Graphic drawing technique. Types of graphics

Graphics as an art form

Concept of graphics

Graphic arts(from the Greek grapho - write, from the French - to cut on something) - one of the oldest forms of art, including drawing, which, on the one hand, can be an integral part of graphics, on the other, act as an independent work. Drawing constitutes the initial stage of work on works of plastic art. Graphics, more than other types of fine art, are closer to writing, drawing, and symbols, since its important graphic means is the very plane of a white sheet of paper with lines, dots, strokes and spots applied to it.

Graphics are close to painting, but if in painting color - the main means of artistic expression - appears in an inextricable connection with a line, which is not always distinct, can be muted, obscured by chiaroscuro, and is sometimes barely discernible, then in graphics the line serves as the leading means of expression.

Graphics is one of the most common types of art. On the one hand, graphic works seem simple and concise when perceived, on the other hand, creating a graphic image is extremely difficult, since on a sheet of paper the artist needs to convey the shape of an object, create the illusion of volume, reflect the light flux, or, conversely, generalize the form so that it becomes possible create an impression. And all this must be done using simple means accessible to everyone.

Difficulties in understanding some details that arise during the conversation are easily eliminated with the help of elementary drawings. With a pencil you can not only depict a familiar object, but also convey the range of a person’s feelings.

Unlike painting, in graphics the subject is more schematized, rationalized and constructed. A characteristic feature is convention (a graphic image can be made on almost any plane, on any background).

If it is better to look at paintings from afar, so that the strokes become indistinguishable, merging into a natural harmony, similar to the harmony of nature, then we look at graphic works close up and see conventional strokes, zigzags, lines, i.e., the “technique” of drawing, which does not affect the perception of the image affects.

Types of graphics

The variety of types of graphics is not as great as in design or decorative and applied arts, but many of its types are closely related to painting.

By nature of execution graphics are divided into the following types:

- manual- all graphic works made by hand and in one copy;

- printed is performed thanks to a cliché that leaves an imprint on the surface. It is carried out in several copies, i.e. it can be replicated. It has its own varieties: printmaking, woodcut, etching, lithography, linocut.

By technique graphics are divided according to materials:

- pencil- graphics are done with simple and colored pencils on a sheet of paper or cardboard. There are two styles of working with graphite pencil: line-line and tonal-painting. Work with colored pencils is carried out, like with a graphite pencil, using a contour line and a stroke, which must be combined with the color;

- coal It has a large tonal range, is easy to erase, easy to use, and is well suited for sketching and quick sketches. Rough grained paper is used, on which the charcoal leaves a beautiful textured mark;

- sanguine consists of a clayey substance colored by anhydrous iron oxide, as a result of which it has an intense red-brown mark. You can work with it in two manners: pencil and painting, as well as combining them. In the first case, the sanguine chalk is used as a pencil, modeling shapes with a stroke, line, side surface of the chalk or shading. This method is acceptable in children's visual arts, since it gives children the opportunity to draw using various technical techniques. In the painting method, powdered sanguine is diluted with water, and then all the necessary planes are filled with a brush;

- sauce As a material, the design is deep in tone, with a pleasant velvety surface, and has a wide tonal range. Most often used wet, this allows you to more fully reveal its qualities and rich capabilities. Before you start drawing with wet sauce, you need to select the appropriate paper. It should not be coarse-grained, but dense enough to withstand repeated washing with water and the use of gum. First, the future image is easily drawn on a sheet of paper with a pencil. Then, having diluted the sauce in water, large planes are laid with appropriate brushes, trying to take the tonal relationships as accurately as possible. The sauce, as it dries, seems to fix itself, but at the same time remains deep and pleasant in tone. Drawings with sauce can be easily corrected or weakened in areas that are overloaded with tone using a soft eraser. The final finishing of the details requires the use of small watercolor brushes, charcoal pencil, etc.;

- pastel- the most beautiful of soft materials. Shades of color are selected directly on paper or mixed by rubbing. In addition, each color in the set has several differences in lightness and saturation - from a dense, saturated tone to a light, slightly saturated tone. For pastels, it is preferable to use rough or grainy paper or cardboard. It is very good to use colored paper, the color of which is used as the main tone;

- grisaille- a technique of drawing with a brush on paper, when large masses and planes are laid out in tone. Allows you to create designs that are particularly delicate. Drawing with a brush has two artistic functions: a preparatory drawing for painting and an independent drawing. Many artists prefer to make a preparatory drawing for their paintings directly on canvas or paper with the same paint that will be used for the work. This method has a number of advantages. Firstly, dissimilar, often incompatible materials (for example, paints and graphite pencil) are not mixed; secondly, drawing with a brush disciplines the eye and hand, reinforcing the skill of working with a contour line, and at the same time forces you to think about the future composition in advance. And finally, the paint contour organically blends with the overall color spot, and can also be used as a decorative element of the composition. It is not painted over: this gives the drawing life.

Brush drawing as an independent type of graphics has a long history. The essence of grisaille is that light and shadow effects are achieved by repeated overlapping (glazing) with a solution of some neutral paint (black, brown, etc.). Painting with a brush is done with watercolor brushes of different sizes: large ones are used for fills, small ones are used to draw details. To work in this technique, various liquid materials are used: ink, watercolor, sepia, etc. Depending on the technical techniques, paper is selected. Thick, fine-grained paper that can withstand repeated overlaps is suitable for grisaille. For sketches, drafts, and etudes, lower quality types of paper are used, often lightly tinted, yellowish, ocher, and bluish in shades.

According to its meaning The graphics have the following types:

- easel graphics, her works are very reminiscent of paintings, since they convey volume, perspective, and light and shadow modeling. The value of easel graphics lies in the fact that these works are unique and unique;

- book- used in the design of books and book products, development of book layouts, illustrations, etc.;

- applied- associated with the production of printed products (postcards, stamps, labels, packaging, etc.);

- poster- involves the creation of posters, posters, billboards.

According to artistic and figurative structure The following types of graphics can be distinguished:

- realistic, her works plausibly reflect the surrounding reality;

- decorative, or stylized, involves a generalization of the form of objects, phenomena, which excludes naturalism, but allows for similarity with real objects;

- abstract is opposite in figurative structure to the realistic one, its goal is to reveal the inner content of the image, its artistic and emotional side.

All types of graphics are revealed in their genres. It, like painting, is multi-genre, i.e. All genres used in painting are also implemented in graphics.

Types of graphics are classified according to the method of creating the image, its purpose, and as a manifestation of mass culture.

According to the method of creating the image, the graphics can be printed(circulation) and unique.

Printed graphics and their types

Printed graphics are created using copyrighted printed forms. Printed graphics make it possible to distribute graphic works in numerous equivalent copies.
Previously, printed graphics (prints) were used for repeated reproduction (illustrations, reproductions of paintings, posters, etc.), because in fact, it was the only way to mass-produce images.
Currently, duplicating technology has developed, so printed graphics have become an independent art form.

Types of printed graphics

Print

A print (French Estampe) is an impression on paper from a printing plate (matrix). Original prints are considered to be those made by the artist himself or with his participation.
The print has been known in Europe since the 15th century. At first, printmaking was not an independent branch of fine art, but only a technical method of reproducing images.

Types of printmaking

Types of printmaking differ in the way the printing form is created and the printing method. Thus, there are 4 main printmaking techniques.

Letterpress: wood engraving; linocut; engraving on cardboard.

Woodcut

Woodcut is an engraving on wood or a print on paper made from such an engraving. Woodcut is the oldest wood engraving technique. It originated and became widespread in the countries of the Far East (VI-VIII centuries). The first examples of Western European engraving made using this technique appeared at the turn of the 14th-15th centuries.
The masters of woodblock printing were Hokusai, A. Dürer, A. Ostroumova-Lebedeva, V. Favorsky, G. Epifanov, Y. Gnezdovsky, V. Mate and many others. other.

Ya. Gnezdovsky. Christmas card

Linocut

Linocut is a method of engraving on linoleum. This method arose at the turn of the 19th and 20th centuries. with the invention of linoleum. Linoleum is a good material for large prints. For engraving, linoleum with a thickness of 2.5 to 5 mm is used. The tools for linocut are the same as for longitudinal engraving: corner and longitudinal chisels, as well as a knife for precise cutting of small parts. In Russia, the first to use this technique was Vasily Mate’s student N. Sheverdyaev. Subsequently, this technique was used for the production of easel engravings and especially in book illustration by Elizaveta Kruglikova, Boris Kustodiev, Vadim Falileev, Vladimir Favorsky, Alexander Deineka, Konstantin Kostenko, Lidiya Ilyina and others.

B. Kustodiev “Portrait of a Lady”. Linocut
Abroad, Henri Matisse, Pablo Picasso, France Maserel, German Expressionists, and American artists worked in the linocut technique.
Among contemporary artists, linocut is actively used by Georg Baselitz, Stanley Donwood, and Bill Fike.
Both black and white and color linocuts are used.

R. Guseva. Colored linocut. Still life "Fried egg"

Engraving on cardboard

A type of print. A technologically simple type of engraving, it is used even in fine arts lessons.
But in the twentieth century. Some significant graphic artists have used cardboard engraving in their professional practice. A relief print for printing is made using an applique made up of individual cardboard elements. The thickness of the cardboard must be at least 2 mm.

Engraving on cardboard

Intaglio printing: etching techniques (needle etching, aquatint, lavis, dotted line, pencil style, dry point; soft varnish; mezzotint, engraving).

Etching

Etching is a type of engraving on metal, a technique that makes it possible to obtain impressions from printing plates (“boards”), in the process of creating an image on which the surface is etched with acids. The etching has been known since the beginning of the 16th century. Albrecht Durer, Jacques Callot, Rembrandt and many other artists worked in the etching technique.

Rembrandt "The Preaching of Christ" (1648). Etching, drypoint, burin

Mezzotint

Mezzotint (“black manner”) is a type of engraving on metal. The main difference from other etching styles is not the creation of a system of indentations (strokes and dots), but the smoothing of light areas on a grained board. Mezzotint effects cannot be achieved by other means. The image here is created by different gradations of light areas on a black background.

Mezzotint technique

Flat printing: lithography, monotype.

Lithography

Lithography is a printing method in which ink is transferred under pressure from a flat printing plate to paper. Lithography is based on a physical and chemical principle, which involves obtaining an impression from a completely smooth surface (stone), which, thanks to appropriate processing, acquires the ability to accept special lithographic paint in its individual areas.

University embankment, 19th century, lithograph by Müller based on a drawing by I. Charlemagne

Monotypy

The term comes from mono... and Greek. τυπος – imprint. This is a type of printed graphics that involves applying paint by hand onto a perfectly smooth surface of a printing plate and then printing it on a machine; The print obtained on paper is always the only one, unique. In psychology and pedagogy, the monotype technique is used to develop imagination in children of senior preschool age.

Monotype
Anyone can master the monotype technique. You need to randomly apply paints (watercolors, gouache) onto a smooth surface, then press this side to the paper. When the sheet is torn off, the colors are mixed, which subsequently form a beautiful harmonious picture. Then your imagination begins to work, and based on this picture you create your masterpiece.
The colors for the next composition are chosen intuitively. It depends on the state you are in. You can create a monotype with certain colors.
Screen printing: silk-screen printing techniques; cut out stencil.

Silkscreen printing

A method of reproducing texts and inscriptions, as well as images (monochrome or color), using a screen printing plate through which ink penetrates onto the printed material.

I. Sh. Elgurt “Vezhraksala” (1967). Silkscreen printing

Unique graphics

Unique graphics are created in a single copy (drawing, appliqué, etc.).

Types of graphics by purpose

Easel graphics

Drawing- the basis of all types of fine art. Without knowledge of the basics of academic drawing, an artist cannot competently work on a work of art.

Drawing can be performed as an independent work of graphics or serves as the initial stage for creating pictorial, graphic, sculptural or architectural designs.
Drawings in most cases are created on paper. Easel drawing uses the entire range of graphic materials: a variety of crayons, paints applied with a brush and pen (ink, ink), pencils, graphite pencil and charcoal.

Book graphics

This includes book illustrations, vignettes, headbands, drop caps, covers, dust jackets, etc. Book graphics can also include magazine and newspaper graphics.
Illustration– a drawing, photograph, engraving or other image that explains the text. Illustrations for texts have been used since ancient times.
Old Russian handwritten books used hand-drawn miniatures. With the advent of printing, hand-drawn illustrations were replaced by engraving.
Some famous artists, in addition to their main occupation, also turned to illustration (S. V. Ivanov, A. M. Vasnetsov, V. M. Vasnetsov, B. M. Kustodiev, A. N. Benois, D. N. Kardovsky , E. E. Lansere, V. A. Serov, M. V. Dobuzhinsky, V. Ya. Chambers.
For others, illustration was the basis of their creativity (Evgeny Kibrik, Lydia Ilyina, Vladimir Suteev, Boris Dekhterev, Nikolai Radlov, Viktor Chizhikov, Vladimir Konashevich, Boris Diodorov, Evgeny Rachev, etc.).

(French vignette) – decoration in a book or manuscript: a small drawing or ornament at the beginning or end of the text.
Typically, the subjects for vignettes are plant motifs, abstract images, or images of people and animals. The purpose of the vignette is to give the book an artistic appearance, i.e. This is a book design.

Vignettes
In Russia, decorating text with vignettes was in great fashion during the Art Nouveau era (vignettes by Konstantin Somov, Alexandre Benois, and Evgeniy Lanceray are known).

Dust jacket

Applied graphics

Henri de Toulouse-Lautrec "Moulin Rouge, La Goulue" (1891)
Poster– the main type of applied graphics. In modern forms, the poster emerged in the 19th century. as trade and theatrical advertising (posters), and then began to carry out the tasks of political propaganda (posters by V.V. Mayakovsky, D.S. Moor, A.A. Deineka, etc.).

Posters by V. Mayakovsky

Computer graphics

In computer graphics, computers are used as a tool for creating images and for processing visual information obtained from the real world.
Computer graphics are divided into scientific, business, design, illustrative, artistic, advertising, computer animation, and multimedia.

Yutaka Kagaya "Eternal Song". Computer graphics

Other types of graphics

Splint

A type of graphics, an image with a caption, characterized by simplicity and accessibility of images. Originally a type of folk art. It was made using the techniques of woodcuts, copper engravings, lithographs and was supplemented with hand coloring.
Popular prints are characterized by simplicity of technique and laconism of graphic means (rough strokes, bright colors). Often the popular print contains a detailed narrative with explanatory inscriptions and additional (explanatory, complementary) images to the main one.

Splint

Letter graphics

Letter graphics form a special, independent area of graphics.

Calligraphy(Greek kalligraphia - beautiful writing) - the art of writing. Calligraphy brings writing closer to art. The peoples of the East, especially the Arabs, are considered unsurpassed masters in the art of calligraphy. The Koran forbade artists to depict living beings, so artists improved in ornaments and calligraphy. For the Chinese, Japanese and Koreans, the hieroglyph was not only a written sign, but also a work of art. A poorly written text could not be considered perfect in content.

The art of sumi-e(sumi-e) is a Japanese adaptation of the Chinese ink painting technique. This technique is as expressive as possible due to its brevity. Each brush stroke is expressive and significant. Sumi-e clearly demonstrates the combination of simple and elegant. The artist does not paint a specific object, he depicts an image, the essence of this object. Works using the sumi-e technique are devoid of excessive detail and provide the viewer with room for imagination.

Material value. Materials for drawing are very diverse and this diversity can be associated with general image tasks. Nature, an object, a fact, an event or a phenomenon will themselves suggest the format, material and technique of drawing, since the technique of drawing is directly related to the composition, to the means of expression, to the material of the drawing.

When making three-dimensional objects, phenomena, events in a drawing, you need to imagine the picture plane, a sheet of paper as a three-dimensional space, forget about the plane, about the surface and see what is depicted in space, where you could move mentally completely freely. First you need to mentally imagine the whole picture and, starting from the general, build it gradually with lines, dots, spots. And, having understood the spatial, constructive, dynamic qualities of nature, fill them with masses and bring them to the level of volume and spatial position, making sure that each stroke emphasizes one or another characteristic feature, texture.

Works done with graphite pencil have a grayish tone with a slight shine. Drawings with “Retouch” pencils, which are more saturated in tone, are easily shaded, but are difficult to erase with an eraser. The Italian pencil gives a deep matte velvety black color and is easy to shade on paper. Drawing charcoal has a warm black color. Easily lays on paper, cardboard; shades from black to light gray, but does not adhere well to paper and needs fixing. The sauce is used dry and wet. Black, gray and brown, it has an intense coloring ability, but is weakly fixed to the surface of the paper. Usually, a brush is used to roughly model the shape and tone of the design, and when dry, the design is finalized with shading and an eraser, or several layers are applied with a brush until the desired tone is obtained, and then, after drying, light areas are selected with an eraser and shading. Sanguine is used to make designs using the grisaille technique in various shades of the same color, rubbing with a cotton swab to obtain thinner and more transparent layers. Pastels (soft colored pencils of delicate colors and shades) have a velvety and matte color, but do not adhere well to paper. Such drawings need to be fixed. They should be done on rough paper. Pastel loves toned paper.

Outline drawing or linear drawing has its own distinctive features and qualities. Line is the main expressive means of drawing. A line is an extended movement of a pencil, pen, or brush on paper. They can vary in intensity, nature and purpose. Weaving into various forms, a line can have an independent meaning. It can be thin, elegant and lacy, delicate and velvety. The line in the drawing should be lively, interesting and dynamic. Already in a linear drawing it is possible to convey not only the shape, volume, character of the object, its spatial position, but also the emotional state of the person drawing. The line can be decisive and bold, impetuous and impetuous, insecure and timid. Through the line the artist shows his temperament and mood. The line can be light, airy and perspectively contract in space, indicating depth in the drawing; massive, wide - emphasizing the mass, highlighting the foreground. The line can be the most poetic part of a drawing; it guides the viewer's gaze. But the lines should not be torn off from the shapes of the surfaces, but flow organically from them, help the perception of the proportionality of the whole, the harmony of the general relative to the smoothness of the structure of the figure, and express plastic feelings. Due to its descriptive clarity and spatial-linear clarity, the contour is indispensable in a visual composition, while the gradation of the surfaces that form the form, their division and combination into one whole, their analysis and synthesis form a picturesque and expressive play of forms.

Rice. 33. Linear contour design drawing (student work)

Line art conveys the tone of an object, shape, various directions of volumetric masses, carries light and shadow gradations, reflexes, tone and color tension. A stroke has a slightly different meaning than a line. It differs from a line in that it has independent meaning only in conjunction with other strokes. In addition, the drawing contains zigzags and strokes.

The painter needs to take care of the expressiveness of lines, zigzags, strokes, strokes, contours, silhouettes. With the help of these means, the painter conveys his perception of the world. Line and stroke often solve common problems, but often change functions or complement each other. The line mainly defines the boundaries of the form. The stroke, being a derivative of the line, conveys spot, tone and independent meaning, and its quality is determined by its quantity. Line drawing is a set of short and quick movements of the hand (pencil, pen...) It all depends on how the artist uses these means of artistic, drawing and creative expression, how he draws a line and places a spot, in what proportion he takes light and dark, how he conveys space, etc.

Rice. 34. Line art (study work)

Rice. 35. Student work

Rice. 36. Study work

Rice. 37. Study work

Rice. 38. Study work

Rice. 39. Study work

But the stroke is conventional, harsh and does not achieve the goal when it is necessary to make a drawing with light tonal transitions and deep backgrounds; does not achieve effect when transmitting aerial plans.

Tone drawing conveys the infinite variety of the objective world. Soft pencil, sauce, sanguine, charcoal, using shading techniques, convey the airy Valeras, coloring and material qualities of objects from the lightest folds of fabric to the rigidity of metal. It is this technique that achieves light colors and rich, thick shadows, the texture of things, the external qualities of matter, water and earth, stone and plaster, a person’s body and hair, and his clothes. It is important to use skills and mastery correctly here. Thanks to the relationships of tones, we visually perceive the material of objects, their spatial position. In addition to the perspective construction of the surfaces of objects, the transfer of light and shadow gradations on a three-dimensional form, it is necessary to preserve the correct light and shadow differences in the drawing. Tonal ratio in nature is the difference in lightness between several objects. The difference in lightness between several objects proportional to nature is called tonal relationships in the drawing. You can increase or decrease the intensity of illumination of objects or their surfaces - the nature of reality will not change if the tonal relationships for all surfaces are proportionally preserved. When drawing from life, you need to distribute the transitions of tones from light to dark in such a way that what was the darkest in nature and in the drawing turns out to be the darkest, the lightest turns out to be the lightest, and the intermediate tones in the image are so many times stronger or weaker than these two limits , at what time they are stronger or weaker in visible nature. The illumination of an object in a drawing depends not on the contrasts of light and shadow, but on the ability to draw with relationships, on consistency of the tonal scale. The laws of tonal drawing serve as the main means of depiction.

Rice. 40. Capital. Pencil

Rice. 41. Satyr mask. Pencil drawing by student K. Ashaeva

Rice. 43. Work of student A. Safonova. Paper, pencil

Line, stroke, contour, spot, tone - the language of graphics and its main means of expression. But graphics do not exclude the use of color. Such graphic materials as sanguine and charcoal, sepia and sauce, ink and ink can achieve interesting pictorial effects. Graphic works can also be in color. It doesn’t matter what art materials (watercolor, gouache, colored pencils, pastels) the work will be done with. The nature of the use of color here is completely different. Color in painting plays a dominant role, color in graphics is subject to the features of the drawing, where the convention of color is great. In graphics, a limited number of colors are used, which form a similar color scheme and preserve the conventionality of the image. The artistic and expressive advantages of graphics lie in laconicism, the capacity of images of concentration and the strict selection of graphic means.

Mastering drawing must be conscious and creative. To master drawing, systematic and methodical exercises are needed. Successful mastery of drawing is possible under two conditions:

1. Conscious and creative approach to every task. Awareness of the goal guides all work, regulates the relationship of parts, gives expression to movement and action. Technology is subordinate to this creative work.

2. Mastering familiar technical techniques that allow you to quickly grasp the main features of the depicted object, phenomenon, or event.

The assimilation of technical techniques and methods depends on conscious work on the form, on the mastery and ability that results from systematic exercises in drawing. As a result of such exercises, the techniques and methods should become familiar and semi-mechanical to leave more room for creativity. It is not the artist who should be in the hands of the accidents of the work, but the work in the hands of the artist.

The image of an object should not be of the nature of a randomly selected view from a randomly selected point of view. The drawing should be done based on knowledge of the structural features of the object. For the best solution to the clarity of the image, it is based on the shape of the object, as well as on the simplicity of construction. The main attention should be directed to the fullest possible demonstration of the features of the object and its structure.

When making drawings of objects with complex shapes, it is necessary to present the object as transparent and determine the invisible part of the object. Use light lines to outline it in the drawing. When drawing buildings and structures, you need knowledge and ability to draw a cube, cylinder, cone, etc., i.e., drawing geometric bodies.

Drawings can be made using various materials, techniques and techniques. Pencil, ink-pen, sanguine, pastel, and watercolor are often used in graphics. Black ink is used for washing and pen technique. Even just one color can create expressive designs. Japanese craftsmen distinguish more than one hundred and forty-four shades of black. The tone scale can have a wide range.

Rice. 44. Working with ink pen and brush.

Sketches and sketches from nature, they develop observation and visual memory, develop perception, the ability to see, and be aware of the world around them. They contribute to the mastery of practical skills in depicting objects, phenomena, events of the objective world, if not limited only to the basics of visual literacy. Knowledge, skills, and confidence in free, fluent drawing come through systematic and targeted exercises, through everyday, tireless work. And you need to take this kind of activity seriously; you cannot be content with mastering just a few technical techniques. Sketches and drawings from life are all the more difficult because the depicted object is dynamic and you need a sharp eye, a steady hand, movements honed in exercises, the consent of the eye, hand and soul in order to correctly capture and capture the movement, pose, character in a few strokes, lines, tone spots, only the most important, the most important thing that could form a sufficient idea of the depicted object. Sketches and sketches are distinguished by laconicism, but integrity of a generalized conventional figurative interpretation and expressiveness of graphic means with an emphasis on the main, characteristic features inherent in nature. To do this, you need to learn to see selectively and develop the ability to conduct quick perception, drawing, and operational thinking. You need to develop the ability to draw from memory, from imagination, and for this you need a well-trained visual memory and a developed creative imagination, and all this can be done if you follow the statement of Cennino Cennini: “You should always draw, not even missing holidays: drawing is what the basis of all art."

Another difficulty with sketches is that they are done “live”, without any preparation. This is especially true for sketches and sketches using the following techniques: ink pen, brush, pointed stick; watercolor brush, pen; brush sauce, pen, chalk, white; gouache, etc. You need knowledge of materials and the ability to work with charcoal and sauce, ink and watercolor, pen, stick, felt-tip pen and much more. Knowledge, skills and abilities when conducting sketches and drawings need to be extensive and must be strong. “The more an artist knows, the freer and more independent he is; the more he knows, the more he can do” - K. F. Yuonn.

The craft can be achieved by mastering proven techniques of indifferently executing drawings and diagrams. Mastery is achieved by mastering the method of creative vision, understanding and reproduction in a creative work. Through long and purposeful work on sketches from life, from memory, from imagination, a connection is developed between thinking and drawing, similar to that developed by a literate person when he effortlessly reads or writes down certain thoughts in letters and words. Just like a composer composes and records a piece of music using notes.

It is extremely important for an architect to master a line, a stroke, a spot. The combination of these elements, the speed and laconicism of the image, heightened expressiveness, liveliness and spontaneity, ease of execution, great dynamics of sketches and sketches makes it possible to create works of art. As P.P. Chistyakov, the great artist-teacher, said: “We must make the difficult familiar, the familiar easy, and the easy beautiful.” This is the key to creative success.

Rice. 45. Sketches. Student work. Pencil.

Rice. 46. Sketches. D. Prosvirnin. Mascara, brush.

Outline of an open lesson on Drawing,

1st year, specialty 072501 Design

Lesson topic: “Graphics and various graphic techniques”

Goals and objectives of the lesson:

Educational: Define graphics as an art form, identify the main characteristic features of the following materials: sauce, sanguine, charcoal, pastel, coffee. Teach skills in working with various graphic materials. To consolidate knowledge about the layout of a drawing, construction, the meaning of light and shadow, and methods for conveying the volume of objects.

Developmental: Development of receptivity, speech, observation.

Educational: Cultivating interest in the subject, cultivating the ability to think, analyze, cultivating independence, self-confidence.

Lesson equipment: interactive equipment, slides, original graphic works, reproductions of works by graphic artists, various graphic materials: sauce, sanguine, ink, charcoal, pastel, paper, instant coffee as a graphic material.

Materials for students: paper of various textures and tones, sauce, sanguine, ink, charcoal, pastel.

Lesson plan:

1. Graphics as a form of art. Three types of graphics: monumental, easel, decorative.

2. Specifics of graphics. Two types of easel graphics: printmaking and drawing. Drawing is the main means of expression.

3. The origin of drawing in the Upper Paleolithic era. The formation of drawing as an independent type.

4. Features of various techniques and materials in the drawing (charcoal, sanguine, pastel, sauce, coffee).

5. Independent work of students in various techniques to choose from: sketches of objects or creative sketches.

6. Analysis of student work. Conclusion: the main differences between graphics and painting.

1. I show students various works in graphic technology.

I ask a question: What unites all the presented works? Students answer.
Teacher: Based on various characteristics, fine art can be divided into different groups and types.

One of the types of art – graphics, belongs to the spatial (plastic) types of art. The word “graphics” itself originates from the Greek word - grapho - I write, I draw. The drawing demonstrates the character, temperament, and mood of the artist. The graphic language is based mainly on the expressive capabilities of a line, stroke, spot (sometimes of color), the background of the base (an ordinary sheet of paper - white or tinted) with which the image forms a contrast or nuanced relationship. Despite the fact that color in graphics is of great importance, it is still used more limitedly than in painting. Graphics tend toward monochrome, most often extracting artistic expressiveness from a combination of two colors: white (or another shade of the base) and black (or some other color of the coloring pigment.)

Like all fine arts, graphics can be divided into three types: the teacher shows a slide film.
Monumental - closely related to the architectural ensemble, for example, a poster (monumental printed graphics), wall graphics, cardboards.
Easel - performed “on a machine”, having no connection with a specific interior; the purpose and meaning of the work is completely exhausted by the artistic content (drawing, print, popular print).

Decorative - book illustrations, postcards, any graphic images on any object that do not have any special artistic value, but serve to organize the surface of the object. Decorative graphics also include floristry - compositions created using tree fluff, straws and other “living” materials.

2. Question: If graphics can easily be classified in the same way as other types of fine art, then how is it radically different from sculpture and painting?

Students answer.

Let me summarize the answers:

The specificity of graphic art is drawing. Although drawing (as well as an artistic and expressive means) is used in all types of fine arts, in graphics it is the leading, defining principle and is used in a purer form. Therefore, we can consider drawing the main means of graphics (like plasticity in sculpture, color in painting).

Graphic materials and techniques are varied, but, as a rule, the basis is a paper sheet. The color and texture of the paper play a big role. Colorful materials and techniques are determined by the types of graphics.
Depending on the nature and technique, easel graphics are divided into two types: printmaking and drawing.

The teacher shows slides and original graphic works.
Print – from French – to stamp, to imprint – an impression on paper. The initial image is not made directly on paper, but on a plate of some solid material, with which the design is then printed or imprinted using a press. In this case, you can get not just one copy of a print, but many, that is, replicate a graphic image. Printing is used in both applied graphics and posters.
Easel drawing is more accessible and does not require special technologies.

The drawing is made by the artist directly on a sheet of paper, using any graphic material - pencil, charcoal, ink, sanguine watercolor, gouache.

Drawing is an image made by hand, by eye, using graphic means: contour line, stroke and spot. There are numerous types of drawing, differing in drawing methods, themes and genres, techniques and nature of execution.

3. I show the slide film and comment:

Drawing originated in the Upper Paleolithic era - drawings of animals scratched on stone, bones drawn on the walls of caves (Altamira caves in Spain, etc.) the drawing evolves from extruded or scratched lines to drawn lines, silhouettes, shading, spots.

From the art of ancient Eastern civilization, the art of Ancient Egypt and Ancient Greece, the Middle Ages and all subsequent eras to the present day, learning the fine arts began with the study of drawing. The basic rules for constructing an image on a plane were the focus of attention of such famous artists as Leonardo da Vinci and Durer.

“The drawing, which is called a sketch drawing, is the highest point of painting, sculpture, and architecture. Drawing is the source and root of all science,” wrote the great Italian Renaissance artist Michelangelo Buanarroti (1475-1564).

For a long time, drawing served only as an auxiliary material for the artist. In the Renaissance, in the era of observation of nature, drawing is freed from dependence and begins to become an independent value (17-18 centuries). First, sanguine, charcoal, and a silver pencil are used for drawing. Later there will be a graphite pencil and a rubber eraser. In the 19th century, author's graphics became completely independent from painting.

4. I invite students to consider the features of various materials for drawing. To do this, I invite students to go to the easel, where a sheet of paper is attached, and, after drawing several lines with any material, give it a description. I summarize the students’ answers and supplement them.

Coal is an extremely soft, pliable material with a beautiful, matte texture. It is made from evenly burned thin branches or planed sticks of linden, willow or other tree species. In the 19th century, hard coal made from pressed coal powder with the addition of vegetable glue (dry stylus) became widespread. Lines and strokes made on paper with a rough surface with a charcoal stick do not adhere well to the paper and crumble. Finished drawings made with bulk coal need to be fixed with a special fixative solution. Unlike natural drawing charcoal, sticks made from compressed charcoal powder produce thick, viscous lines. Which are very difficult to remove. The technique of drawing with charcoal is very diverse, since very thin lines can be drawn with a charcoal rod or stick sharpened, and entire surfaces can be covered with the side. Working with the end of the coal and flat, changing the pressure and rotation of the coal stick, the direction of the strokes. You can achieve great expressiveness of the drawing, solve light-and-shadow and volume-spatial problems. Artists who worked with charcoal: H. Holbein (1497-1543), J. Ingres (1780-1867), I. I. Shishkin (1832-1894), V.A. Serov (1865-1911).

Sanguine is also charcoal and is widely used in drawing. Sanguine (Latin - blood) - kaolin sticks with the addition of iron oxide. Sharpened sanguine sticks produce fine lines and strokes. Like charcoal, sanguine can be worked with the end of a stick or flat. It rubs well with various shades, rubber bands and thin emery cloths. When rubbed, sanguine changes its color and texture somewhat, but these qualities can also be used as new visual means in drawing. The sanguine technique makes it possible to achieve subtle tonal transitions. The most commonly used color is a warm red-brown tone, close to flesh-colored. While working, the sanguine stick can be moistened, which will allow you to achieve greater variety in the thickness and density of the stroke. The disadvantages of sanguine include the difficulty in conveying the depth of shadows. The great masters masterfully mastered the painting technique of sanguine: Leonardo da Vinci, Michelangelo, Raphael, A. Watteau, Rubens, Fragonard, Chardin.

Pastels are dry, soft, rimless colored crayons made from pressed, powdered pigments with the addition of vegetable glue. Pastels are characterized by a matte texture, purity, and softness of colors, which, as a rule, retain their original freshness for a long time. Drawing with colored chalk brings graphics closer to painting.

Use pastel sticks to draw on rough paper or cardboard. The delicate, velvety surface of the pastel must be protected from the slightest touches and shocks. To preserve drawings made with pastels, they are not fixed with a fixative (this makes the pastel lose its velvety and purity of color), but are carefully edged and glazed in a frame. The so-called “pure pastel” is done with strokes and spots in one layer of color. But pastel colors can be mixed by applying one layer on top of another and rubbing them with a feather or hand. Works made in the pastel technique by foreign masters are widely known: L. Caracci, H. Holbein, E. Manet, E. Degas. In Russia - I.I. Levitan, V.A. Serov.

The sauce is a type of pastel. It has a wide range of colors; the sauce can be used both as a dry and as a liquid (diluted with water) material. Fat black cylindrical sticks with a diameter of 8-10 mm. wrapped in staniol paper without a frame, made from compressed powder, soot or coal with the addition of glue. You can work with lines, strokes, spots using rubbing (dry sauce). In drawing with wet sauce, as in painting, pointed and flat brushes are used from fat-free calcined hair or the wool of various animals - squirrel, badger, kolinsky and others.
Coffee graphics. One of the modern trends in graphics is the use of new materials in work. In particular, coffee. Coffee graphics are made with diluted instant coffee; it allows you to achieve a pleasant brownish tone in your work and various tonalities. Coffee is mixed with water on the palette and the work is done using the grisaille technique.

Each graphic tool can be used as an independent material or as an addition to other material. For example, charcoal is used to prepare a drawing for oil painting, and pastel can be combined well with techniques such as gouache and watercolor.

Drawing with a brush helps solve a number of problems: the transition from line to tone and vice versa is very important for identifying general relationships and characteristic details, combining tonal breadth with subtle drawing.

5. I suggest students move on to practical work and either sketch objects using various materials or create creative sketches. Students complete sketches and drawings using various materials for 45 minutes. Next, I monitor the students’ work, and together with them we review and discuss their work.

6. Together with the students, I summarize the lesson:
By looking at different types of graphic work and making sketches using a variety of materials, we are getting closer and closer to painting. But also in the process of our work we identified the main differences between graphics and painting. (Addressing students) Let's formulate together the main differences between graphics and painting. So:

The predominance of line is of great importance in graphics (a line as such does not exist in nature at all, but in graphics it is either clearly drawn with some kind of instrument - be it a chisel, pencil or brush, or is created by adjacent spots - achromatic or chromatic, as in watercolor and gouache .

Graphics are more contrasting, mainly the contrast of black and white, the contrast of the background and the picture, the special interaction of the background and the image (it is no coincidence that the basis of graphic works is most often paper - it provides ample opportunities in choosing texture, color shade or background).

Graphics do not clutter up the space, but on the contrary, create it; in some ways it is similar to music - it is characterized by pauses, and these pauses play a big role.

Graphics (especially drawing, lithography) give the artist more freedom than painting, due to the simplicity and accessibility of the technique, the ability to work quickly, reflecting instant emotional experiences.

Graphics are mainly illustrative in nature, they are more decorative (often used to create illustrations for books, cartoons, etc.)

As a small conclusion:

A person sometimes hums something of his own if his soul is light, writes poetry if he experiences, for example, a feeling of falling in love. Has each of us noticed what happens if you just think about it, and at that time you happen to have an ordinary pen or pencil and a sheet of paper at hand? Strange images appear - faces, figures, just compositions of lines. A curve is drawn - and a strange image of a bird is born - the bend of a wing... Even a simple unprofessional drawing is already a reflection of a person’s inner world, his thoughts, his state of mind. Likewise, in highly artistic independent works, both the inner world of the artist and the author’s perception of the surrounding world are reflected through the bend of the lines, the style of the stroke, and the shape of the spot.

Lesson analysis.