Watercolor techniques are quite diverse, but also complex. Paints need to be diluted with water, due to this they become more mobile. In turn, this allows you to use various techniques: work out fine details, perform wide fills, pour one stroke into another.

When learning to draw, it is useful to do sketches in watercolors. It is very important to see the work holistically and feel the picturesque environment.

1. Don't be afraid to draw. Anyone can paint vegetables, fruits or landscapes; the main thing is to believe in yourself and find inspiration within yourself.
2. Quality plays an important role; the final result depends on it. You need to try all the types of sheets available to choose the ideal paper for yourself. It is necessary to make notes on the sheets (the weight of the paper, its type and what the result was).
3. When visiting a park or other picturesque place, you need to take a camera with you. After all, photographs in the future will be able to inspire the creation of new works. When starting to create new sketches in watercolor, it is the pictures that will remind you of how they should look.
4. To remove excess moisture from your brushes, you will need napkins or paper towels.

Watercolor sketches: fruits and vegetables

Education watercolor painting is carried out in stages. They start with simpler tasks, and only then move on to more complex ones. To begin with, you can use any fruit or vegetable as nature. The main task in this case is the transmission of tones and drawing the volume of objects using the background and falling shadows.

At the first stage, you need to draw the outlines using a simple pencil. It is better not to use an eraser, but simply draw a thin, slightly noticeable clarifying line. In order not to forget about the shadows, you can lightly shade the necessary areas.

Next, leaving highlights in the right places, the entire surface of the picture is filled with the lightest shade. When the wet substrate is ready, start writing the selected vegetable or fruit. The first should be a halftone, then, starting from it, they write shadows and light. Finally, it remains to clarify the tonal solutions.

Having mastered sketches of vegetables, watercolor will no longer be a problem, and then you can move on to depicting several vegetables or fruits, then a jug and a still life.

How to paint a landscape in watercolor

The atmosphere of watercolor sketches is just one moment, a fleeting state of nature that the watercolor artist managed to capture.

When starting to draw sketches, you first need to imagine it in your head. The artist must determine how much space on the sheet will be occupied by the sky and how much by the earth. Often the horizon line is lowered slightly below the middle, and this is compositionally correct. A watercolor sketch begins to be depicted from the sky, especially if the artist has chosen a wet technique.

At the second stage, landscape planes are drawn. The tones of dark areas are enhanced. On at this stage it is necessary to concentrate not only on the planes, but also on individual details. The final stage is working with thin brushes; they are used to draw small details and make the picture complete.

Sketches of flowers in watercolor

When a novice artist begins to draw a bouquet of flowers, the first thing he sees is a lot of small twigs and flowers. However, don't be perplexed. When you get down to work, the first thing you need to do is arrange the flowers harmoniously in in the right order. The background is created by small flowers, they are depicted further and they should be smaller.

You need to retreat 3-4 cm from the edges of the sheet - this will be a frame that you cannot step beyond. The preliminary picture needs to be sketched out with a pencil, but do not press on it so as not to deform the paper. The composition should resemble a geometric figure (triangle or oval).

When working with paints, you need to prepare a selection of the necessary cold and warm shades on the palette that will be present in the picture. They start working with the background, initially working with light colors, and after that darkening the shadow areas.

Then they move on to drawing flowers. Initially, light shades are outlined, and then shadows are added to the petals with a thin layer of glaze. You need to pay attention to ensure that many small details do not appear in the background.

Sketches in watercolor must be painted in a general way; it is better to do it “raw”, so that one color smoothly transitions into another. This is how unique shades are created, and the drawing turns out alive. You just need to paint the small petals and stems with a thin brush.

Watercolor is very similar to gouache, so they can be used together. The difference between these paints is transparency. Watercolor is more transparent than gouache. It is this property that determines the final result. However, these two techniques are based on similar techniques.

When creating watercolor studies, you need to control the amount of water in which you need to dilute the paint. The liquid not only dissolves the paint and makes it more transparent, but also determines the degree of clarity of the future drawing. Therefore, the best way to learn watercolor technique is to determine the required amount of water.

MASTER CLASS “Watercolor landscape”

Painting lesson in plein air classes for teachers and students of 3-4 grades of the Children's Art School on the topic: Sketches by the water.

Stages of work.

1. The landscape motif is not very complex, so we perform the drawing directly with a brush, in a cold or warm color.

Library
materials

Syktyvkar, Russia

(from work experience)

annotation

This article discussesthe possibilityof watercoloras an arttechnologyand methodsstylingmotif, as a method offormingthe future creativityof the artist.

The author analyzes thetechnicaltricks andways of workinginwatercolors andcopyrightsare offeredrecommendationsfor the implementation ofwatercolor sketchesto withstandgraphicallyexpressivestyle ofwork.

Keywords:

watercolor, paintingtechnology, techniques, means of expression, clear airwatercolor, watercolorsketch; artisttips;

The academic course of “painting” in the vocational training system is aimed at mastering techniques various painting technologies in the process of studying the theory of color science and coloristics. In classical teaching " Academic painting“It was advisable to start with the study of watercolor technology and therefore, in teaching practice, students began to perceive “watercolor” as a painting technology and, accordingly, training is being built to practice mastering painting techniques. It is not popular today to begin a course in mastering painting techniques by mastering the technology of watercolor paints, since the technology requires patience, perseverance, and attentiveness from students, which is not always easy for students and is difficult to assimilate in the educational process. However, watercolor used in the process of teaching painting can form students’ ways of creative thinking if educational tasks are included in the training course that allow them to interpret the picturesqueness of watercolor techniques into graphically expressive spots and lines that enhance the content of the “motif” image.

Arthur Fonvizin.

Bibliography

1.Magic watercolor by Arthur Fonvizin. Access code

Application

Torlopova N.G. Gingerbread house. 2007, boom. watercolor

Torlopova N.G. Old birch. 2007, boom. watercolor

Torlopova N.G. IZBA. 2013, boom. watercolor

Torlopova N.G. Obyachevsky gave 2007, boom. watercolor

Find material for any lesson,
indicating your subject (category), class, textbook and topic:

You can also select the type of material:

Short description document:

Natalya Gennadievna Torlopova

Syktyvkar, Russia

GRAPHIC INTERPRETATION OF A WATER COLOR STUDY

(from work experience)

annotation

The article discusses the possibilities of watercolor as an artistic technology and methods of stylizing a motif as a method that shapes the creativity of a future artist.

The author of the article analyzes the techniques and technical methods works in watercolor and the author's recommendations for performing a watercolor sketch are offered, allowing you to maintain the graphically expressive style of the work.

This article discusses the possibility of watercolor as an art technology and methods styling motif, as a method of forming the future creativity of the artist.

The author analyzes the technical tricks and ways of working in watercolors and copyrights are offered recommendations for the implementation of watercolor sketches to withstand graphically expressive style of work.

Keywords: watercolor; painting technology; technique; means of expression; watercolor plein air; watercolor sketch; artist's advice;

watercolor, painting technology, techniques, means of expression, plein air watercolor, watercolor sketch;artist tips;

The academic course of “painting” in the vocational training system is aimed at mastering the technical techniques of various painting technologies in the process of studying the theory of color science and coloristics. In the classical teaching of “Academic Painting,” it was advisable to begin with the study of watercolor technology and therefore, in teaching practice, students began to perceive “watercolor” as a painting technology and, accordingly, training was built on the practice of mastering painting techniques. It is not popular today to begin a course in mastering painting techniques by mastering the technology of watercolor paints, since the technology requires patience, perseverance, and attentiveness from students, which is not always easy for students and is difficult to assimilate in the educational process. However, watercolor used in the process of teaching painting can form students’ ways of creative thinking if educational tasks are included in the training course that allow them to interpret the picturesqueness of watercolor techniques into graphically expressive spots and lines that enhance the content of the “motif” image.

Watercolor is an interesting but complex artistic technology. Using watercolors, you can create wonderful pictorial sketches that convey slight nuances of color and have gentle transitions from one color to another. Classic techniques of watercolor painting allow you to subtly convey pictorial space and sculpt the volume of depicted objects with an illusory transfer of materiality.

Watercolor was originally a graphic technology: it was used to illustrate manuscripts and books, architectural projects and sketches artistic products. And today it is popular among graphic artists for creating illustrations and easel graphic sheets. In practice contemporary artists When working with watercolors, it is not so common to see a pictorial solution to a sketch, which technically represents a variety of shades and color nuances of the plastic spot. To make a sketch look picturesque, artists often use the “raw” technique, which allows the paints to flow freely over the paper, randomly flow and mix, creating softness and greater associativity of the color used. But it is not a fact that only wet paper helps solve painting problems. In the history of watercolor there is an example of a different approach. This watercolor works outstanding Russian artistArthur Fonvizin.“Some artists and art historians believe that Fonvizin painted his watercolors on the wet surface of paper. This is not true. The artist did not work on pre-moistened paper, when he was entirely dependent on the whims of the paint spreading over the wet paper.” Despite the fact that the artist worked in the dry-on-dry watercolor technique, which involved carefully thinking through the sequence of applying paint layers, the result was that the color was fresh and sonorous, the immediacy of execution and the apparent lightness of the watercolor spot were preserved. Some unfinished nature of his works gives the impression of special laconicism and expressiveness.

Artistic work in watercolor requires high performance quality and requires the artist to have virtuosity and courage in mastering the artistic material. For many artists, watercolor remains the favorite technology for realizing creative potential. If in the educational process with students we use watercolor not only its pictorial potential, but also its real graphic capabilities, setting in educational sketches the task of interpreting a pictorial spot into a graphically expressive image of the elements of the depicted “motif”, then this gives us real ways to form the creativity of students . These could be tasks: to limit the color palette to 3 colors; taking into account the associative features of the shape of the colored spot; taking into account the tone of the spot and its position to solve spatial plans; solving the sketch with lines that differ in technical execution and the nature of the pressure, or lines that vary depending on the nature of the equipment used (brush, poke, palette knife, bristle brush, comb...), etc.

Among the artists of our republic, several names can be named who, of course, give preference in their creative activity of this technology and use its technical capabilities according to their personal interpretation method. These are Vladimir Kokachev, Tatyana Vasilyeva and Vitaly Trofimov. Thus, the works of V. Kokachev, made using the “raw” technique, give the impression of soft plasticity, lightness and are unusually cheerful, because the author is not afraid to introduce pure color into the picture. Tatyana Vasilyeva's watercolor works are poetic and subtle in color nuances, containing the author's original: gentle, lyrical and feminine interpretation. Vitaly Trofimov's watercolor landscapes are energetic, powerful with their wet fills and at the same time rich color elements, skillfully organized in a restrained northern color, conveying the impression of monumentality and significance determined by the limited palette of colors that the artist uses. What makes his watercolors so powerful is that they embody the artist’s favorite theme—the unique circumpolar landscape. Every artist knows how to find adequate techniques in watercolor that correspond to their personal perception of the world around them. Their works live on the border between the types of “painting” and “graphics”.

In order for an artist to gain practical experience in watercolor, in addition to working in a training workshop, it may be more useful to go out into the open air. The rapidly changing light environment limits the time to complete a sketch, during which the artist’s experience and knowledge are focused, which intuitively guide the artist’s hand and instantly interpret what is observed in artistic image. Thanks to its unpredictable fluidity, plasticity, lightness of tone, combined with a variety of technical techniques and a variety of equipment, it is possible to perform a sketch using both the means of pictorial coloring and to solve its image using the means of graphic sketching. A graphic sheet can also be created from memory in a workshop based on a pictorial watercolor sketch created in plein air conditions, which will allow you to think out the composition of the work, the course of its implementation, so to speak, the direction and construction of the “image”.

Watercolor sketches, which we perform in the open air, can be defined as a genre of “reportage graphics”. Quick sketches capture a landscape or architectural motif, light condition or color richness natural environment, almost look like “photo reports” from the scene. But almost every motif, created in the process of observing the natural state and executed with watercolors, brings its own personal, emotional experience. An album with sketches and sketches preserves in memory what the caring viewer saw: landscapes and architecture, landmarks and landscape features. In a sketch, the artist can capture the momentary impression of the time of day or time of year, which can be expressed by the choice of paint palette, color or the nature of the stains of the images, or their combinations. The state and content of the work are also influenced by the emotional impulse that the artist experiences when perceiving a particular landscape through which he is currently traveling. The light state of the environment changes so quickly that in the plein air there is no need to strive to make long studies. It is not at all necessary that in the process of performing a watercolor sketch, we strive to convey only an exact “copy” of the observed phenomenon or the selected landscape motif, or the color of the environment. In the process of working on a sketch, a simultaneous interpretation of what is seen into the image on the sheet occurs. The shape and configuration of the spots enhances the artistic image that the artist creates. His choice of colors and color-tonal solutions, the variety or, conversely, limited shades, enhance and concretize what is depicted. The formed outline of color combinations and spots brings aesthetics to the finished sketch. The time for performing the etude is as compressed as possible, it is performed within 20 - 30 minutes, and therefore requires maximum concentration of attention from the performer when observing. After filling the main spots of the motif with color, the first layer is given the opportunity to dry. Details are finished dry, changing the size and nature of the brush, or other equipment is used (palette knife, dry bristles). The described technique for performing the sketch reflects our individual style and authorship of the performing style in plein air watercolor sketches. Such a solution does not arise out of nowhere; it requires technical and creative experience accumulated in watercolor.

The formation of his own watercolor graphic style was helped by numerous experiments to consolidate the principles of the theory of color science and a painstaking study of compositional means and audience techniques when performing various still lifes.

We will try to reveal the sequence and some techniques of working with watercolors when creating a sketch of a landscape motif, stylistically generalized into a graphic sheet, in this article and offer some recommendations for students to master such an experience.

What determines our watercolor sketches, how graphic images? The means of expressiveness of graphic art are a tonal spot, a line and a line-sharing manner of obtaining a spot, which largely depends on the artist’s temperament. Images in a graphic sheet have expressive tonal gradations and clearly visible silhouettes or outlines. In the process of writing a landscape motif, the initial moment of thinking through the order of applying color spots is very important: large and medium, which determine the large tonal relationships of the depicted. Then, the scale of the elements, their shape and dynamics of silhouettes, the arrangement of combinations of spots in a given format are assumed, so that their stable balance is obtained. And only after that we start sketching. The drawing must be thorough and sufficiently detailed. In it we immediately solve the problems of the overall composition of the motif, taking into account the scale of large masses of the landscape: sky, earth, panoramic objects and images, elements that determine the compositional center and idea of ​​the motif. When working on a landscape drawing, you should not actively use an eraser, which damages the surface of the sheet. When performing a long, multi-session sketch, it is best to make a preliminary worked cardboard on thin paper and carefully transfer it to the torchon. If the sketch is performed in one session, we recommend that the drawing be done with diluted ultramarine using a thin brush.

Before you start working with paints, you need to moisten the entire surface of the sheet with water with a sponge to get rid of excess glue, dust or excessive dryness of the torchon. Work in color should begin with the lightest tones, and end with dark, warm and dense colors and semi-dry brushes.

For each individual work, we limit ourselves to a group of paints, the so-called color palette: it is better to limit it to 4-5 colors. Paints, which, thanks to their varied mixing, allow you to create tonal richness and holistically combine the elements of the motif into the necessary and unified color. To achieve a richness of color contrasts and highlight the compositional accents of the motif, the selected group of colors always contains colors of warm and cold tones.

When working with watercolors, it is very important to follow the technology of mixing paints and the sequence of applying them to the worksheet. Each subsequent layer is applied after the previous one has thoroughly dried. It takes us from twenty minutes to an hour to complete a sketch of a landscape motif; haste in work, paradoxically, is not necessary, and even harmful. Why is it so important for beginners to follow the technological chain in watercolor? This is connected, first of all, with the technical features of watercolor and with the preservation of its main property - transparency.

Traditionally, we begin work on a landscape sketch by filling in the sky, while we try to immediately create possible graphics of clouds, if any. Or, with a wide brush filled with color, we dynamically play and spread the color over the surface, which we define as the sky. While the paint glides freely on wet paper, it is possible to complicate the color by adding other colors, such as ocher or pink. When working on a spot of sky, you should use the brush quickly and carefully, so that in some places you leave areas of white paper to solve the light, pattern or highlights of some areas of the clouds and sky.

When working on a sketch, one should also take into account the spatial features of warm and cold tones, which help to correctly solve the tonal problems of pictorial plans. Therefore, you can take a lot on your brush of blue color(ultramarine, FC, cerelium or cobalt, depending on the state of the day) and while the paper is damp, outline the background line with a dynamic horizontal stroke. Details are not needed here, what is important here is to get the contrast between the sky and the ground line.

The graphic style of the sketch is also characterized by the way or by what techniques we introduce color spots into the space of the developed format. Aerial perspective requires the competent use of spatial qualities of color: tonal development of plans requires the use blue colors and colors diluted with water in the background image; and warm images of large elements with strong color contrasts when depicting the foreground of the sketch. The silhouettes of the motif elements we depict are clearly revealed by the use of flat-filled and stylized spots, without conveying the illusion of volume. The color of the spot in the sketches will never be uniform and one-color, because... Watercolor itself, which is fluid and moving, will not allow you to do this. In the first stage of registration, we fill the format completely, with lighter tones and colors, which will then allow us to enter the foreground elements in the next stage, according to the previously written color pad. One of the important features of watercolor paints is manifested in obtaining a clearly visible color spot on paper, even with low color saturation. Therefore, it is not necessary to achieve the actually observed tonality and color of the depicted objects (you can take a couple of tones lighter or, conversely, darker). But the light-tonal relationships between large elements of the landscape and in the transmission of lighting and volume of detail must be observed as accurately as possible.

After determining large color-tonal relationships, when there are practically no areas of white paper left, we begin a more detailed elaboration of individual expressive silhouettes: the most expressive and characteristic details of the landscape motif are introduced: houses, trees, grass, etc. (see “Old Birch”). Their spots do not necessarily have to have a dense, uniform plane; the color in it can be distributed from light to dark, or vice versa. The spot itself can be filled with a variety of shades, but of a single tone. We should not forget that the color of the sketch is relative. All this allows you to correlate this spot with a specific image, for example, the crown of a tree can have one spot, which is enriched with various shades in a free manner “a la prima” in one step, but no more than 2-3 colors. At this stage of the work, we are helped by the previously thought out organization of the composition of the sheet: the direction of the main elements and details, the selection of important and characteristic details. Work is done with brushes average size, fillings are done when it is richer and when it is more transparent. The color shade of an object is achieved both by mixing several paints and by pure color diluted with varying amounts of water. This is acceptable in graphics. You can very carefully introduce solutions of gas soot, since this paint allows you to muffle the very bright tone of the spot or take it into the depths of the space of the sketch. To clarify the spatial relationships in a sketch, it is useful to use diluted ultramarine or emerald paints, which have the subjective quality of removing the image deeper into the format and have the qualities of glaze.

To form the tonal masses of landscape elements in your work, you should use the various technical potential of artistic brushes and equipment. For heaven and earth: wide flute brushes or round ones large rooms. For details - the finest thread first numbers of “whites” and “columns”, fan or even bristle brushes. For large format sketches you can also use a sponge. For graphics and detailing of elements, you can use the following techniques: “spraying”, “poking”, “scratching” with a comb, knife, back end of a brush or palette knife; To create a texture or a unique graphic design, the “embossing” technique is used: when a fragment of textured materials (knitwear, corrugated cardboard, leather, etc.) is applied to a wet colorful surface. The choice of technique is not fundamental; it is prompted by our emotional mood in the work and the material at hand.

To complete the sketch, you can once again pay attention to the graphic linear elaboration of details in order to give the landscape a stylistic graphic completeness. The work is done with thin brushes. You can also draw lines that clarify the shape and characterize some of the small details of the images. The openwork of the drawing can be suggested by the silhouette fill itself or the outline of the main elements of the landscape image. The introduction of this technique softens the excessive contrast of the silhouette and gives the design softness and plasticity. The finishing of a sketch, therefore, is typical for work performed over several sessions.

In some works we omit this stage. This happens when, during the initial development of color-tonal relationships, laconic and characteristic color spots are almost immediately obtained, clearly outlining the necessary elements of the motif and accurately characterizing them. Such sketches reflect the “a la prima” method known in painting practice. In this case, drawing with small brushes is appropriate for working out the details of the foreground.

Based on the described practical experience, a number of recommendations can be made. A watercolor sketch of a landscape in a graphic manner is, in mandatory, solving the following problems:

1. observation of image objects, highlighting what is characteristic and typical in them;

2. creation of clear spatial plans (distant, middle and foreground);

3. compliance with the technological chain when working with watercolor paints;

4. obtaining a beautiful and expressive silhouette using watercolor filling;

5. practicing the technique of filling a spot of the silhouette of an image object, creating a combination of spots that are thin in color and transparency;

6. graphic refinement - lines of drawing of the motif and elements, made with thin brushes.

Bibliography

1. Magic watercolor by Arthur Fonvizin. Access code http://mizrah.ru/post155983442/

Leave your comment

To ask questions.

(1) When the word “homeland” was uttered under Berg, he grinned. (2) I didn’t notice the beauty of nature around me, I didn’t understand when the soldiers said:
“(3) Let’s take back our native land and water our horses from our native river.”
- (4) Chatter! – Berg said gloomily. – (5) People like us do not and do not
maybe homeland.
- (6) Eh, Berg, crack soul! – the soldiers answered with heavy reproach. –
(7) You don’t love the earth, eccentric. (8) And also an artist!
(9) Maybe that’s why Berg wasn’t good at landscapes.
(10) A few years later, in early autumn, Berg went to Murom
forests, to the lake where his friend the artist Yartsev spent the summer and lived there
about a month. (11) He was not going to work and did not take oil supplies with him
paints, but I only brought a small box of watercolors.
(12) For whole days he lay in the still green meadows and looked at the flowers
and herbs, collected bright red rose hips and fragrant juniper,
long needles, aspen leaves, where they were scattered across the lemon field
black and blue spots, fragile lichens of a delicate ashy shade and
wilting carnation. (13) He carefully examined the autumn leaves from the inside out,
where the yellowness was slightly touched by leaden frost.
(14) At sunset, flocks of cranes flew over the lake with their murmurs.
south, and Vanya Zotov, the forester’s son, said to Berg every time:
- (15) It seems that birds are throwing us away, flying to the warm seas.
(16) Berg for the first time felt a stupid insult: the cranes appeared to him
traitors. (17) They abandoned this forest and solemn
a land full of nameless lakes, impassable thickets, dry foliage,
measured hum of pine trees and air smelling of resin and damp swamp
mosses.
(18) One day Berg woke up with a strange feeling. (19) Light shadows
branches trembled on the clean floor, and behind the door a quiet blue shone. (20)Word
Berg encountered “radiance” only in the books of poets, considered it pompous and
devoid of clear meaning. (21) But now he realized how precise this word is
conveys that special light that comes from the September sky and sun.
(22) Berg took paints and paper and, without even drinking tea, went to the lake.
(23) Vanya transported him to the far shore.
(24) Berg was in a hurry. (25) Berg wanted all the power of colors, all his skill
hands, everything that trembled somewhere in the heart, give to this paper, so that at least
in a hundredth part to depict the splendor of these forests, dying majestically and
Just. (26) Berg worked like a man possessed, sang and shouted.
…(27) Two months later, a notice about the exhibition was brought to Berg’s house,
in which he had to participate: they asked him to tell how many of his
The artist will exhibit works this time. (28) Berg sat down at the table and quickly wrote:
“I am exhibiting only one watercolor sketch made this summer - mine
first landscape".
(29) After a while, Berg sat and thought. (30) He wanted to see what
In subtle ways, a clear and joyful feeling of his homeland appeared in him.
(31) It matured for weeks, years, decades, but the final push came
forest edge, autumn, cries of cranes and Vanya Zotov.
- (32) Eh, Berg, crack soul! – he remembered the words of the fighters.
(33) The fighters were right then. (34) Berg knew that he was now connected with
his country not only with his mind, but with all his heart, as an artist, and that
love for his homeland made his smart, but dry life warm, cheerful and in
a hundred times more beautiful than before.
(according to K.G. Paustovsky*)

Show full text

Sooner or later a person begins to feel incomprehensible, touching kinship with the nature and culture of their country. K. Paustovsky in the story " Watercolor paints"described the worldview of the artist Berg before and after discovering this feeling in himself, and raised the problem of love for his homeland.

How scary it is not to notice the beauty of forests, full-flowing rivers and thin streams, not to draw inspiration from them and vitality! People of art feel unity with nature especially deeply. It is difficult to imagine a creator grinning at the word “homeland,” and yet Berg is like that. It is not surprising that they called him a “cracker soul,” adding: “And also an artist!” Yes, he was like that, but that shining morning changed him, helped him see the beauty of his native land and feel new joy.

In painting, the depiction of nature in color is called a sketch. Sketch watercolor works vary in nature, objectives, methods of execution, and means of expression. You can master the art of sketching only through constant drawing from life. Depending on the duration of execution, sketches from life are divided into short-term and long-term. Short-term ones include sketches and sketches, long-term ones include studies.

Study-sketch- This is a quickly executed image that in general terms characterizes the pictorial and plastic qualities of nature. Special purpose sketch is to capture a specific, momentary state of nature. Only in the form of a quick sketch can unique and fleeting events be captured. These can be labor processes, sports competitions, constantly changing conditions of the landscape and lighting, movements of people, animals, etc.

Study-sketch

To capture all this, the artist sometimes has only a few minutes or even seconds, without being able to examine the nature in detail and see all the details. To convey the specificity and uniqueness of this fleeting state of nature, to “stop the moment” - these are the tasks sketch. Its merits are determined not by any special elaboration and completeness, but primarily by freshness, emotionality, acuteness of perception of what is seen and expressive transmission of it.

The lack of time and the transience of the event forces the artist to instantly navigate the situation and convey the general plastic and color character of nature in a sketch using meager pictorial means. Due to this, in sketch studies generalization of the image is possible - many details may be missing or remain approximate, unfinished, barely noticeable and understandable only to the author. However, despite the generality of the sketch’s solution, one must strive to ensure that the objects in the image do not lose their natural characteristics and qualities.

The ability to quickly and accurately convey character, proportions, colors, and movement is important when drawing animals, birds, and when depicting landscapes at dawn, sunset, and dusk. Here the artist must first convey the differences in color, tone, character, proportions of large masses of sky, earth, water, objects, and then supplement the sketch with the necessary details. Thus, before sketch study First of all, the task is to convey such properties of nature as proportions, movement, shape, tonal and color differences in objects, and the emotional state of nature.

Study-sketch

In a quick sketch, one must strive for the possible simplicity, conciseness, and expressiveness of the image, for which it is necessary to single out only its most characteristic features from the mass of impressions from nature. It is necessary to avoid unnecessary details in detailing, applying strokes, lines, spots, strokes that do not contribute to enhancing the expressiveness of the sketch.

First you should draw stationary objects and objects, and then a living model. When depicting nature in a calm position, one or two minutes should be devoted to studying and analyzing nature, its properties and features. Having outlined the general features in the sketch, you can move on to developing characteristic details. You should paint watercolor works from living nature only until it has changed its position.

The intended purpose of quick studies also determines the methodology for their implementation. This also applies to work on a sketch, which is written from a model. The fact is that the sitter can only remain in a complex, tense pose for a few minutes. Then the form may involuntarily change somewhat. Therefore, by doing sketch from a human figure, we must first try to convey the general color character of nature, its movement, proportions, and then, at the second stage, develop some details, without losing the integrity and expressiveness of the sketch.

Sketch-sketch

At the same time the task sketch consists not in being able to draw quickly and deftly, but in studying and knowing the various aspects of nature. Therefore, at the beginning of training, two- and four-hour sketches should occupy more of the work. Then, as you gain knowledge and experience, time to complete sketches can be gradually reduced.

Etudes-sketches performed from life. Most often, they solve very specific problems: they study and search for the exact nature of the form and object or any of its individual part, its design and color design.

This type of sketch work can include short-term tasks for painting simple still lifes, heads, human figures, etc., as well as sketches of fragments of nature, for example, hands, feet, costumes, to long-term sketches or compositional work for the purpose of in-depth study of the most important pictorial and plastic qualities of nature. This type of sketches includes sketches of individual plants, fruits, vegetables, flowers, stones, trees or their parts (stumps, branches, leaves), fragments of architectural buildings and their decorations, objects of labor, everyday life, etc. Sketches are also performed when developing compositional tasks with a similar purpose as when an artist works on a painting.

Sketch-sketch

Sketches are usually worked out very carefully. The artist strives to get as close to nature as possible and to convey its features as accurately as possible. Such documentation and protocol enriches the artist with knowledge of the pictorial and plastic qualities of nature, its structural structure, proportions, and colors. This knowledge of nature is especially necessary for the artist when work is carried out according to idea, imagination or composition.

Work on quick sketches must be alternated with long-term sketches. The specific nature of sketches does not allow us to study and convey with the necessary completeness the originality and richness of forms, color, light and other features of nature.

On the other hand, engaging only in lengthy sketches dulls the sharpness of perception of nature and a lively attitude towards it. Therefore, you should wisely combine work on long-term studies with studies of a short-term nature - sketches, sketches. With a one-sided passion for any one type of educational tasks, a stamp is developed, memorization of techniques, and a painterly palette. Alternation various types educational tasks and methods for their implementation activate the perception of nature, allowing for a more diverse and deeper study of it.