The formation of students' aesthetic ideas, concepts and tastes by drawing landscapes with watercolors. Methodological development Master class "Watercolor on crumpled paper
AUTONOMOUS NON-PROFIT ORGANIZATION
ADDITIONAL PROFESSIONAL EDUCATION
"SCIENTIFIC AND EDUCATIONAL CENTER" CAREER "
Examination No. 3
"Theory and methods of teaching fine arts and arts and crafts in the Children's Art School, Children's Art School"
1 question
« Technique of working on a landscape in watercolor»
Executensilt:
Kulishova Inna Alexandrovna
PROVeRAndl:
Tretyakova Irina Leonidovna
Volgograd
Content.
1. Introduction.
2. The main part.
3. Conclusion.
4. List of used sources.
Introduction.
This methodological development is devoted to the problem of finding the exact
color solutions in watercolor landscape sketches. Reveals questions
application of the basics of color science in practice and features of color
spatial landscape solutions. Helping the art teacher
teach children how to write a spatial landscape correctly in watercolor,
using all the means and possibilities of watercolor.
Students learn the language of color in painting lessons. Developing mentally and aesthetically, painting teaches to carefully observe the phenomena to develop spatial thinking, teaches the accuracy of calculation, promotes cognition
beauty of nature, fosters patriotism and love for one's homeland.
At the end of each school year, students have two weeks of school time
dedicate to the open air, on which they consolidate the lessons learned in painting
theoretical knowledge and practical skills. A series of
problems associated with the fact that children, not having sufficient artistic
experience, make mistakes in working on watercolor landscape studies.
The color scheme of the work is sometimes spontaneous. If the children are not
teach fine literacy based on deep knowledge, then becoming
older, more conscious, they begin to understand that their painting does not correspond to reality. They become frustrated, distrustful of themselves, and many children stop drawing altogether. Therefore, it is very important for the teacher of painting, starting from the first lessons, to develop the spatial color perception of students, instilling in them more and more painting skills, based on the study of the laws of a realistic image, in an accessible, interesting, playful way. From all this it is clear that the teacher himself, first of all, must be well versed in the issues of light-air perspective, color science, watercolor techniques. Only by correctly explaining the meaning of chromatic and achromatic, warm and cold, primary and secondary colors and shades, color tone, the effect of light on color, the teacher will be able to teach children to draw a landscape.
The topic of my methodological development is relevant today
day, its decision is fertile ground for the introduction of new methods in the educational process.
Purpose: development and implementation of a system of methods and techniques for teaching students the use of accurate color characteristics to solve spatial problems in watercolor sketches in painting lessons. The object of methodological development is the process of teaching schoolchildren the correct way of doing watercolor work on a landscape in painting lessons.
The subject of methodological development is the methods and techniques of organizing and conducting work on teaching in the lessons of art history and painting at the school of arts.
Tasks:
1. To give a psychological and pedagogical justification for the organization and use of methods and techniques for teaching the basics of working on landscape studies for students.
2. Characterize and reveal the essence and characteristics of the organization
methods of teaching work on landscape studies in painting lessons.
3. Determine the direction of the art teacher
departments on the use of methods and techniques for teaching the basics of work
over landscape studies and its application in the educational process.
4. Develop a system of methods and techniques for the implementation of training in the basics
work on landscape sketches.
MAIN PART.
For the most complete study of the topic: “Color and space in watercolor
landscape”, it is necessary to prepare several lessons in different disciplines. At the lesson of communication of new knowledge, in the subject "history of art", the teacher will talk about the methods of working with watercolors on
the example of the masters of the past, which will help expand the horizon of knowledge
students on this topic.
1.Features of watercolor techniques in landscape painting. (History of Art)
Ways of watercolor painting.
Layered watercolor painting is painting with preliminary
general or modeling tone, in some cases called underpainting, over which the artist gradually overlays
transparent layers of paint, reaching a certain light intensity. In such
traditional for Russian art of the XVIII-XIX centuries, they worked and
masters of Italy, France, Germany, Spain, England, and later Soviet artists.
The method of M. A. Vrubel. This method was used by many masters of the late nineteenth century. These are P. P. Chistyakov, I. E. Repin, V. I. Surikov and many others. But he found his most complete and consistent embodiment in the works of M. A. Vrubel.
As a rule, these are watercolors of a small format, according to M.A.
Vrubel, size "with a postcard", as well as 20x30 cm, 30x40 cm and very
rarely large. Some works of P.P. Chistyakov and I.E. Repin
have the approximate size of a modern Whatman sheet. Let's try
now based on the memoirs, research, letters of M. A. Vrubel and,
of course, the watercolors themselves present a possible sequence
work in this way:
1. With a hard pencil on well-glued medium or small paper
grit size depending on the size of the work to be done
detailed, strict drawing depicting external and internal
contours of objects, as well as highlights, halftones, shadows, both own and
falling, borders of color spots, folds of fabrics, ornaments, etc.
An example is the unfinished portrait of N. I. Zabela-Vrubel
1904, in which M. A. Vrubel managed to make a few strokes on
hairstyle and headdress, providing in such an unexpected way the opportunity to see this amazing preparatory drawing almost in its entirety.
2. Cover the depicted objects with a common local color tone in
1/3,½, color strength, lightness. Leave uncovered highlights and others
bright places. Emphasize the difference in color between objects or their
parts.
3. On the dried preliminary coat, apply individual color
plane of the depicted object in full force, creating a certain color
mosaic, moving from larger to smaller fills. Where there is color
tone is not enough, to cover subsequent color layers on dried
previous. And so on until the completion of the work, which should be an object consisting, as it were, of faces, platforms, differently located in space.
4. At this stage, some washes with a brush are possible, softening
hard edges of some fills. Washes can generalize individual
areas of work, as well as to ease the color overload in case of an error. After
drying of this area, you can apply the desired color tone to it.
Sometimes small dots and strokes are used as a technique to
bring small color areas to the desired tone. Thus,
small gaps between individual fillings are also filled.
Examples of this sequence of work in watercolor are the early
works by Vrubel M.A.
In addition to what has been said, it should be added that this
can be supplemented with one more trick at the beginning of work after completing
drawing. On a sheet of paper you need to apply a weak color tone of watercolor,
corresponding to the general tone of the depicted production, which gives
work a special color mood and generalizes it.
P. Cezanne's method.
The name of the method indicates its origin. It is known that Paul
Cezanne, in addition to oil painting, willingly and very successfully painted with watercolors. Preserved very interesting watercolors
artist. Some are written in two colors: blue-ash and ocher.
red. In others, he slightly expands his palette to three colors -
green, ocher, red and yellow, leaving blue-ash as the base.
In his work, Cezanne relied on one of the three principles of Paul Signac,
which was never to put one paint on
another, since any tone put on top of another fades. But in
in recent years, P. Cezanne, continuing to be passionately fond of watercolor, wrote
completely different. He overlapped one color with another, then a third and
and so on, using the primary colors - blue, red, green and
yellow, adding a small amount of black to them, with
with which he made slight dashed accents on top
smears. Most importantly, P. Cezanne did not mix primary colors between
himself, but used, as it were, the principle of superimposing color
glasses. Here is what Emile Bernard wrote about this in 1904: "He started with a slight
shadows, applied a spot, covered it with another, until all these color gradations, overlapping each other, fashioned the shape of objects with color.
The artist worked on the entire composition, touching
first, then the second plan, then the sky, and when he returned to one or another area, the new position of the paint did not wash off the previous layer.
The transparency of the watercolor was preserved. It's hard to say with certainty now
who, along with P. Cezanne, could use this method, since many of his
contemporaries worked, trying not to overlap one pure color with another.
One way or another, the described method can be seen in the works of artists
end of the 20th century.
The sequence of work in this way is as follows.
Paul Cezanne
1. On a sheet of paper, apply a free drawing with a graphite pencil
medium soft without the use of an eraser. erroneous lines if they are not
so intense, you can leave it on paper, they will complement the future
color layer by some play of lines.
2. Apply color, starting with blue, where it can
be present to some extent. Smears should be made small, according to
the shape of the object, transparent, light. Then you need to apply the rest of the colors
one by one in any sequence, such as red, green,
yellow. It is important that the transition from lighter tones to darker was
gradual. To pure flowers in a small amount, you can add
black color. Overlapping one color spot with another can be
incomplete, i.e., so that the previous color is viewed in some places in pure
form. In this technique lies the special color charm of the method.
3. At this stage, you need to make color accents using
black color, emphasizing the shape of the depicted object or
object. In this way, you can use instead of pure bright
earth colors, for example, light ocher, red ocher, and to them
add chromium oxide, blue FC and black. interesting work can
it will turn out if the pencil drawing is made in some color
a pencil, for example blue, green or any other; it is important that he
was good on paper.
Classic way
The classical way, which in some works of art
called "deliberate", not characteristic of watercolor painting, actively
was used by watercolorists of the 19th century in portraiture during
face modeling, when depicting fabrics, interiors, on individual
areas of the background and sometimes in the landscape.
A.P. Bryulov
Currently, this method is practically not used by anyone, obviously because of its complexity. At the beginning of the 19th century, the method was widely used by such masters as P.F. Sokolov, K.P. Bryullov, V.I. Gau, and many famous and unknown artists. This method was mainly used for miniature watercolor portraits, but there are also plot scenes and interiors.
The sequence of work can be represented as follows.
1. On a sheet of well-glued watercolor paper with a small grain size, a strict, soft drawing was applied with a hard pencil in sufficient detail.
2. Apply a common color background to the depicted object or object,
corresponding to highlights, excluding highlights and highlights
stains where the paper should remain untouched by color yet.
3. After the first layer has dried, apply sequentially on top of each other
the next fill layers, starting with light midtones and ending
the darkest areas, own and cast shadows. The edges
separate layers - fills should not be blurred. Each subsequent
the layer must be applied on a well-dried previous one. Thus,
the image is brought to an incomplete degree of completeness, when it is possible
Apply 1-2 more layers.
4. With the sharp tip of a thin brush (perhaps these are modern No. 1, 2) on
apply the surface of the dried image or some part of it
a stroked watercolor layer, similar to a pencil or first drawing.
This layer softens the hard edges of individual fills, models the shape,
brings the image to the finished state in terms of lightness and color
saturation and creates a sense of the materiality of the depicted.
Stroke layer to be applied, in which strokes can intersect,
overlapping each other, it can be either the same color (generalizing), or
and different colors, depending on the tasks facing the artist.
The advantage of this technique was its special plasticity.
expressiveness, which made it possible to "not blur" the form and not make it rough.
This required great skill.
The method of A. V. Fonvizin
A. V. Fonvizin
The considered method of watercolor painting is named after
remarkable artist Artur Vladimirovich Fonvizin, who worked
in an amazing, unique way.
And although there is an opinion that Fonvizin is traditional in his works, it can most likely be attributed to the fact that the artist did not use whitewash, did not mix gouache with watercolors, that is, he was traditional in pure watercolor. Otherwise, his work is deeply individual.
It would be possible for this reason not to consider his method of watercolor painting, if not for the many followers, or rather imitators among subsequent generations of artists, especially modern young watercolorists. Some artists and art historians believe that Fonvizin painted his watercolors on the wet surface of the paper. This is not true. The artist does not work on pre-moistened paper when
it depends entirely on the vagaries of paint spreading on wet paper.
The memoirs of the artist's contemporaries, his models, who watched the master's work, have been preserved. You can carefully look, and not one
times, on his work in the Tretyakov Gallery and at various exhibitions. A.V.
Fonvizin wrote on whatman paper sheets GOZNAK handmade with a small
graininess, attaching paper to the tablet with buttons, the trace of which still remained at work. It looks like the author did not make a preparatory drawing
with a pencil, and began to draw with a thin tip of a brush, outlining only minor contours of the depicted, as evidenced by unfinished works. In other matters, this incompleteness rather gives the impression of a special conciseness inherent in his work. Then, picking up a large amount of water with paint with a large brush, he gently rubbed it into
paper surface, adding other colors to obtain the desired
complex tone, i.e., a kind of palette was obtained at the work itself.
With great skill, the artist managed wide color streaks with
using a brush, alternating dark and light areas, sometimes leaving almost
untouched papers. In some places, the artist introduced color accents on the dried surface of the previous layer, sometimes quite insignificant,
almost dots to emphasize the shape or color spot. In portraits
most often the eyes and lips are accentuated. In some works, it is seen
the artist, taking the active color, which at first glance stands out from
the general tone of the sheet, applied a wide stroke to its surface with a quivering
brush movement. In later works, A. V. Fonvizin slightly blurred
some color areas, combining them with clear fills, as well as
put several layers of color on top of each other. However, his works do not give the impression of a multi-layered watercolor, they retain amazing freshness, transparency and luminosity.
A.A. Ivanova
Let us recall the landscape works of M. N. Vorobyov and a particularly large group of watercolors by A. A. Ivanov, in which he lays, in fact, only cold blue shadows, thus solving the problem of conveying space and air
perspectives. Similar works can be found in P. Cezanne, who
six decades later he formulated his position in a letter to E.
Bernard dated April 15, 1904: "... nature for us people is rather
depth than flatness: hence the need to introduce into our light
sensations conveyed by red and yellow colors are sufficient
the amount of blue to feel the air."
Apparently, K. P. Bryullov set himself the same tasks at the beginning of the 19th century, seeking to transfer the air environment and space in the plot and
portrait watercolor painting and coming to an even more integral
color solution.
From the foregoing, we can conclude that this method remained at work. It seems that the author did not make a preparatory drawing with a pencil, but began to draw with a thin tip of a brush, outlining only the necessary details, this method is easily applicable in the landscape. Let's try to imagine the sequence of work in this way.
1. On a sheet of well-glued paper with a medium or fine texture
grit to apply a strict, detailed drawing with a hard pencil
so that the image is clear on the paper. However, not
there should be indentations that a hard pencil can leave and
that will be visible through the watercolor layer.
2. With the help of blue (in our case it is blue FC) and black paints
perform underpainting in the "grisaille" technique, bringing the work to some
incompleteness. Apply colorful layers on top of each other when dry.
surfaces sequentially from light to dark.
3. Using light ocher and red ocher (you can also burnt sienna and
English red), bring the work to a finished state. Wherein
yellow paint, overlapping blue, gives greenish tints, red -
purple, yellow and red are orange, and together they all make brown
shades. In areas where there is no blue, yellow and red "sound" in
full strength. At the same time, in a small amount, you can mix
black paint.
4. At this stage, you can make color and tonal accents (with a small amount of black), as well as minor corrections in the form of light washes. However, it is better for this in this
case do not resort.
dry method
In modern watercolor painting, this method is practically not found.
Work on a dry paper surface.
With this method, the surface of the paper is not wetted before starting work.
color, as in the first method. Painting is carried out in separate sections
or, as the artists say, "from a piece." The plots are assigned to each other
friend. Paper for work can have both pronounced grainy
structure, and not very noticeable. Well fit sheets are not strong
glued. Watercolor artists call this paper "soft". Such
watercolor painting method is very well suited for training short-term assignments. They are also used by many professional artists to solve creative problems.
An excellent example of the application of this method of painting are
the work of the remarkable watercolor master A.P. Ostroumova-Lebedeva,
which can be seen in the collection of the State Tretyakov Gallery and
in various textbooks on watercolor painting.
A.P. Ostroumova-Lebedeva
The sequence of work on a dry surface of paper is as follows: Apply a more detailed drawing to a sheet of paper. If the work is not from nature in nature, it is advisable to make a drawing from a previously completed sketch, so as not to spoil the surface of the paper with an eraser, correcting errors. Then attach the sheet to the tablet. Take watercolor paint with a large brush in full color strength with some margin for fading, with an active set
water and apply to the surface of the paper, filling the color with a certain
"piece" and adding, where necessary, additional color shades.
Attribute the next one to the finished "piece" and so on until the sheet is completely filled. The sizes of "pieces" can be different, they
determined by the nature of the image. Edges not completely dry
individual adjacent "pieces" in some places may slightly overflow
into each other, forming color overflows that do not require correction and
giving the work a unique color expressiveness. After
almost the entire surface of the sheet is registered, apply additional
color accents, as well as slight softening washes that
should not spoil the freshness of the work. In addition, you need to fill in the color
small areas of paper, usually remaining between individual
"pieces" in the process. However, some artists deliberately leave areas of blank paper, using this as a kind of
scenic approach. A tablet with a sheet of paper in the process can be
tilt at different angles in different directions, directing in the right direction
direction of the current ink layer.
Watercolor-graphic method
This method combines graphic and watercolor techniques. He takes
beginning from tinted engravings and drawings of the 18th - 19th centuries. But if in them
the graphic beginning was predominant, then in the method under consideration
drawing and watercolor act as if equal, complementing each other when
the stroke of the pencil is just as important as the color when
graphic and pictorial beginnings are merged. This is very good
can be seen in the watercolors of P. Signac of the early 30s of the twentieth century, in
which he, actively using the primary colors - yellow, red, blue and
green, adding a little black, follows one of its three principles: "... the original pencil sketch should not disappear
under watercolor stains, on the contrary, it must be clearly visible in order to
"create a play of lines in the voids delimiting those spaces that
should flourish". At the beginning of the twentieth century, combining watercolor with graphic
techniques, A.P. Ostroumova - Lebedev, whose watercolors were of a more strict color character, and later D. I. Mitrokhin.
His works are distinguished by an expressive linear pattern, supported by
shading in the shadows and in the shape of objects, and vigorous use
watercolors and even in some cases colored pencil. The watercolor-graphic method can be successfully applied both in illustrative and easel works, landscape, still life and even portraiture. You can use it in those cases when, in a relatively short time, it was necessary to make the most expressive study in order to fix what was seen, which was then used in subsequent work.
The sequence of work in watercolor-graphic way.
1. On a sheet of paper, the texture of which may be of a different nature (in
depending on the desire of the performer), apply a free intensive
drawing with soft graphite or black pencil. Can be used
a black pencil from a set of ordinary colored pencils or a "negro" core. The shapes of objects can be modeled with strokes. Where
necessary, strokes can also be filled in the background. At the same time, use
an eraser is not necessary, preliminary light lines attach to the work
some liveliness.
2. Using the fluidity of watercolor, apply to the finished drawing in full
color strength ink layer, where one color can smoothly transition into another.
3. At this stage, you can enhance the shadows by introducing additional
color spots applied to the dried base layer.
To the above, it should be added that for the drawing can be used
charcoal pencil and watercolor, which is slightly blurred by the applied
layer of helmet, gives the work some softness. You can also apply and
various colored pencils that emphasize the texture.
1. It is necessary to show a presentation about the different ways of painting with watercolors
paints. Then, to consolidate the material, you can offer students
independently determine by the manner of writing which method was used
artists while working on the proposed work.
Excursion to the art gallery, in order to view the authentic
works of watercolors - masters of the past, or, if possible
missing, to an exhibition of contemporary artists, will help students to fully experience this topic. Such excursions will inspire the creation of small independent works - sketches of landscapes based on viewing, using one of the techniques studied above.
2. Following the history of art with the theoretical study of watercolor techniques, there is a lesson in painting.
At this stage, students should gain knowledge about light-air perspective and the laws of color science. Perspective (Latin to look through) is a technique for depicting spatial objects on a plane in accordance with those apparent reductions in their size, changes in shape outlines and light and shade relationships that are observed in nature. What is light-air perspective? To create the illusion of depth in a drawing, it must be remembered that there are laws of light-air perspective that provide for a change in color, tone, and clarity of outlines.
objects that are at some distance from the painter. items,
located closer to us, seem more distinct, we distinguish
more details on their surface, but as they move away from us
contrast in tone gradually softens, colors change their color,
the contour of objects becomes fuzzy. Based on our observations in
nature, it can be seen that objects that are far away
appear to be shrouded in mist.
We see some objects as light, others as dark. From neighbors
more objects of light enter our eye than from distant ones, therefore
Objects close to us appear clear and bright, distant objects appear blurry,
obscure and faded. The air is not always transparent, more often in it
small particles of chemicals are dissolved, it is saturated with vapors,
dust, etc. One way or another, this makes it difficult to clearly define the contours of the subject.
Therefore, when we look at an already completed drawing, objects with a clear
outlined by the contour, we perceive as closely standing objects, and with
vague - as distant. Changes in light and weather also
affects the contrast of chiaroscuro and visibility. Depending on the
distances fade and the colors of objects, acquiring bluish hues,
the color difference of the surfaces of the form is softened, on the horizon of color
converge and turn into a single bluish-blue color.
Contrasts of chiaroscuro, sharp in the foreground, gradually merge into
a single tone, objects lose volume, acquiring a silhouette character,
texture disappears. Beginners in drawing should learn these
laws. To convey space in a drawing, it is better to use three
plans and develop each plan separately as you move away from
viewer.
Warm and cold colors have another important property. Warm
colors, being surrounded by cold ones, seem to us to protrude
forward. For example, a red object placed in a row of blue objects
perceived more actively than the latter. Cool colors, on the contrary, give the impression of receding objects. This property of colors follows
take into account in the work on painting educational productions or landscapes.
The contrasting properties of warm and cold colors are used in the transmission
spatial relations in painting - chiaroscuro, light-air
perspectives, conditions of the day, etc.
Fundamentals of color science. (subject painting)
An important point in painting is the study of color in space.
The basics of color science for beginners - that's what we need.
1. It is believed that there are three primary colors, and all other colors can be
obtained by mixing the main ones at their various proportional ratios.
2. Spectral circle. It is easier to assume that the primary colors of the spectrum
twelve. All other colors are obtained by mixing primary.
Spectral colors are called chromatic.
3. Gray, white and black are called achromatic:
4. Complementary colors are opposite colors in the spectrum. They complement each other, that is, when complementary colors are located side by side, they reinforce each other, "ignite". For example, we have this one: a nondescript dull purple color.
By itself, it does not carry much beauty and little of itself can
tell. But if you add an additional color to it, then it
will play and sparkle.
Look, our purple has sparkled, and it's the same color that we
taken at the beginning. Mixing these colors always results in gray.
Fundamentals of color science - the main characteristics of color:
1. The name of the color is the so-called color tone.
2. Lightness, this is the tone.
3. Saturation, that is, tension, purity, what is the saturation of the color, how pure is it.
4. Heat and coldness.
All these concepts are different and only in each color they are present.
For example:
Look around you, find any object. He will be some
a certain color, for example, the same yellow. Let's think-
the color tone will be yellow, but in lightness it may turn out to be different, or
light yellow, or dark yellow. Now we need to define it
saturation - how much yellow is present in a given color?
A lot of yellow - strong voltage yellow with impurities - weak
voltage, low purity. And the last - teploholodnost. Our yellow
the color can be both with a cool note and with a warm one. It will be easier
understand when to compare several different objects of the same color tone, in
in this case, yellow. Find some yellow items and compare them
the characteristics listed below. Everything will become clear to you.
If you have not yet switched to the direction in which I am leading you,
I offer one entertainment:
Color is an expression of the quality of energy carried by the environment. In other words,
any object carries the energy of a certain quality, in our
case - color. As you probably know, each color is different by us
perceived. Yellow color increases attention, somewhere annoying. Blue calm color, passive. Red increases sensitivity, attention. Violet - influences our inner self so much that it can even depress. This is how we feel colors.
Color spectrum:
All colors participating in the composition must be subordinate to some
then one color, which always depends on:
1. Colors of light (whether it's morning, or evening, clear day or rainy,
Or maybe you have orange curtains hanging on the window that will let in
warm light into the room
2. From the colors involved in the composition.
3. From the area of the spots involved in the composition.
Let's say the largest spot of your composition is green, then
this color will be included in the gamut. And it is gamma that determines wholeness.
compositions.
Each stroke should contain three colors - local color (color
object), the color of the scale (in what scale, let's say, your landscape) and the color
light (it can be both cold and warm).
Color change according to the shape of the object or distance:
By name, color tone does not change color. Interesting process
happens with lightness. Light color darkens when moving away: dark color brightens:
By saturation, the color is moving away, goes out, weakens:
By lukewarmness: cold colors, moving away, will warm up
warm - get colder.
In the light, the color is lighter, in the shade it is weaker and is distributed over halftones:
By lukewarmness, if you chose warm light,
then the shadows will be cold. If the light is cold, then the shadows will be warm.
Warm light will get colder as it moves away, cold light will get warmer. warm shade
moving away will be colder, cold warmer. The color in the shadow is lit by saturation.
And now the hardest part:
1. The darkest halftone in the light is lighter than the lightest halftone in the shadow.
2. The most colorless halftone in the light is more colorful than the most colored halftone in the shadow.
3. The warmest halftone in cold light is colder than the coldest
semitones in shadow.
Is everything complicated and confusing? It seems that way the first time. Such thoughts will vanish when you start drawing.
Color science provides ready-made laws that artists develop over the years in the process of studying. You just need to learn all this, accept and put into practice guided by the motto: I don’t see, but I know! And I do what I know!
And you can strengthen your knowledge, guided by the motto, by doing several exercises on the topic of “color science.” The fact is that while painting, especially when you paint with watercolors, it is sometimes difficult to quickly figure out which stroke to put now. Of course, color searches and sketches that we make before starting work help us in this. But the following exercises will help you feel more confident in the process of work:
To do this, we need watercolor, which was mentioned at the beginning of this
pages. Use any color. Color stretching can be done in a variety of ways.
Stretch colors from warm to cold, from light to dark, and from
one color to another. You can do stretching according to the principle of those rules, about
which you have come to know here. Practice. You can learn a lot
about color, about how it behaves next to others or when mixed.
In a painting class, after a short review of color science and a presentation at
this topic, students are invited to perform a series of filling exercises,
for further preparation for work in the conditions of the street. Fill needed
make to change color depending on the lighting, as suggested
scenario. For example, the light is cold, how will the long flat
an object colored red as it moves away from the viewer. Or,
task for independent selection of color combinations, from which you can
"make" green. Next task: how will this green change according to
distance from the viewer in warm light. Stretching to do in four -
five grades. At the end of the work, ask the students to evaluate
work, scoring points on points: purity of color, change in tone,
observance of heat-coldness, purity of execution, composition in the sheet.
This lesson is a lesson in the implementation of complex tasks.
In the course of working on the topics, students should learn the following
questions:
1. What are the methods of working with watercolor?
2. Which method is most suitable for the student himself?
3. How to work with watercolor color?
4. How does the color change depending on the lighting?
5. How does the color change depending on the distance?
6. How does the color change depending on the light-air perspective?
After preparatory lessons, students will acquire new knowledge,
skills in working with watercolors, learn different methods of working with
colors and new technologies.
And only then you can proceed directly to work on the street.
And a few more tips for teachers teaching children of primary school age. With children of this age, it is better to start working in technology.drawing on raw paper. Let the children try the paint for flow and blur.
Technique "wet" or "wet" ("English" watercolor)
The essence of this technique is that the paint is applied to a sheet previously moistened with water. It is recommended that the worksheet be placed not horizontally or vertically, but at a slight angle. Paints are applied with light single touches; on a wet basis, they will surely flow in the direction set by the artist. You can direct the movement of paint with a dry brush, it can also weaken the color. But what kind of “smudge” pattern will turn out is unknown. This element of surprise gives the technique unpredictability and some piquancy. The degree of its humidity depends on the creative intent of the artist, but usually they begin to work after the water on the paper ceases to “shine” in the light. With enough experience, you can control the moisture content of the sheet by hand. Depending on how filled with water the hair bundle of the brush, it is customary to conditionally distinguish between such methods of work as “wet-in-wet” and “dry-in-wet”.
Technique of multi-layered watercolor painting (glazing)
Glazing is a method of applying watercolor with transparent strokes (as a rule, darker ones on top of lighter ones), one layer on top of another, while the bottom must always be dry. Thus, the paint in different layers does not mix, but works through the light, and the color of each fragment is made up of the colors in its layers. When working in this technique, you can see the boundaries of strokes. But, since they are transparent, this does not spoil the painting, but gives it a peculiar texture. The strokes are done carefully so as not to damage or blur the already dried picturesque areas.
Watercolor technique "Reserve" (White and light areas)
"Reserve" in watercolor is called the unrecorded white or lightest part of the sheet.
White color is transmitted due to the color of the paper. In other words, the artist needs to remember all the time about those areas that he must leave white and “bypass” them with color, leaving them untouched. "Bypass" is the most complex and most "clean" redundancy technique.
You can solve the problem of the "Reserve" technique in several ways:
- with adhesive tape
- paraffin
- wax pencils
- they use the processing of an already dried, paint layer by various “mechanical” methods (scraping, removing the paint layer with a razor blade, etc.)
- highlighting the necessary places with the help of a wrung out brush, or, for example, a napkin on a wet or dried layer.
Technique A LaPrima
A la prima * (Italian Allaprima; pron. - "ala prima") - the same as painting on raw.
This is painting in a raw style, written quickly, in one session, which creates unique effects of stains, overflows and overflowing of paint.
Work on a raw sheet at the initial stage with subsequent completion "on dry"
In this case, the artist makes the basis of the work on a wet sheet, and continues to work on the details when the sheet is already dry. This technology allows you to combine gentle transitions of painting "in raw" with accents painted on top of them on small details.
Dry technique (Italian school)
It consists in the fact that the paint is applied to a dry sheet of paper in one or two (single-layer watercolor) or several (glazing) layers, depending on the artist's idea. This method allows you to provide good control over the flow of paint, tonality and shape of strokes.
Salt technique
Salt (both large and small) scattered over wet watercolors corrodes the paint unevenly and creates a special texture on the stain. This technique is effective on the first layer of paint. When the work dries, the salt can be removed with a dry cloth or even by hand. Sprayed water can give a similar effect.
Hillshade Technique
Hillshade is a method of revealing the shape of an object by applying layers of paint in gradation from highlight to drop shadow. In fact, this is a way of tonal study of the object. Simply put, we use tone to show areas of highlight, light, half-light, half-shadow, shadow. Hillshade is perhaps the simplest, albeit lengthy, process in watercolor technique.
With the "wet on wet" drawing technique - the combination of liquid paint with a wet sheet creates blurry contours, which is only better for the child's imagination - he continues to create images throughout the lesson. When adds new color to an already started drawing, a new semantic connection often arises in his imagination, which he then develops in subsequent drawing.
On a wet sheet, individual colors mix and flow into each other in many places, and intermediate colors appear - green, orange, brown, purple. Performing work using salt, amazing landscapes are obtained. We talked about this above. Watching these metamorphoses - rejoice and wonder: they are the creators, they are the discoverers! Just as in the case of the play of color on paper, the child will watch with interest the constantly changing color of the water in the glass in which the brushes are washed. When the entire sheet is already occupied with a drawing, and the colors glow and shine due to the presence of the element of water in them, the child has a peak of “artistic” satisfaction! Then, when the picture has already been removed to dry, it is no longer of such interest to the child.
It should also be noted that there is no technology in itself. Technique is subordinate to the goal that the artist sets himself. That is why watercolor is as diverse and individual as people's handwriting is diverse and individual.
The above applies to any kind of art, but it is watercolor that is especially susceptible to the temperament and "movement of the brush" emanating from the movement of the master's spirit. This is the main secret and the problem of owning technology.
In the methodological work, some points from the articles were used:
http://yandex.ru/-E. Bazanov. The element of water and paint. On the technique of watercolor painting.
Source http: //yandex.ru/ -Nazarov A. K. "Basic methods of watercolor painting"
Bibliography:
We draw a still life: Watercolor, gouache, oil paints, acrylic, pastel, graphite pencils and much more / transl. from English - M.: Astel, 2012. - 32 pp.: illustrations - (drawing. All techniques in one book).
Sokolnikova N.M. Fine arts: Textbook for uch. 5-8 cells: At 4 hours - Obninsk: Title, 1999.
School of Fine Arts: Vol. 2/A.N. Buynov, E.N. Elizarova, B.V. Ioganson and others - M .: Fine Arts, 1988. - 160 p.: ill.
Drawing. Watercolor: The Second All-Russian Exhibition.- L .: Artist of the RSFSR, 1981.- 156 p.: ill.
Rostovtsev N.N. Methods of teaching fine arts at school: a textbook for students of artistic and graphic faculty. Ped. ins-comrade - 2nd ed., add. And revised - M.: Enlightenment, 1980. - 239p.: ill.
Maslov N.Ya. Plein air: practice according to pic. Isk-vu: textbook. A manual for students of art. - Count. Fak. Ped. in-comrade.- M.: Enlightenment, 1984.- 112p.: illustration.
Modern Soviet watercolor / Comp. Album and scientific apparatus of N. A. Volodin.- M .: Sov. Artist, 1983.- 258 p.: ill.
In the process of mastering the methods and techniques of writing with watercolors, students should remember a well-known warning: technique is not an end in itself, but only a means in transferring tasks. Each student, in accordance with personal qualities and artistic taste, finds his own special style of writing, in accordance with the requirements of nature, chooses one or another method and technique.
There are different ways to work on a piece. We indicate the most common of them:
1) work on the “layout” study, where strokes and fills are laid out in a breakdown while taking into account the hue, lightness and saturation;
2) the method of “broad” writing, where one moves to the particular and the details only after the general organization in the study of large light and color relations;
3) the method of writing in parts with the development of details, in which the student is forced to maintain large light and color ratios in his presentation;
4) combining in one study the methods of "broad" writing and working in parts at the same time.
All these methods are technically carried out by writing on dry or wet paper, in one step or in stages calculated for a long time, and must be subordinated to the identification of the main content of painting.
How to work on dry paper
The method of dry studied writing. This method consists in working on dry paper in full force of light and color tones with a constructive analysis of a three-dimensional form (the so-called trimming) by means of filling planes. Without giving soft watercolor effects, the method of dry, studied writing is methodically the most correct in solving problems when working from nature at the initial stage of training. It develops color perception in a novice watercolorist, strengthens the drawing, gives the correct constructive display of shape and volume, and helps to quickly master paints and their mixtures.
This method is applied according to the prepared drawing with consistent development in color - from the general to the details, from the main to the secondary, with the refinement of the whole at the end of the work. It should be used already in the first long task, after working on a still life of geometric bodies.
Single layer writing. The single-layer method of watercolor technique eliminates the writing, calculated at the stage, but allows for breaks in work. This method provides for broad writing with a large brush, dry and sharp or soft and juicy, in one session. The single-layer method is suitable for working on etudes in the open air.
Work in a single-layer way is also possible in parts. It is carried out in small strokes (mosaic writing) with a small brush, stroke after stroke. This work requires appropriate preparation and skill, since when adding up an image from a multitude of strokes and color spots, it is difficult to maintain the integrity and color of the work. Both glazing and body paints are used in the work.
Layered writing. This work is calculated on the stage and basically assumes the so-called "glaze writing". The latter does not preclude the use of body paints within acceptable limits in the light and, if necessary, in the foreground. The performance of work at stages is caused by a number of reasons and, above all, by the complexity of the process of creating an etude (work), in which the beginner's imagination cannot immediately cover the entire work from beginning to end, from general to detail.
The work begins with color preparation - applying a lining in color, designed for subsequent overlapping after drying with glazing paints. In this case, it is recommended to use warm shades of colors. The cold tones of the color lining, especially the blue ones, may disappear and the places where they were located take on a dirty look.
The multilayer method requires a lot of experience and knowledge of the colors of the palette. The ability to predict the beginning of a color base through repeated overlaps of different shades is difficult. This does not mean a letter with a weak pad of the same color until it is gradually strengthened. We are talking about the method of applying different colors and shades, giving in total combinations, the occurrence of which is possible only in true glazing. When applying color to color multiple times, care and a sense of proportion are necessary: there is a limit, the violation of which can lead to the loss of transparency of the color in the fills. It is permissible to combine single-layer and multi-layer writing methods in one study.
Raw paper work
Working on wet paper allows you to achieve an amazing unity of color masses, a gentle and gradual transition from one color to another.
Single layer operation. This is a broad letter without stages on dampened paper. It is carried out with a large brush with prepared paint solutions. By brushing quickly and widely, without letting the paints dry out, large relationships are determined. Corrections are made immediately: the wrong tone is removed with a semi-dry, wrung out brush. Mechanical mixtures of paints of all groups are used.
Work without interruption, in parts, in one session (method a la prima). This is a painting done on wet paper in full force of light and color, quickly and juicy. This way of writing allows you to convey the subtlety and softness of color transitions. A good color solution in watercolor is achieved by maintaining large color plans and silhouettes in the course of work. But the nature of the watercolor technique does not make it possible to simultaneously work juicy and softly on large sections of the sketch and forces the image to be folded in parts. In this case, the a la prima method is indispensable in working from nature.
A method of writing on wet paper on glass. It consists in the fact that before writing, the paper is dipped in water, giving it time to soak and swell. When the paper swells, it is taken out and placed on the glass, located almost horizontally. You can write immediately on very damp paper, but in order to avoid spreading of paints, it is better to remove excess water with a sponge and start working after some exposure. Solutions of paints should be selected homogeneous.
The method of "pouring color into color." Raw paint, poured into another that has not dried up and organically combined with it, gives a multi-colored fill that is natural for watercolor technique. The mixing of paints in this method is mechanical. A good result is given by mixtures and the infusion of color into color when working with glazing and semi-glazing paints. Glazing paint, poured into the body paint, washes it off and drains, forming rough and hard smudges. The work with the method of "pouring color into color" is best done in parts.
Reception of "failure" of paint laid on paper. This technique is as follows: the paint that has not yet dried, especially the body paint, is washed off with a stream of water, the previously laid fills remain intact; under the washed-off paint, white paper appears with soft natural transitions along the edges. Reception "failure" has proven itself well in conjunction with a single-layer method of writing on dry paper. They begin work with a wide and quick filling of the finished drawing with paint solutions. After clarifying the color relationships, with a separate brush - cadmium lemon or yellow - densely cover the places intended for removing paint. At the same time, the wet state of cadmium gaskets is maintained by its repeated overlays until the remaining fillings are completely dry. Then the work is washed with a stream of water from the tap until the complete breakdown of cadmium and the paint on which it was applied. In the next stage of writing, light and dark tones are determined from a raw sketch, and the details are finalized.
Among the listed methods and techniques of working with watercolors, there are no simple and easy ones, each of them has its own characteristics, its own difficulties, requires careful study and patient development. A novice watercolorist should remember that the mechanical transfer of these methods, without taking into account the entire complex of requirements that led to their use, cannot lead to positive results in studies.
BIBLIOGRAPHY
- Vinner A.V. How to use watercolor and gouache. - M.: Art, 1951.
- Wieber J. Painting and its means. - L., 1961.
- Volkov N.N. Color in painting. - M.: Art, 1965.
- Zaitsev A.S. The science of color and painting. - M.: Art, 1986.
- Lepikash V.A. Painting in watercolor. - M., 1961.
- Odnoralov A.V. Materials in the fine arts. - M.: Enlightenment, 1983.
- Revyakin P.A. Watercolor painting technique. - M.: Nauka, 1959.
- Kirtser Yu.M. Drawing and Painting: A Practical Guide. - M.: Higher school, 1992.
Paints
Watercolor is a feeling. These are the possibilities and features of this material - the saturation and tenderness of colors, the energy and smoothness of the stroke, the pace of work. They correspond to the depth of feeling, shades of experience.
N. Petrashkevich
I.History of watercolor
Watercolor was widely used in antiquity and in the Middle Ages, both for wall painting and for illustrating manuscripts. After the invention of oil paint, watercolor became a secondary and old-fashioned technique and was used for sketching intended for larger oil paintings.
Watercolor painting in its modern conception arose relatively recently, at the end of the 18th - beginning of the 19th century. By this time, methods and techniques had been developed that ensured its flourishing and wide recognition.
Watercolor painting of the first half of the 19th century is spreading as a miniature on paper, retaining the qualities inherent in a miniature on bone and enamel: fine drawing, careful modeling of form and details with small strokes and dots, purity of colors. At the beginning of the 19th century, major masters of watercolor worked in England. These are W. Turner, R. Bonington, J. Constable and others. In France, O. Daumier, T. Gericault and E. Delacroix painted in watercolor. Magnificent examples of watercolor art both in genre painting and in portraiture at that time were left by Russian artists -, and others.
At the end of the 19th century, watercolor acquires new qualities in works,. In the works of these masters, the technique of performance becomes freer and more temperamental.
Masters of Soviet art -, Kukryniksy (,), and others gave a lot of interesting examples of watercolor painting, especially in the field of book illustration and landscape.
On the examples of the works of Russian, Soviet and foreign artists, we can see not only the possibilities that watercolor contains as a painting material, but also the variety of techniques used by artists.
Bryullov's painting "Italian's Family" (ill. 31) reveals the features of the artistic manner, which received the name of the miniature technique. Here is a clear classic drawing, careful study of details, fine modeling of the texture of objects and fabrics.
"Italian landscape" (ill. 32) is made more freely. The artist achieves perfection in the transfer of natural light, airiness, depth of space. The possibilities of watercolor are revealed in the portrait, executed (ill. 33). The portrait is distinguished by the intensity of color and the strength and materiality characteristic of Repin painting. Landscape - Lebedeva "Pond in Pavlovsk" (Fig. 34) is written in a broad manner, the composition is built in large volumes, the colors, although transparent, are taken in deep, velvety tones.
The black watercolor "Tamara and the Demon", made as an illustration for the poem "The Demon" (ill. 35), shows that with the skillful use of even one color
you can achieve great expressiveness, richness of tone, variety in tr forms and textures of objects.
As you can see, the possibilities and means of using watercolor techniques are endless. 1 master, then their own artistic language, their own] they teach to be attentive to the transfer of life, to an accurate drawing, to the materiality of objects, environmental conditions and the nature of consecration.
II. Watercolor techniques
Pure watercolor painting is painting with transparent paints. White is not used in watercolors.
Comparing the technique of watercolor with other painting techniques, such as tempera, gouache, oil, first of all, its main properties should be noted: it is transparency and lightness, at the same time purity and intensity of colors.
In watercolor, both the glazing method and the a la prima method are used.
Method glazes(from German lasserung - to apply a thin, transparent layer of paint) as a method of multilayer painting was widely used in the practice of watercolorists of the 19th and early 20th centuries. They created wonderful works that captivate us with lightness, airiness, overall tonal integrity and color harmony. This method is still being used with more or less consistency. All previous watercolor manuals, as a rule, are based on this method (W. Turner in England, in Russia).
The glazing method is based on the use of paint transparency, its property to change color when one transparent layer of paint is applied to another transparent layer.
The paint layer, for all its layering, must remain thin and transparent enough to allow reflected light to pass through.
Each new layer of paint is applied over the dried layer.
The first registrations are made with transparent paints and, if possible, similar in their properties. Features of paints must be taken into account when drawing up paint mixtures.
Registrations begin with paints with greater color saturation, so that the color is not anemic even in weak solutions.
The use of body, opaque paints is more appropriate in the final stage of work to enhance the material significance, objectivity of individual parts of the study.
The glazing technique is more suitable for long-term work: from a stationary nature, for example, in a still life, as well as in performance work, when creating finished compositions, book illustrations, it is also appropriate in applied graphics when solving ornamental problems.
Method a la prima- painting on raw, written in one session.
This technique means to write immediately, without subsequent major changes. According to this method, each detail begins and ends in one step, then the artist, having in mind the general, moves on to the next detail, and so on. All colors are taken immediately in the right strength. This method is especially appropriate when performing landscape sketches, when changing weather conditions oblige a fast execution technique. This, perhaps, should explain the flourishing of the a la prima technique in the practice of artists of the late 19th and 20th centuries, when the tasks of the plein air were set. The a la prima method, since it does not involve multiple registrations, allows you to save, with experience, the maximum freshness and richness of colorful sounds, greater immediacy and sharpness of expression. In a quick sketch from nature, in sketches, this method is indispensable.
Anyone who wants to master the technique of watercolor must acquire skills in one and the other manner of writing, separately or combining them together.
It is difficult to say which of the methods is more difficult and more difficult to master - a la prima or glazing. Each of them implies the need to feel the color, to understand the form, that is, to be able to compose the form with color. The artist is obliged, working on the particular, to see the general, to imagine the task and the ultimate goal.
Since, as we said, with the a la prima method, the color is taken immediately in the right strength and proper tone, mechanical mixtures are more common here - composing the desired color with the help of several colors.
The à la prima method implies painting in one layer, i.e., the colorful relationships are taken immediately in full force, taking into account the lightening of the tone, and are no longer rewritten. The sketch is very juicy and expressive. In this case, unsuccessful places can be washed off with water, and then re-registered. This method of work requires certain skills and the ability to see the whole, that is, to work simultaneously on the entire sheet. In this case, strokes can be placed close to each other, or they can flow into one another, creating a feeling of a smooth transition from one color to another. The graininess of the paper will increase the juiciness of the fills. It is necessary to work vigorously, not allowing the previous smear to dry out. Before working on a wet sheet, it is wetted with a sponge and the paper is allowed to “hang up”. To slow down the drying of colorful spots in the heat, add a few drops of glycerin to a container of water. When working on a damp background, paints are kneaded with less water than when working on dry paper.
Combinations of work both on dry, and on damp paper are possible. For example, in a landscape, when it is necessary to convey a feeling of softness and smoothness of the texture of individual fragments (clouds, water), the paper is wetted and only fragments are written in wet, while the rest of the details are written in dry.
Method "laundering" most often used by architects, designers for a symbolic image of a building, its exterior, organization of the color space inside the interior, individual elements of furniture decoration, etc. This method of doing work is multi-stage, and each new stage is carried out with the absolute drying of the previous paint layer. The first stage of work on watercolors using the “washing” method consists in painting the sketch with paints heavily diluted with water, which convey the main color ratios.
The second step is to write down all the details.
The registration enhances the color of the halftones and fully conveys the color of the shadows and introduces details. Each new paint layer is applied over the dried previous layer.
At the same time, the illuminated bulges of the shape of objects are left unrecorded until the third registration, after which they are slightly highlighted in accordance with the shades of highlights in nature (glare is always colored).
When applying one layer to another, it is necessary to take into account the influence of the underlying layers on the color of the new registration. The edges of the strokes must be softened with a damp, clean brush.
In addition to these three main groups, there is a variety of techniques and methods of working with watercolors.
Pointillism method (from the French puantiller - to write with dots). This is a way of applying paint in separate small strokes with the end of the brush, so the whole is made up of small dots of various colors. This technique was borrowed from the Post-Impressionist painters of the 19th century.
The "monotype" technique is also used in watercolor. This technique allows you to get only one print from the surface of the glass, on which some plot is previously written in watercolors. The order of execution is as follows: first, a drawing is applied to paper, then glass is applied and written on its surface with more watercolor paints. Then the wet paper is placed on the glass and this image is transferred by pressing with hands (if necessary, it is finalized on the resulting print).
The technique using wax crayons or grease pencils was popular in the 20th century. from the watercolourists of the Baltics. This technique is based on the fact that water and oil do not mix and therefore some areas repel paint. This way, the waxed areas remain unpainted, and this simple idea gives a unique result.
In addition, there are a variety of techniques: color copies, brush work, blurry and scratched highlights (wet on wet), brush drawing, stick drawing, dry brush work, splashing, using salt, scraping paint, printing and indenting lines and a thin layer of paint , glare prevention and many others.
LIST
used literature:
Ivanova O., Allahverdova E. Watercolor. Practical advice. M., 2001. Marilyn Scott. Watercolor. Techniques and stories. Encyclopedia. M., 2009. Sanmiguel David. The Complete Drawing Guide. Belgorod, 2008. School of Fine Arts. T. I. M., Fine Arts, 1986. Pavel Markov. About watercolor or painting with water colors. M., 2001. Fenwick Cake. Watercolor painting course. M., 2009. Sokolnikova N. Fundamentals of painting. M., "Titul", 2000. Masters of Western European watercolors of the XIV century. M., 2003. Young artist. / Master and apprentice. M., 2004.
Municipal budgetary educational institution
additional education for children
Children's Art School
Methodical message
on the topic "Possibilities of watercolor in teaching children the fine arts at the art department of the Children's School of Arts"
prepared by the teacher
art department of the art school
Silvanovich Anastasia Sergeevna
Yasnogorsk 2015
Content
Painting "raw"
Technique A la prima
Layered watercolor
Grisaille
mixed media
"Special Effects"
Introduction
The use of various watercolor techniques and techniques in the lessons of painting, fine art and easel composition
Conclusion
Bibliography
Applications (the application contains photographs of works from the personal archive)
Introduction
Watercolor paints were known in ancient Egypt, in ancient China and in the countries of the ancient world. For a long time, watercolor writing was considered only one of the components of a graphic drawing. Painting in its modern view arose relatively recently: in the late 18th - early 19th centuries. Then she gained independence and became one of the most difficult drawing techniques.
The most important feature of watercolor is its transparency. This property of the material allows you to convey the depth of space of the light-air environment, the variability and mobility of the surrounding world, the variety of color and tonal relationships.
At the same time, watercolor is a portable and fairly affordable material. It is convenient to use it both when working outdoors during the open air, and in the classroom.
Watercolor has a wide range of technical possibilities. Watercolor works can be built on the thinnest color transitions of a transparent paint layer or deep juicy color spots.
It can use a spot that is evenly colored or with unique streaks, colorful strokes and lines of various shapes.
There is another feature of watercolor. She doesn't like corrections. And this requires the performer to master not only the technical methods of watercolor painting, but also the ability to draw confidently. That is why watercolor should be attributed to one of the most difficult painting techniques. Of course, the process of mastering the techniques of writing in watercolor requires serious and purposeful work.
The question arises about the advisability of studying watercolor painting at the initial stage of teaching fine arts. Answering it, you can give a lot of arguments both "for" and "against" the use of this material in order to teach children the fine arts at the art department of the Children's School of Art.
Materials and means of watercolor painting
The ideal room for working with watercolors - as with most other materials - will be a bright, spacious classroom (workshop) with good natural lighting during the day and competent, uniform artificial lighting in the evening. Curtains and blinds will help regulate the flow of daylight, and good lamps, including table lamps, will provide good lighting in the evening.
Watercolors work best on an easel 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 watercolors should be large enough - you will have to put not only a sheet of paper on it, but also all the tools that may be needed in the work. This is a jar of water, paints, brushes, etc.
Water is poured into glass jars with a volume of about 250 ml. or more. Practice shows that the “non-spill” jars that parents love to buy for students are very inconvenient in work - the volume of jars is small, so the water quickly becomes contaminated, it has to be changed more often - and it is difficult for a child to open a jar without spilling water.
There are several types of watercolor paints:
Solid. Placed in plastic or porcelain containers. The paint is highly compressed, so it is not easy to saturate the brush with it.
Semi-soft. They are produced in the form of tiles (cuvettes) with a high content of glycerin and honey, which makes them softer. These paints dissolve well in water and are widely used by professional artists.
Soft. They are available in tin tubes in the form of a paste.
Liquid. Most often used in book graphics. They have fairly saturated colors and are sold in glass bottles.
In the lessons at the Children's School of Art, it is better to use only semi-soft paints (in cuvettes). It should be noted that there is no white in the box of paints. In watercolor painting, light colors are achieved by adding water; whitewash only gives a dirty tint. It is necessary to ensure that by the senior grades of the school (grades 4-8), students work only with professional paints - Leningrad, Ladoga, White Nights (factory of artistic paints St. Petersburg). The quality of their work is much higher than the usual honey watercolor ("Gamma", "Yaroslavl Plant"). In use, it is most convenient to use a plastic box, a cardboard one soaks from water. Watercolor paints are consumed unevenly: golden, red, ultramarine and cobalt blue finish the fastest. As needed, you can buy individual colors in cuvettes to replace used ones.
Cadmium yellow medium
Golden
Varnish orange or Cadmium orange
Sienna burnt
Cadmium red light or Scarlet
Red light kraplak
yellow-green
emerald green
Ceruleum or Cobalt blue
Ultramarine or Lac blue
Umber
Neutral black
There are many brushes for watercolor painting. The quality of a brush is determined by the hair.
Kolinsky brushes are considered professional, but for schoolchildren it is recommended to buy brushes from squirrel hair. They are ideal for working with watercolors. It is not difficult to check the quality of such a brush: you should wet the brush with water - it should “go by a hair”, that is, keep a sharp tip. This should be taught to children so that they can check the quality of the brush themselves at the time of purchase. A brush with synthetic bristles is very convenient, it is more durable than a kolinsky and a squirrel. Since synthetics are a modern artificial material, they are somewhat cheaper than natural brushes. Its only drawback is that it draws less water.
Pony, fox, goat brushes are not suitable for watercolor painting - they do not form the sharp tip necessary for working with watercolor. It is not recommended to use them at work.
When practicing watercolor, the quality of the paper is crucial. In no case should children be allowed (either at school or at home) to paint with watercolors on thin paper - writing, office, etc. Such paper warps even from a small amount of water and is completely unsuitable for watercolor. The paper must be thick enough. As a rule, students mostly do all their work on smooth paper (drawing paper), since it is the most affordable and cheapest. But as far as possible, you can work with children on paper of different textures - dense, different degrees of graininess.Painting on watercolor paper looks much more interesting due to the play of light, while the paint on whatman paper often withers.
It is necessary to teach children (and their parents) from the elementary grades of the Children's School of Art to work with high-quality materials - paints, brushes, paper. For successful work with watercolors, you need to use high-quality materials. The main requirement is that the paints after drying the work should not wither, become cloudy.
3. The use of various watercolor techniques and techniques in the lessons of painting, fine art and easel composition.
There are many different techniques for performing watercolor work. These methods can be distinguished and classified only conditionally, depending on certain factors ( Annex 1). Many of which students try to master or at least try in the lessons of painting, easel composition and the basics of visual literacy.
Depending on the degree of moisture content of the paper, one can single out such watercolor techniques as “wet work” (“English” watercolor) and “dry work” (“Italian watercolor”). In addition, combinations of these techniques can also be found.
3.1. Painting "raw"
One of the first techniques that schoolchildren can master in elementary grades is the “raw” technique. The essence of this technique is that the paint is applied to a sheet previously moistened with water. The degree of its humidity depends on the creative idea, but usually they begin to work after the water on the paper ceases to “shine” in the light.
This way of working allows you to get light, transparent color shades with soft transitions. This method is especially successfully used by younger students when working on a plot composition ( Annex 2). The main difficulty when working "raw" lies precisely in the main advantage of watercolor - ductility. When applying paint by this method, the result often depends on the vagaries of smears spreading over wet paper, which in the process of creativity may turn out to be far from what you originally wanted. With careless correction, a certain dirtiness and dirt may appear. Therefore, this method of work brings up self-control in students, the ability to freely use a brush and teaches them to identify harmonious color combinations and immediately take them on paper.
3.2. Technique A la prima
Very good technique A la prima when working on short-term studies ( Appendix 3). They are written very quickly, "in one breath", in 1-3 training hours. It is recommended to alternate such sketches between long productions of painting. The a la prima method is indispensable when making quick sketches from nature and sketches. It is also appropriate when performing landscape studies during plein air practice, when fickle weather conditions oblige to fast technique.
Working in this technique, children learn to make mixtures of two, maximum three colors, since excess paint, as a rule, leads to turbidity, to a loss of freshness and brightness, color definition. They also learn to place each stroke at work strictly for its purpose - to coordinate with the shape and pattern. Therefore, this method requires extraordinary concentration, sharp writing and a good sense of composition. After performing etudes in technique a la prima, it is easier for students to analyze color and tones during long educational performances.
3.3 Layered watercolor
When working in the technique of layered watercolor or glazing, one layer of paint is superimposed on top of another. The strokes are done carefully so as not to damage or wash out already dried picturesque areas. Glazing is the main way of working when performing long-term training productions. While working with this watercolor technique, children learn to reproduce nature as accurately as possible, try to convey as accurately as possible all the richness of the color environment, whether it is a still life or a plot composition. They work out the methods of transferring the planned space, the materiality of objects. At the same time, the work retains the transparency and sonority of the layers inherent in watercolor, despite the presence of several layers of paint. One of the advantages of this technique is that there is no need to rush, there is time to think without haste, to analyze nature. Work on a composition or still life without harm to the overall idea can be divided into several sessions (9,12,15 study hours). This is especially important with a large image format. In addition, students from time to time work out the ability to work consistently and in stages, from the general to the particular and from the particular to the general, at the end to summarize the entire work, to bring it to integrity.
The main disadvantage of this technique is that students can overdo it with colorful layers, “clogging” the image with color. Therefore, they should be taught to work subtly and accurately, analyzing each paint layer.
3.4. Grisaille
According to the color palette used, one can conditionally distinguish multi-color classical and monochrome watercolor - grisaille. Grisaille uses different tones of the same color, so this technique helps to visually show students what tone, saturation, and contrast are. The curriculum for Painting in each class provides for one task per year in this technique.
The study of this technique allows you to teach children to work in a limited range of colors and focus more on the shape and volume of objects. In addition, develop fine motor skills and strengthen the hand, because due to its monochrome nature, grisaille requires special care and accuracy.
The grisaille technique can be used not only in painting, but also in plot works on easel composition. Such work gives charm, that you want to guess what colors the author hid. Village and city landscapes are unusually expressive and reliable ( Appendix 4).
3.5 Mixed media
They exist and are widely used by children in easel composition lessons and the basics of visual literacy, when watercolor is mixed with other coloring materials - white (gouache), watercolor pencils, pastels, ink. Although the results are quite impressive, such techniques are not "clean". You can try different options with children. Technique, as a rule, is determined by the general creative concept of the work and the predisposition of the child to one or another material. The images are memorable and vivid, in addition, children are very fond of experimenting, trying something new ( Appendix 5).
3.6. "Special Effects"
While working with watercolors, you can use various "special effects". The most popular and frequently used by students in our school are the use of salt, cling film and spray. In the lower grades, in the lessons of visual literacy, acquaintance with them takes place in a playful way, in the upper grades, students, already having some experience, themselves suggest what technique can be applied in each specific work. The use of such "special effects" makes the process of creating creative work more interesting and exciting for children. They are surprised that when creating an artistic image, one can use not only paints and brushes, but also objects seemingly far from fine art - salt, film, a toothbrush, etc. Such lessons are remembered for a long time and cause a storm of emotions in children. They learn to find an artistic image in a chaotic distribution of color spots, develop fantasy, imagination, and creative thinking.
For example, coarse salt crystals applied over a wet paint layer absorb part of the pigment, leaving unique stains on the paper, moving tonal transitions. Thus, you can create an air environment in your work, decorate the meadow with flowers, the sky with stars, show water splashes, etc.
An interesting effect is given by the usual cling film. The sheet is covered with a colorful layer, and until it is dry, the crumpled film is pressed tightly. As a result, unique stains are obtained - greenery, sky, sea or just an abstract composition in which children try to discern and emphasize some images (Appendix 6).
Spraying is the simplest of techniques, it is familiar to many children from fine art classes in kindergarten. But in the art school, the compositions of the works become more complicated, the color combinations become richer. Widely used in elementary grades in stencil splatter lessons, in high school splattering can be used to create a poster. In complex plot compositions or landscapes, you can also use this technique, but you need to make sure that students are extremely careful. Particles of the ink solution scatter almost uncontrollably over the paper and you can easily spoil the work by going too far with the intensity of this effect.
4.Conclusion
The most important argument for using watercolor is that watercolor is a more complex medium and, therefore, teaches children to do serious thoughtful creative activity. Watercolor contributes to the development of the skill of accurate work, develops the ability to see the finest color transitions, teaches a non-standard perception of the image of the surrounding reality, as well as its transmission.
In addition, in general, watercolor painting forms the elegance of perception of the world and the subtle spiritual organization of the young artist's personality.
Bibliography
Viner, A.V. How to use watercolor and gouache [text] / A.V. Vinner. - M .: "Art", 2009.
Kosminskaya, V.B., Khalezova, N.B. Fundamentals of fine arts and methodology for directing fine arts [text] / V.B. Kosminskaya– M.: Enlightenment, 2008.
Kunz, D. Fundamentals of watercolor. Color. -M.: Potpourri, 2006. - 169 p.
Nazarov, A.K. Basic methods of watercolor painting. – M.: Orbita-M, 2011.
Revyakin, P.P. Watercolor painting technique. - M.: "AST", 2009.
William Newton, Watercolor painting. - M .: "Christina - New Age", 2007.
Shitov, L.A., Larionov, V.N. Painting. Fine art lessons. - M .: "Enlightenment", 2005.
Annex 1
Techniques and techniques of watercolor
- According to the degree of paper moisture:
- dry Raw Combined technique
- By the number of colorful layers:
- Single layer watercolor ( a la prima) Layered watercolor (glazing)
- By color palette:
- Monochrome watercolor (grisaille) Multicolor watercolor
- By coloring materials (cleanliness of technology):
- "pure" watercolor technique Mixed media: watercolor + white
- "Special Effects":
- Spray cling film Salt other
Annex 2
Wet watercolor work
Appendix 3
A la prima
Appendix 4
Annex 5
Watercolor + gel pen Watercolor + pastel
Appendix 6
Municipal budgetary educational institution
CHILDREN'S ART SCHOOL №3 Kursk
Methodological development on the topic:
"Still life in watercolor technique". under the program "Painting" with a standard period of study of 5 years
Developer: .
Kursk 2015
Introduction.
The task of the painting course is to develop students' ability to see and depict the world around them in all the variety of color and light relationships. Using pictorial means, teach how to sculpt a form with color, master the techniques of watercolor painting, gouache.
As a result of the work, students must learn to consistently conduct a sketch, take color relationships, convey the light and air environment and the materiality of objects. The program assumes consistency in teaching painting.
In the learning process, an important point is the education in children of the emotional perception of color and understanding of its expressive figurative content.
Most of the painting is still life. All tasks are closely interconnected and alternate in a logical sequence. Still life in educational practice contributes to the growth of the creative potential of students, the perfection of taste, skill, compositional thinking, technology, the ability to transmit light, the volume of form, material.
Watercolor is indispensable in the teaching of fine arts, because among the art materials for schoolchildren it stands out for its accessibility, does not require complex special devices, and has pictorial expressiveness.
Lesson Objectives:
The development of the student's ability to think in volumes in space and see the complexity of the world through the light-color interaction of objects
Mastering the knowledge and skills of professional literacy in the field of painting;
Formation of an aesthetically developed and creative personality.
Lesson objectives:
Develop visual memory, color perception;
To teach to see color depending on the lighting, on objects nearby, on “planning”.
To acquaint students with the theoretical foundations of painting;
Reveal the aesthetic essence of realistic painting;
To give the necessary knowledge and practical skills of a methodological nature.
Execution materials:
pencil, brushes, watercolors, palette and paper.
Equipment:
Watercolor paper stretched over a tablet. Easel, water bottle.
The construction of the educational process should contribute to the development of interest in creative activity. For the implementation of the tasks set, the technique of watercolor painting is being mastered.
Theme: "Still life in watercolor."
Target:
educational: familiarity with the rules of consistent work on a still life;
developing: to develop the skills and abilities of working with material and conducting consistent work on a still life in compliance with the rules of composition, constructive construction and painting;
educational: education of aesthetic and artistic taste, perception of the harmony of the world around; education of accuracy and attentiveness when performing work using watercolors.
Watercolor painting technique. Methods and techniques of writing.
The technique of watercolor painting is a set of special skills, methods and techniques of writing, through which a work of art is performed. She also considers issues related to the most rational and systematic use of the artistic possibilities of materials in modeling objects, in sculpting three-dimensional forms, in conveying spatial relationships, etc.
The visual and expressive possibilities of watercolor painting largely depend not only on the knowledge of materials and tools and the ability to apply them during work, but also on the possession of techniques and methods of writing. In the process of studying the techniques and methods of writing with watercolors, mastering the technique should be based on a deep study and use of the creative experience of masters of painting, the best works of classical and modern art.
In the artistic practice of watercolor painting, there are various techniques that are divided into three parts according to the methods of writing: the method of working on dry paper, the method of working on wet (wet) 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 (classical). The simplicity and accessibility of this method of writing allows it to be widely used in the educational process. It is based on using the natural properties and characteristics of watercolor paints to easily bond to the surface of the paper.
The method of working on dry paper makes it possible to adjust the tonal-color stretching from dense strokes to light fills in the process of writing, to use the overlay of transparent paint layers one on top of the other, thereby creating an illusion of volume and depth of space in the image.
Reception of filling on a dry surface of paper
This is one of the most common techniques. The peculiarity of this technique lies in the fact that the work is carried out on dry paper, taking into account light and color tones by means of filling planes.
In practice, this approach is carried out as follows. At the beginning of work, the sheet stretched on the tablet is slightly moistened with water using a wide brush or sponge. This is necessary so that the ink lays down evenly and is well absorbed into the surface of the paper. While the paper dries, the necessary paint solution is selected on the palette. Having typed a paint solution with a brush, the gasket begins with the upper horizontal fill. In this case, the smear should be juicy. To do this, you need to draw on the brush such an amount of paint that after each stroke a small streak of the solution is obtained. Gradually filling the brush with paint, strokes are carried out so that they come into contact with the lower edge of the previous stroke. As a result of the influx of paint, smooth transitions from one shade of color to another are obtained, softly modeling the shape of objects.
Using the technique of filling on a dry paper surface, you can freely vary the light and color gradations, write both in one step and in stages designed for a long time.
Reception of the glaze letter
At the initial stage of training, in the process of mastering the techniques of working with watercolors, the method of multi-layered painting of applying colorful layers - glazing (glazing from the German Lassieurung - to apply a thin transparent layer of paint) is widely used. The essence of this technique of writing lies in the successive application of transparent layers of paint one on top of the other in order to obtain a variety of color shades when sculpting a three-dimensional form, to enrich the color, to achieve the unity of the painting and its harmony.
The technique of glazing writing is often used in the educational process during long-term multi-layer work on a still life sketch with a detailed study of the shape of the depicted objects. Study assignments for still life require a careful study of nature. They are written in several sessions (the work is designed for stages), and then you have to gradually and consistently impose one layer on another in order to achieve the necessary results. Using the method of glazing painting, filling planes can be done with both a large brush and a small one (mosaic writing), followed by a wide overlap. Moreover, glazing can be applied to one another only a limited number of times, otherwise deaf, polluted 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 also mainly by mixing paints on a palette. To avoid clouding the color tone, do not add more than two or three colors to the mixture. It is better to achieve the desired tone through the skillful and prudent imposition of one color layer on another.
Raw paper work
As a technical variety of watercolor painting, at the end of the 18th century, the method of writing on a damp paper surface became widespread. In technical terms, this method of painting gave a new idea of the possibility of conveying the direct emotional perception of nature, obtaining various textured processing of the pictorial paint layer, and also the possibility of completing the sketch in one session.
Work on wet paper in relation to the methods of writing on a dry paper surface is distinguished by efficiency, comparative simplicity of technology and accessibility. It is based on the principle of pouring one paint layer into another. With a fairly skillful possession of this technique, very spectacular and picturesque fills of color tones are created.
Reception of pouring on the wet surface of the paper
This technique of writing represents a transitional stage from the technique of writing on dry paper to work "in a wet way". It is designed to help the novice watercolorist develop color perception and wide, integral vision. The peculiarity of this technique is that picturesque fills are made in one layer, taking into account color and tonal relationships. This is a broad letter, which is carried out without stages on moistened paper with a large brush and prepared paint solutions. The pictorial process is not divided, like multilayer painting, into independent stages that are performed at regular intervals. Using the method of pouring over the wet surface of the paper, the sketch as a whole and each object individually is brought immediately to the desired pictorial and plastic solution. This method of work allows you to get light, transparent color shades with soft transitions in the image.
Before starting work, the front surface of the paper is wetted with water. It is necessary to start writing “raw” after the paper is evenly saturated with moisture and there is no excess water on its surface. The degree of paper moisture and the different inclination of the tablet allow you to regulate and limit the spreading of ink to the required limits, obtain the desired color combinations, and achieve their purity and transparency. Also, the moisture content of the paper softens the boundaries between individual color tones.
It is better to start the work from above, having previously determined the main relationships of the natural setting in terms of tone and color. While the applied fill color is not dry, another one is superimposed next to it, partially capturing the adjacent one. If you need to make any clarifications, then they are made even in the raw paint layer.
Acceptance of the letter a la prima
In the process of working using this technique in watercolor, a good coloristic solution is achieved. The peculiarity of this technique lies in the fact that a study or sketch is performed on wet paper in full force of light and color, without preliminary registration, without interruption, in parts and in one session. Reception a la prima is indispensable in working from nature on small sketches of a short-term nature, which allows you to convey the subtlety and softness of color relationships.
In order to convey large color plans and silhouettes in the work, the artist is forced to fold the image in parts, retaining only in the imagination the image of a complete and whole study. The work is completed, as a rule, in one session, without a long break. Reception a la prima requires the accuracy of the drawing, knowledge of the properties of paints, thoughtfulness and system in work, as well as the ability to conduct a study from beginning to end. Beginning artists who have a habit of rewriting can be recommended to start work with a finely detailed drawing. This approach to the conduct of the painting process will allow the novice watercolorist to see nature holistically and competently write a sketch.
The peculiarities of this technique oblige also to unmistakably rely on intuition, direct feelings from the perception of nature. And these qualities of an artist develop in the process of educational and creative work and come with experience.
Progress.
1. Sketching - finding a good still life composition
Practical work on a training still life begins with the implementation of preliminary sketches. They contain the search for the best compositional solution, tonal relationships.
Here is what A. Matisse said about the role of preliminary sketches in painting: “We come to the state of inspired creativity only through conscious work.”
Having chosen the most successful of the sketches, you can proceed directly to drawing.
2. Compositional placement of objects on the sheet plane
If the issues of composition have already been previously resolved in the sketches, then the most successful composition found can be repeated and transferred to the selected sheet format. At the same time, the largest width and height of the entire depicted setting are determined, as well as the approximate depth, i.e., the entry of objects one after another. Then they determine large proportional relationships between objects, finding each their place on the plane of the table and at the same time outlining their general shape.
3. Determination of the main proportions and constructive construction with a preliminary specification of the location of objects
All constructions are drawn with lines without pressure, and objects are drawn as if transparent (“through”), clarifying their design features.
4. Finding the ratios of the main color spots
Finding the ratios of the main color spots, taking into account the general tone and color state of illumination, is very important. For example, you should find the color in the horizontal surface of the background and the main subject, and then the rest of the items. At the same time, do not cover the entire surface with color, but only try to start on separate small areas that border on each other. Try to choose the color as close to nature as possible. Any deficiencies noted should be corrected immediately. The entire space of the picture plane is filled gradually.
5. Identification of the three-dimensional form of objects and complete color elaboration of the form.
To identify the volumetric forms of objects in tone, it is necessary to determine the lightest and darkest places on the objects. Then mark the boundaries of light and shadows on the forms of the object, find the position of their own and falling shadows. By superimposing halftones, enhance the tone in the shadow areas: own and falling shadows, as well as their borders, taking into account the coloring of objects. So
Thus, gradually increasing the tones, move on to a detailed study of the forms.
The elaboration of details is the most important stage in working from nature. Being engaged in a detailed study of the form, one should not forget about the general tone and each color, each stroke must be subordinated to a large form. When modeling the shape of objects, it is very important to work correctly with tonal relationships, starting from the lightest to the darkest. The lightest place on the subject will be the highlight and its surroundings, and the darkest place will be its own and falling shadow.
6. Generalizing stage of work on a still life.
Identification of the main and secondary in the color system; subordination of all parts of the image to the whole. Establishing the integrity of the image, which is achieved, on the one hand, by generalizing both minor details and objects in the background, and on the other, by concretizing objects of the foreground. If individual colorful spots fall out of the color scheme, “break out” forward or “fall through” into the depth, then they are slightly blocked by the color lacking in strength. Strengthening or weakening the overall color tone in watercolor painting requires special care in laying the final paint layers.
Conclusion
Still life watercolor develops students' color perception of the world around them. Color can express a certain mood and convey it to the viewer. Gradually, in the lessons of painting, there is an improvement in color and tonal sensation. It is important to teach the child to correctly convey his vision of the production on paper.
Bibliography
Kulakov. M., 2010.
Beams of work on a still life. M., 1982.
Revyakin watercolor painting. M., 1959.
Shitov of fine arts. Painting. M., 1995.
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