there are answers to all these questions. Here are the basics of where to start painting. Follow these tips, do the exercises and you will no longer be afraid of a blank slate. You will receive the necessary knowledge and basic skills. Painting will become closer, clearer and will bring a lot of pleasure.

Part 1. Preparatory

1. Find an inspiring subject to draw

It happens that you have already prepared everything, but you cannot find an object that would inspire you. This should be taken care of in advance. Something interesting is probably lying around in cabinets and desk drawers. Look for items at estate sales, consignment stores and grocery stores. Study paintings by your favorite artists.

The selection should include items that are pleasant to look at: this is important for creating successful work.

An interest in color and shape will motivate you as you work on your painting. There is a connection between feelings for an object and the ability to reveal your abilities. You can do more than you think.

For the first picture, a simple one-color symmetrical vessel, such as a regular coffee cup, will do. Illustration from the book

2. Get to know brushes and paints

Take a soft round brush and a bristle brush in your hands and compare their bristles. Squeeze some acrylic paint from the tube onto the palette. Try applying undiluted paint with different brushes to canvas or watercolor paper. The strokes should be bright and bold. Feel the differences in strokes with different brushes. Add a little water and apply the strokes again. Medium consistency paint has the same color intensity as undiluted paint, but its texture is smoothed out. And do this exercise again with a weak paint solution. Notice how quickly the paints dry the first, second, and third times.

Illustration from the book

Try applying paint with different brushes - soft oval, synthetic thin, bristly flat. Try each brush until you are confident that you know which brush to use to achieve the design you have in mind.

Illustration from the book

3. Useful techniques for working with the palette

The colors in the paintings we see are usually obtained through mixing: the pure color from the tube is usually too intense. These techniques will make it easier for you to get the color you want.

1. 1 Squeeze the paint from the tube onto the edge of the palette, leaving space between the colors. Use the center of the palette for mixing. Make batches farther apart to prevent unwanted mixing.
2. Apply pure color to the brush from the edge of the palette, and not from above or from the middle of the squeezed out “sausage”.
3. Intensive dark colors, such as black (although it is not scientifically considered a color), add with caution: even a small amount can significantly change the color being mixed.
4. You need to mix the colors together until the mixture becomes completely homogeneous.
5. Don't skimp on the paint. Squeeze out as much as you need - usually this is a circle the size of a ruble coin (for whitewash - the size of a five-ruble coin). Paint consumption is an integral part of the painting process. If you save too much, you will never learn how to use paint.

4. Learn to get neutral colors

In any picture there are neutral colors - “visually gray”. Due to their low intensity, they are invisible at first glance, but they are the most useful tool for creating a harmonious color composition. Let's see how to achieve this.

Mix blue and orange in any proportion. Now let's try to change the color temperature by proportionally warm and cool colors in the mixture. If the result is more purple, try making a rusty color by adding more orange paint and then whitewash for a lighter peach color. If the first step produces a rusty color, add blue to create a cool color, close to purple, and then white to create a light violet-gray.

Repeat the previous steps for another pair of complementary colors - yellow and purple, red and green.

Pairs of complementary colors are connected by short vertical strokes. The colors of each pair are mixed with each other to create two neutral colors, each of which was dominated by one of the parent colors - these are located to the right of the corresponding parent. Illustration from the book

5. Primary, secondary and tertiary colors

Draw a circle, then divide it into three equal sectors. Paint the upper sector with cadmium yellow medium, the lower right one with ultramarine blue, and then mix the main red from naphthol crimson and cadmium red light and paint the lower left sector with it.

On the color wheel of the primary colors, draw semicircles with centers at the intersection of the sector boundaries with the outer contour color wheel. Fill these semicircles with secondary colors, placing them above the “parents”: cadmium red light above the border between red and yellow, dioxazine violet above the border between red and blue. Add yellow to the green FC and fill in the green semicircle above the border between yellow and blue.

The primary color, when mixed with the adjacent secondary color, produces a tertiary color. Add one triangle on each side of the semicircle, making a total of six. Color in each triangle based on the labels.

Primary, secondary and tertiary colors. Illustration from the book

Part 2. Drawing

6. Start with abstractions

Abstraction is an interesting and simple way to prepare for working on a realistic piece. It is important to choose 3-4 colors that you like in order to feel an emotional connection with the painting. Draw over the entire surface of the sheet with a simple pencil a continuous angular or rounded line. It may intersect several times.

Paint the shapes in the drawing with the colors and shades, paint consistency and brush that you like. Listen to your inner voice. The main task is to do it the way you like, forgetting about everything else.

Illustration from the book

7. Smear pattern

Beginners are often unsure how to apply strokes. The arrows in the figure show the direction that will help to achieve good depth in the depicted space using the example of a mug.

Smear diagram and result. Illustration from the book

8. How to apply eye shadow

Shadows play a key role in creating a three-dimensional image: first of all, you need to learn to see and write them. There are four types of shadows:

• Own shadows located on objects. These are areas of dark tone that contrast with the illuminated parts of the depicted form. They usually have a sharp edge at the outer edge and a smooth transition at the edge of the light-colored areas of the subject. They own the main role in creating volume.
• Halftone areas- narrow, with a soft contour, located on the border between its own shadow and the illuminated area of ​​the object. These shadows are the middle tone between the contrasting dark and light tones of the subject.
• Falling shadows- silhouettes of an object, “fallen” or thrown by it onto any surface other than itself. They give the impression that the object is on some surface.
• T Eni at the point of contact- the darkest area of ​​the falling shadow, lying next to the object. They are responsible for the “stability” and mass of the object. These shadows are also called the accent - the darkest area among the dark tones. An accent is the dark counterpart of a highlight, the lightest area among the highlights.

To paint a shadow, apply black paint or paint of a darker color than the base color. And in the second step, cover this darkened area with the main color. The halftone black should show through under the new coat of paint, creating colored shadow. If you want to make the shadow darker, apply more black from the clear edge of the shadow and mix with the color in the midtone.

Shadow using a cylinder as an example. Illustration from the book

9. How to apply highlights

To create a realistic highlight, use a dry brush with white paint to paint the lightest area on the subject as many times as necessary to achieve sufficient brightness. In the middle of the highlight, place a small dab of thick paint for extra brightness.

Two examples of highlight overlay. Illustration from the book

10. Paint pictures in your imagination

While going about your daily activities, paint pictures in your imagination. Mentally look for correspondence between the surfaces and textures you see around you and the way you work with a brush and apply paint.

If there are several publications on a particular issue, you need to familiarize yourself with all publications in order to understand how the point of view on the issue under study has changed.

Collection and processing factual material(sketches, sketches, sketches and compositional searches)

Collection of factual material is a crucial stage in preparing the practical part of the course work. Its quality largely depends on how qualified and complete the factual material is selected.

subject training disciplines are sketches, sketches, sketches, compositional searches for plastic forms, decorative panels, samples of execution techniques, source images for computer graphics, reproductions of works of art.

Factual material for course work on general professional disciplines– this is data experimental research based on the results of practical activities at school.

Collection and processing of natural material (sketches, sketches and sketches), compositional searches are a labor-intensive stage in the course work. In order to speed up the processing and systematization of material and the successful completion of work, students are given the right and opportunity to use educational, scientific laboratories and workshops, library and reading room funds.

Preparation for defense and defense of course work

Completed and properly formatted coursework is submitted to the supervisor no later than two weeks before the defense at the department. The work supervisor checks the work, signs it and presents it to the head of the department. Based on the submitted documents, the head of the department decides on the admission of the work to defense. Permission for admission is issued on the title page of the course work and signed by the head of the department. If the head of the department does not consider it possible to admit the student to the defense, the issue is resolved at a meeting of the department with the participation of the head and the author of the work.

In this case, the decision on admission to defense is made by the head of the department based on the decision of the members of the department.

The work accepted for defense is returned to the student to correct comments and prepare abstracts for defense.

Defense of course work is held at an open meeting of the department, in which scientific supervisors of the work, faculty teachers, students, etc. participate. All those present can ask the defender questions about the content of the work and participate in its discussion.

No more than 20 works are submitted for defense at one meeting. No more than 15 minutes are allotted for the defense of one work, including 5-7 minutes for the student’s report.

The graduate's report (1-1.5 pages) contains:

Work theme;

Goal of the work;

The relevance of the topic being studied, its rationale;

Characteristics of the volume and structure of work;

Sequence of performing the practical part;

Conclusion.

The report is presented freely and clearly; the student does not read the text, but logically presents his observations and conclusions.

The student’s answers to the questions of those present, their completeness and depth influence the assessment of the course work.

After the author of the work speaks and answers the questions, the leader speaks with his feedback. After discussing the work, the student is given the opportunity to respond to comments made. Course work is assessed on a four-point system: “excellent”, “good”, “satisfactory”, “unsatisfactory”. In doing so, members of the department are guided by the following criteria:

Professionalism of skills and abilities in performing the practical part;

Defense of the work: the student must show how deeply he has comprehended the topic, the ability to navigate scientific problems related to the topic of work: the student must demonstrate the ability to briefly and clearly express his thoughts, give comprehensive answers to questions, logically and correctly conduct scientific debate;

Design of work: compliance with the design rules recommended by these regulations, spelling, punctuation and stylistic literacy; correct bibliographic design.

The student needs to know that the grade consists of many indicators; the decisive indicator is the defense itself. Discussion of the results of the defense of each work is held at a closed meeting of members of the department. The decision on evaluation is made by a majority vote, the voice of the head of the department is counted as 2 votes. The results of defending coursework are announced on the same day after approval of the defense protocol by the head of the department.

In case of an “unsatisfactory” grade, the student has the right to defend the work again within the next semester after making additions, corrections, and revisions, but no more than once.

The general results of defending coursework are necessarily discussed at the department. Based on the results of the defense, the department can recommend individual works for publication in collections of student scientific works.

The theoretical part of the course work is kept for 2 years from the date of defense in the methodological office of the faculty, where it can be used (on a common basis with educational and scientific literature) by students, teachers, teachers, etc. The practical part is stored in the exhibition fund and is used for exhibitions and how Toolkit in class.

Withdrawal of materials, changes, additions to coursework not allowed. If necessary, the author of the work has the right to make copies of materials available in the work.

1. If you have experience in pencil, you can safely start learning to paint;
2. If you have zero experience, then first we recommend that you take a Basic course at a painting school for adults. After completing this course, it will be much easier for you to practice painting;
3. If you have serious experience in drawing with pencil and paints, you can begin, under the guidance of an experienced teacher, to create your own portrait, copy masters, or develop your own ideas.

Painting works

Natalya Kudryavtseva 3 months of training (oil);	Nastya Khokhlova 3 months of training (pastel)	5 months training (oil)	Nastya Trosnova about 6 months of training (pastel)

Elya Grudina (12 years old) 6 months training (oil)	Katya Popova (16 years old) 8 months training (oil)	Tanya Nigai (24 years old) 7 months training (oil)

Elena Orlova about 2 years of training (watercolor)	Valya Shvets (27 years old) 4 months of training (pastel)	Valya Shvets (27 years old) 8 months of training (pastel)

Graphic arts

The individual approach used in the Art-Idea studio assumes that the teacher works with you based on your goals and needs. In this regard, you can improve in any drawing technique that interests you, be it thin and transparent watercolor or a more pasty technique oil painting. Also at the painting school for adults you can get acquainted with the most delicate pastel technique, glossy gouache technique, matte tempera or dry brush technique.

At the Art-Idea school, adults and children can study painting.

School of painting

Works done with a palette knife

Coming to painting school, we usually assume that we will be drawing on a piece of paper and using a brush! This is our usual idea. Interesting fact: The Italian school of painting does not recommend the use of brushes for a beginning artist. At first, they learn to depict something in general and only with a palette knife. The brush diverts attention towards little things that are not yet needed at an early stage of learning.

Learning colors is a lot of fun! You've probably heard that different colors have different effects on people. So red color can excite, and blue calms, yellow brings joy, and green brings harmony. In life modern man Often there is a lack of pure bright colors, hence the depressed mood and despondency. Painting training in this sense, it is healing for most people, adding vibration and harmony to their lives of those colors that they are missing! There is even such a direction - art therapy, where people are treated with the help of color. Thus, painting often harmonizes not only the soul, but also the human body!

Painting training passes into Studios No. 1(m. sq. Vosstaniya) or Studios No. 2(metro Prosveshcheniya Ave. or metro Grazhdansky Ave.)

Hot enamel(from French email) - an enamel technique in which a pasty mass colored with metal oxides is applied to a specially treated surface and fired, resulting in the appearance of a glassy colored layer.

There are several types of enamels depending on the technique of its production:

• Miniature on enamel, enamel- an artistic enameling technique that uses the technique of brush easel painting. The first registration of the image is carried out on a white enamel background of a copper base plate. After underpainting, the plate is dried, fired in a muffle furnace at 800 degrees and painted again. To obtain maximum color sophistication and detail of the design, the enamel artist repeats this process many times.
• Painted (picturesque) enamel- on the front side, the outline of the image and its details are written using rich-colored enamel paint. Since the enamel is applied in fragments, firing is done 10-15 times, taking into account different levels melting temperatures of the enamels used.
• Cloisonne enamel- to make it, a thin metal plate is taken, on which the outline of the future image is cut through. Then thin metal strips are soldered along this contour, obtaining an image from cells of various shapes and sizes. Each cell is filled with enamel of a different color to the upper edge of the partitions and the enamel is fired.
• Enamel on filigree (filigree)- solder vegetable or geometric ornament made of intertwined metal wire that forms cells. Each cell is filled to the brim with enamel of a different color, which, after firing, settles and appears below the filigree ornament. As a result, filigree enamel is not polished.
• Champlevé enamel- a plot or ornamental image is deeply cut out (taken out) on a metal plate. The resulting depressions are filled with transparent or opaque enamel and the enamel is fired. In the champlevé enamel technique, several techniques are known to achieve an artistic effect.
• Engraving enamel is a type of champlevé enamel technique.
• Guilloche enamel- a type of enamel engraving technique. Engraving is done mechanically using a special machine. In the guilloche enamel technique, exclusively transparent enamels of the widest range of colors are used.
• Casting enamel- the image is obtained by casting it together with a metal base plate. Then the recess on the plate is filled with enamel.
• Relief enamel- a technique used for artistic enameling in high relief, when the enamel coating follows the shape of a metal relief image, acting as a glaze.

1) Selecting a topic:

in its diploma work I turned to one of the types visual arts- painting. The theme of the work was landscape. It is appropriate to quote the statement of the famous Russian landscape artist I.I. Shishkina: “The painting must be a complete illusion, and this cannot be achieved without a comprehensive study of the selected motifs to which the artist feels the greatest attraction, which remain in his childhood memories, that is, the landscape must be not only national, but also local.” (Abeldyaeva I.G. School of Fine Arts. Issue 5. - M., 1962).

The criterion for choosing the topic was my personal attitude towards the local seascape. The desire to convey in the picture a sunny state, the view of Tsemes Bay familiar from childhood, complemented by modern buildings of the seaport.

2) Collection of material:

a painting is a creation complete image nature is an artistic generalization, the transformation of nature with the help of the artist’s imagination. It is impossible to transform picturesquely what you have no idea about. Therefore, the creation of a landscape is always preceded by long work on sketches from life. “You should look at nature simply, carefully, trying to understand its general impression, and from there go to the details...” (Masters of Soviet Art on Landscape, 1965).

To complete the work, preparatory material was collected. These are sketches, pencil sketches, pictorial short-term and long-term studies made from life.

(Appendix A, Fig. A1-A6). The main advantages of a landscape sketch are the transfer of a certain state of illumination of nature, the influence of the air environment and significant space. The sketches were made in different time year, different times of day.

3) compositional and coloristic solution:

The compositional integrity of a pictorial sketch depends on the relationship between the main and the secondary, on linking the entire image into a single work. When identifying the compositional center, the artist has to consciously generalize the details, weaken the tone and color strength of objects moving away from the compositional center, and subordinate all tonal and color relationships to the main thing.

4) cardboard (preparatory drawing):

Having clarified the idea in sketches and sketches, having found a linear and color composition, you need to start drawing the entire composition on cardboard or paper (Appendix A, Fig. A7). The cardboard is made to life size using pencil and charcoal. In it, the compositional solution, the nature of the shape and proportions of objects, the tasks of aerial and linear perspective, the layout of the landscape is determined, the compositional center is worked out. After this, the drawing from the cardboard (through tracing paper or with gunpowder) is transferred to the canvas.

5) Canvas painting:

After compositional searches and making cardboard, you can begin painting on canvas, starting with underpainting, clarifying tonal and color relationships, laying shadows, working out details. Next comes the generalization and completion of the work (Appendix A, Fig. A8-A14).