Basic means of expressiveness in fine art. Means of artistic expression of painting
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Introduction
1. Means artistic expression painting
2. Painting materials
3. Expressive means of painting
4. Color properties
Conclusion
List of sources used
Art critics admit that the art market in Lithuania is bad. People are not inclined to buy works of art. Works of art are not identical goods, although they are products and even investments. Sometimes you risk taking a choice, but if you get tired - it always pays off! For example, in the Scandinavian countries last years Denmark has changed very quickly. The average person understands that having home art is simply good form. Each work of art is unique, it reflects human values and horizons.
This attitude gradually develops with us. Due to the poor market in Lithuania, deception of the artists themselves is also to blame. There is a lack of education for both the public and developers. According to the artist, contemporary art, contemporary art and its traditional forms are also compatible. Depending on a person's taste, there is an interest in how he represents his environment. Contemporary art raises existential questions. If you want to see work at home - freedom of choice.
Introduction
Due to its extensive ideological and artistic capabilities, painting is an important means of artistic reflection and interpretation of reality; it has significant social content and various ideological functions.
The breadth and completeness of coverage of real reality is reflected in the abundance of genres inherent in painting (historical genre, everyday genre, battle genre, portrait, landscape, still life). Paintings are distinguished: monumental - decorative (wall paintings, lampshades, panels), intended to decorate architecture and playful important role in the ideological and figurative interpretation of an architectural building; easel (paintings), usually not associated with any specific place in the artistic ensemble; set design (sketches of theatrical scenery and costumes); icon painting; miniature. The types of painting also include diorama and panorama. Watercolor, gouache, pastel, and ink are also used to create paintings.
Each type visual arts has its own specific feature of artistic language, through which the artist creates real reality in his work. In his study A.A. Gorbenko writes: “All genres of art reflect different aspects of existence, from which the idea of the world and man is formed. But painting, the most familiar form of all types of fine arts, is capable of most fully conveying all the diversity of the world in which we live, in all its boundless multicolor.”
The theory of painting is of great importance in the training system. In painting, the image of reality is realized through an artistic image, through figurative language - the expressive means of painting.
Artistic and expressive means of painting include color, stroke, line, spot, color and light contrast. Having understood these concepts, you can understand the basics of visual literacy, get acquainted with the works of artists, learn how to work with a pencil, brush, paints, and come up with your own patterns, drawings, compositions.
Target: Consider the means of artistic expression of painting.
Tasks:
1. Study the literature.
2. Study painting as a form of fine art.
3. Consider the most common painting materials used by artists in their work.
4. Give detailed analysis expressive means of painting.
5. Analyze the basic properties of color.
1. Means of artistic expression of painting
Painting as a form of fine art
Painting is a type of fine art that consists of creating paintings and canvases that most fully and life-like reflect reality.
A work of art made with paints (oil, tempera, watercolor, gouache, etc.) applied to any hard surface is called painting. The main expressive means of painting is color, its ability to evoke various feelings and associations enhances the emotionality of the image. The artist usually draws up the color required for painting on a palette, and then turns the paint into color on the painting plane, creating a color order - coloring. The nature color combinations it can be warm and cold, cheerful and sad, calm and tense, light and dark.
The images in the painting are very visual and convincing. Painting is capable of conveying volume and space, nature on a plane, and revealing a complex world human feelings and characters, to embody universal human ideas, events of the historical past, mythological images and flights of fancy.
Unlike painting independent type in fine art, the pictorial approach (method) can be used in its other types: in drawing, graphics and even in sculpture. The essence of the pictorial approach lies in depicting an object in relationship with the surrounding spatial light-air environment, in a subtle gradation of tonal transitions.
The variety of objects and events of the surrounding world, the keen interest of artists in them led to the emergence during the 17th -
XX centuries genres of painting: portrait, still life, landscape, animalistic, everyday (genre painting), mythological, historical, battle genres. In works of art there may be a combination of genres or their elements. For example, a still life or landscape can successfully complement a portrait image.
According to the techniques and materials used, painting can be divided into the following types: oil, tempera, wax (encaustic), enamel, glue, water paints on wet plaster (fresco), etc. In some cases it is difficult to separate painting from graphics. Works made in watercolor, gouache, and pastel can relate to both painting and graphics.
Painting can be single-layer, done immediately, or multi-layer, including underpainting and glazing, transparent and translucent layers of paint applied to the dried paint layer. This achieves the finest nuances and shades of color.
Important means of artistic expressiveness in painting are, in addition to color (color), the spot and character of the stroke, the treatment of the paint surface (texture), values showing subtle changes in tone depending on the lighting, reflexes that appear from the interaction of adjacent colors.
The construction of volume and space in painting is associated with linear and airy perspective, spatial properties of warm and cold colors, light and shadow modeling of form, and the transfer of the overall color tone of the canvas. To create a picture, in addition to color, you need a good drawing and an expressive composition. The artist, as a rule, begins work on the canvas by searching for the most successful solution in sketches. Then, in numerous pictorial sketches from life, he works out necessary elements compositions. Work on a painting can begin with drawing the composition with a brush, underpainting and directly painting the canvas using one or another pictorial means. Moreover, even preparatory sketches and studies sometimes have independent artistic significance, especially if they belong to the brushes of a famous painter. Painting is very ancient art, which has undergone an evolution over many centuries from Paleolithic rock paintings to the latest trends in painting of the 20th century. Painting has a wide range of possibilities for realizing ideas from realism to abstractionism. Enormous spiritual treasures have been accumulated in the course of its development. In ancient times, the desire to reproduce real world the way a person sees it. This caused the emergence of the principles of chiaroscuro, elements of perspective, and the emergence of volumetric-spatial pictorial images. New thematic possibilities for depicting reality through pictorial means have opened up. Painting served to decorate temples, dwellings, tombs and other structures, and was in artistic unity with architecture and sculpture.
Medieval painting was predominantly of religious content. It was distinguished by the expression of sonorous, mainly local colors, and expressiveness of contours.
The background of frescoes and paintings, as a rule, was conventional, abstract or golden, embodying the divine idea in its mysterious flickering. Color symbolism played a significant role.
During the Renaissance, the feeling of the harmony of the universe, anthropocentrism (man at the center of the universe) was reflected in pictorial compositions on religious and mythological themes, in portraits, everyday and historical scenes. The role of painting has increased, developing a scientifically based system of linear and aerial perspective, chiaroscuro.
The process of development of European painting in the XVII-XVIII centuries. becomes more complex, national schools emerge, each with its own traditions and characteristics. Painting proclaimed new social and civil ideals, psychological problems and the sense of conflicting relationships between the individual and the surrounding world deepened. Embracing diversity real life, especially to the everyday environment of a person, led to the clear formation of a system of genres: landscape, still life, portrait, everyday genre, etc. Various painting systems were formed: dynamic Baroque painting with its characteristic open, spiral composition; Rococo painting with a play of exquisite nuances of color and light tones; painting of classicism with a clear, strict and clear design.
In the 19th century painting played an active role in public life. Romanticism painting was distinguished by an active interest in the dramatic events of history and modernity, the contrast of light and shadow, and the richness of color.
A revolution in painting that influenced its development for many years was the emergence of impressionism, which sought to convey the changing beauty of the world, which revealed the possibilities optical mixing pure colors, and texture transfer effects. The artists came out to paint their paintings in the open air. fine painting composition artistic
At the end of the XIX-XX centuries. the development of painting becomes especially complex and contradictory. Various realistic and modernist movements are gaining their right to exist.
Abstract painting appeared, which marked the rejection of figurativeness and the active expression of the artist’s personal attitude to the world, emotionality and conventionality of color, exaggeration and geometrization of forms, decorativeness and associativity of compositional solutions.
In the 20th century The search for new colors and technical means of creating paintings continues, which will undoubtedly lead to the emergence of new styles in painting, but oil painting still remains one of the most favorite techniques of artists.
2. Painting materials
Watercolor, gouache, pastel, ink, oil and other painting materials are also used to perform paintings.
Fine and expressive capabilities painting, the features of the writing technique largely depend on the properties of the paints, which are determined by the degree of grinding of the pigments and the nature of the binders, on the tool the artist uses (brushes, palette knife), on the solvents he uses; the smooth or rough surface of the base and primer (absorbing the binder to one degree or another) affects the techniques of applying paints and the texture of the painting, and the translucent color of the base or primer affects the coloring; sometimes parts of the base or primer free from paint can play a certain role in the coloristic construction (mainly in watercolors).
The surface of the paint layer of a painting, i.e. its texture, can be glossy or matte, continuous or discontinuous, smooth or uneven. The required color or shade is achieved by mixing paints on a palette, the artist’s tool.
The process of creating a pictorial composition can fall into several stages. But there is also painting of a more impulsive nature, which allows the artist to directly and dynamically embody his life impressions, especially in works executed a la prima, thanks to simultaneous work on drawing, composition, sculpting forms and color.
Painting techniques and materials are practically inexhaustible. Everything that leaves any trace on something, strictly speaking, is painting: painting is created by nature, time and man. This was already noted by Leonardo da Vinci.
Basic painting materials:
gouache painting, since the artist uses paper as the main material, characteristic of graphic types of fine art - it is also classified as graphics, this is also evidenced by the use of the latter to create monochrome works;
oil painting; for oil painting, a hard canvas on a stretcher or primed cardboard is used; brushes are made of bristles. Considered more painting than graphics;
watercolor painting - watercolor techniques are different, some techniques are closer to painting, some to graphics, so it is no coincidence that the thesaurus contains the following expression: “paint with watercolors”;
painting with pastels (a remark similar to that made regarding the previous one applies to this technique);
ink work - in this case, as in the two previous ones - cannot be unambiguously attributed to graphics; in the East, for example, calligraphy, which mostly uses this material, is traditionally considered painting, just as academic Chinese painting predominantly used ink - an achromatic range;
acrylic painting;
mixed media.
Skills in working with painting materials are mastered in the process of working on practical works performed with watercolors and gouache paints throughout the entire period of study.
3. Expressive means of painting
The artistic means of fine art in its various types are appeals to all aspects of visual perception (volume, plasticity, color, chiaroscuro, texture, etc.) - visual means - and expressive means associated with the nature of the imagery of the work. The set of visual means characteristic of a certain type or work and the specifics of their use is called figurative language.
Artistic and expressive means of painting include color, stroke, line, spot, color and light contrast. Having understood these concepts, you can understand the basics of visual literacy, get acquainted with the works of artists, learn how to work with a pencil, brush, paints, and come up with your own patterns, drawings, compositions.
Every living and inanimate object has its own color. Just like color, lighting plays a huge role. The effects of color, location in space, air condition affect color.
The artist conveys with the help of color, color sensations, color combinations, harmony of cold and warm colors all the variety of moods and feelings. And these include joy, anticipation, anxiety, sadness, tenderness.
A stroke in painting is a trace of a brush with paint left by an artist on canvas, paper, or cardboard. The technique depends on the individual style of the artist; it is very diverse.
Line and spot - clear outline with paint specific subject on canvas. A spot is a tonal, silhouette image of an object. For example, to better understand this expression, let’s look at a spot - a snowy spruce against the background of the distant sky. Or a hill in the dark night sky. Clear lines outline the shadow of an object, enhancing feelings of sadness or joy.
Color and light contrast in painting, an example is the sharply highlighting the light and dark relationships of spots and areas of the picture. Here you can consider the shape and structure of the object. Artistic means of expression - tone, stroke, line.
The shape of objects is determined by outline, contour, silhouette. In simplified form - square, triangle, circle, rectangle. Each item in a simplified form resembles a geometric figure. For example, a ball is round, a TV is rectangular, a clown’s carnival cap is triangular.
Silhouette in fine arts (graphic technique) is a type graphic image subject. This is a monochromatic, flat image of an object. Usually, silhouettes are drawn with ink on a light background, or on a black background with white, or a figure can be cut out from dark or light paper and glued onto a sheet of a different tone.
The ability to select and use a variety of artistic means and painting techniques in their work allows the student designer to create harmonious pictorial and decorative compositions of varying degrees of complexity. When performing these tasks, the following tasks are solved: conveying the correct color relationships and color solutions; transfer of influence air environment on color characteristics nature, techniques of both realistic depiction and decorative, stylized, abstract compositions; techniques for creating pictorial compositions in various genres: still life, portrait, landscape painting; techniques for depicting human figures and the environment in in various ways and manners: academic, decorative and stylized.
4 . Color properties
Color is the most important visual medium. The study of color was carried out already in ancient times, and especially intensively after the discovery made by Newton. He proved that sunlight consists of multi-colored rays. By decomposing it into its component parts using a prism, the scientist obtained a color stripe - a spectrum, which became the main means of classifying colors. If a strip of the spectrum is depicted with paints in the form of a color circle, then each color in it will occupy a strictly defined place. All colors of this circle are called chromatic. They have three main properties: hue, saturation and lightness. Hue is a shade that characterizes a color as red, orange, yellow, etc. This main feature; distinguishing chromatic colors. Saturation is the degree of expression of a color tone. Saturated colors are called colors on the color wheel, low-saturated colors are lightened or darkened colors. Saturated colors are obtained by dissolving in water such an amount of watercolor paint that does not produce either lightened or darkened colors and best reveals the color tone of a given color. A low-saturated, lightened color is obtained by dissolving a small amount of watercolor paint in large quantities water; adding white to gouache paint; by loosening the pressure on the colored pencil. A low-saturated darkened color is obtained by combining this color with other dark colors, and primarily with black. Lightness is a feature that defines a color as light or dark. IN color wheel The color yellow has the greatest lightness, and violet has the least lightness. The lightness of other colors is determined by their proximity to yellow or violet.
In addition to the chromatic ones included in the color wheel, there are achromatic colors - black, white, gray. They have only one property - lightness. Gray color contains three main shades: dark gray, medium gray and light gray. These shades of gray are obtained from black paint, which is diluted with water (in watercolor) or white paint (in gouache), or by easing the pressure on a simple and black pencil. To obtain other colors and different shades, use a mixture of paints.
Three colors - red, blue and yellow - are called primary: by mixing them, many other colors are obtained. For example, when mixing red and yellow paints, orange, red-orange and yellow-orange shades are obtained; when mixing red and blue you get purple, red-violet and violet-red shades; when mixing blue and yellow it turns out green color, green-yellow and yellow-green shades. Colors obtained from mixing several different colored paints are called derivatives or complex.
When mixing some paints of chromatic colors, not a new chromatic color is formed, but a gray, achromatic one. This means that these paints, when mixed, mutually destroyed their color shades. However, when placed side by side, these same paints visually enhance their color sound. Such paired colors are called complementary. They are in opposite zones of the color wheel. When mixing paints of an additional color, taken in unequal proportions, a shade of the color of which more paints were taken is obtained. When mixing non-additional colors, a new, derived chromatic color is obtained, which will be located in the color wheel between adjacent color zones. Mixing one paint with different amounts of water, mixing two or more colors, taken in different proportions and diluted with different amounts of water, gives new colors and shades and thereby enriches the pictorial palette.
The endless color variety of nature forced the artist, imitating her, to look for new more subtle shades in images of natural forms through the complication of colorful mixtures, create new color combinations and find such technical writing techniques that made it possible to get closer to the color richness of the objective world. This not only expanded the visual and expressive possibilities of painting, but also contributed to the development of a sense of color, necessary in order to see the beauty of the world around us.
Conclusion
Painting recreates all the richness and diversity of the world. In terms of the breadth of life it ranks first. On canvas, on paper, on the wall of a house or palace, the real world with spatial depth, volume, color, light, air is recreated using painting. Color is the main medium of painting. Painting is characterized by a wealth of genres. Their emergence is determined by the interests of artists of different eras in all aspects of life.
The problem of color has always been and remains relevant for the painter, designer, weaver and architect - for everyone who in one way or another uses color in their work. professional activity. Basic understanding of color artistic medium should be laid at school, as well as the basics of drawing and painting. But, although the science of color for artists exists, it is practically inaccessible to students, as it is scattered across dozens and hundreds of sources.
Using the example of this abstract, the importance of color scheme V practical work. It is painting that is capable of emotionally influencing viewers with local color spots, without unnecessary clarification and specification of details. The art of correctly using the color and shape of objects around us in painting can solve many problems. For example: select the main element; connect all the elements together; balance the structure or, conversely, destroy the balance; divide the space into zones or sections; indicate the direction of movement; identify your own rhythm of structure and much more. In addition, color can act as a carrier of information, moreover, information that is perceived instantly, without any effort and at a great distance.
All this is impossible without studying the theoretical foundations and practical possibility performing paintings using oil technique. The study of this problem is reflected in the abstract. The conditions for selecting adequate means of expression, especially colors, characteristic of painting, reflect the original intent as much as possible.
Thus, it was concluded that a work of art made with paints: oil, tempera, watercolor and gouache, etc., is called painting. It is capable of conveying volume, space, nature, etc. on a plane. Color is her most important visual medium. Studying the technique of performing paintings today is the most important means of influencing the personal development of the younger generation, a means of aesthetic development, and teaching fine arts.
List of sources used
1. Belaya, A. Color in nature, business, fashion, painting, education and psychotherapy / A. Belaya. - M.: IP Strelbitsky, 2012. - 250 p., ill.
2. Barras, D. Light in watercolor. Lesson developments in fine arts / D. Barras. - M.: Christina Publishing House, 2011. - 48 p., ill.
3. Beschastnov, N.P. Landscape graphics: a book for teachers / N.P. Beschastnov. - M.: Humanitarian Publishing Center VLADOS, 2012. - 332 p., ill.
4. Goryaeva, N. A. First steps in the world of art: a book for teachers / N. A.
Goryaeva. - M.: Education, 2011. - 159 p., ill.
5. Kalyakina, V. I. Methodology for organizing collective creativity lessons:
plans and scripts for fine arts lessons / V. I. Kalyakina. -
M.: Humanitarian Publishing Center VLADOS, 2014. - 176 p., ill.
6. Lomonosova, M.T. Graphics and painting. Tutorial. / M.T. Lomonosov. - M.: Education, 2012. - 267 p., ill.
7. Morozova, O. Masterpieces of European artists. Textbook / O. Morozova. - Olma Media Group, 2013. - 347 p., ill.
8. Robinson, M. Pre-Raphaelites. Life and creativity in pictures. Lesson developments in fine arts / M. Robinson. - M.: Eksmo Publishing House, 2014. - 256 p., ill.
9. Edwards, B. You are an Artist! Lesson developments in fine arts / B. Edwards. - M.: Potpourri Publishing House, 2010. - 254 p., ill.
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Basic rules of perspective
The word perspective itself is translated from Latin as “Look through.” Perspective is the science of depicting objects as the human eye sees them. That is, with apparent changes in space (linear, light, color, tone, contrast). We need perspective in order to depict objects realistically.
Perspective is divided into linear and aerial. Linear perspective is the apparent dimensional changes in space along the contours of objects that can be depicted with a line.
Aerial perspective is the apparent light changes in space that are conveyed by tone and color. Aerial perspective has its own laws and linear perspective We have our own laws, and we will consider them.
Perspective is divided into two types: frontal and angular. Frontal perspective is, for example, if you take a cube, bring it to eye level and see it as a quadrilateral without planes, like a square in a notebook. And angular, this is if you look, for example, at the same cube from above or below or from the side, that is, when you look at it at an angle.
Angular perspective is when an object is located at an angle in relation to you and you can see its edges, edges, planes.
Frontal perspective - when an object is located frontally in relation to you and you see only one side of it.
Laws of linear perspective.
1. In order to depict the depth of space, you need to partially overlap the distant object with the near object.
2. A near object is always visually larger than a distant one.
3. The closer the object you are drawing is located, the lower its base is to the edge of the sheet. The further away it is, the higher its base is towards the edge of the sheet. If there is another object that is located further from you in reality, when drawing, the higher its base is in relation to the object that is closer to you.
4. Horizontal edges parallel to the picture plane must be depicted strictly horizontally.
5. Horizontal edges in an angular rotation (angular perspective) must be depicted obliquely.
6. Horizontal ribs in an angular position should be depicted shorter than in a frontal position (frontal perspective).
7. All vertical lines are always drawn vertically, without changes. Changes will only occur if you draw, for example, trees and stand close to them with your head raised up.
8. Frontal perspective is depicted linearly without perspective changes. And in the corner - you need to depict linear perspective changes. We depict it as we see it - horizontal lines, for example, will be shorter than vertical lines of the same length. We also draw perspective reductions of objects in space (a linear decrease in the size of objects in space, in relation to you.) You must also be able to see the direction of the horizontal edges of objects.
9. The closer the horizontal lines of objects are to the horizon, the more they contract. That is, the closer they are to the horizon, the shorter they are in length. A plane located on the horizon line is depicted as a straight line.
10. If you rotate the plane round shape in relation to the eyes frontally, (frontal perspective) then we draw a circle. And if we turn it at an angle (angular perspective), then we draw an ellipse.
Laws of aerial perspective.
Aerial perspective refers to the apparent changes in the characteristics of objects under the influence of air and space.
1. We depict as we see, we see all nearby objects in detail. And deleted ones in general. That's how we draw.
2. All near objects are perceived clearly, but distant objects are perceived vaguely. Accordingly, to convey space, the contours of nearby objects need to be made sharper, and distant objects softer.
3. The further away the object is, the lighter it seems, the closer, the darker we depict it. At a great distance (landscape, for example), light objects appear darker, and dark objects appear lighter than those nearby. That's how we draw.
4. The closer the object, the more voluminous it seems. This occurs due to pronounced light and shade when the subject is close. The further away an object is, the flatter it appears. To convey space, we depict nearby objects in chiaroscuro in a more voluminous manner, and distant objects in a flatter manner.
5. All distant objects are covered with an airy haze and acquire the color of this haze - violet, blue, light blue, whitish. To convey space, nearby objects need to be depicted as bright, and distant objects as pale.
6. All nearby objects seem to be multi-colored, and distant objects appear to be single-colored; that is, to convey space, all nearby objects must be depicted with different colors, and distant objects must be the same.
Topic 6 Didactic principles of teaching fine arts
Successful implementation of educational tasks set for the general education subject “Fine Arts”, increasing the effectiveness of fine arts lessons is possible only with strict adherence to didactic principles in the teaching process.
Being the scientific foundations of the learning process as a whole, the principles of didactics acquire specific expression and content depending on the specifics of the subject being taught. Let us consider how didactic principles are expressed in the teaching of fine arts at school.
The principle of educational teaching involves solving not only educational, but also educational tasks in the teaching process. Fine arts classes should contribute to the development of a worldview in schoolchildren and contribute to the ideological, political, moral and aesthetic education of children. Drawing lessons develop the student's attention, memory, strong-willed personality traits, and his mental and artistic abilities.
Following the principle of educational education, a fine arts teacher not only develops certain technical skills in students, explains terms, laws, and concepts, but also considers each educational task broadly and comprehensively, with a perspective on the overall development and upbringing of children.
Specific Features conducting and maintaining life drawing lessons, on themes, decorative drawing, lessons and conversations about the fine arts can, to varying degrees, provide an opportunity for the ideological, moral and aesthetic education of children. Analyzing the works of outstanding masters of fine art during conversation lessons, schoolchildren see the beauty of the surrounding reality as if in a concentrated form. They become acquainted with the beauty of the objective world and with the complex spiritual world of man. A significant educational role is also played by the fact that students begin to perceive the artist’s thoughts that were in his mind when creating the painting.
Scientific principle
IN In the learning process, schoolchildren must acquire a system of reliable, scientifically based knowledge, that is, knowledge that correctly reflects objects and phenomena of the real world. In accordance with this, the teaching methodology should be based on the principle of science.
The teacher’s task is to outline the laws of the structure of nature and the laws of its depiction on a plane so that students become accustomed, when drawing, to think using the methods of realistic art, as the most objective and comprehensive reflection of reality.
The scientific foundations of educational drawing are based on a number of sciences, such as perspective, color science, shadow theory, where the laws of chiaroscuro, anatomy, etc. are studied. P. P. Chistyakov, defining art, wrote: “The high, serious art of painting cannot exist without science exist. Science in its highest manifestation turns into art.” History convincingly shows that outstanding artists have always used science in the practice of art.
While drawing from life, we not only observe an object, but also get to know it; we not only try to copy its external form, but also strive to understand the internal structure. By drawing, a person learns about the world and analyzes it. The process of cognition of real reality lies at the basis of both science and art; only the forms of reflection are different: science embodies the results of cognition of real reality in the form of concepts, judgments and conclusions, while art - in figurative form.
The main task of the teacher is to indicate the ways of correct observation and knowledge of reality. One of the main requirements of the scientific principle is the accuracy of terminology. The scientific nature of teaching requires a fine arts teacher to have good scientific and theoretical training and constantly improve the level of professional skills.
The principle of visibility
One of the most important didactic principles - the principle of visual teaching - is determined by the need for sensory perception of the objects and phenomena being studied as the basis for the formation of ideas and concepts. Ya. A. Komensky deeply explored the use of visual aids in the learning process, who proposed implementing the principle of clarity in lessons through observations of real objects or observation of models (if there are no real objects) and drawings and paintings. At the same time, Comenius proclaimed the following as the “golden rule” of didactics: “... everything that is possible should be provided for perception by the senses, namely: what is visible for perception - by sight, what is audible - by hearing, smells - by smell, what is subject to taste - by taste, accessible to touch - by touch. If any objects can be immediately perceived by several senses, let them be grasped by several senses at once..."
The principle of visibility is that students go to reliable knowledge by turning to the objects and phenomena themselves as a source of knowledge. Drawing from life in itself is a method of visual learning. The process of drawing from life begins with a sensory, visual perception of the depicted object, with live emotional observation. Therefore, it is necessary to ensure that the full-scale setting itself attracts the attention of the painter to the main thing.
Visibility is closely related to proper organization observation and analysis of nature, which significantly affects the correctness of judgments about objects and phenomena, and therefore the quality of image construction. Visualization is especially important at the initial stage of learning.
The principle of clarity requires such presentation educational material, in which students' concepts and ideas become clearer and more specific.
All rules and laws must be clearly demonstrated to students. The use of visual aids helps to better assimilate many abstract concepts, i.e., contributes to the development of abstract thinking. This situation is determined by the peculiarities of the development of children's thinking. On early stages During development, the child thinks more in images than in concepts, and concepts reach the child’s consciousness much easier if they are supported by specific facts, examples and images.
TOPIC 3. Basic means of artistic expression in drawing
1. Line in the drawing
2. Chiaroscuro.
5. Composition
6. Perspective
Line in a drawing- the main visual means, and it is not each line separately that matters, but their combination, which gives the image of a given object.
P. P. Chistyakov, a famous teacher in the field of fine arts of the 19th century, demanded “to draw not the bends of lines, but the forms that they form among themselves... Anyone who does not see the form will not draw a line correctly... Line and true in itself, but carried out not in accordance with others, serves only as a mistake.” The line can be of a different nature.
The line is uniform and does not change in thickness throughout the entire image, conveys the shape of the object, and draws details. As a more expressive means, line acts as stroke, which in the same drawing can be thicker, thinner, shorter, longer, not a continuous line, but interrupted or, conversely, lie close to each other, creating the impression of a shadow. For example, an artist E. I. Charushin interestingly depicts the peculiar fluffy texture of fur, feathers of animals and birds.
Using lines, the artist conveys the position of an object in space and the change in its shape from different angles.
Stages of linear drawing in a conventionally planar image the following:
1. Finding the location of an object on a sheet of paper depending on its size and position in space.
2. Arrangement of large parts (design and proportions).
3. Working out the details.
A general outline of the entire outline of the object is never done in the first stages of work. Outlining the entire outline can be the final stage of a drawing, when the main task is to clearly highlight the shape and its parts (for example, drawings in coloring books).
Drawings in which color problems are solved (conveying a variety of shades, a certain coloring, etc.), as well as three-dimensional drawings indicating chiaroscuro contour line are not outlined, otherwise expressiveness is lost.
While working at each stage of the image, you should remember the basic principle - to go from the general to the specific, to keep the entire object in sight at all times, and not just the part of it that is currently being depicted.
In a conventionally planar drawing, an object is depicted in two dimensions, without conveying volume by means of light and shadow. With this type of image, it is important to choose a point of view from which the characteristic shape of an object, its parts is better revealed (for example, when depicting a person - the position of the front, animals - profile, etc.).
Three-dimensional image is associated with the transfer of light and shade and perspective cuts.
The depiction of objects from different angles without the use of chiaroscuro is sometimes used by artists, but for such a drawing one must be fluent in the methods of linear depiction. An example is the many drawings and paintings of the Japanese painter and draftsman Katsushika Hokusai .
Chiaroscuro. An artist, depicting the relationship of light and shadow in a drawing, can better convey the volume and features of the form. Depending on the lighting, some parts of the subject are revealed better, others are less noticeable, as they are absorbed by the shadow. An object is perceived differently in bright, diffuse and low light.
Light and shadow spots are arranged according to the shape of the object. On the curved parts, the transition from light to shadow is gradual, imperceptible, through halftones. On objects limited by planes at an angle, the boundaries between light and shadow are sharp.
Sometimes a lighter spot appears on a darkened part of an object as a result of the reflection of light rays falling from nearby objects. The color of the object in this place may take on a different shade. This phenomenon is called reflex.
The degree of illumination of an object and the sharpness of the transition from light to shadow depends on the distance between the light source and the object, the intensity of light, the angle of incidence of the light beam, the color and texture of the object.
Objects can reflect and absorb light rays. Matte surfaces absorb more light mirror surfaces reflect almost all rays, forming glare.
Thus, the concept of chiaroscuro includes: light- the most illuminated part of the object; glare- the lightest spot on the illuminated part; shadow- the darkest part; penumbra- the place of transition from light to shadow. The transition is especially gradual on rounded parts; falling shadow- the shadow of an object on the surface where it is located; reflex- shades in the shadow part of an object under the influence of color and light rays from surrounding objects.
Background. The uniqueness of the graphic image is that the drawing may not fill the entire plane of the sheet. Very often, an image of one object is given without its surroundings, i.e. the drawing surrounds the background that is inherent in this paper. The background is not always indifferent to the drawing. It is one of the means that helps give expressiveness to the drawing.
Most often, the drawing is applied to white paper, but depending on the artistic tasks at hand, colored paper in calm tones can also be used: gray, greenish, yellowish, etc.
For watercolor painting, only White paper because the paint is transparent. For covering materials (gouache, pastel, sanguine, chalk) you can use a colored background. Most often it is used when performing decorative designs. In story drawings, the artist creates a background, as it is closely related to the content and often includes many shades. Therefore, it is better to make such drawings on white paper.
Background creates additional features, which make the drawing embossed, convex, expressive. Thanks to the background, you can get a great effect in creating a certain color: light flowers and brightly lit parts of the object stand out well against a dark background. Often uses color contrasts, which gives the image greater expressiveness. A drawing can fill an entire sheet of paper and convey a broad picture of an event, but even here the entire composition does not have to be enclosed in a bounding frame.
Color in the visual arts is important expressive means, reflecting the material properties of objects, conveying the diversity of the surrounding world in its color sound.
The artist uses color to convey his intention, his attitude towards what is depicted. In paintings that show human suffering and grief, the colors most often used are dim, muted, darker (for example, in the paintings of V. G. Perov “Troika”, “Seeing off the Dead Man”, I. N. Kramskoy “Inconsolable Grief”, K . D. Flavitsky “Princess Tarakanova”, etc.)
In paintings with a joyful, optimistic mood, bright, rich colors are selected (for example, for the painting “Cossacks” by I. E. Repin, “Letter from the Front” by A. I. Laktionov).
The color red arouses joyful feelings in a person, which was well used by I. E. Repin in the film “Cossacks”. But the same color in his other painting, “Ivan the Terrible and his son Ivan,” creates in the viewer a feeling of fear of shed blood. The red glow covering the sky in K. P. Bryullov’s painting “The Last Day of Pompeii” evokes horror at the tragedy depicted.
Such a different effect of color is explained by the fact that color is perceived and realized by a person not in itself, but in connection with the event that is depicted. In this we see one of the manifestations of the unity of form and content in a work of art.
Color is also used by the artist to highlight the main thing. For example, in V. I. Surikov’s painting “Boyaryna Morozova” the figure of the noblewoman stands out as a black spot on the white snow. In “Major's Matchmaking” by P. A. Fedotov, contrasts of color combinations are also used to show the main characters even more clearly: the light dress of the bride - against the dark background of the room and the dark figure of the groom - against the light background of the hallway; secondary persons (mother, matchmaker and servant) are not highlighted in color, and upon initial viewing of the picture these figures are not perceived, although they are located in the center.
Color is a means of truly reflecting reality, but it does not act in isolation, but in conjunction with the composition, the line of the drawing, revealing and enhancing the content of the picture. The artist S. A. Chuikov, with light, joyful major colors, conveys the onset of something new in a woman’s life in the painting “Daughter of Soviet Kyrgyzstan.”
Color is important in painting as the main means of representation. In graphics, color makes the drawing bright and colorful, but is not the main means of expression. V. A. Serov has very interesting watercolor drawings (for example, for Mamin-Sibiryak’s fairy tale “The Crow and the Canary”). But it is this artist that we can call a master of pencil (black) drawing. In this technique, V. A. Serov achieved unsurpassed perfection, conveying the resemblance to the original with several characteristic strokes. He created a series of portraits (in pencil) of famous Russian actors F. I. Chaliapin, M. N. Ermolova, G. N. Fedotova, K. S. Stanislavsky, V. I. Kachalov, I. M. Moskvin and others, transferring to a simple linear drawing reveals the authentic features of each. V. A. Serov created the impression of volume and plasticity of the image with the help of slight shading.
I. E. Repin was no less a master of pencil drawing. Portraits made by him are no less expressive than paintings (for example, portraits of V. M. Vasnetsov, N. S. Leskov and others). I. E. Repin created with a pencil and complex compositions (“Nevsky Prospekt”, “Gorky reads the play “Children of the Sun”), especially expressive for their lightness of sketch, against the background of which the main characters stand out clearly and are carefully worked out.
To master the correct graphic skills, you need to know the basic properties of color, their mutual influence, and rules of use. This is done by a special science - color science. She teaches the artist to analyze colors and use them for his own purposes.
Colors are divided into chromatic and achromatic (chrome- in Greek means “color”).
Achromatic colors - white, gray, black. They are essentially colorless and differ from each other only in lightness (color table 1).
Chromatic colors differ from each other in lightness and hue. For example, yellow is much lighter than blue or red and has a completely different color tone. Chromatic colors, arranged in a certain order according to color tones, form a spectrum.
There are two groups of colors in the spectrum - warm and cold. Warm the colors resemble the color of the sun, fire: yellow, red, orange. Cold the colors resemble the color of the blue sky, ice, water: blue and its shades. This division is related to our sensations. All colors, except the main ones, can have a warm or cool tint: yellow-green or blue-green; red-purple or blue-purple, etc. (color table 2).
Additional colors. With the simultaneous perception of all the colors of the spectrum at the moment of rapid rotation of the spectral circle (optical connection), we see White color. In the spectral circle, when optically combined, two colors located approximately opposite each other can also produce white. These colors are called complementary: red and bluish-green, violet and yellow-green, yellow and blue, orange and blue (color table 1).
Complementary colors placed next to each other enhance each other's brightness. The artist must use these properties to add expressiveness to the created image.
Chromatic colors are also divided into primary and derivative. Basic- red, blue, yellow. They are independent and cannot be obtained by mixing several paints. All other colors - derivatives. They are obtained by combining two or more colors. For example, yellow and blue produce green; the combination of red and blue - purple; green and red - brown, etc.
In the spectral circle, derivative colors are clearly visible when moving from a given color to another, for example, all shades of orange are visible when moving from red to yellow (color table 1).
Various shades the same color depends on the degree of its lightness, tone saturation, colorful contrasts and reflexes.
Rich tone is called the one in which the color qualities of a given color are most clearly expressed, i.e. the most intense tone.
Colorful contrast- the interaction of closely spaced colors affecting shades.
The concept of colorful contrast includes several provisions.
1. Light colors on a dark background they appear even lighter, and on a light background they appear darker.
2. Cool colors make neighboring colors warmer, and warm colors make neighboring ones colder.
3. Complementary colors located next to each other enhance the brightness of each other.
4. A neutral color takes on a shade of a complementary color to the color of the object that is located next to it. For example, grey colour next to green it will appear pinkish.
Colorful reflex- a shade in the shadow part of an object or on a falling shadow due to its illumination by reflected light from surrounding objects. For example, a white vase standing on a red tablecloth will have a slightly pinkish shadow on its side surface, while a dark vase on a white tablecloth will have a lighter shadow on the side facing the tablecloth.
Knowing all the features of color combinations, the artist can create a drawing in a certain color.
Color is called general color harmony, where each color is in coordinated unity with others. Sometimes the term “color” is used in the sense color range pattern, its general tonality, when all colors are subordinate to one, conveying its shades, for example: blue, pink, etc.
Composition- this is a certain location of an object in space and its connection with other objects.
Word composition comes from the Latin compositio, which means “composition, connection.”
Composition in painting and graphics means the construction of a work, the distribution of its parts on the plane of the sheet in a certain connection with each other, according to the content.
The artist pays great attention compositions. In preliminary work on revealing the content of the picture, he makes a series of sketches, sketches in search of such a structure of the work that would most perfectly correspond to what was planned.
There are various examples of composition solutions. The simplest composition differs frieze construction, characteristic of ancient Egyptian and Assyrian art, where the arrangement of objects followed a strict order of one line. This composition allowed the artist to graphically express the solemnity of the processions; each depicted character stood out. But this is a short-lived construction, since its basis is rhythm and symmetry in their pure form. There are no such positions of objects that, as a rule, exist in life. This is the obscuring of one object by another, moving away or approaching individual items and, in connection with this, a change in their size and clarity of outline.
The masters of the Renaissance set the task of reproducing objects on a plane in the respects in which they are perceived by an artist from a certain point of view. The works of Leonardo da Vinci and Raphael are considered examples. For Raphael, composition helped convey the idea of a harmonious perception of the world; beauty is in harmony, the harmonious correspondence of all parts. Hence symmetrical arrangement: the main thing is in the center, the right and left sides are balanced, for example the arrangement of the figures in the Sistine Madonna.
This construction to highlight the main thing is used by artists in the future (for example, V. I. Surikov in “Boyaryna Morozova”, V. G. Perov in “Troika”, etc.). The arrangement of figures and objects should be dictated primarily by the tasks of creation artistic image
Great importance has a choice of point of view from which the artist seems to look at the picture. The correct transmission of content also depends on this. For example, the heroes in the painting of the same name by V. M. Vasnetsov make such a majestic impression not only due to their powerful physique, but also because they are located above the horizon line, we look at them as if from below, and they seem even higher. Or in M. V. Nesterov’s painting “The Hermit” we see a figure from above, this emphasizes the even greater meekness of the old man’s entire appearance.
Composition helps convey movement and dynamics. Of course, this is a difficult task, since the specificity of fine art is that you can convey only one moment of movement, as if stopping it for a moment in order to capture it in a picture. The intensity of movements, the dynamism of fighting figures is clearly shown in the painting by A. A. Deineka “Defense of Sevastopol”.
In our view, movement is associated with the location of an object along an inclined line. The artist uses this and arranges objects diagonally (for example, V. G. Perov “Farewell to the Dead Man”, V. P. Surikov “Boyaryna Morozova”, I. E. Repin “Barge Haulers”). Various details allow you to judge the speed of movement. In the painting “We Didn’t Expect” I. E. Repin placed the mother’s figure with her back to the viewer, and we can imagine how in the next minute mother and son will rush towards each other.
In the illustrations of the artist I. Ya. Bilibin for “The Tale of Tsar Saltan” one can clearly see the perspective formation of a line of thirty-three knights emerging from the waters of the sea. In another illustration for the same tale, Prince Guidon and his mother are depicted in the foreground, and in the distance one can see a city with palaces and golden-domed churches of correspondingly smaller sizes.
Thus, the problem of composition can be correctly solved only depending on the tasks posed by the content, only from the standpoint of a realistic attitude towards what is depicted.
All surrounding objects, depending on the distance, the choice of point of view of the painter, seem different than in reality, larger or smaller, may stand out brighter or be in the shadows, appear partially obscured, etc.
It helps to depict the subject correctly perspective. This is an auxiliary science that studies changes in the shape and color of an object, its location in space when depicted from a certain point of view.
Perspective image includes two concepts: linear perspective and aerial perspective. Linear perspective - the construction of apparent changes in an object in connection with its position (front, side, three-quarter rotation, etc.) and a decrease in size with the removal of the object, its location in different plans on the sheet. Air perspective - a change due to the removal of clarity of outlines, visibility of details, brightness of color. This can be clearly understood from I. I. Shishkin’s painting “Forest Distances”. The extent of space is well conveyed by K. F. Yuon in the painting “Morning of Industrial Moscow.”
To correctly construct a perspective drawing, it is necessary to take into account the following points: horizon, point of view, vanishing point, angle of view.
Horizon as a term used in art, it is conditional line eye level of the drawer, crossing the perceived object or going on top of it or below it.
Point of view- the relationship between the direction of the drawer’s gaze and the position of the object. There can be a high point of view and a low point of view.
Vanishing point- the place on the horizon where all straight lines converge when constructing a picture.
Vision angle formed by imaginary lines running from the top and base of an object and intersecting when perceived in the eye. The visibility of parts of an object, the transfer of its position in space, and dimensions depend on the angle of view.
Basic principles of linear perspective:
1. All objects seem smaller as they move away. It depends on the
angle of view, which is smaller for distant objects than for
nearby.
Leonardo da Vinci established the basic principles of image reduction. Here is one of his provisions about two identical objects located at different distances from the drawer: “The second object, distant from the first, as the first is from the eye, will appear half the size of the first, even if both were the same size.”
2. All parallel lines moving away from us converge at one point on the horizon line. The perspective horizon serves as the basis for correct construction - lines coming from objects located above the horizon will descend towards it, and those located below the horizon will rise and intersect at the vanishing point on the horizon.
3. Depending on the position of the object to the drawer’s eye (point of view), the shape of the object changes (the visibility of various parts).
4. As objects are removed, the distances between them decrease.
