Creative work. The coloring of paintings by famous artists: the secrets of oil painting technique

If there are several publications on a particular issue, you need to familiarize yourself with all the publications in order to understand how the point of view on the issue under study has changed.

Collection and processing of factual material (sketches, sketches, sketches and compositional searches)

The collection of factual material is a crucial stage in the preparation of the practical part of the course work. Its quality largely depends on how skillfully and fully selected the actual material.

disciplines of subject training are sketches, sketches, sketches, compositional searches for plastic forms, decorative panels, examples of performance techniques, source images for computer graphics, reproductions of works of art.

Factual material for term paper on general professional disciplines- these are data from an experimental study based on the results of practical activities at school.

Collection and processing of natural material (sketches, etudes and sketches), compositional searches are a laborious stage in the course work. In order to speed up the processing and systematization of the material, the successful completion of the work, students are given the right and opportunity to use educational, scientific laboratories and workshops, the funds of the library and the reading room.

Preparation for defense and defense of term paper

Completed and properly designed term paper is submitted to the head no later than two weeks before the defense at the department. The head of the work checks the work, signs it and presents it to the head of the department. Based on the submitted documents, the head of the department decides on the admission of the work to the defense. Permission for admission is drawn up on the title page of the course work and sealed with the signature of the head of the department. If the head of the department does not consider it possible to admit the student to the defense, the issue is resolved at a meeting of the department with the participation of the head and the author of the work.

In this case, the head of the department makes the decision on admission to the defense based on the decision of the members of the department.

The work admitted for defense is returned to the student for correction of remarks and preparation of abstracts for defense.

Coursework defense is held at an open meeting of the department, in which scientific supervisors of work, faculty teachers, students, etc. participate. All those present can ask the defendant questions about the content of the work, participate in its discussion.

No more than 20 papers are submitted for defense at one meeting. No more than 15 minutes are allotted for the defense of one work, including 5-7 minutes for the student's report.

The graduate report (1-1.5 pages) contains:

Work theme;

Objective;

The relevance of the topic under study, its justification;

Characteristics of the scope and structure of the work;

Sequence of implementation of the practical part;

Conclusion.

The report is presented freely, clearly; the student does not read the text, but logically presents his observations and conclusions.

The student's answers to the questions of those present, their completeness and depth affect the evaluation of the course work.

After the presentation of the author of the work and his answers to questions, the leader comes forward with his review. After discussing the work, the student is given the opportunity to respond to the comments made. Coursework is evaluated on a four-point system: "excellent", "good", "satisfactory", "unsatisfactory". In doing so, members of the department are guided by the following criteria:

Professionalism of skills and abilities in the implementation of the practical part;

Defense of the work: the student must show how deeply the topic is comprehended by him, the ability to navigate the scientific problems related to the topic of the work: the student must show the ability to briefly and clearly express his thoughts, give comprehensive answers to questions, logically and correctly conduct scientific polemics;

Design of work: compliance with the design rules recommended by this regulation, spelling, punctuation and stylistic literacy; correct bibliography.

The student needs to know that the assessment is made up of many indicators, the decisive indicator is the defense itself. Discussion of the results of the defense of each work is held at a closed meeting of the members of the department. The decision on evaluation is made by a majority vote, the vote of the head of the department counts as 2 votes. The results of the defense of term papers are announced on the same day after the approval of the defense protocol by the head of the department.

With an "unsatisfactory" assessment, the student has the right to re-defend the work within the next semester after making additions, corrections, improvements, but not more than once.

The general results of the defense of term papers are necessarily discussed at the department. Based on the results of the defense, the department can recommend individual works for publication in collections of student scientific papers.

The theoretical part of the course work for 2 years from the date of defense is stored in the methodological office of the faculty, where it can be used (on a common basis with educational and scientific literature) by students, teachers, teachers, etc. The practical part is stored in the exhibition fund and is used for exhibitions and as a teaching aid in the classroom.

Withdrawal of materials, changes, additions to the term paper are not allowed. If necessary, the author of the work has the right to make copies of the materials available in the work.

of the past fascinate with their colors, the play of light and shadow, the appropriateness of each accent, the general condition, color. But what we see now in the galleries, which has survived to this day, differs from what the author's contemporaries saw. Oil painting tends to change over time, this is influenced by the selection of paints, technique of execution, the finish of the work and storage conditions. This does not take into account the small mistakes that a talented master could make when experimenting with new methods. For this reason, the impression of the canvases and the description of their appearance may differ over the years.

Technique of the old masters

The technique of oil painting gives a huge advantage in work: a picture can be painted for years, gradually modeling the form and prescribing details with thin layers of paint (glazing). Therefore, body writing, where they immediately try to complete the picture, is not typical for the classical manner of working with oil. A well-thought-out phased application of paints allows you to achieve amazing shades and effects, since each previous layer, when glazed, shines through the next one.

The Flemish method, which Leonardo da Vinci loved to use so much, consisted of the following steps:

• On a light ground, the drawing was written in one color, with sepia - the contour and the main shadows.
• Then a thin underpainting was made with volume modeling.
• The final stage was several glazing layers of reflections and detailing.

But over time, Leonardo's dark brown inscription, despite the thin layer, began to strongly show through the colorful image, which led to a darkening of the picture in the shadows. In the base layer, he often used burnt umber, yellow ocher, Prussian blue, cadmium yellow, and burnt sienna. His final application of paint was so subtle that it was impossible to catch it. Own developed sfumato method (shading) allowed this to be done with ease. Her secret is in highly diluted paint and dry brush work.

Rembrandt - The Night Watch

Rubens, Velasquez and Titian worked in the Italian method. It is characterized by the following stages of work:

• Applying colored primer to the canvas (with the addition of any pigment);
• Transferring the outline of the drawing to the ground with chalk or charcoal and fixing it with a suitable paint.
• The underpainting, dense in some places, especially in the illuminated areas of the image, and in some places completely absent, left the color of the ground.
• The final work in 1 or 2 steps with semiglazing, less often with thin glazes. In Rembrandt, the ball of layers of the picture could reach a centimeter in thickness, but this is rather an exception.

In this technique, particular importance was given to the use of overlapping additional colors, which made it possible to neutralize the saturated ground in places. For example, red ground could be leveled with gray-green underpainting. Work in this technique was carried out faster than in the Flemish method, which was more to the liking of the customers. But the wrong choice of the color of the ground and the colors of the final layer could spoil the picture.

Painting color

To achieve harmony in a painting, they use the full power of reflexes and complementarity of colors. There are also little tricks like applying a colored primer, as in the Italian method, or varnishing the painting with pigment.

Colored primers can be adhesive, emulsion and oil. The latter are a pasty layer of oil paint of the desired color. If the white base gives a glow effect, then the dark one gives depth to the colors.

Rubens - Union of Earth and Water

Rembrandt painted on a dark gray ground, Bryullov on a base with umber pigment, Ivanov tinted the canvases with yellow ocher, Rubens used English red and umber pigments, Borovikovsky preferred gray ground for portraits, and Levitsky preferred gray-green. The darkening of the canvas awaited everyone who used earthy colors in excess (sienna, umber, dark ocher).

Boucher - delicate color of light blue and pink shades

For those who make copies of paintings by great artists in digital format, this resource will be of interest, which presents web-based artist palettes.

Lacquering

In addition to earth colors that darken over time, resin-based topcoats (rosin, copal, amber) also change the lightness of the picture, giving it yellow tints. To artificially give antiquity to the canvas, ocher pigment or any other similar pigment is specially added to the varnish. But a strong darkening is more likely to cause an excess of oil in the work. It can also lead to cracks. Although such the craquelure effect is more often associated with work on half-wet paint, which is unacceptable for oil painting: they write only on a dried or still damp layer, otherwise it is necessary to scrape it off and re-register.

Bryullov - The Last Day of Pompeii

1) Selecting a topic:

In my thesis, I turned to one of the types of fine art - painting. Landscape was chosen as the theme of the work. It is appropriate to quote the famous Russian landscape painter I.I. Shishkina: “The picture should be a complete illusion, and this cannot be achieved without a comprehensive study of the chosen motifs, to which the artist feels the greatest attraction, which remained in his childhood memories, that is, the landscape should be not only national, but also local.” (Abeldyaeva I. G. School of Fine Arts. Issue 5. - M., 1962).

The criterion in choosing the topic was my personal attitude to the local seascape. The desire to convey in the picture the sunny state, the view of the Tsemes Bay, familiar from childhood, complemented by modern buildings of the seaport.

2) Collection of material:

a picture is the creation of a holistic image of nature, it is an artistic generalization, a transformation of nature with the help of the artist's imagination. It is impossible to beautifully transform what you have no idea about. Therefore, the creation of a landscape is always preceded by a long work on sketches from nature. “You should look at nature simply, carefully, trying to understand its general impression, and go from it to the details ...” (Masters of Soviet Art on Landscape, 1965).

To carry out the work, a collection of preparatory material was carried out. These are sketches, pencil sketches, picturesque short-term and long-term studies made from nature.

(Appendix A, figures A1-A6). The main advantages of a landscape study are the transfer of a certain state of illumination of nature, the influence of the air environment and a significant space. The sketches were made at different times of the year, different times of the day.

3) compositional and coloristic solution:

The compositional integrity of a pictorial study depends on the relationship between the main and the secondary, on linking the entire image into a single work. When highlighting the compositional center, the artist has to consciously generalize the details, weaken the tone and strength of the color of objects moving away from the compositional center, subordinate all tone and color relationships to the main one.

4) cardboard (preparatory drawing):

having specified the idea in sketches and sketches, having found a linear and color composition, you need to start drawing the entire composition on cardboard or paper (Appendix A, Fig. A7). Cardboard is made in full size with a pencil, charcoal. In it, the compositional solution, the nature of the form and proportion of objects, the tasks of aerial and linear perspective are honed and brought to completion, the landscape planning is determined, and the compositional center is being worked out. After that, the drawing from the cardboard (through tracing paper or powder) is transferred to the canvas.

5) Painting on canvas:

after compositional searches and making cardboard, you can start painting on canvas, starting with underpainting, clarifying tonal and color relationships, laying shadows, working through details. Next comes the summary and completion of the work (Appendix A, Fig. A8-A14).

1

The article deals with some issues of working with watercolors in painting classes. Watercolor is attractive for its accessibility, purity of color relationships. With the seeming simplicity of work, watercolor is a complex technique of easel painting. Particular attention is paid to materials, tools, technological aspects of watercolor painting: glazing methods, "alla prima", "raw". In work on long studies, the first is more often used. For painting in the open air, in quick sketches, the “alla prima” method is more suitable. It must be understood that mastering the skill of watercolor painting is learned not from books. Everything is learned in long-term practical work, on personal experience. Therefore, practice is the best method of mastering the technique of watercolor painting.

tools

painting materials

writing method

watercolor painting

1. Trouble G.V. Fundamentals of visual literacy: Drawing. Painting. Composition. Ed. 2nd, revised. and additional M.: Enlightenment, - 1981. - 239 p.

2. Vasiliev A.A. Still life painting: watercolor: Proc. Benefit. Ed. 3rd, revised. and additional Krasnodar: Publishing house of the Kuban state. un-ta, 2004. - 98 p.

3. Volkov Yu.V. Work on pictorial sketches. M.: Enlightenment, 1984. - 31 p.

4. Skripnikova E.V. Still life: composition, drawing, painting: study guide / E.V. Skripnikova, A.I. Sukharev, N.P. Golovacheva, G.S. Baimukhanov. - Omsk: OmGPU Publishing House, 2015. - 150 p.

5. Skripnikova E.V., Golovacheva N.P., Sukharev A.I. Still Life Painting: Study Guide. - Omsk: BOUDPO "IROOO", 2015. - 92 p.

6. Shchetinin I.D. Watercolor: A Practical Guide. Kurgan: Publishing house "FORT DIALOGUE - KURGAN", 2009. - 31 p.

Formulation of the problem

The technique of watercolor is studied by students at the faculties of arts of pedagogical universities in the first year. In painting classes, students are given not only pictorial tasks: finding the general color of the production, color and tone relations of objects and the background, conveying the volume of objects in certain lighting conditions, studying the laws and rules of aerial perspective, but also composition and drawing. Firstly, the task is to learn how to compose the production: to determine the proportions of the sheet format, to find the size of the image in it, to place objects on the pictorial plane relative to each other. Secondly, learn to understand and draw objects of various designs and shapes, taking into account the angle and horizon line, to study the laws and rules of linear perspective. In our article, we consider only the issues of watercolor painting technology: materials, tools, various technological methods.

Watercolor is attractive for its accessibility, purity of color relationships. With the seeming simplicity of work, watercolor is a complex technique of easel painting. To master and understand it, you need a careful study of materials and tools (paint, paper, brushes). After all, this is where any creative process begins.

Watercolor (from lat. aqua- “water”) - paints diluted with water, and in a professional artistic environment - paintings made with such paints. The colorful pigments used to make watercolors are the same as in other paints. But the watercolor pigment is exceptionally finely ground, brought to a state where, being in the water, it does not settle to the bottom for a long time. Glue - the binder of this pigment - must be soluble in water, be colorless, elastic. As a binder in watercolors, various vegetable adhesives (gum arabic, dextrin, cherry glue, honey, etc.) are used, they also contain a plasticizer in the form of glycerin. Glycerin prevents the paint from becoming brittle and drying out, as it retains moisture. Ox bile is sometimes added to watercolor so that it easily lays down on a paper surface and does not roll down while writing, an antiseptic (phenol) that prevents mold from destroying the paint.

Watercolor paints are easily soluble in water, can be washed off and give a transparent layer that does not interfere with the reflection of light from the paper. But some paints have greater transparency (carmine, scarlet, emerald green, etc.), they dissolve more fully in water and lie more evenly on paper. Others (cadmium yellow, lemon, etc.) have density, "hiding power", forming surface coatings.

It is better to store watercolors in a cool place, out of direct sunlight, so that they do not harden from dry air.

Modern industry produces watercolors in a large assortment. And, no matter how rich the palette of colors, they would not be enough to convey the diversity of colors of the world around us. The artist expands the color palette by mixing paints, both mechanically and optically - by applying one layer of paint to another. It is necessary to study the properties of various paints, check their opacity, color and light fastness. It is necessary to try all possible combinations of colors, both individually and in mixtures with each other; to understand which ones make “dirt” in mixtures, and which shades are worth paying attention to.

"Pure" watercolor painting is painting with paints without the use of white. Since watercolors are transparent, the paper itself (rarely cardboard) serves as the “whitewash”. Paper for watercolor painting is made in different grades in terms of density and texture. Color, density, paper texture are of great importance. The best paper for watercolor is a thick paper with a grainy surface that is well sized and bleached. There are varieties from fine-grained to rough texture, reminiscent of burlap. The texture contributes to the depth of color sounding, makes it possible for watercolor paint to easily lay down on the surface of the sheet in even and transparent layers, and retain moisture in the pores longer. On such paper, you can perform many hours of studies, it also allows you to wash off failed places. Paints do not adhere well to paper with a smooth surface and are easily washed off with a brush when applying subsequent layers; it is difficult to conduct a long study on it.

The presence of grease stains prevents the uniform distribution of watercolor paint on the surface of the paper. Therefore, before painting, the paper must be washed with distilled water using a few drops of ammonia. Yellowed paper can be bleached by rinsing it with a swab dipped in hydrogen peroxide.

During work, you should protect the whiteness of the paper in bright places (glare, white surfaces of objects, etc.). To save bright places, you can scrape the recorded places with a razor blade, a knife, and on a damp surface - with a brush handle. Another way is to cover the saved light spots and highlights with rubber glue. After finishing work on the sketch, the glue can be easily removed with a soft pencil eraser.

The color of the paper is the background, always involved in building the color of the whole picture. A good paper for watercolor painting is a paper that has a high level of whiteness, since its surface reflects light well through layers of paints and gives them brightness, reveals the nuances of tone. In watercolor painting, the preliminary toning of white paper is also used. Tinted paper unites painting, creates a coloristic foundation for an etude. Its tone depends on the tasks solved by the artist. In watercolor, paper is often tinted with decoctions of coffee or chicory of various strengths. Beautiful shades gives tea.

To prevent the paper from warping from moisture, it must be glued to the tablet. Moistened paper is applied to the tablet, which is fixed on top with a frame. When dry, the paper stretches evenly and does not warp. To keep the moisture of the paper longer, you can put damp material under it. For smaller sizes of watercolor paper, an "eraser" can be used. The eraser is a tablet of a certain size and a larger frame covering it.

In the open air it is convenient to work on the so-called gluing. Gluing is a pack of sheets with thick cardboard or plywood at the base. Sheets of paper glued together at the ends form a block. The used top sheet is removed, opening a new one for work.

Watercolorists have traditionally used squirrel, kolinsky and bristle brushes, but nowadays there are good brushes with artificial hair. These brushes are practical in work, their hair is not inferior to kolinsky, while they have increased wear resistance, greater durability. They can be either round or flat in shape. In watercolor, round brushes are most commonly used. Kolinsky brushes are considered the best, they are more durable and resilient, they crumple less. The quality of the brush is checked in this way. The brush is dipped into the water, then, taken out of the water, it is shaken. If the tip of the brush turned out to be sharp, then the brush is considered suitable for work.

For painting with watercolors, you need to have brushes of different sizes (from No. 8 to No. 16). The large round brush is the main tool in watercolor painting. It can apply large volumes of paint or write with the tip of a brush. At first, you can get by with a large brush, with which the artist works freely and widely, with large relationships. As the experience of working with watercolors accumulates and the educational and creative tasks become more complicated, the artist must expand the set of brushes.

The palette is very important for watercolor work. The palette should be pure white. To prevent the paint from being absorbed, the palette must be firm, even and smooth. They use a white glass palette in a wooden frame, covered with white oil paint from below, or from white porcelain, faience. You can use white ceramic tiles, a plate, metal plates painted with white paint as a palette; plastic palettes may also work, they are available in some watercolor paint sets.

Often students use paper as a palette. Paper is not suitable for these purposes. From water, paper quickly becomes unusable, soaks and makes it difficult to do the job. The disadvantage when working with such a palette is that loose, soaked paper takes the most valuable thing from the paint mixture - well-dissolved pigments, binders, particles of paper, glue and unwanted chemicals get into the paint mixture, which deprives it of transparency and gives painting "dirt". ".

There are no special easels and sketchbooks for watercolor painting. Paints can be carried in any flat boxes. It is advisable to wear brushes, wrapped separately in a cloth or put in a “kistenosku”. When carrying brushes in a sketchbook, they deteriorate, lose their shape. Water can be carried in wide-mouthed flasks.

Painstaking, thorough preparation of materials and tools for watercolor painting should not be a burden.

There are several technological ways to work with watercolors. But the main ones are two methods: the method of glazing and the method of "alla prima". In work on long studies, the first is more often used. For painting in the open air, in quick sketches, the “alla prima” method is more suitable.

Glazing as a method of multi-layer painting is based on the use of transparency of watercolor paint, its properties of optical addition of colors when applying one transparent layer of paint to another. By applying one layer of paint to another, you can get more saturated shades of one color, as well as form complex composite colors. With the glazing method, the depth and saturation of color are achieved by sequentially covering a well-dried transparent layer with another layer of paint.

A long study by the method of glazing is carried out in a certain sequence. First, a light linear drawing is made with a pencil or a thin brush in any one color, then large image planes are laid with a brush, but not in full force, but as a preliminary coloristic preparation for subsequent painting. From the very beginning of work on the sketch, one must try to convey as accurately as possible all the relationships of nature. It is necessary to establish a connection between all the colors of nature, all the time to compare the tone of paint in terms of saturation and lightness.

During work, one should constantly compare the color relationships of the depicted objects both in nature and in the sketch, moreover, according to the relationship of mutual signs: the light of one object is compared with the light of another, a shadow with a shadow, etc. It is necessary to determine the main contrasts in nature - places and objects that are the lightest and darkest in tone strength, in order to immediately establish the difference between the lightest and darkest areas of nature. Most often this happens in the foreground or specially allocated "main" objects of nature. Performing an etude, one should not limit oneself to working on one of its places, trying to finish it immediately, without any connection with the rest of the environment. In nature, everything is interconnected, and it is impossible to truthfully take the color of the depicted object in isolation from its environment.

It is always necessary to conduct an etude according to the principle - from the general to the particular. Having opened the whole sketch with light wide spacers (except for bright places and highlights), making sure that the relationships taken are correct, you can proceed to further work - sculpting the shape of objects, laying half-tones, shadows, reflexes. When working with watercolor, it is advisable to work from light to dark. Usually, at first, the depicted objects are covered with widely light layers of paints, which, in terms of tone strength, correspond to the lightest illuminated places of the depicted objects. Then shadows are applied. After that, semitones are determined by comparing them with each other.

With the glazing method, the paint layer, with all its multilayeredness (preferably no more than three layers, otherwise the paints lose their transparency, the so-called dirt is obtained), must remain thin and transparent in order to let the light reflected from the surface of the paper pass through. Already at the first registration, it is necessary to clearly outline the contrasts - the greatest differences in aperture ratio and the ratio of warm and cold tones.

It is advisable to use body, covering paints at the end of the work to create greater materiality, objectivity, heaviness. It should be remembered that when dried, watercolor paints somewhat lose their color strength - they brighten by about one third of their original strength. Therefore, it is necessary to make the desired colors more saturated, bright, in order to avoid the dullness of painting.

Another method of watercolor painting is the "alla prima" method, in which one paints at once, without successive layers of paint, each detail begins and ends in one step. All colors are taken at once in full force, which allows the use of mechanical mixtures of paints, i.e. make the desired color from several colors on the palette. When working with the "alla prima" method, multiple registrations are not used. This method is more acceptable in the open air. Most often, watercolor artists use both methods.

To create light color transitions, especially in shadowy places, in touching objects and planes, it is necessary that the edges of the applied strokes merge. To do this, the paper is pre-moistened with water. This method is called "raw" work.

To slow down the drying of paints during work, you can use solutions of glycerin, soap or honey in water on which paints are diluted.

It must be understood that mastering the skill of watercolor painting is learned not from books. Everything is learned in long-term practical work, on personal experience. Therefore, practice is the best method in mastering the technique of watercolor painting.

Reviewers:

Medvedev L.G., Doctor of Pedagogical Sciences, Professor, Dean of the Faculty of Arts, Omsk State Pedagogical University, Omsk;

Shalyapin O.V., Doctor of Pedagogical Sciences, Professor, Head of the Department of Drawing, Painting and Art Education of the Institute of Arts of the Federal State Budgetary Educational Institution of Higher Professional Education "NGPU", Novosibirsk.

Bibliographic link

Sukharev A.I., Shchetinin I.D. TECHNOLOGY OF WATERCOLOR PAINTING // Modern problems of science and education. - 2015. - No. 2-2.;
URL: http://science-education.ru/ru/article/view?id=21931 (date of access: 02/01/2020). We bring to your attention the journals published by the publishing house "Academy of Natural History"

painting technique- a set of techniques for using artistic materials and means.

Traditional painting techniques: encaustic, tempera, wall (lime), glue and other types. Since the 15th century, the technique of painting with oil paints has become popular; in the 20th century, synthetic paints appeared with a binder made of polymers (acrylic, vinyl, etc.). Gouache, watercolor, Chinese ink and semi-drawing technique - pastel - are also referred to as painting.

WATERCOLOR

Watercolor(from Italian "aquarello") - means painting with water-based paints.

There are many artistic techniques in watercolor: work on wet paper ("A la Prima"), work on dry paper, fill, wash, use of watercolor pencils, ink, work with a dry brush, use of a palette knife, salt, multilayer painting, use of mixed media.

Varieties of watercolor techniques:

dry - painting on dry paper, with each layer of paint drying before applying the next

in a damp way, wet watercolor, alla prima - painting on wet paper. The wet-on-wet technique uses watercolor flow to create unusual color effects. Using this technique requires knowledge of the moisture content of the paper and experience with the technique itself.

Alla prima (ala prim) (derived from Italian alla prima - at the first moment) is a kind of oil and watercolor painting technique that involves the execution of a picture (or its fragment) in one session, without preliminary registration and underpainting.

Shading is a very interesting technique in watercolor. Smooth color transitions allow you to effectively depict the sky, water, mountains.

The palette knife is used not only in oil painting, but also in watercolor painting. With a palette knife, you can emphasize the outlines of mountains, stones, rocks, clouds, sea waves, depict trees, flowers.

The absorbent properties of salt are used to produce interesting effects in watercolor. With the help of salt, you can decorate the meadow with flowers, get a moving air environment in the picture, moving tonal transitions.

Multi-layer painting is rich in color. In multilayer painting, all the artistic techniques of working with watercolor are used.

Watercolor is one of the most difficult painting techniques. The main quality of watercolor is the transparency and lightness of the image. The seeming simplicity and ease of painting with watercolors is deceptive. Watercolor painting requires skill with a brush, skill in seeing tone and color, knowledge of the laws of mixing colors and applying a paint layer to paper. There are many techniques in watercolor: work on dry paper, work on wet paper ("A la Prima"), use of watercolor pencils, ink, multi-layered painting, work with a dry brush, fill, wash, use of a palette knife, salt, use of mixed media.

Watercolor, despite the seeming simplicity and ease of drawing, is the most complex painting technique. Watercolor painting requires skill with a brush, skill in seeing tone and color, knowledge of the laws of mixing colors and applying a paint layer to paper.

For watercolor work, paper is one of the most important materials. Its quality, type, relief, density, graininess, sizing are important. Depending on the qualities of the paper, watercolor paints are applied to paper in different ways, absorbed, dried.

PENCIL

A pencil is a material for drawing. Distinguish between black lead and colored pencils. Pencil drawing is done on paper using hatching, tonal spots, chiaroscuro rendering.

Watercolor pencils are a type of colored pencils that are water soluble. The techniques for using watercolor pencils are varied: blurring a drawing with a watercolor pencil with water, working with a watercolor pencil soaked in water, working with a pencil on wet paper, etc. Drawing is more difficult to perform.

With the help of a pencil, you can get an infinite number of shades, gradations of tone. The drawing uses pencils of various degrees of softness.

They begin work on a graphic drawing with a constructive drawing, i.e. a drawing of the external contours of an object using construction lines, usually with a pencil of medium softness H, HB, B, F, then in a tone drawing, in which there are no contour lines of objects, and the boundaries of objects are indicated by hatching, if necessary, use softer pencils. The hardest is 9H, the softest is 9B.

In a pencil drawing, it is desirable to make as few corrections as possible and use an eraser carefully so as not to leave stains, so the drawing will look fresh and neat. It is better not to use shading in a pencil drawing for the same reasons. To apply the tone, a hatching technique is used. Strokes can be different in direction, length, rarefaction, pencil pressure. The direction of the stroke (horizontal, vertical, oblique) is determined by the shape, size of the object, the movement of the surface in the drawing.

The pencil portrait is very realistic and filled with light. Indeed, with the help of a pencil, you can convey many shades, the depth and volume of the image, the transitions of chiaroscuro.

A pencil drawing is fixed with a fixative, so the drawing does not lose its clarity, does not smear even when touched with a hand and remains for a long time.

OIL

Oil painting on canvas is the most popular painting technique. Oil painting gives the master an unlimited number of ways to depict and convey the mood of the surrounding world. Pasty or airy transparent strokes through which the canvas is visible, creating a relief with a palette knife, glazing, using transparent or opaque paints, various variations of mixing colors - all this variety of oil painting techniques allows the artist to find and convey the mood, the volume of the depicted objects, the air environment, create an illusion space, to convey the richness of the shades of the surrounding world.

Oil painting has its own peculiarity - the picture is painted in several layers (2-3), each layer needs to dry for several days, depending on the materials used, so usually an oil painting is painted from several days to several weeks.

The most acceptable for oil painting is linen canvas. Linen fabric is durable, has a lively texture. Linen canvases come in a variety of grain sizes. Fine-grained, smoother canvas is used for portraiture and fine-grained painting. Coarse-grained canvas is suitable for painting with a pronounced texture (stones, rocks, trees), impasto painting and painting with a palette knife. Previously, painting used the technique of glazing, applying paint in thin layers, so the roughness of the linen layer gave the picture elegance. Now in painting the technique of impasto strokes is often used. However, the quality of the canvas is important to the expressiveness of the painting.

Cotton canvas is a durable and inexpensive material, suitable for painting with paste strokes.

In oil painting, such bases as burlap, plywood, hardboard, metal, and even paper are also used.

Canvases are stretched on cardboard and on a stretcher. Canvases on cardboard are thin and usually do not come in large sizes, and do not exceed the size of 50x70. They are lightweight and easy to transport. Canvases on a stretcher are more expensive, finished canvases on a stretcher can reach a size of 1.2m by 1.5m. The finished painting is framed.

Before working with oil, the canvases are glued and primed. This is necessary so that the oil paint does not destroy the canvas, and that the paint lies well on the canvas.

Paintings with oil paints are most often written by setting the canvas on an easel. In oil painting, the technique of working with a palette knife is used. Palette knife - a tool made of flexible steel in the form of a knife or spatula with a curved handle. A different form of a palette knife helps to achieve different textures, relief, volume. A palette knife can also apply even, smooth strokes. The blade of a palette knife can also be used to create thin lines - vertical, horizontal, chaotic.

PASTEL

Pastel(from lat. pasta - dough) - a technique of painting and drawing on a rough surface of paper and cardboard with pastels. Pastel is one of the very unusual types of pictorial materials. Pastel painting is airy and tender. The subtlety and elegance of the pastel technique gives the pictures liveliness, somewhere fabulous and magical. In the technique of "dry" pastels, the technique of "shading" is widely used, which gives the effect of soft transitions and tenderness of color. Pastel is applied to rough paper. Paper color matters. The background color, appearing through the strokes of the pastel, evokes a certain mood, weakening or enhancing the color effects of the picture. Pastel paintings are fixed with a fixative and stored under glass.

The pastel technique gained wide popularity and reached its peak in the 18th century. Pastel has the ability to give any plot an unusual softness and tenderness. In this technique, you can make any subjects - from landscapes to drawings of people.

The advantages of pastel are in great freedom for the artist: it allows you to remove and overlap entire pictorial layers, to stop and resume work at any time. Pastel combines the possibilities of painting and drawing. She can draw and write, work with shading or a picturesque spot, with a dry and wet brush.

Pastel types:

dry- made from pigment by pressing without adding oil

oily- made from pigment with linseed oil by pressing.

waxy- made from pigment by pressing with the addition of wax

Pastel techniques are varied. Pastel strokes are rubbed with fingers, special blenders, leather rollers, silk square brushes, brushes, soft tampons. The pastel technique is very subtle and complex in its overlays of pastel "glazing" of color on color. Pastel is superimposed with spots, strokes, glazing.

To work with pastel pencils, bases are needed that hold the pastel and prevent it from shedding. Pastels work on rough types of paper, such as "torchon", drawing paper, sandpaper, on loose, fleecy cardboard, suede, parchment, canvas. The best base is suede, on which some of the works that have become classics are written. Pastel drawings are fixed with special fixatives that prevent the pastel from shedding.

Edgar Degas was an unsurpassed pastel master. Degas had a sharp eye and an infallible drawing, which allowed him to achieve unprecedented effects in pastels. Never before have pastel drawings been so quivering, masterfully careless and so precious in color. In his later works, reminiscent of a festive kaleidoscope of lights, E. Degas was obsessed with the desire to convey the rhythm and movement of the scene. To give the paints a special shine and make them glow, the artist dissolved the pastel with hot water, turning it into a kind of oil paint, and applied it to the canvas with a brush. In February 2007, at Sotheby's in London, Degas' pastel "Three Dancers in Purple Skirts" was sold for $7.87 million. In Russia, such masters as Repin, Serov, Levitan, Kustodiev, Petrov-Vodkin worked in pastels.

SANGINA

The color range of sanguine, a drawing material, ranges from brown to close to red. With the help of sanguine, the tones of the human body are well transmitted, so the portraits made by sanguine look very natural. The technique of drawing from life with the help of sanguine has been known since the Renaissance (Leonardo da Vinci, Raphael). Often sanguine is combined with charcoal or an Italian pencil. To ensure greater durability, sanguine drawings are fixed with a fixative or placed under glass.

Sanguina has been known since antiquity. It was then that sanguine made it possible to introduce flesh-colored color into the drawing. The sanguine drawing technique became widespread in the Renaissance. Renaissance artists developed and widely used the "three pencils" technique: they applied a drawing with sanguine or sepia and charcoal on tinted paper, and then highlighted the desired areas with white chalk.

Sanguina(from Latin "sanguineus" - "blood red") - these are pencils of red-brown tones. Sanguina is made from finely ground burnt sienna and clay. Like pastel, charcoal and sauce, sanguine is a soft material that is shaped into square or round crayons during production.

With the help of sanguine, the tones of the human body are well transmitted, so the portraits made by sanguine look very natural.

The sanguine technique is characterized by a combination of broad strokes and shading with strokes of sharply sharpened sanguine blocks. Beautiful sanguine drawings are obtained on a tinted background, especially when charcoal and chalk are added to the base material (the “three pencils” technique).

For the drawing, a sanguine of such a shade is chosen that better suits the characteristics of nature. For example, it is good to draw a naked body with a reddish sanguine, and a landscape with a grayish-brown or sepia sanguine.

Sometimes sanguine is combined with charcoal, which gives cold shades. The contrast of warm and cold shades gives a special charm to such works.

To ensure greater durability, sanguine drawings can be fixed with a fixative or placed under glass.

TEMPERA

Tempera(from the Latin "temperare" - to connect) - a binder of paints, consisting of a natural or artificial emulsion. Prior to the improvement of oil paints by J. Van Eyck (XV century), medieval egg tempera was one of the most popular and widespread types of painting in Europe, but gradually it lost its significance.

In the second half of the 19th century, the disillusionment of later oil painting began the search for new paint binders, and the forgotten tempera, whose well-preserved works eloquently speak for themselves, again attracts interest.

In contrast to oil painting and old tempera, the new tempera does not require a certain system for painting from the painter, giving him complete freedom in this respect, which he can use without any damage to the strength of the painting. Tempera, unlike oil, dries quickly. Tempera paintings covered with varnish are not inferior to oil painting in terms of color, and in terms of immutability and durability, tempera paints even surpass oil ones.

Graphics materials and techniques are varied, but, as a rule, the basis is a paper sheet. The color and texture of paper play a big role. Colorful materials and techniques are determined by the type of graphics.