Possibilities of artistic materials. Visual materials and tools used in visual arts
4. Art materials in painting
Material and technical means include paper, watercolor, gouache, brushes, pens, palette and other materials, tools and accessories with the help of which visual activity is carried out.
Paper. In the process of learning to draw, they use newspaper, wallpaper, drawing, and drawing paper, trying to skillfully use the properties of each. Newspaper, wallpaper and wrapping paper have a fine-grained, loose, fleecy surface that can hold loose dye well. Therefore, it is used for working with charcoal and pastel. Drawing and drawing paper is thick, white with a smooth and rough surface. On smooth paper they work with a pen and pencil, on rough paper - with pencil, charcoal and paint. The rough surface not only retains the coloring matter well, but also withstands long-term work on it. This allows us to consider drawing and drawing paper the best for educational purposes.
On each sheet of paper, pre-decorated with the necessary inscriptions, you can draw only on one side. While working, the paper should lie motionless and straight, that is, so that its edges are parallel to the edges of the table top.
Watercolor is the most common water-based paint; It is prepared from the finest colorful powder, the particles of which are bound with an adhesive (gum arabic, cherry glue) that dissolves in water. To work, the paint is generously moistened with water and, when it softens, the end of a clean brush is transferred to a palette or to a test sheet of paper with folded edges. Here the required amount is added to the paint mass clean water and mix thoroughly to obtain a homogeneous mixture of a certain thickness and color. A thin paint mixture is usually prepared for painting large figures and light parts of the subject, and a thick mixture is usually prepared at the end of the work for outlining, enhancing color and depicting the shaded parts of the subject. Speaking about the thickness of the paint, it is necessary, however, to emphasize the main property of watercolor - its transparency. The luminous surface of white paper penetrates the thin layer of paint with its reflected rays and saturates it with light and awe. The thick layer of paint, blocking the path of light rays to the paper, looks dull and gloomy. Overuse of thick paints leads to dullness and color monotony.
In educational drawing, sets of 10-16 paints are used, which include the following colors: black, violet, magenta, red, orange, yellow, green, cyan, indigo and brown.
Gouache. Unlike watercolors, it contains white, which deprives the paint of its transparency, making it dense, impenetrable, or, as they say, opaque. Gouache is diluted with water, applied in a thin layer and becomes lighter as it dries. Due to its covering power, gouache allows you to make various types of corrections. It is indispensable for work in the field visual arts children.
Brush. According to the shape of the hair, brushes are divided into flat and round, according to type - into bristle, kolinsky, squirrel and others, according to size - into thin, medium and thick. To study the watercolor technique, you need a medium-sized round soft kolinsky or squirrel brush (No. 11 -14). Her flexible hair forms a conical shape with a sharp end. This brush can be used to paint large figures, working with the entire mass of hair, and depict small details with the end of the brush. When interrupting work, place the brush on a special stand or on the edge of the table so as not to contaminate workplace. It is strictly forbidden to leave the brush in a jar of water, where the hair will bend and diverge in different directions, losing its conical shape. At the end of the work, the brush should be washed thoroughly, the hair should be wrung out and smoothed with your fingers to give it a pointed conical shape.
Palette. A palette is a plate, a board on which the artist checks the color of the paint taken, mixes the paints to obtain the desired shade, and then transfers them to the drawing. IN watercolor painting faience, porcelain, plastic and tin palettes are used, covered with white paint, on which the finest shades of color are clearly visible. On the palette, paints are placed in small recesses, and they are mixed on the larger part of it, which is even and smooth. Along the edges there is a low rim that prevents paint from dripping. Some palettes have an oval hole to fit onto your left thumb. After work, the palette is cleaned of paints with a sponge or rag moistened with water. U watercolor paints, packaged in iron boxes, the lid has recesses for paints and their mixing and is therefore used as a palette.
The palette is often replaced with a sheet of white paper of the same type as for the drawing. The edges of the sheet and the corners are bent inward, which turns the palette into a kind of bath, convenient for working with paint.
5. Basic technique painting with paints
When performing a painting, you must adhere to a certain sequence. Typically, an artist begins work on a painting or wall painting by completing several small-sized sketches in which he concretizes his idea. For the same purpose, he can perform sketches from life.
The artist then draws future painting. For this he can use a pencil, charcoal or thinly diluted paint and thin brush. It is possible to produce so-called “tracing paper” or “cardboard” in the case when the drawing needs to be transferred to some surface. Sometimes artists skip this stage of work and immediately begin to paint without preliminary drawing.
There are many ways to apply paint to a plane. Some artists prefer to use the glazing technique: applying thin transparent layers on top of the dried paint layer. Others achieve what they need color scheme in one coat at once, while others use separate strokes.
The artist can simultaneously work on drawing, composition, sculpting forms, conveying space and color. This is how P. Cezanne loved to work, especially when he painted his landscapes or still lifes from life.
However, this path is not available to everyone. You must have a beautiful visual memory, precise drawing, compositional thinking, impeccable sense of color.
Most artists prefer to work from the general to the specific, gradually applying the main color of objects and monitoring the modeling of volume. Then they clarify the nuances of color, color reflexes, and the overall coloring of the picture. At the last stage, they again move on to generalization. In order to achieve the integrity of the work, you can remove unnecessary details, weaken contrasts, and highlight the main thing. Loved to work so much wonderful artist A. A. Ivanov. He spent a huge preparatory work before creating the painting “The Appearance of Christ to the People.” Numerous pictorial sketches, exhibited next to this painting in Tretyakov Gallery, help to trace the author’s creative search.
IN educational purposes It is better to work on a pictorial composition sequentially. The statements of the masters at the end of this book will help you learn some of the secrets and mysteries of painting.
Painters convey the beauty of the world around them with the help of paints. You can choose any base: canvas, paper, cardboard, board, wall, etc. The base is usually primed with special compounds. Painters use a variety of paints: gouache, watercolor, tempera, oil, etc. Paints are applied to the base with round and flat brushes of different thicknesses. Sometimes they use a palette knife, a knife, a rag for this, or even apply paint with their fingers, but it is still better to create works of art using special tools rather than improvised means. The writing technique and its features largely depend on the properties of paints, solvents, and tools.
Until the end of the XVII - early XVIII For centuries, artists and apprentices prepared paints on their own; this was usually entrusted to apprentices, who crushed stones into powder and mixed it with glue, oil or egg. With the industrial production of paints, the color palette has become more diverse.
Painting paints have special names. Very often these names tell us from what chemical or natural elements (minerals, plants) they are made. The basis of all paints is pigment (finely ground colored powder). Often the name of paints comes from the binder used to prepare them. For example, for oil paints the base is linseed or some other oil. Adhesive paints are watercolor, gouache, tempera. In the old days, egg tempera was made from the yolk chicken egg.
Visual means include tone and color.
smear – visual medium hand technique. The shape of the stroke depends on the shape of the brush hair, the thickness and method of applying the paint. With the end of a round brush you can make a dot stroke, a stroke stroke and a line stroke, used when tracing contours and drawing details. The entire mass of the hair of the brush gives a wide stroke-stripe, used for painting large figures. A flat brush produces rectangular strokes. By applying (dipping) the brush to the paper, a stroke-imprint is obtained that repeats the shape of the hair of the brush. The rectilinear movement of the brush forms straight lines and stripes, the curvilinear movement forms curved lines, stripes and strokes of complex shapes with a stroke. Separate and continuous strokes can convey the lightness and color of any object.
Painting – This subject of applying tone is done by pouring, washing and dry brushing.
Filling is used to apply an even color tone or several tones that blend smoothly with each other. When painting by pouring, prepare a liquid paint mixture in the required quantity. The drawing is placed obliquely. Having generously moistened the brush with the paint mixture, apply the first stripe stroke with a light movement from left to right. Use the sharp end of the brush to straighten the ends of the stroke. The paint, flowing down to the bottom edge of the stroke, forms a paint roller necessary for smooth filling. A lot of the paint mixture is again taken onto the brush and a second stroke is applied; repeat all operations until the figure to be painted is evenly covered with the desired tone. The last paint roller is carefully removed with the end of a semi-dry brush. Filling with paint must be done very quickly to avoid drying out the applied strokes.
Washing is used for painting surfaces that have uneven lightness. First on linear image Mark with a pencil the boundaries of the light, semi-dark and dark parts of the object. Then a liquid light paint mixture is prepared, capable of conveying the lightest parts, and the entire image is filled in. After drying, only the semi-dark and dark parts are poured with a second layer of paint, and finally, a third layer is applied over the dry second layer, covering only the dark parts. Sharp boundaries between parts are washed away. To do this, take a little clean water onto the brush and wet the place where it should be. smooth transition; lightly pressing the brush, carefully but persistently rub a clear border and achieve an imperceptible transition light tone in the dark. During washing, excess paint is removed from the brush with a rag held in the left hand.
“Dry brush” as a technique is used to paint images of objects whose surface has uneven lightness and rough texture. This technique uses thick paint, which is applied to the paper with a dry brush using sliding movements or a poke of the brush.
Chapter II. NON-TRADITIONAL DRAWING WITH PAINTS HOW
TYPE OF FUN ACTIVITIES WITH CHILDREN
PRESCHOOL AGE
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In drawing, the most common material is graphite pencil. However, in addition to it, many other, very diverse materials can be used - ink, sanguine, charcoal, pastel, sauce, chalk, etc.
All art materials have different characteristic peculiarities, distinguishing them from each other in terms of application possibilities. By the way, if such a beginning still seems difficult to you artistic creativity, then you can try coloring by numbers http://homeartshop.ru/, which will help you improve your skills. Well, each of the materials has a set of properties unique to it (color, degree of hardness, transparency, etc.), which directly depend on the manufacturing method and the coloring substances included in its composition - pigments and binder(glue and special impurities). Visual materials can be either black-gray (black ink, watercolor, sanguine, markers, felt-tip pens), predominantly of mineral origin, both natural and prepared artificially.
It is very important for a novice draftsman to learn how to try on different materials, have an idea of their properties, and know the features and capabilities of each of them.
A system of means and techniques for working with graphic materials, with the help of which a visual image is realized on paper - this is drawing technique. Its main aspects: organization of the workplace, choice of materials and methods of working with a pencil and eraser, paint and brush; options for drawing all kinds of lines, shading, coloring, etc. Knowledge of techniques and means, as well as the ability to use them, makes it possible to realistically depict what is seen and expressively narrate about it.
Mastering the technique of drawing allows you to develop your eye and sense of hand, and at the same time fosters the habit of self-control. You should be able to use art materials competently. For example, when drawing with a pencil, you should not rub the drawing with your finger, as this makes the drawing dirty and expressionless. For a lead pencil, clear, crisp, and embossed drawings will be advantageous. When working with charcoal, sauce, or sanguine, rubbing allows you to achieve all sorts of nuances. Right choice materials and working techniques helps to better and more convincingly express the form on the plane.
Exists a large number of techniques for working with pencil, pastel, sanguine, charcoal and other materials. is possible only through long and persistent practice. Any type of technology has specific features. And you need to know what working techniques are suitable for any material, what can be achieved using sanguine, charcoal, pencil, pastel, how to achieve different effects with the same material.
Graphic materials It is customary to divide into “dry” and “wet” (diluted with water). Usage various materials and the technician opens up unexpected possibilities for the artist in conveying the texture of an object, its character, and his own attitude towards it. It is very useful to work on a charcoal drawing. Charcoal allows you to start and finish a drawing in a general way, because it has a large tonal range - from light light gray gradations to the deepest black velvet tones. At the same time, with certain skills, charcoal allows for fine drawing of details. So, in drawing with charcoal you can very effectively combine a thorough manner with a broad one.
It is extremely useful to work on a drawing in "washing" technique. It's called washing watercolor work one color over wet (ink, sauce, watercolor). When working for a long time in this technique, it is advisable to first apply the main structure of the drawing with light pencil strokes. After which, starting from the very bright places, gradually load the drawing, enhancing the tone. But this technique can be used very successfully in quick sketches with one brush without the initial pencil drawing. This kind of work develops the ability to see general shape, a sense of tone, selecting the right moments from life, which is very important for serious creative work.
During work, it is very useful to alternate various techniques. Long-term drawings should be diluted with quick sketches, pencil techniques with washing or charcoal techniques, which develops drawing speed, a sense of space, as well as artistic taste.
More details on each of the artistic materials in the following articles. Subscribe to updates.
I wish you creative success!
A novice artist needs to know well the materials with which he will deal when drawing, master the technique of working with them and constantly study their properties. This knowledge will help you avoid many mistakes that are inevitable for a young artist who does not yet have sufficient experience.
Pencil
The first thing every beginner tries to draw with is. But in order to use all the properties that a pencil has that are useful for an artist, you need to acquire some knowledge. An artist can make a pencil an obedient tool in his hands, extract from it all the richness of its color possibilities, or use it only for sketches.
Drawing pencils come in different hardnesses and different shades. Hard pencils are most often used in drawing, but in drawing it is preferable to use soft or medium-hard pencils, which provide greater possibilities for color transitions and different shades.
The best pencils are made from graphite (a type of crystalline carbon). Graphite drawing pencils are usually produced under numbers: 1st - the softest, 2nd - medium and 3rd - hard.
The highest grade of drawing pencils has fourteen hardness numbers: from 1 to 6H - hard, from 1 to 6B - soft and 1-2 - medium.
A good soft pencil is “negro” - a soft, very black pencil with a pleasant velvety tone. For academic work Pencils of varying degrees of softness are quite suitable.
For pencil sketches, you can use any type of white or other paper. light shades, for long-term and serious drawings, you need paper with a high degree of roughness (whatman paper, half-whatman paper, “Alexandrian” paper).
Coal
Most often used for quick sketches, although it can also be used for long finished drawings. In addition, the initial contours of figures and objects for a painting done with oil paints are usually applied with charcoal. Charcoal is prepared from birch sticks.
You can cook charcoal yourself. To do this, fill the empty tin can even, smooth birch sticks, close the lid tightly, cover the jar with clay or putty and place it in the oven for several hours on the hot coals left after the fire.
For many people, charcoal is convenient because it is easily brushed off the paper and allows for numerous corrections in the drawing. This property of coal makes it indispensable for initial quick sketches and sketches.
You can only work with charcoal on rough paper, as it does not stick to smooth paper and crumbles.
For initial charcoal sketches, you can use any paper, even low-quality wrapping paper. For long-term charcoal drawings, you need good rough paper (Whatman paper, Alexandrian paper, etc.).
The disadvantage of coal is that at the slightest shock or shock it is shaken off the paper and requires special fastening for long-term storage.
The simplest “old-fashioned” method of fixing is to spray with liquid milk in which a small amount of sugar is dissolved (a quarter spoon for half a glass of milk granulated sugar). When fixing, the drawing is placed horizontally on the table and not sprayed too heavily, otherwise large drops of liquid can spoil the drawing. After the paper has dried, you should repeat the fastening again.
Sangina
You can also use sanguine for drawing. - that's pretty soft pencil, with a thicker shaft, usually brownish-red in color, without a wooden frame.
Mascara
In addition to pencil and charcoal, ink is also used for sketches and drawings, but working with ink requires great precision and confidence in the drawing, since a drawing made with ink is difficult to correct (the ink does not erase or wash off).
Monochrome watercolor (monochrome monotype)
The material for drawing can also be used, during which the artist does not set himself the task of conveying the color diversity of the reality around him, limiting himself to conveying the shape, volume, relative lightness and character of what is depicted.
Pastels
This is painting with dry paints prepared in the form of pencils that do not have a wooden frame. Dry paint is rubbed into the rough surface of the paper. To work with pastels you need big choice pencils of various tones and halftones, since the ability to mix one color with another, as well as with white in pastels, is extremely limited. You can work with pastels not only on rough paper, but also on a canvas specially primed for pastels, which must be glued to a board or cardboard to avoid shaking.
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You don't need any special complicated equipment for drawing. Who among us did not make the simplest drawings in childhood on an ordinary piece of paper with felt-tip pens, pencils, or even an ordinary fountain pen? But if we are talking about skill, methods artistic expression, motion transmission, implementation creative ideas, then you can’t do without using art materials and knowledge of techniques for working with them.
The most widespread and accessible materials are colored or graphite pencils, ink, felt-tip pens, crayons, charcoal, sanguine, pastel, and watercolor. Let's take a closer look at each of these art materials and the technique of working with them.
Graphite pencil
It is used both when teaching drawing and already experienced artists. Nice gray tone, slight shine is combined with the possibility of correction with an eraser. The pencil allows you to make both linear and line drawings, as well as tonal and pictorial ones. The advantage of graphite is that it adheres well to paper. Different effects can be achieved by choosing how art material, different varieties paper for pencil work.
Colored pencils have similar properties. The most notable among them are watercolor pencils, which are smeared with water, creating special effects.
Drawing charcoal
It has been used by artists since ancient times. Allows you to take portraits, landscapes, story compositions and still lifes. It has a rich black color with a wide range of tonal transitions. The shape of the coal makes it possible to draw lines of varying thickness. The side surface can be used to quickly paint a large area of the sheet. Charcoal is also easy to clean. When drawing with charcoal, the following are used: art materials such as cardboard, canvas, wall, paper, as well as various surfaces. Depending on the artist’s tasks, the basis of the drawing, the shape and method of sharpening the drawing coals are selected. You can rub the coal with a special blender, a cloth or your hand. Drawings made with charcoal are secured with hairspray or a special fixative.
Markers
They require work with a confident, steady hand, as they do not wear off. Give smooth beautiful lines. They vary in thickness and colors. They are mainly used for decorative or design purposes, but they also allow you to make landscapes and sketches from nature.
Sangina
It is a reddish-brown chalk. Produced in the form of square and round sticks. Allows you to draw on cardboard, paper, canvas. With it you can draw a line, stroke or make a shading. When drawing, it is often combined with others art materials. Due to the difficulty of use, it is not recommended for beginners. Such masters of the past as Rubens, Raphael, Leonardo da Vinci, Rembrandt, Michelangelo, Chardin, Titian created their works using the sanguine technique.
Pen drawing
It requires steadiness of the hand and clarity of the eye, since it cannot be erased later. The thickness of the line is controlled by pressure, but you must make sure that the pen does not scratch the paper. Feathers vary in the material from which they are made. Goose or reed ones give a more vibrant line, while steel ones give a clearer line. It is optimal to use smooth coated paper for drawing with a pen, then mistakes made can be corrected with a sharp blade. Also, by choosing paper of different colors, you can achieve the impression of a picturesque design.
Painting with a brush
Use as art material brushes allows you to perform very delicate drawings, as well as widely tinting the planes, using a sculpting effect using a brushstroke. Brushes are used for painting with ink, watercolors, oil paints, gouache, and grisaille.
Pastel crayons
The pastel technique is distinguished by fragility and tenderness in color. When working, the technique of a stroke or wide impasto strokes is used. Unusual effects are also achieved by rubbing color into color, which gives the design a special softness and precision of tonal transitions. A rough surface holds pastels better, so it is preferable to use velvet paper or specially sanded cardboard for work. It is also necessary to secure the pastel and carefully store the drawing.
In addition to those described, there are a great many types of needlework (for example, embroidery kits) and each of them has its own expressive properties and characteristics. Therefore, anyone who is interested in drawing will find something just for themselves, according to their preferences.
Art materials have a direct impact on the client's artistic work. They encourage him to see and touch. They generate emotional uplift and awareness. Being themselves particles of reality, these materials encourage the client to come into contact with reality. Thus, a dynamic interaction occurs between the creator and the artistic material. The art therapist is especially interested in finding out which material evokes the most expressiveness in the client. Thereby free choice material is the most important driving force in progress artistic work(Romanova E.S., 1992).
It is important that the material used in class is high quality, bright, and beautiful. Paints, pencils, plasticine, paper must have a neat appearance. The child also feels related to himself through the material with which he is offered to work. For those children who are reluctant to get involved in work, bright, beautiful stationery and other equipment can be an attraction.
Art therapeutic work involves a large range of different visual materials:
1) paints.
2) pencils, wax crayons
3) to create collages or volumetric compositions, magazines, newspapers, wallpaper, paper napkins are used, colored paper, foil, film, candy boxes, postcards, braid, ropes, textiles;
4) natural materials- bark, leaves and seeds of plants, flowers, feathers, branches, moss, pebbles;
5) for modeling - clay, plasticine, wood, special dough;
6) drawing paper of different formats and shades, cardboard;
7) brushes different sizes, sponges for painting large spaces, scissors, threads, different types glues, tape.
In addition to practical considerations, there are a number of serious issues regarding choice materials in accordance with lesson goals:
1. The choice of materials affects how the lesson proceeds. Some materials, such as pencils, crayons and felt-tip pens, allow for greater control, while others, such as pastels, paint and clay, promote freer expression (Schottenloher G., 2001). Paints more than other materials, they allow emotions, moods and images to flow through the hands (finger painting) directly into the material and be displayed with minimal control. Watercolor can be applied in different ways: they can be bright and dull, clear and blurry, heavy and light. The use of paints adds expressiveness to the drawing. It is very convenient to use paints (for example, gouache), which can be painted over, mixed colors, and changed the design. Paints are more profitable to use precisely because of the opportunity to experiment more. When working with a drawing, especially with paints, it is important to provide the client with the opportunity to choose not only paints, but also the tool with which he will draw (Shevchenko Yu.S., Krepitsa A.V., 1998). The interesting thing is not using brushes, but painting with your hands. This opportunity gives more freedom and research opportunities. Face painting can also be used as another form of painting. The only thing worth considering is that you need to provide customers with the appropriate paints
2. If the client is not confident in himself or is simply tired, he will feel more confident and calm when working with materials that are easier to control. U wax crayons very intense color. They are significantly harder than the material listed above, and thus open up only part of the possibilities of mental self-regulation. Markers require strong control while drawing. The use of markers will reveal the moment of suppressing fear of the richness of your own experiences and sensations. If a child, despite the proposed color material, often chooses simple pencil, this means that something may be preventing his emotional expression. Blackened areas often indicate depressive disorders or deep depression (Shevchenko Yu.S., Krepitsa A.V., 1998).
3. When individual work With children or groups whose behavior is difficult to control, it is worth starting with “controlled” materials.
4. Many people feel insecure about their artistic abilities. Cutting out pictures from a magazine to create a collage “evens out” the participants and allows even very insecure clients to join in the work.
5. Once all clients are happy to participate in the exercise, materials such as paint or clay can provide opportunities for deeper self-expression, especially when exploring feelings or reactions.
6. Working with “expressive” materials can be therapeutic for many clients. Not only does it help express a wide range of emotions; working with clay or smearing pastels or paints with a non-judgmental reaction to the final product can be healing in itself.
Large format paper encourages wide free movements, allows you to abandon the control and restrictions that are required when working with small formats.
Abstract drawings in to a greater extent promote response negative emotions(fear, tension), development of imagination, personal self-expression. Here the restrictions imposed by the level of formation are removed artistic skills child, acquired drawing stereotypes (girls draw the same type of princesses, and boys draw the same cars) (Shevchenko Yu.S., Krepitsa A.V., 1998).
When discussing drawings, one should avoid assessing the author’s technical skill (including whether beautiful or ugly), but should pay attention to techniques (color, character of lines, etc.) that allow one to convey mood and feelings. With proper organization of the discussion of children's drawings, children themselves usually come to understand the advantages of free drawing.
When perceiving products fine arts The art therapist needs to pay attention to the following aspects:
What feeling does a drawing, collage, sculpture convey?
· which looks strange
What is missing from this object?
· what is in the center. What is in the center often indicates the essence of the problem or what is most important to that person
· what are the sizes and proportions of the depicted objects and people (Kopytin A.I., 1999, Romanova E.S., Potemkina S.P., 1992, Shevchenko Y.S., Krepitsa A.V., 1998, Schottenloer G., 2001). Disproportional objects force one to look for an answer to the question of what is exaggerated; large figures are intended to enhance, and overly reduced figures are intended to belittle. Distortion of shape, proportions can symbolize a problem area, greater attention and deeper understanding, which can help restore normality
· Are there any duplicate objects? The number of objects in many cases plays a big role for the client, since it relates to units of time or significant events in the past, present or future
· in what perspective the work was completed and how it is used by the author. The combination of several types of perspectives in one work may be related to the presence of contradictions in the life of the author
· whether there are signatures on the work, as they can be used to provide clarity and reduce the possibility of misinterpretation of the work, which may reflect the degree of confidence in non-verbal communication.
