are created. In watercolor it is paper, less often silk. And it rods drawing watercolor with graphics.
When creating pictures with water colors, the paper is sometimes pre-wet (receiving "on wet"), the smear takes on a special spreading shape, and the applied next to forms, merging with the previous one, a new shade, which is sometimes even predicted.
Special devices
Paper will quickly dry and brear. Therefore, the sheet must be stretching. This is achieved by several techniques. It is possible to put a wet leaf on the glass and then in the process of work, tilt it at the desired angle in order to larger moisture savings in the desired area. It is clear that this method is not available beginner. There are special framework for leaf tension. They are called erasers. To preserve moisture under paper put a wet flannel. It all depends on the ratio of paint and water, and at the same time absolutely different shades are achieved. For various techniques, various auxiliary means are created, such as tablet and watercolor blocks.
Tools
Each watercolor has its own technique. Watercolor, all its virtuoso receptions are not so easy, you need to lime a lot of paper, which is divided by quality into several types - Bristol Cardboard, Watman, Torchon and many other types adapted for frequent wetting. Watercolorists enjoy brushes from delicate squirrel hair. Such brushes are applied even in forensic. Caller's hair fit, ferret and badger.
When working with water colors there is a lot, which is included in the concept of "technique". Watercolor you can work, as mentioned above, and on dry paper and wet. In the first case, there are our techniques, in the second - their own. When performing a picture directly with papers, even the original wet, they still dry. Applying multiple layers to obtain the depth and transfusion of the color (lesing) implies only dry cardboard.
The most common reception
Drawing watercolor "on wet", or "raw", or "wet wet", unique and inherent in this picturesque genre. True, the frescoes are applied to the crude soil, and some experts consider their watercolor forerunners, made by the technique of raw. Soft smear and one of its kind texture of a colorful layer - the specificity of the work of watercolor "on wet". In addition, in these works there is an effect of trepacy and image mobility. Then in the raised watercolor you can enter the drawing with pen or pencil, especially since watercolor pencils appeared not so long ago. The essence of watercolors is that white or light tone is obtained due to a capping capacious in the transparent layer.
Actually paint
And what paints? Their quality is achieved by special rubbing of the peg and its number in the source product. In order for the pigment to roll in the balls, the bile is added to the paint, which is a surfactant that reduces the tension. Easily soluble glues of gummyiarabic and dextrin (treated corn and potato starch) are introduced into paints as binders.
To give them elasticity and plasticity, plasticizers such as glycerin are added to them, and the inverted sugar is well kept moisture. The most important claim to water paint is the homogeneity of the coloring pigment. Poor paints remain on paper in the form of grains. This is an indicator of disrepair of paint.
Watercolor marines
It was noted above that water colors are extremely good for the image of the landscapes. Especially wins the sea. Watercolor with all receivers available only by her and methods can be depicted with all the growing beauty of the water space. And then, maybe there is something in painting water with water colors? Maybe so many lessons for beginners draw watercolor on writing just the sea? And as consonant with water space, such watercolor techniques, like "drops" or "inflating". In addition to them, in Marina, you can use wax crayons to close the cardboard in order to save the white sections.
All sorts of different ways
Methods such as elevation, jacket, splashing, the use of painting scotch and many others used by watercolorists, especially beginners, will help not only portray the sea with watercolor, but also to turn work into a fun occupation, especially if drawing with the child. But in serious adults, various techniques also apply. Sometimes to achieve a welcome effect, you can postpone the brush and try something else. What is just not to resort to the masters: both to the food film, and to the foam, and to salt, and to the stamping and a lot of others - the fantasy of a person, especially artistically gifted, is limitless.
Nowadays, when the information field is so widely, when in any genre of fine or applied arts, which did not even hear about, you can not only try yourself, but also to put your job, the great many people found talents and decided on the direction development of their own skills. Moreover, on any issue there is a lot of available tips, master classes, recommendations and opportunities to purchase objects and equipment for this type of creativity. Painting watercolor for beginners does not stand aside. Dozens of lessons, step-by-step descriptions are absolutely all that is associated with water colors, are widely available.
Watercolor painting - This is the technology of creating artistic work with water colors. Familiar to most of us since childhood, when we used dry paint in cuvettes. However, such paints do not give that rich effect, which demonstrate the work of experienced watercolorists.
Watercolor paint consists of a binder, filler and pigment itself. Glue of plant origin is most often used as a binder: gummyiabik, dextrin, tragedy, fruit glue, mood or glycerin. When applied to paper, water evaporates, and the binder fixes the pigment and carrier. Watercolor paint is produced in semi-drying cuvettes and in tubes. For working with watercolor paints, artists use round brushes for main work and flat brushes for other manipulations, such as corrections or flushing. Watercolor needed a palette - plastic, white. The palettes in which there are recesses can be used as a cuvette: paint from tubes is squeezed out in the deepening and give dry. Some artists use paint in the "cheese" form, in their opinion, the color in the picture will be more recently. An important is the choice of paper. Watercolor sheet should have a well-pronounced texture and not spread (swell) after wetting with water.
Watercolor used various methods for applying paint on paper. The most common method is called "raw". Initially, paper is wetted with water and then apply a colorful layer. Thus, the applied paint begins to spread along the sheet, flourishing unexpected patterns, merging with other paints and forming new shades. The method of "raw" is quite complicated and requires skill, but it gives an amazing result. In watercolor painting, the lesser method is also used when the artist inflicts the paint layers one by one on the dry sheet. Lesstation allows you to achieve a special accuracy of parts. If there is a desire to add some accents of its watercolor work, written in the technique of "raw", the artist can apply the following layers of paint after drying the sheet.
If you want to explore watercolor painting technique, so let's say "for yourself", it is worth choosing high quality paints. Most often, cheap watercolor paints do not give enough saturation of the color and the desired texture that the novice artist can disappoint. It is not necessary to acquire a large number of watercolor colors, it is better to have a set of primary colors, since almost any shade can be created from a mixing of two or more other colors. For example, a black shade is obtained from the mixing of red and green, and the white watercolor color is not used at all (after all, white paper shines through the colorful layer, and the artist simply bypass the color of those areas on a sheet that should remain white - such a technique is called "Reservation").
Speaking about watercolor painting, we most often remember the gentle floral still lifes, penetrated by light, glare. But look at how multifaceted use of watercolor painting in various genres! Beautiful miniatures and sketches, portraits, landscapes, unexpected avant-garde images.
Valeria Ann Chua.
Valeria Ann Chua.
Valeria Ann Chua.
Malgorzata Szczecinska.
Malgorzata Szczecinska.
Malgorzata Szczecinska.
Elena Swed.
Elena Swed.
Elena Swed.
Roland Palmaerts.
Roland Palmaerts.
Roland Palmaerts.
Roland Palmaerts.
Are you interested in creative stickers and high quality stickers? In this case, you should know that the sticker for a smartphone, skateboard, car, refrigerator and any other purposes, in the largest assortment is waiting for you on Parazita Kusok. Come on the store website to familiarize yourself with an incredible choice.
You can use one or two methods, or create your own page with all options. Take advantage of the pencil and ruler, dividing watercolor paper for 8 rectangles to perform these techniques. Each rectangle give the name method, as shown in the figure below.
Note before starting work: I would recommend completely dry every rectangle before moving to the next technique. You can use a hairdryer to accelerate the drying process.
1. Solu technique
Salt is my absolute favorite in creating textured backgrounds. I keep a small sea salt container with my set of stocks. To use salt technique, select one or two colors first and sketch the first rectangle (or area) completely. Then, while the paint is still wet, sprinkle with salt on it. Give the paint to dry completely, and then remove the salt from the picture.
Note: The better your area is painted, the more salt will spread through it. Try to give the paint to dry in part (enough that the water will glisten, but it will not begin to spread when you move the paper), just pay attention to the difference in the texture you create.
2. Technique for cigarette paper
Skin the next rectangle color (colors). To achieve the best results, you will need a wet surface and a rich color.
Combinate a piece of cigarette paper and put it on top of a damp paint. Carefully cover the entire area, then carefully press paper with hand palms. Give her a little lying (but not completely, otherwise the paper can stick). Then carefully lift the cigarette paper from the picture.
3. Technique alcohol
This technique is quite fun. Skin the next rectangle with watercolor.
While the drawing is still wet, swing a cotton wand in alcohol and lower it on the wet paint. For the best result, drip alcohol from the end of the sticks (instead of touching the paper).
4. Pastel technique
You can use pastel to create a "wax resistance" technique. First depict your white pastel design, making sure that it is tightly in contact with the paper.
Using a white pencil on white paper makes it difficult to view what you draw. Tilt the paper aside to get an idea of \u200b\u200byour idea.
Then filter a rectangle with color. Paint will resist areas with white pastels.
5. Technique handle and ink
This is another my favorite technique. Using an ink handle with a thin tip, draw or sketch.
Then fidgeted as in coloring. Do not forget to go to a smaller round brush to draw in small areas.
6. Technique water drops
Skin the following rectangle. Then swing the brush in the water (or use a new color), allow the paint to drop on the background until it is wet. You can slightly shake the brush to help her drop.
7. Technique splashes
The method is interesting, but the disorder leads. I recommend closing all areas of paper that you do not want to splatter. Swim the brush in the paint, and then hold it above the paper. Another hand knock on the brush to leave the spray on paper. Rinse the brush, select another color.
8. Technique transparency
Since the watercolor has a transparent texture, you can create beautiful layers and seal them in your work. To try out the transparency technique, the best to start with a light shade and move to more saturated. I decided to draw a few drops. Cover the area of \u200b\u200bthe figures using first brighter color. Wait until complete drying, then select a more damp or rich color and draw more figures, overlapping the first layer. You can repeat this process as much your heart.
I hope this post will inspire you to use one or two new techniques. Do not be afraid to just do it and enjoy!
Stay with us to inspire new watercolor use lessons!
Watercolor painting has a big story and richest traditions. The name "Watercolor" comes from the Latin word Aqua - Water (French -aquarelle) and means the type of painting, the work performed in this technique, as well as paints that are bred by water. Since water is a solvent for this type of paint, hence the name of the painting by these paints.
Watercolor is the only type of paint, characterized by special transparency, cleanliness and brightness of color. This is achieved not only by the quality of the materials used, but also the high dispersion of pigments obtained by the special powder stratum.
Painting an opaque watercolor with an admixture of Belil was also known in ancient Egypt, an antique world, in the Middle Ages in Europe and Asia. We have reached the works performed by artists on papyrus and rice paper. In the Middle Ages in Western Europe and in Russia, watercolor used to decorate church books (coloring ornaments, capital letters in manuscripts), and then in miniature painting.
Clean watercolor (without impurities Belil) began to be widely used at the beginning of XV century. Its main qualities - transparency of paints, through which translucent the tone and texture of the base (mainly paper, less often silk and ivory), color purity. Watercolor combines the features of painting (tone wealth, formation of form and space color) and graphics (active paper role in building image). Specific watercolor techniques are broke and stalk, creating the effect of mobility and impact image. In the watercolor, performed by a brush, a picture of a pen or a pencil is often entered.
In XV - XVII centuries. Watercolor had an applied value and served mainly for coloring engravings, drawings, sketches of paintings and frescoes. An excellent example of this may be landscapes of A. Dyurra, Dutch and Flemish artists.
From the second half of XVIII The eyelid watercolor began to be widely used in landscape painting, as the speed of operation of watercolor allows you to fix direct observations, and its conversion facilitates the transfer of atmospheric phenomena. The first professional watercolor artists appear. Their inquiries in color landscapes were performed on moisturized paper, filled with one common tone, which is subordinated by all color gradations with erosows and drawing partsthin feather. In Great Britain (A.I.J.R.Kozens, T.Gerin), in France (Zh.O.Fragonar, Y. Berr), in Russia (F.Ya. Alexseev, M.M.Ivanov, S.F. Sharedrin, F.M. Matseva et al.).
In the second quarter of the XIX century in Italy has a manner of dense multilayer watercolor painting On dry paper, with characteristic sonorous contrasts of light and shadow, colors and white paper. Watercolor features as painting material - airiness, transparency and subtlety - were the qualities that attracted the attention of many artists. Gradually, under the influence of the overall development of painting, enriched and improving, watercolor alone alone in an independent type of visual art. A glass watercolor emerged, which in its picturesque advantages and artistic value has reached perfection and has not inferior with paintings made by oil paints. Simultaneously with easel watercolor painting, illustrative and architectural watercolor graphics developed.
In Russia, K.P. Brulylov and A.A.Ivanov worked in this manner. Originally in portrait painting techniqueP.F. Sokolova (with virtuoso form modelingsmall strokes and dots, wide color fillings), which breathed a new life into the art of a miniature portrait. He worked on paper with clean paints without impurities Belil. The artist secured for watercolor inherent main advantages - transparencyand airiness. His miniature portraits were distinguished by the amazing simplicity, beauty of color shades and impeccable pattern ("Portrait of the Lady In a green dress, "" Portrait of a young officer ", etc.).
In XIX A century watercolor art gets significant development. Picturesque freedom, diversity of tonal nuances and coloristic solutions are characterized by works by many artists. At this time, E.Delkrua, O. Gdomie, P. Gavari in France, A.Metzel in Germany, I.E. Repein, V. Surikov, MA Vrubel in Russia, were fruitful in watercolor technique. The flourishing of the English school of watercolor continued (R. Bonington, J.S. Kotmen, I. Callow, U.Terner).
At the end of the XIX - early twentieth century. A great contribution to the history of Russian watercolor painting was made by masters who were part of the creative association "World of Art", and the artists of their circle. Various creative personalities united the overall desire for high professional skills and finding a modern language in art.
For watercolor of the twentieth century, great freedom of technical techniques are characteristic. In the works of artists there is a connection of graphics and painting. Most of Miriskusnikov, like the artists A.Golovin, L.S. Bakst, D. Karkdovsky, F.A. Malyavin, M.V. Dobzhzhinsky, K. Yuon, B.M. Kustodiev, ZS Serbryakova, in his work, used watercolor in combination with Bellyl, gouache, tempera, pastel, bronze and other materials. However, in its pure form, watercolor equipment mainly remains at artists K.A. Sovova, A.N. Benua and A.P. Otroumova-Lebedeva.
It is bright and original in the best traditions of Russian carcassive watercolors, such masters of painting are working as: G.S.Veey, V.M. Konashevich, N.Atirsa, K.I. Rudakov, N.N. Kupreyanov, V.V. Lebedev, L.A. Bruni, P.V.Miturich, S.V.Gerasimov, A.V.Fontvizin, L.V.Sufertis and many other artists.
In the 80s of the 20th century. In the structural shaped stroke watercolor, graphic design elements are scheduled. The impreitated character of the image, the desire for monochromicity, the absolutization of the tonal spot, the plastic line, the rhythm is the external signs of the new direction. In achieving the expressiveness of the work, some artists do not limit themselves in the visual means, using the gouache, acrylic, temperature, aniline dyes along with watercolor paints, and appliqué.
One of the trendsmodern watercolor is picturesque. Here is the main role in creating a watercolor image, filling itemotional content performs the color structure of the composition. Many works of watercolor painting have a pronounced decorative character.
An applied and illustrative functions of watercolors were deployed to the background, documentary-narrative plots gave way to allegorical, associative, abstract compositions. The expansion of the expressive means of watercolor painting enriched the traditional letter of greater convention of the forms and freedom of technical techniques.
Some artists used watercolor for sketches, others gave it no less meaning than oil painting, for third watercolor became the basis of their creative activity. Gradually, the principles and rules of watercolor painting were determined. At the same time, artists from generation to generation grew and improved technical methods and techniques of watercolors, the criteria of its assessment were established, the range of technical equipment, various handwriting and genres was expanded.The works of masters say that the possibilities and means of watercolor use are impossible that with the necessary experience, picturesque literacy and the appropriate technique of writing, you can achieve great expressiveness of images, wealth of light and color, diversity in the transfer of form and textural objects.
Watercolor has ample opportunities in the transmission of the finest tonal colors of nature, especially atmospheric phenomena. The transmission of the spatiality of plans, the aisherness of the air environment, the status of lighting, the materiality of the objects is all available to a professionally prepared watercolor. At the same time, traditionspatriotic watercolor teach a novice watercolor to be attentive in the development of ways and techniques of watercolor painting, study the foundations of the visual letters, features and properties of materials. Despite the seeming lightness, working in watercolor technique to a certain extent harder painting by other paints (gouache, tempera, butter). This difficulty is that watercolor does not tolerate corrections and alterations,from which the upper layer of paper and painting drawn is disturbed. "Therefore, the artist requires a lot of concentration and before the start of work, a completely clear idea of \u200b\u200bwhat he wants and how he must fulfill conceived," Pisal A.P. Oostroumova-Lebedev.More learned and methodicallya sphere of traditional academic watercolor has been developed, where its specificity is limited solely by using the transparency of the colorful layer. The historical evolution of watercolor in materials, technical techniques, images and especially its intensive development in the second half of our century revealed rich, previously not used specific qualities of watercolor painting.
Specific watercolor qualities are determined mainly by two factors:physical features of materials (paper, paints, water, additives to paints, tools) and the creative personality of the author. If the components of the first are amenable to specific analysis, classification and even design (using various synthetic and natural additives, it is possible to determine the technical effects in future work in advance), then the second factor completely depends on the personal traits of the artist's character and primarily from its improvisational abilities and plasticity of thinking . In artistic practice, these factors are inseparable.
Watercolor painting characterizes a wide range of transparency of the colorful layer (in the process being created, the huge pictorial potential of the paper itself) and the dynamism of water paint, its movement, self-effectiveness is included. These qualities are determined by the nature of watercolor. Modern watercolor requires not only the knowledge of academic laws of painting, but also special plasticity and speed of figurative thinking directly at the hour of the letter. The technical effects that are the result of watercolor self-activeness often cannot be accurately provided by the author in advance. To fight them - it means to remove the most valuable watercolor qualities: immediacy, uniqueness, inexpensive. Watercolor skills manifests itself in the ability to notice the value of the effect and continue to work, adjust the initial tasks while maintaining the main idea of \u200b\u200bthe work. The uniqueness of watercolor images, which cannot be created using other techniques and materials, indicates that watercolor has acquired the status of species independence in the structure of the morphology of the visual art. Modern trends in the development of watercolor painting significantly increase the possibilities of using watercolor in the educational process of training artists of various specializations.
Watercolor is one of the most common types of painting, which is applied in training in special art institutions. This is primarily due to the relative availability and ease of use of water colors in the process of mastering the informative diplomas, the skills of creating color harmony, the organization of a tonal and color composition, the transmission of the illusion of three-dimensionality, space, materiality of objects, etc.
Watercolor painting technology is a combination of special skills, methods and techniques of writing, through which a artistic work is performed. It also considers issues related to the most rational and systematic use of the artistic possibilities of materials in the modeling of objects, in the modeling of the bulk form, in the transmission of spatial relations, etc. Thus, watercolor equipment is one of the most important elements of a system of expressive painting.
The pictorial and expressive possibilities of watercolor painting largely depend not only on the knowledge of materials and tools and the ability to apply them during operation, but also from the possession of the receptions and methods of the letter. In the process of studying technical techniques and methods of writing with watercolor paints, the development of technology should be based on a deep study and the use of creative experience of painting masters, the best works of classical and contemporary art. The development of watercolor painting techniques also implies a personal initiative and interest in finding, experiment and practical consolidation. At the same time, novice artists must remember the well-known caution that the technique is not an end in itself, but only a means in the transfer of the tasks. Therefore, from the very beginning of training, it is necessary to persistently and persistently master the Aza techniques, without which success is impossible in mastering the foundations of the picturesque diploma.
There are no universal picturesque technology. Each technique has only inherent artistic advantages and at the same time in limited capabilities in the transfer of depicted. A novice artist in accordance with personal qualities and artistic taste finds its special style of writing, depending on the tasks set, chooses one or another method and technical technique. Starting from the first study tasks, the learner gets acquainted with a number of techniques and ways of writing. Their development gives it the necessary foundation for a more complete and diverse performance of pictorial tasks. In the future, familiarization with the technique of writing will allow the beginning of the artist to try the different possibilities of watercolor painting and competently use them in an educational and creative process.
In the artistic practice of watercolor painting, there are various technical techniques that are distributed into three parts by way of writing: a way of working on dry paper, a method of working on raw (moistened) paper, combined and mixed techniques.
Dry paper work
This method of writing is widely used in realistic painting and has long established itself as traditional (classic). The simplicity and availability of this method of writing allows you to widely use it in the educational process. It is based on the use of natural properties and features of watercolor paints easily connect to the surface of the paper.The way of work on dry paper makes it possible to adjust in the process of letters with a tonal-color stretching from dense strokes to light fills, use the imposition of transparent colorful layers one to another, thereby allowing the illusion of the volume and depth of space in the image. This method develops at the novice watercolor color perception, strengthens the drawing, gives the correct design of the shape and volume, helps the rapid development of the paints and their mixtures.
Reception Pouring on a dry paper surface
This is one of the most common technical techniques. The peculiarity of this reception is that the work is carried out on dry paper, taking into accountlight and color tones by filling planes.
Almost this reception is as follows. At the beginning of work, the sheet stretched on the tablet is slightly wetted with a wide brush or sponge. This is necessary so that the paint falls evenly and well absorbed into the surface of the paper. While paper dries up, the required colorful solution is selected on the palette. By gaining a paint solution with a brush, start the gasket from the upper horizontal fill. At the same time, the smear should be juicy. To do this, you need to type such a quantity of paint on the brush so that after each sip of the smear, a small slope of the solution was obtained. Gradually filling the paint brush, carry strokes in such a way that they come into contact with the lower edge of the previous smear. As a result of the influx of paints, smooth transitions are obtained from one shade of color to another, gently simulating the form of objects. In order for paint to flow uniformly, the tablet on which they work are kept in an inclined position, approximately 20-30 degrees relative to the horizontal plane. With steep slope, the paint will be very quickly drained down. In the process of the letter, the angle of inclination can be adjusted. The residue of the paint at the lower edge of the fill is removed slightly pressed brush.
Using the fill on the dry surface of the paper, you can freely vary light and color gradations, write both in one reception and in the stages designed for a long time. Also, using this technique in order to familiarize yourself with other technical techniques of work with watercolor paints, you can make a number of training exercises that will give an idea about the technique of infusion of one color in another. To do this, take several color paints and, consistently constituting color on the palette, connect them, pouring one to another. The result is a multi-colored fill, giving a common, natural color tone for watercolor equipment. With the reception of the mixture of paints on the palette - mechanical. In the process of fillings, the work is recommended in parts. To achieve smooth and uniform transitions from one color to another, it is recommended to use addresses and armores. The diversity of attractive purely watercolor qualities of this reception is achieved by training and good knowledge of watercolor materials.
Reception of a lushing letter
At the initial stage of training in the process of mastering technical techniques of work with watercolor paints, a multi-layer letter of applying colorful layers - lesters is widely used (lescing from the German Lassieurung - apply a thin transparent paint layer). The essence of this entry of the letter consists in a consistent application of transparent layers of paint one on the other, in order to obtain a variety of color shades when modeling a bulk form, enrich the flavor, to achieve the unity of the pictorial work and its harmony.
Reception of the lesserized letter is often used in the educational process with a long-term multi-layer work on a still-life etude with a detailed study of the shape of the images of the items. Tutorials on still life require a careful study of nature. They are written several sessions (work is calculated at the stage), and then it is necessary to gradually and consistently impose one layer on another to achieve the necessary results.
Using the reception of the addresses of the filling of planes, you can do both a large brush and a small (mosaic letter) with the subsequent wide overlap. Moreover, the lesser can be applied to one another only a limited number of times, otherwise the deaf, contaminated places will appear. It should also be remembered that the necessary color shade is achieved in watercolor painting not only with the help of technical techniques, but mainly the mixture of paints on the palette. In order to avoid closing color tone, no more than two or three paints should be entered into a mixture. It is better to achieve the desired tone by means of a skillful and calculating overlay of one color layer to another.The first fillings should be started with the most transparent lescing paints. They are better shining, strongly connect with paper and are less blurred at subsequent attachments of paint. Cabinet paints that do not allow multiple subsequent overlaps, you need to apply last. First, it is better to lay warm shades of paints, and then cold and amissized. In the first registration, the warm tone is well felt and has an impact on the harmony of the color system at the completed work.
The sequence of application of transparent paint layers one on the other largely depends on the tone and color relations of the items of the field formation. The most dark and saturated colors are laid first. At the same time, the work should be started with large color spots of productions that have a decisive value for the total color building of the etude. Subsequent registrations usually provide for the modeling of the volume form of objects, the determination of halftone, shadows and reflexes. The re-enhancing of the tone and color ratios is carried out according to the influence of the surface to bring the image to integrity and unity.In a managing work, you should always have a finite goal, which is set by this task, to see and submit the results to which you need to strive. This is important in order to achieve the desired color tone, thoughtfully make initial gaskets with such a calculation so that subsequent layers give the necessary color combinations.
Acceptance of work with a smear (mosaic letter)
In watercolor painting, many experienced artists write etudes and sketches in parts, working in small "mosaic" strokes or stains - fills. Acceptance of work with a smear makes it possible to maintain the freshness of the colorful layer, the tension and emotionality of watercolor painting, to more in-depth studying nature. This acceptance of the letter provides for the work on the "layout" etud, where the smears and fills are broken down by simultaneously taking into account the color tone, lightness and saturation.
The use of this reception requires appropriate training, skills and alike, since when adding an image from a plurality of smears and fills is difficult to maintain wholeness and coloring in the work. The complexity of this reception lies also in the fact that the watercolorist, especially novice, is difficult from pieces, in parts to organize and bring the etude to the picturesque-plastic, figurative integrity, complete the work without additional use of other techniques (for example, lescing). In the process of applying the desired color tone without repeated overlaps, the novice artist involuntarily focuses on separate details and, of course, it may allow to exaggerate the tone strength in separate places. In this case, the borders of the color stain can be strongly distinguished by disturbing the tonal unity of the etude. It becomes especially noticeable when the paint is superimposed on the fastening strokes. Therefore, during a letter, it is necessary to generally look at nature and its work, seeking to determine that in the formulation of the main thing, and what is secondary.Acceptance of work with a smear allows a beginner watercolor to write an etude for a long time with interruptions, carefully analyzing and studying nature. Determining the color of items in the formulation, do not strive to accurately convey each of them. There is a difference between the "painted" objects and written. You can write only on the basis of comparing interrelated colors, determining the difference between the coloring individual items on lightness, saturation and color tone. To do this, adhere to the following rules: the first - the perception of the color depends on the state of illumination and the environment in which the color data is located; The second - transmitting the colors of nature, it is necessary to compare them with each other so that they are perceived in mutual relations; Third - any picturesque task can be solved only on the basis of colors.