Amazing sun: This sun has a hundred windows, From those windows look out Hundreds of little jackdaws.
We begin the image of a sunflower flower from the core: draw a large yellow circle.
Sunflower petals are quite thin and have an elongated shape. To prevent them from falling over, we begin to depict the top, bottom, right and left.
The world around us is multicolored. Therefore, you can add a little red to the first petals, which will give them an orange tint.
Mix a little green paint into the yellow petals.
Between the orange and light green petals we add more yellow ones.
A sunflower flower rests on a thick, massive green stem, with wide leaves spread out to the sides.
To “harmonize” with the flower, add a little yellow paint to the green leaves.
Decorate the dried center of the flower with seeds. They begin to ripen first at the edges of the seed circle, and then in the middle. Accordingly, the black dots along the edge are ripened seeds, the white ones are not yet ripened.
Using light “jumping” movements around the flower, stem and leaves, apply white paint, adding blue to it. The background made in this way turns out to be alive and dynamic.
We draw the veins on the leaves - our sunflower is ready!
Long thin stem. Above is a scarlet light. And it burns like a beacon, This bright red poppy!
Poppy box full of seeds.
Poppy flowers are large, despite the fact that they only have four petals. We begin work by placing a red dot anywhere on a sheet of paper - the middle of the future flower. Then we draw heart-shaped petals in red or crimson. Carefully paint them over.
We must remember that the world around us is colorful. Therefore, you can add a little yellow paint to the outer part of the petals. Now the petals of our poppy will begin to shimmer.
Compared to the poppy flower, the stems appear very fragile. The stems can bend under the “weight” of the flower cups. On one of the stems you can add a poppy box in which the seeds ripen.
Now we can complement our work with leaves, which have a bizarre shape on poppy seeds - they are uneven, carved, and fluffy.
Interestingly, the stems and leaves of the poppy have a somewhat whitish tint, so we add a little white paint to them.
Draw black hearts.
Draw dark veins. You can add dark green color to the centers of open poppies. This is the future box of poppy seeds.
You can add dark green color to the centers of open poppies. These are future poppy seed pods. Add a dark whisk on the green box.
Poppy is a steppe plant that loves space. Therefore, the background should depict a blue sky. For this we use white and blue paints.
White basket, golden bottom. There is a dewdrop in it and the sun is shining.
Sisters are standing in the field: Yellow eyes, white eyelashes.
White daisies will look better on a black background, which can be done in ink after drawing a frame on a sheet of paper.
We plan the location of future flowers.
Using thick white paint on a dry background, paint the petals. One stroke - one petal. The direction from the edge of the petal is towards the white point.
Using green, lightly paint the stems to the flower heads. Please note that the stems are “not the main thing” in our work; they can hide behind the flower heads. Add narrow leaves.
When the daisy flowers dry, you can safely add yellow centers with an ocher or brown edge of dots.
Add a little yellow to the leaves and make blue veins on the flower petals. The daisies are ready!
On the hillock near the stumps there are many thin stems. Each thin stem holds a red light.
Strawberry flowers.
Strawberry.
We perform the background similarly to the previous work.
In red we depict oblong strawberries in random order.
Add stems without leaves.
Of particular interest to strawberries are their leaves - tripartite with ribbed edges. First, we outline them with a light outline and draw a central vein. Then, using strokes from the outer edge to the central vein, fill the leaves with color, creating a ribbed edge. Remember that strawberries have small green “crowns”.
On strawberries, the grains are located on the outside of the fruit, we depict them with yellow dots.
Then we add yellow veins on the leaves.
It is interesting that strawberry bushes bloom and bear fruit at the same time. Therefore, we can decorate our work with a flower: around the white dot we depict five round white petals and a yellow center. Don't forget the blue veins on the flower. The colorful decorative strawberry bush is ready.
introduces children to the stages of drawing dandelion, chamomile, mimosa, tulip, cornflower.
Download -
Explanatory note.
The presentation can be used in art classes or in extracurricular activities. You can use the resource when preparing drawings for Mother's Day or March 8th.
1 slide – title.
Slide 2 – a clip to the music of P. I. Tchaikovsky “Waltz of the Flowers” to motivate children to work.
Slide 3 – select the flower that we will draw, hyperlinks are set to pictures.
Slide 4 – poem “Dandelion” by O. Vysotskaya.
Slide 5 – stages of drawing a dandelion.
Slide 6 – fragment of the cartoon “On the Road with the Clouds” (a hedgehog and a bear cub collect daisies for a hare).
Slide 7 – stages of drawing a daisy.
Slide 8 – riddle about cornflower.
Slide 9 – stages of drawing a cornflower.
Slide 10 – riddle about mimosa (to check the answer, click on the emoticon).
Slide 11 – stages of drawing a mimosa.
Slide 12 – riddle about a tulip (click on the letters in order, collect the word).
Slide 13 – stages of drawing a tulip.
Slide 14-15 – resources used.
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From this presentation, you will learn about the techniques, methods and techniques of working with gouache, but also get acquainted with the works of contemporary artists. You can also take a master class from artist Michael Sanders on landscape painting. And now a little history of paint. Gouache (French Gouache, Italian guazzo water paint, splash) is a type of watercolor paint, denser and more matte than regular watercolor. French Italian watercolor The term originally arose in the 18th century in France, although the technique for creating this paint was much older than it was used. already in the 16th century in Europe. 18th century France 16th century Europe
AND HISTORY OF PAINT Book miniatures were made with gouache in the Middle Ages. During the Renaissance, artists used the gouache technique for sketches, cardboards and other preparatory works, as well as for portrait miniatures. The Middle Ages, the Renaissance era of sketches of cardboard portrait miniatures In Russia, artists of the World of Art association painted large easel works in gouache, sketches of theatrical scenery, costumes, posters, using its decorative qualities. World of art
This paint also looks great on tinted paper. Vincent Van GoghVincent Van Gogh. Corridor in Asulum (black chalk and gouache on pink paper) Gouache was used by famous old masters - Rubens, Van Dyck, Durer. Rubens Peter Paul ()
To do this, we paint the sheet thickly with gouache, and you can use mixed approximate colors. It will be even more beautiful this way. Then we put plastic film on the wet gouache and form folds. The film should be left on the sheet for about ten minutes; if you remove it immediately, the paint will spread again and the effect will be lost.
TECHNIQUES FOR WORKING WITH GOUACHA All the techniques discussed below are perfectly applicable to gouache. It is best to master each of these techniques on a piece of scrap paper and only then apply it to your painting. Experiment with each technique, trying different paint consistency and different brushes and tools - this is the only way you can learn how to use them most effectively.
WET ON WET This technique is familiar to anyone who has worked with watercolors, and is often used when you need to depict clouds or a background covered in foggy haze. Working wet-on-wet, you should dilute the paint a little more than usual, apply it to the paper and quickly add thinned paint of a different color on top.
IN THE DRY IN THE DRY This technique is good when you need to paint a figure with clear outlines and not washed out color. At the same time, individual brush strokes remain visible in the picture. This is one of the classic techniques for working with gouache, and with its help you can achieve truly amazing results. Multi-colored, clearly shaped paint strokes applied next to or on top of each other look especially impressive. Since gouache is opaque, you can apply light paint over dark paint, and vice versa.
MASKING Masking can create amazing effects, especially on watercolor paper. This method consists of pre-coating areas of the composition that should remain white with a layer of masking liquid. After the masking liquid dries, it forms a thin, moisture-proof film over which you can safely paint with gouache paints. When the paint dries, it is wiped off with a finger along with a film of masking fluid, after which clear white outlines appear on a sheet of paper.
ABOUT LIGHTENING This technique is based on the specific properties of paints, most of which can be lightened by blotting the paint applied to the base with a damp cloth, after which the paint will turn pale. Using the same method, paint can be completely removed from the painting. With a cloth soaked in paint, you can also create shapes on a sheet of paper using templates. For example, you can use a paper template to draw foliage. Cut out a negative silhouette of a leaf in a piece of paper, place the template on the base and carefully draw a cloth soaked in paint over the top.
GUBKA Texture plays an important role in any picture, especially the texture of the foreground. A mottled texture is often created using a natural sponge dipped in one or more paints. This can be especially successful at simulating rough ground, thick grass or foliage. In addition to a sponge, texture can also be created with a strip of corrugated paper or cardboard folded several times, and very unusual and unexpected effects arise.
WITH GRAFFITO The essence of this technique is to scratch the wet paint with a sharpened stick or the tip of a knife to expose the underlying layer of paint. When working with gouache, you must complete the sgraffito as quickly as possible - within literally a few seconds after applying the top layer of paint, since gouache, unlike oil paints, dries almost instantly. Using the sgraffito technique, you can create very beautiful unusual textures that look best in the foreground of the picture.
HIGHLIGHTS This technique is related to the sgraffito technique. It also uses pointed tools to remove wet paint from the base. The resulting depressions are subsequently filled with paint of a different color. This technique is especially useful for depicting veins on large-scale leaves, adding twigs and knots to a tree, and for applying ripples to the surface of water. Remember that gouache dries very quickly, so prepare everything you need in advance before you start applying a layer of base paint.
SPLASHING Using this technique you can paint pebbles on the road, river pebbles, leaves and the like. It is best to spray gouache using a small paint brush (preferably a new one and designed to work only with gouache, but not with drying oil or water-based paints). Load your brush well with paint, pull the bristles back (away from the painting), and then quickly release them. The bristles will rush forward and a whole cloud of small droplets of paint will fly off them. In order not to splatter the entire painting, make a paper mask cut from a newspaper or an unnecessary sheet of paper and cover the part of the painting that should not be splattered.
And even pencils. The methods and techniques for working with gouache presented in the presentation are not definitively established options in practice. Experiment and you will find your own unique style! Experiment with paper of different textures, other drawing materials, and tools. And perhaps your name will go down in the history of fine art. I wish you creative success!
Master Class. Scenery. This is a very simple landscape in which you can easily learn the basic techniques of using gouache. You will need: A sheet of cream or yellow cardboard measuring 420 x 295 mm. Pencil 2B. Paints: blue, lemon yellow, crimson, burnt sienna and white. Hake brush 2.5 cm, round brushes b and 12, small paint brush. Paper towel. 1. Make a pencil sketch of the plot on cardboard.
2. Paint the sky using a hake brush and a mixture of white with a drop of blue paint and a drop of burnt sienna, which will give a slight gray tint. Add a little more blue paint to the mixture, a drop of crimson and paint the hills in the background with this paint. 3. Add lemon yellow and blue to the white paint, plus a touch of burnt sienna, and apply a thin layer of this gray-green paint to the rest of the painting.
4. Mix the same colors into green paint for the foreground fields, but this time make the mixture darker and warmer by increasing the amount of burnt sienna in it. Paint the foreground of the painting, then add a few diagonal burnt sienna strokes with the angle of the hake brush to the slopes that run along the path. 5. Mix lemon yellow paint with blue paint and burnt sienna, add a drop of white and paint the dark green hedge that runs behind the house. Note Be sure to wash your brushes regularly to avoid ruining the new mixture with old paint residue. Change the water as often as possible!
6. To paint the path, mix warm gray paint from burnt sienna, blue paint and white. Apply the paint in loose, uneven strokes with a hake angle of the brush, allowing the underlying layer of paint to show through between the individual strokes. As the path moves deeper into the space of the painting, gradually add white and blue paint to the mixture, which will help you create an airy perspective. Paint the upper part of the stone wall illuminated by the sun and the right side of the house remaining in the shadow with the same paint.
7. Paint the dark part of the stone wall with a mixture of burnt sienna with blue paint and a drop of crimson, but without white. In some places, between the dark strokes, the lower layer of light paint should shine through, forming an uneven masonry pattern. As you move to the right, add more blue paint to the mixture so that the stone wall appears to recede into the distance. When approaching the house itself, add a little white to the mixture to lighten the paint tone. 8. Mix lemon yellow paint, burnt sienna and white to create a pale brownish yellow color. Cover the right, sunlit slope of the path with this paint. In this case, the paint should be diluted so thinly that it becomes translucent. Use the same mixture to add texture to the top of the slope and the front bottom edge of the painting. In this case, the texture is created using an almost dry brush, which you must brush over the desired areas of the picture.
9. Take a hake brush in your hands and fan out its bristles as shown in the photo. Use the brush positioned this way to paint the grass growing along the stone wall. This should be done with a mixture of lemon yellow paint with a drop of blue paint and whitewash. 10. Mix lemon yellow paint, blue paint and white and brush over the margins to add variety to the color. The direction of the brush strokes should coincide with the direction of the natural slopes of the earth. Switch to brush 12 and paint a shadow on the left side of the path with a dark gray mixture of blue, burnt sienna and white. Add some more blue paint to the mixture and paint the shadow lying under the stone wall.
11. Paint the far wall and boulders in the wasteland with blue-gray paint using broken lines. Use the same paint to paint a few rocks on the main wall and then paint the shaded side of the roof. Add burnt umber to give the mixture a brownish tint, and paint the stones on the path and the shadows of the boulders lying closer to the foreground.
12. Mix white with a dash of burnt sienna to give the white paint a warm tint, take brush 6 and paint the illuminated side of the cottage while recreating its exact outline. Draw the slots in the gate and the light falling on the roof of the extension. Write the barn to the left of the house. Mix crimson, lemon yellow paint and whitewash and paint the roof with this rusty color, and then the pillars rising above the fence with the same paint. The pillars should be slightly turned inward, then they will lead the viewer’s gaze into the depths of the space of the picture. Draw individual sections of wire hanging on posts above the fence. Still using the same brush and dark gray paint, paint the window openings on the shaded side of the house.
13. Mix orange paint from lemon yellow paint, crimson and white. Using paper napkins, mask the painting so that only the left side of the path in the foreground is clear. Take a paint brush and spray paint onto the selected area. Finished painting. In the final stage of the work, I used whitewash and a drop of burnt sienna to add highlights on the pillars and the left side of the masonry wall. In addition, the artist applied highlights to the left side of the boulders lying in the foreground and to the path. Go to the main presentation page
dandelion
Drops of the sun appeared early in the clearing. This is a dandelion dressed up in a yellow sundress!
A ball grew on a green fragile leg near the path. The breeze rustled and scattered the white ball.
Using light movements, cover a sheet of paper with yellow, adding green to it.
At the bottom of the leaf, we “plant” a dandelion seed in green so that there is space left for the root and stems with flowers.
The stems do not appear all at once, but one by one. Therefore, one will be the longest, the other will be very small, and the third will be medium. Remember that all stems originate from a “seed”.
We depict the selected direction of the leaves in green, then add a carved edge.
You can add a little blue paint to the green color.
Using yellow color, apply strokes with light movements directed towards the stem. The more strokes, the “fluffier” our flower will be.
While the yellow paint has not dried, quickly paint another row of petals with ocher or orange paint.
Using light movements of the brush, we depict a white fluffy ball.
The background shows through the white paint, which makes the dandelion more alive. We draw the sepals of two yellow-orange flowers.
Add a couple of funny ladybugs and place the work in a frame.
Rye is earing in the field. There you will find a flower in the rye. Bright blue and fluffy, but it’s a pity that it’s not fragrant.
Pay attention to the characteristic shape of the cornflower petals.
We start working with a white background, adding a little green. Pay attention to the shift of the shade of green from dark to light.
On a dried background we outline the centers of future flowers, “scattering” them throughout the “field”. Using a medium brush, we outline the triangle of the future petal, and with light strokes towards the center of the flower we fill it with color, depicting the characteristic teeth.
Using light movements using green, add thin, slightly curved stems of cornflowers, using strokes to alternately plant small leaves.
We paint the middle of the flower with a thin brush in dark blue or black. Then add some “sunny” yellow paint to the leaves.
Using a thin brush with yellow paint, we paint the stalks of the ears, then using the “dipping” technique we depict ripe grains, combining yellow paint with orange. Add a contrasting white color to the centers of the flowers.
The “antennae” of the ears and thin dry leaves are painted brown. Our elegant summer bouquet is ready!
bell
My bells, steppe flowers! Why are you looking at me, Dark blue ones? And what are you ringing about on the merry day of May, shaking your head among the unmown grass?
With light movements, cover a sheet of paper with white, adding a little red to it. This way we get a delicate white and pink background.
The stems of the bell are very thin and airy, although they hold many flowers. Using a thin brush, lightly make the first stem - the longest. Please note that its tip is down. A bell will soon appear on it. Then we make medium and short stems.
To give the design a sense of morning fog, add white paint to the stems.
There are many colors of bells; they can be blue, purple, light blue, pink or white. Decide which bells you like best and use blue or purple paint. We begin to paint the bell flowers so that one brush stroke represents one petal. Bells easily hang their heads to the right or left.
Add a little white paint to the flowers.
Using green paint we depict narrow leaves.
Add some white paint to the leaves again.
Add the yellow stamens visible from the calyxes of the flowers.
We finish drawing the small graceful sepals - and our bouquet of bells is ready!
"Bouquet of flowers"
The meaning of flowers. What flowers to give...
Giving each other flowers for the holidays , or simply showing signs of attention with the help of flowers - these customs have long entered our lives. This is certainly a beautiful tradition that so delights and excites our feelings.
Particular attention is paid to: what kind of give flowers girlfriend, friend, mother, employee, grandmother, wife, as well as a loved one to whom you want to show a huge sign of attention.
It's hard enough choose a flower by appearance, character and generally according to my mood.
Pink colour - symbolizing youth and modesty, red carries passion and great love.
Blue flowers , their color evokes melancholy, loyalty and is given as a gift when sending a guy off to the army. The color has a cool tone, in its own way, which brings extravagance to life.
Yellow , in some cases, this means betrayal and separation. But people have moved away from what the yellow color means. If you like yellow , also symbolizing the sun and wealth - then give yours to your loved ones boldly, without believing in the meaning of the flower.
Flower meaning different types and different characters, it all also depends on the mood and attitude towards the person.
Children are given small and delicate flowers of colorful tones, collected in elegant bouquets.
Avoid giving gifts to older women dark and quickly fading flowers.
It is not customary to give a young girl bright red, juicy flowers.
Men are given long flowers with a certain intensity of shapes and outlines, lines. What flowers to give to a girl, friend, mother, employee, grandmother, wife, etc. The meaning of individual flowers will help you, in which you will read what suits your loved ones in spirit and temperament, causes pleasant moments and joyful exclamations about the upcoming holiday. And also do not forget to present flowers of life for no reason, but just like that - saying that you love them very much.
Red color associated with the color of life, love, (from here rose- symbol of love, carnation- passion flower), as well as the color of blood, symbol anger and revenge (the color of war and revolution).
White color - symbol purity and innocence ( lily);
Black- a symbol of sadness, mourning ;
Yellow- prosperity, wealth (chrysanthemum, rose);
Green- symbol of hope;
Blue color- symbol gods ;
Blue- a symbol of fidelity (forget-me-nots, violets).
