With paints
Watercolor is a feeling. These are the capabilities and features of this material - the richness and delicacy 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 the Middle Ages, both for wall painting and for illustrating manuscripts. After the invention of oil paints, watercolor became a minor and old-fashioned technique and was used for sketching intended for more large-scale works executed in oil.
Watercolor painting in its modern presentation 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 widespread recognition.
Watercolor painting of the first half of the 19th century became widespread as miniatures on paper, preserving the qualities inherent in miniatures on bone and enamel: delicate drawing, careful modeling of shape and details with small strokes and dots, purity of colors. At the beginning of the 19th century major masters watercolors worked in England. These are W. Turner, R. Bonington, J. Constable and others. In France, O. Daumier, T. Gericault and E. Delacroix painted in watercolors. Magnificent examples of watercolor art both in genre painting and in portraiture during that period were left by Russian artists - and others.
At the end of the 19th century, watercolor acquired new qualities in works. In the works of these masters, the technique of execution becomes more free and 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.
Using 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 technical techniques used by artists.
Bryullov’s painting “The Family of an Italian” (ill. 31) reveals the features artistic manner, called the miniature technique. There is a clear classic design, careful elaboration of details, fine modeling of the texture of objects and fabrics.
“Italian Landscape” (ill. 32) is executed more freely. The artist achieves perfection in conveying natural light, airiness, and 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’s painting. Landscape by Lebedeva “Pond in Pavlovsk” (ill. 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 “Demon” (ill. 35), shows that with skillful use of even one color
You can achieve great expressiveness, richness of tone, variety in three 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 accurate drawing, to the materiality of objects, environmental conditions and the nature of consecration.
II. Methods of working with watercolors
Pure watercolor painting is painting with transparent paints. White lead is not used in watercolor paints.
When comparing the watercolor technique with other painting techniques, such as tempera, gouache, oil, first of all, one should note its main properties: transparency and lightness, at the same time purity and intensity of colors.
In watercolors they use both the glaze method and the a la prima method.
Method glazes(from German lasserung - to apply a thin, transparent layer of paint) as a method of multi-layer painting was widely used in the practice of watercolorists of the 19th and early 20th centuries. They have created wonderful works that captivate us with lightness, airiness, overall tonal integrity and color harmony. This method is still used with greater or less consistency today. All previous manuals on watercolors, 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 ability to change color when one transparent layer of paint is applied to another transparent layer.
The paint layer, despite its multi-layered nature, must remain thin and transparent enough to allow reflected light to pass through it.
Each new layer of paint is applied over the dried layer.
The first registrations are carried out with transparent paints and, if possible, similar in their properties. The characteristics of paints must also be taken into account when preparing paint mixtures.
Registrations begin with paints that have greater color saturation, so that even in weak solutions the color is not anemic.
The use of body, opaque paints is more appropriate in the final stage of work to enhance the material significance and objectivity individual parts sketch.
The glazing technique is more suitable for long-term works: from a still nature, for example in a still life, as well as in work on representation, when creating complete compositions, book illustrations, and is also appropriate in applied graphics when solving ornamental problems.
Method a la prima- painting on wet, painted in one session.
This technique means writing immediately, without subsequent major changes. According to this method, each detail begins and ends in one step, then the artist, having the general in mind, moves on to the next detail and so on. All colors are taken immediately to the desired strength. This method is especially appropriate when performing landscape sketches, when changing weather conditions require fast technology execution. 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 recordings, allows, with experience, to preserve maximum freshness and richness of colorful sounds, greater spontaneity and sharpness of expression. In quick sketches from life, in sketches, this method is indispensable.
Anyone who wants to master the watercolor technique must acquire skills in both painting styles, separately or combining them together.
It is difficult to say which method is more complex and difficult to master - a la prima or glaze. Each of them presupposes the need to feel color, understand shape, that is, be able to compose a shape with color. The artist is obliged, while 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 desired strength and proper tone, mechanical mixtures are more common here - composing the desired color using several paints.
The a la prima method involves painting in one layer, i.e., color relationships are taken immediately in full force, taking into account the lightening of the tone, and are no longer rewritten. The sketch turns out 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, the strokes can be placed close to each other, or they can flow into one another, creating the feeling of a smooth transition from one color to another. The graininess of the paper will increase the richness of the fills. It is necessary to work energetically, not allowing the previous stroke to dry out. Before working on a damp sheet, the sheet is moistened with a sponge and the paper is allowed to “wither”. To slow down the drying of paint stains in the heat, add a few drops of glycerin to a container of water. When working on a damp background, paints are mixed with less water than when working on dry paper.
Combinations of work on both dry and wet paper are possible. For example, in a landscape, when it is necessary to convey the feeling of softness and smoothness of the texture of individual fragments (clouds, water), the paper is wetted and only fragments are written on the wet, and the remaining details are written on dry.
Method "washing" most often used by architects and designers for a conventional image of a building, its exterior, organizing the color space inside the interior, individual furniture finishing elements, etc. This method of doing work is multi-stage, and each new stage carried out when the previous paint layer is completely dry. The first stage of working on watercolors using the “washing” method consists of painting the sketch with paints highly diluted with water, conveying the basic color relationships.
The second stage is to register all the details.
Registration enhances the color of halftones and fully conveys the color of shadows and introduces details. Each new paint layer is applied over the dried previous layer.
The illuminated convex shapes of objects are left unwritten until the third registration, after which they are slightly illuminated in accordance with the shades of the highlights in nature (the highlights are always colored).
When applying one layer to another, one must 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 for working with watercolor paints.
The “pointillism” method (from the French pointiller - to write with dots). This is a method of applying paint in individual small strokes with the end of a brush, so that the whole is made up of small dots of different colors. This technique was borrowed from post-impressionist artists of the 19th century.
The monotype technique is also used in watercolors. This technique allows you to get only one print from the surface of the glass, on which some subject has been previously written in watercolors. The order of execution is as follows: first, a drawing is applied to paper, then glass is applied and painted on its surface with more watercolor paints. Then the wet paper is placed on the glass and this image is transferred, 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 watercolorists of the Baltic states. This technique is based on the fact that water and oil do not mix and therefore some areas will 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, blurred and scratched highlights (wet on wet), brush drawing, stick drawing, dry brushing, spattering, using salt, scraping paint, printing and pressing lines and thin layers of paint. , glare prevention and many others.
LIST
literature used:
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. Markov Pavel. About watercolor or painting with water paints. M., 2001. Fenwick Cake. Watercolor painting course. M., 2009. Sokolnikova N. Fundamentals of painting. M., “Title”, 2000. Masters of Western European watercolors of the 14th century. M., 2003. Young artist. / Master and student. M., 2004.
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Test No. 3
“Theory and methodology of teaching fine arts and creative arts in children’s art schools, children’s art schools”
1 question
« Methods of working on a landscape using watercolor technique»
Vypolnill:
Kulishova Inna Alexandrovna
PROVeRAndl:
Tretyakova Irina Leonidovna
Volgograd
Content.
1. Introduction.
2. Main part.
3. Conclusion.
4. List of sources used.
Introduction.
This methodological development is devoted to the problem of finding an accurate
color scheme in watercolor landscape sketches. Reveals questions
application of the basics of color science in practice and features of color
spatial landscape solutions. Helps the art teacher
teach children to correctly paint a spatial landscape in watercolors,
using all the means and possibilities of watercolor.
Students learn the language of color in painting lessons. Developing mentally and aesthetically, painting teaches one to carefully observe phenomena, develop spatial thinking, teaches accuracy of calculation, and promotes knowledge
the beauty of nature, fosters patriotism and love for one’s fatherland.
At the end of each school year, students have two weeks of instructional time
are dedicated to plein air, where they consolidate what they have learned in painting lessons
theoretical knowledge and practical skills. In the open air a series of
problems associated with the fact that children, not having sufficient artistic
experience, make mistakes when working on watercolor landscape sketches.
The color scheme of the work is sometimes spontaneous. If there are no children
teach visual literacy based on deep knowledge, then becoming
older, more conscious, they begin to understand that their painting does not correspond to reality. They become disappointed, lack confidence in their abilities, and many children stop drawing altogether. Therefore, it is very important for a painting teacher, starting from the first lessons, to develop the spatial color perception of students, instilling in them more and more new painting skills, based on studying the laws of realistic depiction, in an accessible, interesting, playful form. 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, and watercolor techniques. Only by correctly explaining the meaning of chromatic and achromatic, warm and cold, primary and secondary colors and shades, color tone, the influence of light on color, will a teacher be able to teach children to draw a landscape.
The topic of my methodological development is relevant today
day, its solution is fertile ground for introducing new methods into the educational process.
Goal: development and implementation of a system of methods and techniques for teaching students to use exact specifications colors for solving spatial problems in watercolor sketches in painting lessons. The object of methodological development is the process of teaching schoolchildren proper management watercolor work on a landscape in painting lessons.
The subject of methodological development is methods and techniques for organizing and conducting teaching in art history and painting lessons at an art school.
Tasks:
1. To provide a psychological and pedagogical rationale for the organization and use of methods and techniques for teaching the basics of working on landscape sketches to students.
2. Characterize and reveal the essence and features of the organization
methods of teaching work on landscape sketches in painting lessons.
3. Determine the direction of activity of the art teacher
departments on the use of methods and techniques for teaching the basics of work
on landscape sketches and its application in the educational process.
4. Develop a system of methods and techniques for teaching the basics
working 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. During the lesson on communicating new knowledge in the subject “history of art”, the teacher will talk about methods of working with watercolors in
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 painting landscapes. (Art History)
Methods of watercolor painting.
Multi-layer watercolor painting is painting with preliminary
a general or modeling tone, in some cases called underpainting, over which the artist gradually applies
transparent layers of paint, achieving a certain luminous intensity. In such
worked in a manner traditional for Russian art of the 18th-19th centuries and
masters of Italy, France, Germany, Spain, England, and subsequently Soviet artists.
Method of M.A. Vrubel. This method was used by many masters of the late 19th 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 small format watercolors, according to M.A. himself.
Vrubel, the size of a postcard, as well as 20x30 cm, 30x40 cm and very
rarely large. Some works by P.P. Chistyakov and I.E. Repina
have the approximate size of a modern sheet of Whatman paper. Let's try
now on the basis of memories, research, letters of M.A. Vrubel and,
Of course, the watercolors themselves can imagine a possible sequence
work this way:
1. With a hard pencil on well-glued medium or fine paper
grain 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 their own and
falling, borders of color spots, folds of fabrics, ornaments, etc.
An example is the unfinished portrait of N. I. Zabela-Vrubel
1904, on which M.A. Vrubel managed to make several strokes on
hairstyle and headdress, providing in such an unexpected way the opportunity to see almost the entirety of this amazing preparatory drawing.
2. Cover the depicted objects with a general local color tone in
1/3.½, color strength, lightness. Leave highlights and others uncovered
bright places. Emphasize the difference in color between objects or their
in parts.
3. Apply individual colors over the dried preliminary layer.
plane of the depicted object in full force, creating a certain color
mosaic, moving from larger fills to smaller ones. Where there is color
tone is not enough, cover subsequent color layers after drying
previous. And so on until the completion of the work, which should be an object consisting, as it were, of edges, areas, differently located in space.
4. At this stage, some brush washes are possible to soften
sharp edges of some fills. Blurs can generalize individual
areas of work, as well as reduce color overload in case of an error. After
Once this area has dried, the desired color tone can be applied to it.
Sometimes used as a technique small dots and strokes to
Bring small color areas to the desired tone. Thus,
Small gaps between individual fills are also filled.
Examples of such a sequence of work in watercolor are the early
works by Vrubel M.A.
It should be added to the above that this method
can be supplemented with one more technique 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
the work has 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. Very interesting watercolors have been preserved
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 a blue-ash color as the base.
In his works, Cézanne relied on one of the three principles of Paul Signac,
which was to never put one paint on
another, since any tone placed on top of another fades. But in
In recent years, P. Cezanne, continuing his passion for watercolor, wrote
completely different. He overlapped one color with another, then with a third and
so on, using the primary colors - blue, red, green and
yellow, mixing with them a small amount of black, with
with which I made minor line accents on top
strokes. The most important thing is that P. Cezanne did not mix primary colors between
himself, but used, as it were, the principle of superimposing color colors on each other
glass Here is what Emile Bernard wrote about this in 1904: “He began with a slight
shadows, applied a spot, covered it with another, until all these color gradations, overlapping each other, sculpted the shape of objects with color.”
The artist worked on the entire composition, touching
first, then the background, then the sky, and when he returned to one area or another, the new position of the paint did not wash away 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 is visible in the works of artists
the end of the 20th century.
The sequence of work in this way is as follows.
Paul Cezanne
1. Apply a loose drawing with a graphite pencil onto a sheet of paper.
medium soft without using an eraser. Error lines if they don't
so intense, they can be left on paper, they will complement the future
color layer with some play of lines.
2. Apply color, starting with blue, in areas where it can
be present to one degree or another. Strokes should be small,
object shape, transparent, light. Then you need to apply the remaining colors
one after the other in any order, for example red, green,
yellow. It is important that the transition from lighter to darker tones was
gradual. You can add small amounts to pure flowers
black color. The overlap of one color spot with another can be
incomplete, i.e., so that the previous color is visible in some places in pure
form. This technique contains 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. When working 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 job Maybe
it will work out if pencil drawing make it any color
a pencil, such as blue, green or any other; it's important that he
was clearly visible on paper.
Classic way
The classical method, which in some art historical works
called "deliberate", not typical of watercolor painting, actively
used by watercolorists of the 19th century in portraiture when
facial modeling, when depicting fabrics, interiors, on individual
background areas and sometimes in the landscape.
A.P.Bryulov
Currently, practically no one uses this method, 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. Miniature watercolor portraits were mainly made using this method, 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, dim drawing was applied with a hard pencil in sufficient detail.
2. Apply a general color background to the depicted object or object,
matches highlights, excluding highlights and highlights
spots where the paper should remain untouched by color for now.
3. After the first layer has dried, apply sequentially on top of each other.
the following fill layers, starting with light halftones and ending
the darkest areas, their own and falling shadows. The edges
individual layers - fills should not be blurred. Each subsequent
The layer must be applied to the well-dried previous one. Thus,
the image is brought to an incomplete degree of completion when possible
Apply about 1-2 more layers.
4. With the sharp tip of a thin brush (perhaps modern No. 1, 2)
apply to the surface of the dried image or some part of it
a line layer of watercolor similar to a pencil or first drawing.
This layer softens the sharp edges of individual fills, models the shape,
brings the image to a finished state in terms of lightness and color
saturation and creates a feeling of materiality of what is depicted.
An applied line layer in which strokes can intersect,
overlapping each other, can be either the same color (generalizing), or
and different colors, depending on the artist’s tasks.
The advantage of this technique lay in its special plastic
expressiveness, which made it possible not to “wash out” the form and not make it rough.
This required great skill.
A. V. Fonvizin’s method
A. V. Fonvizin
The considered method of watercolor painting is named after
the remarkable artist Artur Vladimirovich Fonvizin, who worked
in an amazing, unique manner.
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 white, did not mix gouache with watercolors, i.e. he was traditional in pure watercolor. Otherwise, his works are deeply individual in nature.
It would be possible precisely 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 paper. This is not true. The artist does not work on pre-moistened paper when
it depends entirely on the whims of paint spreading over wet paper.
The memories of the artist’s contemporaries, his models, who watched the master’s work have been preserved. You can look carefully, and not alone
times, on his works in the Tretyakov Gallery and at various exhibitions. A.V.
Fonvizin wrote on whatman paper GOZNAK self made with a small
graininess, attaching the paper to the tablet with buttons, a trace of which still remained on the work. It looks like the author didn't preparatory drawing
with a pencil, but began to draw with a thin brush tip, outlining only minor contours of what was being depicted, as evidenced by the unfinished works. However, this incompleteness rather gives the impression of a special laconicism inherent in his works. Then, using a large brush, he collected a large amount of water with paint, and gently rubbed it into the
surface of the paper, adding other colors to achieve the desired
complex tone, i.e., a unique palette was obtained in the work itself.
With great skill, the artist managed wide streaks of color with
using a brush, alternating dark and light areas, sometimes leaving almost
untouched papers. Here and there the artist introduced color accents on the dried surface of the previous layer, sometimes quite insignificant,
almost dots to emphasize a shape or a spot of color. In portraits
most often the eyes and lips are emphasized. In some works it is clear how
the artist took an active color, which at first glance stands out from
general tone of the sheet, applied a wide stroke to its surface with reverent
movement of the brush. In his later works A.V. Fonvizin slightly blurred
some color areas, combining them with clear fills, as well as
layered several layers of color on top of each other. However, his works do not give the impression of multi-layered watercolors; they retain amazing freshness, transparency and luminosity.
A.A.Ivanova
Let us recall the landscape works of M. N. Vorobyov and especially large group watercolors by A. A. Ivanov, in which he essentially lays out only blue cold shadows, thus solving the problem of conveying space and air
prospects. Similar works can be found in P. Cezanne, who
six decades later he formulated his position in a letter to E.
Bernard on April 15, 1904: “...nature for us people is rather
depth than plane: hence the need to introduce into our light
the 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 convey the air environment and space in the plot and
portrait watercolor painting and coming to an even more complete
color scheme.
From the above we can conclude that this method remains in the works. It seems that the author did not make a preparatory drawing with a pencil, but began to draw with a thin brush tip, outlining only the necessary details; this method is easily applicable in a 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
Apply strict grain size, detailed drawing hard pencil
so that there is a clear image on the paper. However, not
there should be indentations that a hard pencil can leave and
which will be visible through the watercolor layer.
2. Using blue (in our case it is blue FC) and black paints
perform underpainting using the grisaille technique, bringing the work to some
incompleteness. Apply layers of paint on top of each other when dry.
surfaces sequentially from light to dark.
3. Using light ocher and red ocher (you can also use burnt sienna and
English red), bring the work to completion. Wherein
yellow paint, overlapping blue, gives greenish tints, red -
purple, yellow and red - orange, and together they all give brown
shades. In areas where there is no of blue color, yellow and red "sound" in
full force. In this case, you can mix in small quantities
black paint.
4. At this stage, you can add color and tonal accents (with a small amount of black), as well as minor corrections in the form of light washes. However, it’s better to do this in this
case, do not resort.
Dry method
This method is practically never found in modern watercolor painting.
Working 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.” Plots are assigned to each other
to a friend. Paper for work may have a pronounced grainy
structure, which is not very noticeable. Sheets do not fit well
taped. Watercolor artists call this paper "soft." Such
The watercolor painting method is very suitable for short-term educational 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
works by the wonderful 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 paper surface is as follows: Apply a more detailed drawing on a sheet of paper. If the work is not from life 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 when correcting mistakes. Then attach the sheet to the tablet. Take watercolor paint with a large brush in full color strength with some reserve for fading, with an active set
water and apply to the surface of the paper, filling with a certain color
"piece" and adding additional color shades where necessary.
Add the next one to the completed “piece” and so on until the sheet is completely filled. The sizes of the "pieces" can be different, they
determined by the nature of what is depicted. Not completely dry edges
individual neighboring “pieces” may slightly flow over in some places
into each other, forming color tints that do not require correction and
giving the work a unique color expressiveness. After
Almost the entire surface of the sheet is painted, 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 with color
small sections of paper remaining, as a rule, between individual
"pieces" in the process of work. However, some artists deliberately leave areas of blank paper, using this as a kind of
picturesque technique. A tablet with a sheet of paper in the process of work can be
tilt at different angles in different directions, directing in the desired direction
direction of the current paint layer.
Watercolor graphic method
This method combines graphic and watercolor techniques. He takes
beginning with tinted engravings and drawings of the 18th - 19th centuries. But if in them
the graphic principle was predominant, then in the considered method
drawing and watercolor act as if equal, complementing each other when
the stroke of a pencil plays as important a role as the color when
the graphic and pictorial principles are fused. This is very good
visible in the watercolors of P. Signac from the early 30s of the twentieth century, in
of which he, actively using primary colors - yellow, red, blue and
green, adding a little black, follows one of its three principles: "...the original pencil sketch shouldn't disappear
under watercolor stains, on the contrary, it should be clearly visible so that
"to create a play of lines in the voids that delimit those spaces that
must be colored." At the beginning of the twentieth century, combining watercolors with graphic
techniques, worked by A.P. Ostroumova - Lebedev, whose watercolors had a more strict color character, and later D.I. Mitrokhin.
His works are distinguished by expressive linear drawings, supported
shading in the shadows and shapes 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 portrait. You can use it in cases where in a relatively short time it was necessary to make the most expressive sketch in order to record what you saw, which was then used in subsequent work.
Sequence of work using watercolor-graphic method.
1. On a sheet of paper, the texture of which may have a different character (in
depending on the wishes of the performer), apply a loose intensive
drawing with soft graphite or black pencil. Can be used
a black pencil from a set of regular colored pencils or a Negro lead. The shapes of objects can be modeled with strokes. Where
necessary, the background can also be filled with strokes. At the same time, use
an eraser is not necessary, preliminary light lines add to the work
some liveliness.
2. Using the fluidity of watercolor, apply a full
color strength is a coloring layer where one color can smoothly transition into another.
3. At this stage, you can strengthen the shadows by introducing additional
color spots applied to the dried base layer.
To what has been said, it should be added that for drawing they can be used
charcoal pencil and watercolor, which is slightly blurred when applied
layer of helmet, gives the work some softness. Can also be used
various color pencils emphasizing the texture.
1.It is necessary to show a presentation about in different ways watercolor letters
paints. Then, to reinforce the material, you can offer students
independently determine by the manner of writing which method was used
artists when working on a proposed work.
Excursion to an art gallery to view authentic
works of watercolorists - masters of the past, or, if possible
absent, at the exhibition contemporary artists, will help students to fully experience this topic. Such excursions will inspire you to create small independent works - sketches of landscapes based on viewing, using one of the techniques studied above.
2.Next after art history with a theoretical study of watercolor techniques is a painting lesson.
At this stage, students should gain knowledge about light-air perspective and the laws of color science. Perspective (latin: look through) is a technique for depicting spatial objects on a plane in accordance with those apparent reductions in their sizes, changes in shape and light-and-shadow relationships that are observed in nature. What is light-air perspective? To create the illusion of depth in a drawing, you must remember that there are laws of light-air perspective, which provide for changes in color, tone, and clarity of outlines
objects removed at some distance from the person drawing. Items,
those located closer to us seem more distinct, we distinguish
more details on their surface, but as they move away from us
the contrast in tone gradually softens, the colors change their color,
the outline of objects becomes unclear. Based on our observations in
In nature, you can see that objects removed at a considerable distance
seem shrouded in haze.
We see some objects as light, others as dark. From neighbors
More objects of light enter our eye than from distant ones, therefore
objects closest to us seem clear and bright, distant ones seem blurry,
unclear and faded. The air is not always transparent, more often there is
small particles of chemical substances are dissolved, it is saturated with vapors,
dust, etc. One way or another, this makes it difficult to clearly determine the contours of the object.
Therefore, when we look at an already completed drawing, objects with clearly
outlined contour, we perceive objects as being close, and with
vague - like distant ones. Changes in light and weather also
affects light and shadow contrast and visibility. Depending on the
distances fade and the colors of objects acquire bluish tints,
the color difference between the surfaces of the form is softened, on the color horizon
come together and turn into a single bluish-blue color.
The chiaroscuro contrasts, sharp in the foreground, gradually merge into
uniform tone, objects lose volume, acquiring a silhouette character,
the texture of the material disappears. Beginners should learn these
laws. To convey space in a drawing, it is better to use three
plans and develop each plan separately as it moves away from
viewer.
Warm and cool colors have another important property. Warm
colors, being surrounded by cold ones, seem to us as if protruding
forward. For example, a red object placed in a row of blue objects
is perceived more actively than the latter. Cool colors, on the contrary, create the impression of objects moving away. This property of paints follows
take into account when working on painting educational settings or landscapes.
The contrasting properties of warm and cool colors are used to convey
spatial relationships in painting – chiaroscuro, light-air
prospects, state of the day, etc.
Fundamentals of color science (subject of painting)
An important point in painting is the study of color in space.
Basics of color science for beginning artists - 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 different proportions.
2. Spectral circle. It is easier to consider that the primary colors of the spectrum
twelve. All other colors are obtained by mixing the primary ones.
Spectral colors are called chromatic.
3.Grey, white and black are called achromatic:
4. Complementary colors are colors that are oppositely located in the spectrum. They complement each other, that is, when complementary colors are located next to each other, they enhance each other, “ignite”. For example, we have this one: a nondescript, dull purple color.
By itself, it does not carry any special beauty and there is little that can be gained from it.
tell. But if you add an additional color to it, then it
will play and sparkle.
Look: our purple sparkled, and it's the same color that we
took it at the beginning. When mixing these colors, the result is always gray.
Fundamentals of color science - the main characteristics of color:
1.The name of the color is the so-called color tone.
2. Lightness is the tone.
3. Saturation, that is, tension, purity, what is the saturation of the color, how pure is it.
4. Warm and cold.
These concepts are all different and are present exclusively in each color.
For example:
Look around you, find any object. He will be of some kind
a certain color, say, the same yellow. Let's think-
the color tone will be yellow, but the lightness may vary, or
yellow is light, or yellow is dark. Now we need to define it
saturation - how much yellow is present in a given color?
Lots of yellow - strong tension yellow with impurities - weak
voltage, low purity. And the last thing is warmth and coldness. Our yellow
the color can be either with a cool note or with a warm note. It will be easier
understand when to compare several different objects of the same color tone, in
in this case, yellow. Find several yellow objects and compare them
below listed characteristics. Everything will become clear to you.
If you have not yet switched to the direction in which I am leading you -
I suggest one entertainment:
Color is an expression of the quality of energy that the environment carries. In other words,
any object carries energy of a certain quality, in our
case - color. As you probably know, each color is different by us
perceived. Yellow color increases attention and in some cases irritates. Blue is a calm color, passive. Red increases sensitivity and attention. Violet influences our inner self so much that it can even depress us. This is how we feel colors.
Color spectrum:
All colors participating in the composition must be subordinated 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 your window that will let in
unique warm light into the room)
2. From the flowers involved in the composition.
3. From the area of the spots involved in the composition.
Let's say the largest spot in your composition is green - then
this color will be added to the range. And it is gamma that determines integrity
compositions.
Each stroke must contain three colors - local color (color
subject), color gamut (in what gamut, say, your landscape) and color
light (it can be either cold or warm).
Changing color according to the shape of an object or distance:
According to the name and color tone, the color does not change. Interesting process
happens with lightness. A light color becomes darker as it moves away: a dark color becomes lighter:
As the color moves away in saturation, it fades and weakens:
By warm-coldness: cold colors, moving away, will become warmer
warm - get colder.
In the light the color is lighter, in the shadow it is weaker and is distributed in halftones:
By warmth and coldness, if you chose warm light,
then the shadows will be cold. If the light is cold, the shadows will be warm.
Warm light will become colder as it moves away, and cold light will become warmer. Warm shade
moving away it will get colder, the cold one will get warmer. The color in the shadow lights up according to its saturation.
And now the hardest part:
1. The darkest half-tone in the light is lighter than the lightest half-tone in the shadow.
2. The most colorless half-tone in the light is more colorful than the most colored half-tone in the shadow.
3. The warmest undertone in cold light is colder than the coldest.
halftones in the shadows.
Is everything complicated and confusing? It seems so at first. Such thoughts will dissipate when you start drawing.
Color science provides ready-made laws that artists develop over the years during their studies. You just need to learn, accept and put all this into practice, guided by the motto: I don’t see, but I know! And I do it the way I know!
And you can strengthen your knowledge, guided by the motto, by performing several exercises on the topic of “color science.” The fact is that when painting, especially when you paint in 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 with this. But the following exercises will help you feel more confident in the process of work:
For this we will need watercolor, which was discussed at the beginning of this
pages. Use some color. You can make a wide variety of color stretches.
"Stretch" colors from warm to cool, from light to dark and from
one color to another. You can do stretching according to the principles of
which you have learned here. Practice. You can learn a lot of new things
about color, how it behaves next to others or when mixed.
In an art lesson, after a short overview of color science and a presentation on
given topic, students are asked to complete a series of filling exercises,
for further preparation for work in outdoor conditions. Filling required
make the color change depending on the lighting, as suggested
script. For example, the light is cold, how will the long flat light change?
an object painted red as it moves away from the viewer. Or,
task for independent selection of color combinations from which you can
"do" green color. Next task: how will this green color change?
distance from the viewer in warm lighting. Do stretches at four -
five gradations. At the end of the work, ask students to evaluate for themselves.
work, giving points on points: color purity, tone change,
observance of warmth and coldness, cleanliness of execution, composition in the sheet.
This lesson is a lesson on completing complex tasks.
While working on the topics, students should learn the following:
questions:
1. What methods of working with watercolors exist?
2. Which method is most suitable for the student himself?
3. How to work with color in watercolors?
4. How does color change depending on lighting?
5. How does color change depending on distance?
6. How does color change depending on the light-air perspective?
After the preparatory lessons, students will acquire new knowledge,
skills in working with watercolor paints, will learn different methods of working with
color and new technologies.
And only then can you begin to work directly on the street.
And a few more tips for teachers teaching children of primary school age. It is better to start working in technology with children of this agedrawing on wet paper. Let the children test the paint for fluidity and blurriness.
“Wet” or “wet” technique (“English” watercolor)
The essence of this technique is that the paint is applied to a sheet previously moistened with water. It is recommended to place the worksheet neither horizontally nor vertically, but at a slight angle. The paints are applied with light single touches; on a wet basis they will certainly flow in the direction specified by the artist. You can direct the movement of the paint with a dry brush, or you can use it to weaken the color. But what kind of “drip” pattern you will get is unknown. This element of surprise gives the technique unpredictability and some piquancy. The degree of its moisture content depends on the artist’s creative intent, but they usually begin to work after the water on the paper stops “glittering” in the light. With enough experience, you can control the moisture content of the sheet by hand. Depending on how full the hair tuft of the brush is with water, it is customary to conventionally distinguish between such methods of work as “wet-on-wet” and “dry-on-wet”.
Technique of multi-layer watercolor painting (Glassing)
Glazing is a method of applying watercolor with transparent strokes (usually darker ones on top of lighter ones), one layer on top of the other, while the bottom one must be dry each time. Thus, the paint in different layers does not mix, but works through transmission, and the color of each fragment is made up of the colors in its layers. When working with this technique, you can see the boundaries of the strokes. But, since they are transparent, this does not spoil the painting, but gives it a unique texture. The strokes are done carefully so as not to damage or blur the already dried areas of the painting.
Watercolor technique “Reserve” (White and light areas)
“Reserve” in watercolor is the unrecorded white or lightest part of the sheet.
White color is conveyed by the color of the paper. In other words, the artist always needs to remember those areas that he must leave white and “bypass” them with color, leaving them untouched. “Bypass” is the most complex and “cleanest” method of reservation.
You can solve the problem of the “Reserve” technique in several ways:
-using tape
-paraffin
-wax pencils
- use the processing of an already dried paint layer using various “mechanical” methods (scraping, removing the paint layer with a razor blade, etc.)
-highlighting the necessary areas using a wrung-out brush, or for example a napkin on a wet or dried layer.
A LaPrima appliances
A la prima* (Italian: Allaprima; pronunciation: “ala prima”) – the same as painting in the raw.
This is painting in the raw, painted quickly, in one session, which creates unique effects of stains, overflows and flow of paint.
Work on a wet sheet at the initial stage with subsequent refinement “on dry”
In this case, the artist makes the basis of the work on a wet sheet, and continues working on the details when the sheet has already dried. This technology allows you to combine gentle transitions of painting “in the raw” with accents on small details painted on top of them.
Dry technique (Italian school)
It consists of applying paint to a dry sheet of paper in one or two (single-layer watercolor) or several (glaze) layers, depending on the artist’s idea. This method allows for good control over the flow of paint, the tone and shape of the strokes.
Salt technique
Salt (both coarse and fine) scattered over wet watercolor unevenly corrodes the paint and creates a special texture on the stain. This technique is effective on the first layer of paint. When the work is dry, the salt can be removed with a dry cloth or even your hand. Sprayed water can have a similar effect.
Cleaning Technique
Washing is a method of identifying the shape of an object by layer-by-layer application of paints in gradations from highlights to falling shadows. In fact, this is a way of tonal elaboration of an object. Simply put, we use tone to show areas of highlight, light, half-light, half-shadow, shadow. Washing is perhaps the simplest, although time-consuming, process in watercolor technique.
With the “wet on wet” painting technique - combining liquid paint with a wet sheet creates blurry contours, which is only better for the child’s flight of imagination - he continues to create images throughout the entire lesson. When adds new paint to a drawing that has already begun, a new semantic connection often arises in his imagination, which he then develops in subsequent drawings.
On a wet sheet, individual colors mix and flow into each other in many places, and intermediate colors appear - green, orange, brown, purple. When doing work using salt, amazing landscapes are obtained. We talked about this above. Watching these metamorphoses - they rejoice and are surprised: they are creators, they are 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 by a drawing, and the colors glow and shine due to the presence of the element of water in them, the child reaches the peak of “artistic” satisfaction! Then, when the picture is already put away to dry, it is no longer of such interest to the child.
It should also be noted that technology in itself does not exist. The technique is subordinate to the goal that the artist sets for himself. That is why watercolor is as diverse and individual as people’s handwriting is diverse and individual.
The above applies to any type of art, but it is watercolor that is especially susceptible to the temperament and “movement of the brush” that comes from the movement of the spirit of the master. This is the main secret and problem of owning technology.
IN methodological work Some points from the articles were used:
http://yandex.ru/-E. Bazanova. The elements of water and paint. About 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 / trans. from English - M.: Astel, 2012. - 32 p.: ill. - (drawing. All techniques in one book).
Sokolnikova N.M. Fine arts: Textbook for teachers. 5-8 grades: At 4 o'clock - Obninsk: Title, 1999.
School of Fine Arts: Vol. 2/A.N. Buynov, E.N. Elizarova, B.V. Ioganson et al. - M.: Fine Arts, 1988. - 160 pp.: ill.
Drawing. Watercolor: Second All-Russian Exhibition. - L.: Artist of the RSFSR, 1981. - 156 pp.: ill.
Rostovtsev N.N. Methods of teaching fine arts at school: a textbook for students of graphic arts faculty. Ped. Institute - 2nd ed., add. And revised - M.: Education, 1980. - 239 p.: ill.
Maslov N.Ya. Plein air: practice based on images. Isk-vu: textbook. A manual for students of art - graph. Fak. Ped. inst.- M.: Education, 1984.- 112 p.: ill.
Modern Soviet watercolor / Comp. Album and scientific apparatus of N. A. Volodin. - M.: Sov. Artist, 1983.- 258 pp.: ill.
Municipal budgetary educational institution
additional education for children
Children's art school
Methodical message
on the topic “Possibilities of watercolors when teaching children fine arts at the art department of the Children’s Art School”
prepared by teacher
art department of the Children's Art School
Silvanovich Anastasia Sergeevna
Yasnogorsk 2015
Content
Painting "in the raw"
Technique A la prima
Multilayer watercolor
Grisaille
"Special Effects"
Introduction
The use of various watercolor techniques and techniques in painting, fine art and easel composition lessons
Conclusion
Bibliography
Applications (enclosed are photographs of works from my personal archive)
Introduction
Watercolor paints were known back in ancient Egypt, in ancient China and countries of the ancient world. For a long time, watercolor painting was considered only one of the components of graphic drawing. Painting in its modern sense arose relatively recently: at the end of the 18th – beginning of the 19th centuries. Then she gained independence and became one of the most complex techniques drawing.
The most important feature of watercolor is its transparency. This property of the material allows us to convey the depth of space of the light-air environment, the variability and mobility of the surrounding world, and the variety of color and tonal relationships.
At the same time, watercolor is a portable and fairly affordable material. It is convenient to use both when working outdoors during plein air, and in a classroom setting.
Watercolor has wide technical capabilities. Watercolor works can be built on the finest color transitions of a transparent paint layer or deep rich color spots.
It can use a stain that is evenly colored or has unique streaks, different shapes colorful strokes and lines.
Watercolor has one more feature. She doesn't like corrections. And this requires the performer to master not only the technical techniques of watercolor painting, but also the ability to draw confidently. That is why watercolor should be considered one of the most complex painting techniques. Of course, the process of mastering the techniques of writing in watercolor requires serious and focused work.
The question arises about the advisability of studying watercolor painting at the initial stage of learning fine arts. Answering this question, you can give a lot of arguments both for and against the use of this material for teaching children fine arts at the art department of the Children's Art School.
Materials and means of watercolor painting
The ideal room for working with watercolor paints - as with most other materials - would be a bright, spacious classroom (workshop) with good natural light during the day and competent, uniform artificial light in the evening. Curtains and blinds will help regulate the flow of daylight, and good lamps, including table lamps, will provide good illumination in the evening.
It is best to work with watercolors 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 watercolor paints should be large enough - you will need to put not only a sheet of paper on it, but also all the tools that may be needed in your 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 “sippy jars” that parents love to buy for students are very inconvenient to use - the volume of the jars is small, so the water quickly becomes dirty, it has to be changed more often - and it is difficult for a child to open the jar without spilling water.
There are several types of watercolor paints:
Solid. Placed in plastic or porcelain containers. The paint is heavily pressed, 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 come in tin tubes in the form of a paste.
Liquid. Most often used in book graphics. They have fairly rich colors and are sold in glass bottles.
During lessons at the Children's Art School, it is better to use only semi-soft paints (in ditches). Please note that there is no white in the paint box. In watercolor painting, light colors are achieved by adding water; White just gives it a dirty tint. It is necessary to ensure that by the senior grades of school (grades 4-8), students work only with professional paints - “Leningradskie”, “Ladoga”, “White Nights” (Art Paints Factory St. Petersburg). The quality of their work is much higher than that of ordinary honey watercolors (Gamma, Yaroslavl Plant). A plastic box is most convenient to use; a cardboard box gets wet from water. Watercolor paints are used up unevenly: gold, red, ultramarine and cobalt blue are used up the fastest. If necessary, you can buy individual colors in cuvettes to replace used ones.
Cadmium yellow medium
Golden
Varnish orange or Cadmium orange
Burnt sienna
Cadmium red light or scarlet
Kraplak red light
Yellow-green
Emerald green
Cerulean or Cobalt blue
Ultramarine or Lacquer blue
Umber
Neutral black
There are many brushes for watercolor painting. The quality of the brush is determined by the hair.
Kolinsky brushes are considered professional, but for schoolchildren it is recommended to buy brushes made from squirrel hair. They are ideal for working with watercolor paints. It is not difficult to check the quality of such a brush: you should wet the brush with water - it should “go within a hair’s breadth”, that is, maintain a sharp tip. This should be taught to children so that they can check the quality of the brush themselves when purchasing. A brush with synthetic bristles is very convenient; it is more durable compared to kolinsky and squirrel. Since synthetics are a modern artificial material, they are also somewhat cheaper than natural brushes. Its only drawback is that it takes up less water.
Brushes made of ponies, foxes, and goats are not suitable for watercolor painting - they do not form the sharp tip necessary for working with watercolors. It is not recommended to use them at work.
When practicing watercolors, the quality of the paper is crucial. Under no circumstances should you allow children (either at school or at home) to paint with watercolors on thin paper - writing paper, office paper, etc. Such paper warps even with a small amount of water and is completely unsuitable for watercolors. The paper should be thick enough. As a rule, students do most of their work on smooth paper (whatman paper), since it is the most accessible and cheap. But whenever possible, you can work with children on paper of different textures - thick, varying degrees of grain.Painting on watercolor paper looks much more interesting due to the play of light, while paint on whatman paper often fades.
It is necessary to teach children (and their parents) to junior classes DSHI to work with high-quality materials - paints, brushes, paper. For successful work When using watercolor paints, you must use high-quality materials. The main requirement is that the paints should not dry out or become cloudy after the work dries.
3. Application of various watercolor techniques and techniques in painting, fine art and easel composition lessons.
There are many different techniques for performing watercolor paintings. These methods can be identified and classified only conditionally, depending on certain factors ( Annex 1). Many of which students try to master or at least try in lessons in painting, easel composition and the basics of visual literacy.
Depending on the degree of moisture of the paper, one can distinguish such watercolor techniques as “working wet” (“English” watercolor) and “working dry” (“Italian watercolor”). In addition, you can also find combinations of these techniques.
3.1. Painting "in the raw"
One of the first techniques that schoolchildren can master in elementary school 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 concept, but usually they begin to work after the water on the paper stops “glittering” in the light.
This method of working allows you to obtain light, transparent color shades with soft transitions. This method is used especially successfully by younger schoolchildren when working on a plot composition ( Appendix 2). The main difficulty when working “raw” lies precisely in the main advantage of watercolor - fluidity. When applying paint using this method, the result often depends on the whims of the strokes spreading on the wet paper, which during the creative process may turn out far from what was originally wanted. If the repair is not done carefully, a certain degree of filth and dirt may appear. Therefore, this method of work develops self-control in students, the ability to freely wield 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 sketches ( Appendix 3). They are written very quickly, “in one breath,” in 1-3 class hours. It is recommended to alternate such sketches between long painting performances. The a la prima method is indispensable when making quick sketches from life and sketches. It is also appropriate when performing landscape sketches during plein air practice, when unstable weather conditions require fast technique.
Working in this technique, children learn to make mixtures of two, maximum three colors, since excess paint, as a rule, leads to cloudiness, loss of freshness and brightness, and color definition. They also learn to place each stroke on the work strictly for its purpose - to coordinate it with the shape and design. Therefore, this method requires extraordinary concentration, polished writing and a good sense of composition. After performing sketches in the technique a la prima, students find it easier to analyze colors and tones during long training productions.
3.3 Multi-layer watercolor
When working in the technique of multi-layer watercolor or glaze, one layer of paint is applied on top of another. The strokes are done carefully so as not to damage or blur the already dried areas of the painting. Glazing is the main way of working when performing long training productions. While working with this watercolor technique, children learn to reproduce nature as accurately as possible and try to convey as accurately as possible all the richness of the color environment, be it a still life or a plot composition. They practice techniques for conveying the plannedness of space and 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 concept, can be divided into several sessions (9, 12, 15 study hours). This is especially important with large image formats. In addition, over and over again, students develop the ability to conduct work sequentially and step by step, from the general to the particular and from the particular to the general, and at the end to generalize all the work and bring it to integrity.
The main disadvantage of this technique is that students can overdo it with colorful layers and “clog” the image with color. Therefore, they should be taught to work subtly and carefully, analyzing each layer of paint.
3.4. Grisaille
Based on the color palette used, we can conditionally distinguish multi-color classic and monochrome watercolor - grisaille. Grisaille uses different tones of the same color, so this technique helps to clearly show students what hue, saturation and contrast are. The Painting curriculum provides one assignment per year in each class in this technique.
Studying this technique allows you to teach children to work in a limited color range and focus more on the shape and volume of objects. In addition, develop fine motor skills and strengthen the hand, since due to its monochrome nature, grisaille requires special care and accuracy.
The grisaille technique can be used not only in painting, but also in subject works based on easel composition. What gives such work its charm is that you want to guess what colors the author hid. Rural and city landscapes are unusually expressive and authentic ( Appendix 4).
3.5 Mixed media
They exist and are widely used by children in easel composition lessons and the basics of fine arts techniques, when watercolor is mixed with other coloring materials - white (gouache), watercolor pencils, pastels, ink. Although the results can be quite impressive, such techniques are not “clean”. You can try different options with your children. The technique, as a rule, is determined by the general creative concept of the work and the child’s predisposition to a particular material. The images turn out to be memorable and bright, in addition, children really love to experiment and try something new ( Appendix 5).
3.6. "Special Effects"
When 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, during visual literacy lessons, acquaintance with them occurs 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 that seem far from fine art - salt, film, 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 on top of a wet paint layer absorb part of the pigment, resulting in unique stains and moving tonal transitions on the paper. Thus, you can create an airy environment in your work, decorate the meadow with flowers, the sky with stars, show splashes of water, etc.
An interesting effect is produced by ordinary cling film. The sheet is covered with a layer of paint, and until it is dry, the crumpled film is pressed tightly. The result is unique patterns - greenery, sky, sea, or simply an abstract composition in which children try to discern and emphasize some images (Appendix 6).
Spraying is the simplest of the techniques; it is familiar to many children from fine arts classes in kindergarten. But in art school, the compositions of works become more complex, color combinations become richer. It is widely used in elementary grades during lessons on painting stencils; in high schools, painting 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 paint solution scatter almost uncontrollably across the paper and you can easily ruin your work by overdoing the intensity of this effect.
4.Conclusion
The most important argument for using watercolors is that watercolor is a more complex material, and, therefore, thereby accustoms children to serious, thoughtful activity in the field of creativity. Watercolor helps develop the skill of careful work, develops the ability to see the subtlest color transitions, and teaches non-standard perception of the image of the surrounding reality, as well as its transmission.
In addition, in general, watercolor painting forms the grace of the perception of the world and the subtle spiritual organization of the personality of the young artist.
Bibliography
Viner, A.V. How to use watercolors and gouache [text] / A.V. Winner. – M.: “Iskusstvo”, 2009.
Kosminskaya, V.B., Khalezova, N.B. Fundamentals of fine arts and methods of guiding visual activities [text] / V.B. Kosminskaya – M.: “Prosveshchenie”, 2008.
Kunz, D. Basics 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 arts lessons." – M.: “Enlightenment”, 2005.
Annex 1
Watercolor techniques and techniques
- According to the moisture content of the paper:
- Dry Raw Combined technique
- By the number of paint layers:
- Single layer watercolor ( a la prima) Multilayer watercolor (glaze)
- By color palette:
- Monochrome watercolor (grisaille) Multicolor watercolor
- By coloring materials(cleanliness of technology):
- "pure" watercolor technique Mixed media: watercolor + whitewash
- "Special Effects":
- Spray Cling film
Salt other
Appendix 2
Working with watercolors “wet”
Appendix 3
A la prima
Appendix 4
Appendix 5
Watercolor + gel pen Watercolor + pastel
Appendix 6
Municipal budgetary educational institution for additional education of children
children's (teenage) center "Agnes"
children's (teenage) club "Rainbow"
Methodological development
Master Class
"Watercolor on crumpled paper"
Developed by:
Balashova Irina Vyacheslavovna.
Additional education teacher
Children's (teenage)
club "Rainbow"
N. Novgorod
Master class on the topic “Watercolor on crumpled paper”
The technique of working with watercolors on crumpled paper is one of the methods unconventional drawing.
The technique of working with watercolors on crumpled paper is recommended for classes with children aged 5 years and older.
The work can be used as a gift for Palm Sunday.
This master class may be of interest to teachers of additional education working in the direction of “decorative and applied creativity”, teaching staff of educational institutions when organizing club work and the work of creative associations.
Purpose of the master class: improving the professional skills of teachers - participants in the master class in the process of active pedagogical communication on mastering experience in working with watercolors.
Tasks:
introduce teachers to the technique of additional watercolor effects;
teach the sequence of actions, the use of methods and techniques using the example of the “Willow” letter;
create conditions for self-realization and stimulation of the growth of creative potential of teachers in the process of conducting a master class;
promote teachers' interest in unconventional ways drawing.
Expected results of the master class:
increasing the creativity of teachers;
opportunity for teachers to use new unconventional method in your practice;
study of developments on the topic of the master class;
increased motivation of MC participants to form their own style of creative pedagogical activity;
practical development by MC participants of special knowledge, abilities, skills and techniques in the process of work;
creating watercolor work using the crumpled paper technique, showing creative initiative, imagination and thinking.
Methodological equipment of the lesson
Methods:
interactive (verbal, visual, practical);
research (ability to independently distribute work activities,
choice of action and its method, freedom of creativity).
Techniques:
explanation;
consultation;
conversation with demonstration of practical actions;
creating watercolor work
Using visuals:
Arranging a bouquet of live willow;
samples finished works completed by the teacher;
diagrams of step-by-step implementation of products;
materials for practical work.
Materials and tools:
sea salt;
urea;
Cotton wool sheets;
watercolor;
Progress of the master class.
Dear colleagues! - I am very glad to see you here in our Rainbow club. My name is Irina Vyacheslavovna. I am a teacher of arts and crafts at the Batik club.
Very soon - the bright holiday of the Resurrection of Christ, Easter. On such a bright day, I want to give joy, so I propose to do a watercolor work made using the “ crumpled paper"WILLOW." It can be used as a gift or holiday decoration.
So, with a great mood and positive emotions, we begin the master class.
For work we will need materials:
Whatman paper in any format convenient for you.
Urea.
Watercolor.
Let's move on to the practical part.
Wet the Whatman paper well with water. If possible, it is better to soak it in a container.
Gently crumple the raw sheet in several directions
Straightening the sheet
Using still damp paper, we write the background, adding alcohol, salt, and urea for effects.
Using whitewash without a brush using your fingers, randomly place white spots, imitating willow buds.
Using a brush, try to draw branches into the ready-made buds. (The child tries to use his imagination to draw the bends of the branches)
7. Finish the work.
The work is ready!
I hope that the knowledge you acquired at today’s MK will help you solve creative problems in your classes with children.
Thank you for your cooperation!
- Thank you for your attention and participation in the work. Be always healthy! And good luck to you creatively!
Bibliography:
Olga Shmatova “Tutorial on painting with watercolors.” Moscow 2010
Master class how modern form certification in the context of the implementation of the Federal State Educational Standard. Technology algorithm, models and examples of implementation, quality criteria/composition. N.V. Shirshina. – Volgograd: Teacher, 2013.
Master classes and pedagogical seminars in additional education for children. Theoretical and organizational aspects / Compiled by: Klenova N.V., Abdukhakimova S.A. / Ed.: Postnikov A.S., Prygunova A.P. - M.: MGDD(Yu)T, 2009
Wildflowers in watercolor. W. Tate. Christina & K. 2010
Internet resources
http://kladraz.ru/ - Site “pantry of entertainment”
http://victoriaartist.ru/ Breathing watercolor. Website of the artist V. Kiryanova
In the process of mastering the methods and techniques of writing with watercolors, students must remember a well-known warning: technique is not an end in itself, but only a means in conveying the assigned 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.
Exist various methods work on the work. Let us indicate the most common of them:
1) work on a “layout” sketch, where strokes and fills are laid out in a breakdown while simultaneously taking into account color tone, lightness and saturation;
2) the method of “broad” writing, where they move on to the particulars and details only after the general organization of large light and color relationships in the sketch;
3) a method of writing in parts with the development of details, in which the student is forced to maintain large light and color relationships in his presentation;
4) combining in one sketch simultaneously the methods of “broad” writing and working in parts.
All of these methods are technically performed by writing on dry or wet paper, in one step or in stages over a long period of time, and must be subordinated to identifying the main content of painting.
Methods for working with dry paper
The method of dry, studied writing. This method consists of working on dry paper with all the strength of light and color tones with a constructive analysis of the volumetric form (the so-called cutting) by filling the planes. Without giving soft watercolor effects, the method of dry, studied writing is methodologically the most correct in solving problems when working from life at the initial stage of training. It develops color perception in a beginning watercolorist, strengthens the drawing, provides the correct constructive representation of shape and volume, and helps to quickly master paints and their mixtures.
This method is applied according to a prepared drawing with sequential development in color - from the general to the details, from the main to the secondary, with clarification 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 method. The single-layer method of watercolor technique excludes painting calculated at the stage, but allows for breaks in work. This method involves writing broadly with a large brush, dry and sharp or soft and rich, in one session. The single-layer method is suitable for working on sketches in the open air.
Working in a single-layer method is also possible in parts. It is done in small strokes (mosaic writing) with a small brush, stroke to stroke. This work requires appropriate preparation and skill, since when putting together an image from many strokes and spots of color, it is difficult to maintain the integrity and color of the work. Both glaze and body paints are used in the work.
Multi-layered writing method. This work is designed at a stage and basically involves the so-called “glaze writing”. The latter does not exclude the use, within acceptable limits, of body paints in the light and, if necessary, in the foreground. Carrying out work in stages is caused by a number of reasons and, first of all, the complexity of the process of creating a sketch (work), in which the beginner’s imagination is not able to immediately cover the entire work from beginning to end, from the general to the details.
The work begins with color preparation - applying a lining in color, designed for subsequent covering after drying with glaze paints. It is recommended to use warm shades of paint. The cool tones of the color lining, especially blues, may disappear, and the places where they were located may take on a dirty appearance.
The multi-layer method requires a lot of experience and knowledge of the colors of the palette. Ability to predict the plot color base through repeated overlapping of different shades is difficult. What is meant here is not a letter with a weak padding of the same color until it is gradually strengthened. We are talking about a method of applying different colors and shades, resulting in combinations that can only occur in true glaze. When applying color to color multiple times, caution and a sense of proportion are required: there is a limit, violation of which can lead to a loss of color transparency in the fills. It is permissible to combine single-layer and multi-layer methods of writing in one sketch.
Working on wet paper
Working on damp paper allows you to achieve an amazing unity of color masses, a gentle and gradual transition of one color to another.
Single layer working method. This is a broad letter without stages on damp paper. It is done with a large brush using prepared paint solutions. Brush quickly and widely, without allowing the paint to dry, to define great relationships. Corrections are made immediately: the incorrect 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 painting done on wet paper in full force of light and color, quickly and richly. This method 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 during the work. But the nature of the watercolor technique does not make it possible to simultaneously work richly and softly on large areas of the sketch and forces you to put the image together in parts. In this case, the a la prima method is indispensable when working from life.
A method of writing on wet paper on glass. It consists of dipping the paper into water before writing and giving it time to soak and swell. When the paper swells, it is taken out and placed on glass located almost horizontally. You can write immediately on very wet paper, but to avoid paint bleeding, it is better to remove excess water with a sponge and start working after some exposure. Paint solutions should be selected homogeneous.
The method of “infusing color into color.” Wet paint, poured into undried another and organically combining with it, gives the overall multi-colored fill that is natural for the watercolor technique. Mixing paints using the method under consideration is mechanical. Good results are achieved by mixing and infusing color into color when working with glaze and semi-glaze paints. Glaze paint poured into the body washes it off and, as it flows down, forms rough and hard stains. Using the “infusion of color into color” method, it is best to work in parts.
The technique of “tearing off” the paint placed on paper. This technique is as follows: paint that has not yet dried, especially body paint, is washed off with a stream of water, previously applied fills remain untouched; Under the washed-off paint, white paper appears with soft natural transitions along the edges. The “break” technique has proven itself well in combination with the single-layer method of writing on dry paper. They begin work by broadly and quickly pouring paint solutions over the finished drawing. After clarifying the color relationships, use a separate brush - cadmium lemon or yellow - to thickly cover the areas intended for removing paint. The wet state of the cadmium gaskets is maintained by repeated applications until the remaining fills are completely dry. Then the work is washed with a stream of tap water until the cadmium and the paint on which it was applied are completely removed. In the next stage of writing, light and dark tones are determined from the raw sketch, and the details are finalized.
Among the listed methods and techniques for working with watercolor paints, there are no simple or easy ones; each of them has its own characteristics, its own difficulties, and requires careful study and patient mastery. A beginning watercolorist must remember that mechanical transfer of these methods, without taking into account the entire complex of requirements that determined their use, cannot lead to positive results in studies.
BIBLIOGRAPHY
- Winner A.V. How to use watercolor and gouache. - M.: Art, 1951.
- Viber 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. Watercolor painting. - M., 1961.
- Odnoralov A.V. Materials in fine arts. - M.: Education, 1983.
- Revyakin P.A. Watercolor painting technique. - M.: Nauka, 1959.
- Kirtser Yu.M. Drawing and painting: A practical guide. - M.: Higher School, 1992.
