Black and white still life paintings. Still life checkerboard stylization

In our painting classes, special attention is paid to still lifes, made in decorative painting technique.

Decorative painting is a diverse and extensive topic. In the developed by our teachers, there is a series of lessons on the study of decorative techniques for working with paints. For examples, special still lifes have been prepared, on which you can clearly show various techniques and features of the decorative style.

The purpose of the task is a decorative still life.

• Learn to depict objects using the means of decorative painting.
• Master the skills of transforming, dividing and arranging flowers in shape.
• Try different decorative painting techniques.

There is a widespread belief that decorative pictorial styles do not fit into the academic curriculum and are contrary to basic pictorial rules. In fact, this is a deep misconception. All methods and principles of decorative style flow directly from the academic program and are its further development and the ongoing evolution of all academic art.

At first glance, simplistic modeling and the lack of a realistic image may present an incorrect image. Decorative execution of the work poses many other, more complex tasks.

Decorative painting involves a deep study of local color, the composition of color spots, the search for expressive accents and spectacular spatial solutions.

The artist is required to convey the image, the impression of a real model as clearly as possible, using a minimum of means. It is necessary to show the volume of the object, material, texture, without resorting to classical modeling. The importance of analyzing the shape of an object increases, it is necessary to select and model a stylized image that transfers the object from a realistic image to the color plane.

In decorative painting, the line acquires greater importance, which becomes a full-fledged participant in the picture and, along with color and tone, participates in the formation of the overall composition. Changing the thickness and expressiveness of the line more clearly emphasizes the volume and plasticity of the object.

Also, a great variety can bring a change in the shape and frequency of applying a stroke, which immediately turns the surface of the canvas into a decorative panel or mosaic.

At the first stage of acquaintance with the possibilities of decorative painting, we recommend painting a series of still lifes, since in still life it is possible to choose combinations of objects and fabrics in order to vividly demonstrate the techniques of decorative style.

Types of decorative still life.

There are several common techniques that have proven themselves in practice and in the learning process. The names are chosen conditionally, since in modern painting there is no clear, international classification of styles and uniform names.

Painting from scraps. All color combinations in this technology are depicted as separate segments, emphasizing the structure of objects and showing their most expressive properties. Pure colors and planar space mapping are often used.

Painting with a clearly defined outline. To enhance the form and color relationships, the so-called “stained glass method” is used, when all objects and points of refraction of the form are outlined with black or dark lines, creating clear outlines and boundaries between colors. Works made in this technique are very spectacular and bright.

Other decorative techniques are based on combinations of pure colors, various types of stroke changes, the use of a palette knife, wide brushes and other tools. The format of the article does not allow describing every technique and method of applying paint. You can learn more by visiting our classes.

Students perform decorative still life in an art school according to the following methodology:

1. Arrangement of objects in a sheet.
2. Transformation (form stylization).
3. Overlay or braiding of silhouettes with each other.
4. Filling silhouettes with texture and decorative solutions.

As you know, a still life is a production of inanimate objects. In easel painting, still lifes are painted traditionally: they sculpt the volume of objects, convey chiaroscuro, linear and aerial perspective, space ... In a decorative still life, this becomes unimportant. The form of the depicted objects becomes flat and conditional. Chiaroscuro is absent. Instead, each silhouette is worked out decoratively.

On the transformation of the form you need to stop separately. Its essence lies in the transformation of the original form of the object into a conditional one. That is, the drawing is simplified, deprived of unnecessary details. The form is reduced to a conditionally geometric one, that is, it is based on simple geometric shapes (circle, rectangle, triangle ...). For example, a jug can be made up of a circle and a cylinder, and top and bottom can be completed with circles or ellipses. Thus, only the character of the object remains. He must be recognizable. And the contours will already be transformed and brought to a common style.

Overlapping or braiding silhouettes is a technique in decorative art and design. The imposition of silhouettes on each other is understandable by definition - this is when objects obscure each other and the image becomes, as it were, multi-layered. But the weaving is more complicated. For example, when a part of a jar is obscured by an apple, then the intersecting parts of the jug and the apple can be displayed by the artist in a completely different color. Objects become as if "transparent" and their intersecting parts are visible to the viewer. The silhouettes of objects are intertwined in such an intricate way that in the end, it is sometimes difficult to distinguish them. And this gives the decorative work a special appeal.

Filling the contours of objects with a texture- is not particularly difficult. You can spray paint, you can lay paint with chaotic strokes, etc. But filling the silhouette with a decorative solution is more difficult. The artist comes up with a kind of “ornament”, although this word is not quite suitable here. With this "ornament" he fills the silhouette. This “ornament” is created on the basis of the generatrix. A forming line is a line that forms the outline of an object. For example, the contour of a Greek amphora will be gracefully curved. Therefore, the interior decoration of the silhouette will be based on curved lines in a similar way. Separate parts of such decoration of objects, as well as the objects themselves, can be braided. Also, between them you can skip the literal ornament. Therefore, such decoration is not just filling silhouettes with only texture or coloring. This is a more complex process. But also more spectacular, on which the essence of a decorative still life is based.

Chess stylization of a still life. Master class with photo

Elena Alekseevna Nadeenskaya, teacher of fine arts, Arsenyevskaya secondary school, Arsenyevo village, Tula region.
Description: the material will be of interest to fine art teachers, educators, teachers of additional education, creative children aged 10-12.
Purpose: use in art classes, the work can serve as an interior decoration, an excellent gift or an exhibition piece.
Target: performing a still life using division of the image into parts (cells)
Tasks:
- to acquaint with a variety of techniques of the decorative image of a still life;
- develop a sense of composition, imagination, develop creative abilities;
- improve the skills of working with gouache; exercise in the ability to work with a brush of various sizes in accordance with the task,
- educate interest in the basics of visual literacy.
- to cultivate accuracy, love for fine art.
Materials:
- black gouache (you can use ink)
- brushes No. 2, No. 5
-pencil
-ruler
-eraser
- A3 sheet

Still life- This is a genre of fine art dedicated to depicting household items, fruits, vegetables, flowers, etc.
As an independent genre, still life was developed in the 17th century. in the work of Dutch artists. And at present, the genre is quite widely used by contemporary artists and designers. Along with a realistic image, you can often come across the concept of "decorative still life".
A decorative still life is characterized by a conditional, simplified representation of forms, stylization.
A lot of attention is paid to the color solution, color - the color combination used in the composition. The use of contrasting colors is common. The most harmonious contrasting combination is the ratio of black and white. This combination is actively used in graphics, clothes, interiors, etc.
We will try to perform our today's still life composition using a combination of black and white, but to the color, we will also add the concept of dividing the plane into parts - cells. Let's recall the arrangement of color cells-fields on the chessboard, pay attention that the fields of the same color never unite by a common side, they touch each other only at one point. We will try to use this feature in the work on the composition of the still life.

Progress
1. Having thought over the composition, we choose the location of the sheet. We plan the location of objects. If you are working in this technique for the first time, try not to complicate the composition by superimposing the shape of one object on another.

2. We outline the design of objects with broken lines. Since the still life will be decorative, there is no need to strive to convey volume, a planar construction will suffice.

3. We refine the contours of the shape of objects. We outline the contours of the vase, cup with smoother lines, draw the stems of flowers, fruits. Delete construction lines.

4. We outline the falling shadows. We divide the plane of the sheet into cells of the same size using a ruler. The optimal cell size for a landscape sheet (A4) is 3 cm, if the sheet is larger (A3), then the length of the side of the cell can be increased to 5 cm. If there is no experience in such a still life image, try not to complicate the task by reducing the size of the cells.

5. We start painting the cells with black gouache. We try to take a thick paint so that the paint layer is sufficiently dense and uniform. If the shape of objects falls within the cage, then we leave it unpainted. It is better to start working from the extreme cells, gradually moving into the middle of the composition.

6. Let's move on to painting the cells in the middle of the composition, without going beyond the contours of the objects.

7. After completing the coloring of the background, we begin to work out the color of the parts of the objects that fell on the white cells.

8. Continuing to work on the coloring of individual elements, we are approaching the completion of work. We refine the lines of the shape of objects, correct inaccuracies and sloppy contours of cells.

The work is ready.

Thank you for your attention! I wish you all creative success!

Still life photographs are known to be quite common. Often, many photographers like to present their still lifes in black and white. To do this, you need to find objects, compare everyday objects in your environment, and also enhance the difference in textures and tones. Converting to black and white gives you a lot of options when viewing the photo itself.

Black and white still life allows you to focus on the lines of photography, textures and forms. In this case, it is much easier to focus on these elements, since there is no need to be distracted by colors. Good use of this technique will not only give a more objective image in terms of its integrity, but also increase the tension between different objects and materials. Such combinations can be found everywhere, for example, in the park, on the beach, etc. You can take pictures of any objects. In addition, you can photograph objects in pairs, or in larger numbers. It should be noted that it is not recommended to apply the same methods of converting a photo to black and white.

To create a black and white still life, you must have:

camera and standard lens

macro photography equipment

tripod

a computer with a program that can convert a photo to black and white

Like any other genre of photography, still life is impossible without composition. Moreover, still life is exactly the genre where the composition plays a primary role and requires the closest attention from the photographer. After all, a reportage frame can be forgiven a lot if the author caught a really good moment. And home pictures - have you noticed how mothers are touched when they see their child in a photograph, albeit a mediocre one? It is unlikely that we will wait for the same indulgence from the audience by photographing an orange with a bottle. To have a positive effect, you have to try. And, of course, you should start with the composition of the intended frame.

Relatively speaking, the composition in a still life is a harmonious combination and interaction of objects in the frame. Through composition, you can consistently show the viewer everything you wanted, create a mood, convey an idea, and even tell a story.

The composition in still life can be conditionally divided into several types:

• geometric
  
• spatial
  
• color

geometric composition

It is no secret that all objects have a geometric (or close to geometric) shape. It is also no secret that it is common for a person to associate each figure with something characteristic of her. So, for example, corners are subconsciously associated with pointers. When you look at a square or a rectangle for a long time, there is a feeling of stability (perhaps because our subconscious mind draws a stable building). And the circle creates a feeling of comfort and soothes. It is worth remembering that horizontal lines (a person lying down) are much calmer than vertical lines (a person standing). As for the diagonals, the ascending lines - leading from the lower left corner to the upper right - look more intense than the descending ones: we still read from left to right, and our eyes have to “climb” the picture to get to the very top. But there is a certain sense of victory hidden in this, isn't it?! Descending lines, going from the upper left corner to the lower right, on the contrary, are traditionally associated with relaxation, sadness, or even decline.

All these little tricks can and should be used for your own purposes - in order to convey the concept, the idea of ​​the picture.

Space allocation

If there is a need to highlight a certain object in a still life, assigning it the role of the protagonist, here you can also play on a spatial composition. For example, put the main object in the foreground, in front of all the others. Or adjust the light so that the leading element is lit brightest, and those objects that are behind and in front of it are lit weaker. And you can do it smarter - light an incense stick or release cigarette smoke, thus drawing an aerial perspective in the frame: the main attention will be focused on the front objects, since the distant ones will drown in a romantic haze.

You can also play on the technical aspects of the camera: if you want to show every object in detail, including the backdrop or draperies, then shooting should be done with the aperture closed. But if it is important to highlight any one object, then the aperture should be opened as much as possible. The possibilities of optics should not be ignored either: in frames taken with wide-angle lenses, objects are strongly distorted, and the closer an object is to the camera, the larger it will appear in relation to the distant ones. Conversely, longer focal lengths "collect" the perspective, the space becomes much flatter.

Color composition

If photography is done in b/w, knowledge about the properties of color exposure will not be useful to us. But if the photo work is planned in color, this area of ​​research should not be ignored. Turning our eyes to the psychology of color, we will see that each of the colors has, in addition to its original color, its own semantic load. Warm colors (orange, yellow, red, terracotta) remind us of summer, sun, warmth. This is the first association that arises when looking at a photograph solved in these tones. In addition, from the course of painting, you can learn that such objects seem visually closer. What can not be said about cold colors: blue, green, pink, purple - these colors slightly move the object away from the viewer, and are usually associated with winter, cold, water.

It is important to remember about the contrast, sometimes you can play on it, but often ill-conceived color combinations repel or distort the meaning of the whole production. If you decide to photograph a cucumber against an orange background, consider whether the background will draw attention to itself. And is this what you really wanted to achieve? You also need to remember that any object has the ability to reflect or absorb the color shades of nearby objects, and even two objects of the same color on the same background may look different precisely because of the difference in their textures.

Color saturation also has an impact on the viewer: compositions in soft pastel colors will create a feeling of peace and nostalgia, while bright, flashy colors, on the contrary, are suitable for attracting attention, conveying expression, assertiveness. That is why bright colors are so loved by advertising photographers, while art photography often gravitates towards a subdued, calm tone.

Of course, any composition as a whole must obey the general color, the law inside the picture - otherwise it will fall apart. That is why you should be careful with color contrasts, they can have a serious impact - both to make the work more interesting, and to destroy it by placing unnecessary accents.

Black and white

Despite the absence of color, black and white still life has its own laws, and contrast also plays an important role here. The color itself in this case is replaced by a tone - a different game, but it also has rules!

Surely you have noticed that overweight women very rarely wear white. The fact is that white color seems to be more voluminous than black. In a black and white photograph, the eye first captures the lightest spots and only then moves to the dark ones. Many visual tricks are built on this effect: if you look at a sheet with an even black and white stripe, it will certainly seem that the white stripes are wider. You must always take this rule into account when staging a composition, and also take into account that a bright white object, whether it is in the foreground or in the background, will certainly seem to be the main one in this composition, and the eye will fall first of all on it.

contrasts

As already mentioned, contrasts play a special role. Existing within the same composition in the image, they can both highlight objects and, conversely, hide them. The work, built on barely noticeable fluctuations of light and shadow without spots focusing the viewer's attention, seems monotonous, monotonous, inexpressive. Sharp contrasts create tension, dynamics.

Rule of thirds

Of course, when talking about composition, one cannot fail to mention the rule of thirds. By drawing four lines in your mind through the frame - two dividing it into three equal parts horizontally, and two drawn vertically - you can calculate the most effective areas of the frame: they are at the intersection points of the four lines with each other. In these zones it is best to place the main object of the composition.

In fact, the rule of thirds is a simplified rule of the golden ratio, which will be somewhat more difficult to obtain. To do this, the frame must be divided into eight parts horizontally and vertically. And then draw from the right and left, as well as from below and above, lines at a distance of 3/8. At the intersection of these lines, there will be points of the golden section. But the division into three parts is much more convenient than into eight parts, so it is used in the composition more often: the difference is not so noticeable to the viewer, and the harmony in the frame, subject to any of these rules, is obvious.

Rhythm

Rhythm, that is, the repetition of the same or similar lines, is a very powerful compositional tool that allows you to manipulate the viewer's gaze. On the "path" of alternating objects can be taken very far. But don't overdo it - the rhythm can kill the whole composition, depriving it of dynamics and making it monotonous.

Internal communications

When creating a production for photography, it is necessary to ensure that there is a connection between objects in the frame. Objects can be connected by shape (egg and onion), by color (tomato and red pepper), by meaning (apple and cinnamon sticks). Objects must necessarily communicate, captivate the viewer, shifting his gaze from one object in a still life to another. This approach gives integrity to the composition, makes it interesting, understandable and at the same time mysterious - it is not at all necessary to reveal all the internal connections at once, the most interesting can be hidden inside the composition or hidden from the viewer for a short time, for example, with light.

One can talk about composition endlessly, but the main thing on which a still life is built (as, indeed, photography in any other genre) is the idea, plot and soul of the picture. And the composition is the same tool in the hands of the photographer as the camera itself. Remember what you want to convey to the viewer! And use all the available compositional techniques for your own purposes.