We draw gouache paintings by young artists. Painting: gouache paints. Landscape in gouache in paintings by famous artists

05.03.2020

The faces of people in most of the artist’s paintings are darkened or turned to the side. This is done to express emotions and to allow the body to “speak.” “I have always tried to show the world only positive moments in life. I hope that my work brings joy, peace and comfort to the viewer's life,” says Hanks.

Rainy watercolor by Lin Ching Che

The talented artist Lin Ching-Che is 27 years old. He is inspired by autumn rain. Cloudy city streets do not make a guy feel melancholy and despondent, but rather make him want to pick up a brush. Lin Ching Che paints in watercolors. With colorful water it glorifies the rainy beauty of megacities.

The boiling fantasy of Arush Votsmush

Under the pseudonym Arush Votsmush hides a talented artist from Sevastopol, Alexander Shumtsov. The artist says about his paintings: “I’m not trying to prove anything to anyone with my works. First of all, I enjoy it. This is a pure drug of creativity. Or a clean life - without doping. Just a miracle."

The charm of Paris in the works of Thierry Duval

Paris-born artist Thierry Duval has traveled extensively. Hence the presence of entire series of paintings based on “geographical characteristics.” Nevertheless, Paris was and remains the author’s favorite place. The lion's share of works is dedicated specifically to the city of lovers. He has his own technique of layering watercolors, which allows him to create paintings with almost hyper-realistic detail.

Evening Calm by Joseph Zbukvic

Today, Croatian-born Australian Joseph Zbukvic is considered one of the pillars of watercolor painting throughout the world. The artist fell in love with watercolor literally from the first stroke; he was struck by the untamed nature and individuality of this technique.

Secrets of the East through the eyes of Myo Vin Ong

The artist Myoe Win Aung dedicated all his work to his native Burma, its everyday life and holidays, lay people and monks, towns and cities. This world is calm, dressed in gentle colors, mysterious and slightly thoughtful, like the smile of Buddha.

Incredible watercolor by Joe Francis Dowden

English artist Joe Francis Dowden paints hyper-realistic watercolors. And he believes that everyone can do this, you just need to know the secrets of the technique. The secret of his inspiration is extremely simple: “Throw away your watercolor textbooks and get lost in a real forest.”

The magic of ballet from Liu Yi

The watercolors of this Chinese artist can easily be called art about art. After all, his favorite theme is images of people who are directly related to him - for example, ballerinas or classical musicians. The way they are presented in the paintings is peculiar: people seem to emerge from a thin haze, emotional and very characteristic. To some extent they echo the images of ballerinas French artist Edgar Degas.

Solar painting by Abe Toshiyuki

Abe Toshiyuki received art education and devoted 20 years to teaching, never giving up his dream of becoming an artist. In 2008, he finally abandoned the teaching profession and devoted himself entirely to creative self-realization.

Country morning by Christian Granju

I still blog different artists and I take a closer look at the gouache that people use. (I also have my own, but you have to see what people are doing.) I realized that for me personally, watercolor is not well suited for plein air. I need something with more coverage and faster drying. And at the same time less capricious. Therefore, gouache now seems to be a more optimal option for plein air work, when the light and weather conditions change very quickly and there are really no amenities.

I’m not yet ready for oil, I need to carry too many heavy things with me, including canvases or boards for work, as well as special box for sketches so that they do not smear during transportation. And now, when equipped to work with watercolors, pastels and colored pencils, my shoulders just come off. So much so that after the last few trips last month I am living with Voltaren. This is not some kind of guy, if anything. This is an ointment for muscle and joint pain.

My favorite plein air artists right now are James Gurney and Nathan Fowkes. It turned out that both of them are illustrators, like myself, who go plein air or draw from life for inspiration and to pump up their artistic muscles. I didn’t specifically choose them based on this principle - it just happened that way. James is famous for his “Dinotopia” (by the way, his book on drawing in Russian “Color and Light” was recently published, in English here: Color and Light: A Guide for the Realist Painter (James Gurney Art)), and Nathan is an artist animator (you can learn from him at www.schoolism.com). And I really like the recklessness and speed with which both of these comrades work in the open air with gouache, that even the tips of their fingers prick - I want to rush and sculpt with gouache or casein myself.

Works by James Gurney from here

Works by Nathan Fawkes from here

These are my heroes now, basically. I would like to move in my works from life from detailed piping to a freer stroke. But not because I stopped loving to languish over the details - this will not happen, I adore them. But because I would like to see after the plein air ready or almost finished works, which could be used for more serious paintings. Because now, while I’m bringing to mind the sketches from life and completing the drawings - from memory and from photos - I no longer have the strength for a larger repetition.

While searching for gouache varieties, I came across another talented illustrator, whom I will not link to here, because he causes me some internal contradictions. Moreover, I often came across the fact that it is useless to ask Western illustrators about materials or any subtleties of work. In 90% of cases they simply do not answer and are not particularly focused on the topic of how exactly they work. I understand their position perfectly well, but I think it’s ugh. But then it turned out that there is even more superlative. The talented illustrator, to whom I am NOT linking, answers all questions about the technique and materials used very clearly: “Please send me an email to purchase the information.” At first I thought that it was simply misspelled when I saw the signature under one of the works after the list of materials used. Because purchase information is information about a purchase, but to purchase the information is the purchase of information. But no. A person really only shares information for money. And I still don’t understand how I feel about this.

On the one hand, he is right. This information didn’t just fall out of the sky to him either. He invested time and money into his work technique. It’s scary to think how much money I’ve already spent on finding materials that best suit me. So it is with him. Why should he now share with someone for free? I myself have often encountered the fact that my detailed stories or thoughtful topics and lessons that people received for free, were used for entire master classes, that is, monetized and everything passed me by into someone else’s piggy bank, including the piggy bank of recognition. But there is also such a thing as creative exchange. Without it there is no normal development. There is only stagnation. What if it was my information, which I shared from the heart, that helped some very cool artist get on his feet?! After all, without him the world would be a much poorer place.

Another point. Personally, I’m not ready to pay a person for information that I can easily do without (well, I’ll look further to see what’s there). For a master class - yes. And for one sentence, what kind of roller he applies the paint with or in what proportions he dilutes it - most likely not. Although, this is also a payment for the time spent on explanations! What if this particular detail would help me more than any master class? A very complex topic.

What do you think about this? Are artists doing the right thing when they monetize all their knowledge? Are they great or is it disgusting? Just please don’t tell me about the golden mean, that you can share it for free and at the same time convert it into banknotes through various master classes and sales. There is no talk about this. It’s already clear that you can do it in a smart way, like. What about the uncompromising: “To buy this information, write me an email”?

Rainy watercolor by Lin Ching Che

The boiling fantasy of Arush Votsmush

The charm of Paris in the works of Thierry Duval

Evening Calm by Joseph Zbukvic

Secrets of the East through the eyes of Myo Vin Ong

Incredible watercolor by Joe Francis Dowden

The magic of ballet from Liu Yi

The watercolors of this Chinese artist can easily be called art about art. After all, his favorite theme is images of people who are directly related to him - for example, ballerinas or classical musicians. The way they are presented in the paintings is peculiar: people seem to emerge from a thin haze, emotional and very characteristic. To some extent, they echo the images of ballerinas by the French artist Edgar Degas.

Solar painting by Abe Toshiyuki

Abe Toshiyuki ( Abe Toshiyuki) received an art education and devoted 20 years to teaching, never giving up his dream of becoming an artist. In 2008, he finally abandoned the teaching profession and devoted himself entirely to creative self-realization.

Country morning by Christian Granju

Frenchman Christian Granu (

Voronezh artist Olga Brazhnikova is known for her bright, sunny works done in gouache. The path to art was not easy for her; giving up work as a designer, she entered the Voronezh Art School, and this year she graduated from the Pedagogical University with a degree in " fine arts" Olga mainly works with gouache and destroys stereotypes associated with this material. For Umbra Media, the artist showed her home studio and told how creativity changed her life.

About studying
“Run away from work at the factory”

- When did you realize that you wanted to become an artist?

I always liked to draw, but in the minds of my parents (my mother worked as an accountant, my father still works at an aircraft factory), being an artist is not a serious profession. So I had to go to aviation college. I don't understand how I was able to finish it. My ability to draw well helped, I made wall newspapers for tests. When my studies came to an end, I realized that I would never go to the factory. And went to the evening art school so that I have at least something for my soul. The teacher suggested that I enter the Voronezh Art School.

- How did your parents perceive that you wanted to become an artist?

They didn't believe that I would do it. It was a funny story. Dad said that he knew a man who could draw a portrait of Lenin with a stick in the sand! And if I can’t do that, then I’m not an artist. Despite everything, I prepared for admission, took courses for 2-3 months, and studied drawing separately with a teacher. And when I entered, my parents supported me and were happy. And only later, when my works began to be taken to exhibitions, they believed in me. After college, I ended up at a defense company, where I still work as a designer. I had a rather long break - seven years, but then I decided to return to painting and creativity. In 2013, she entered the Voronezh State Pedagogical University, from which she graduated this year.

About materials
“Few people believe that my paintings are painted in gouache”

- Why did you choose gouache, what interests you about this material?

I became interested in gouache at the pedagogical institute. Previously, I perceived it more as a transitional stage to oil. But now this is my favorite material. It dries quickly, is odorless, gives textured strokes and bright colors. I paint impasto, I don’t dilute the gouache with water. I usually draw on thick paper. Oil, of course, is not so convenient to work in an apartment. Especially considering that my cat constantly tries to get into some kind of jar. Once I was painting in oils, I got distracted for a while, and she already got into blue paint and left paw prints all over the apartment. Then we spent the whole evening scrubbing away these marks.

- What do you think about the fact that gouache is often called a “children’s” material?

I think this is a stereotype and prejudice. It was in gouache, according to my colleagues, that I developed own style. When I post my works on the Internet, many people write how surprised they are that the paintings are painted in gouache and not in oil. Gouache - no children's creativity, but decent material. It seems to me that masterpieces can be created with any material; the material does not play a primary role here.

- What inspires you?

I love cityscapes. Houses that have lived and have their own history fascinate me. I usually walk around the city, shoot stories, and then write at home. I love the riot of color and textured strokes. And from contemporary artists I am very inspired by the watercolors of Arush Votsmush.

- In what atmosphere do you like to work - in silence, or with music?

When I write, I most often listen to good old rock. Some of my favorite bands are Aquarium and The Doors

There is a widespread belief that academic education “kills” the artist’s individuality. What do you think about this?

I think arts education is more important than ever. When you watch the same video lessons over the Internet, you are not a participant in the process, but this is necessary. I think that academic education helps to gain drawing skills. I studied with Alexander Starilov, he was a versatile artist, architect, and innovator. He believed that you need to have a classical education, and then look for your own style; the same primitivism is not born out of nothing. And I agree with him.

About implementation
“An artist is more than a profession”

- How do you manage to combine work as a designer, creativity and family?

It’s difficult, I write mostly on weekends. And the daughter is already an adult, you don’t need to be with her all the time, she already has plenty of her own interests. During the period when I did not draw, I constantly felt that I was missing it. Now I am not going to give up painting, I like to be creative and search. Being an artist is for me the meaning of life and more than a profession. Creating a painting is some kind of mystery for me, although, of course, from a technical point of view there is no mystery. But the process is always intriguing - I wonder what will come out in the end.

- What are your plans in the near future? Would you like to have your own workshop?

I really want to participate in exhibitions, and not isolate myself in my own space. I hope that soon I will be able to have a personal exhibition in art school. And the workshop is perhaps only a matter of the distant future. For now, all my works fit in the apartment. We recently completed renovations. The walls were specially painted white so that paintings could be hung. I organized the work space so that there was air around and a lot of light. So far it has not become overgrown with all sorts of interesting objects and details, but I think that this will not last long.

In a sultry country summer or in a protracted blizzard. Without leaving home, you can find inspiration in ordinary fruits or unusual colors. The subject does not try to turn its head, as in a portrait, and does not change shadows to light every second, as in a landscape. That’s what’s good about the still life genre. And “dead nature” translated from French, or “ quiet life things" in the Dutch version, really enlivens the interior. Natalya Letnikova presents the top 7 still lifes by Russian artists.

"Forest violets and forget-me-nots"

Forest violets and forget-me-nots

Isaac Levitan's painting is like a blue sky and a white cloud - from the singer of Russian nature. Only on the canvas is not native open spaces, but a bouquet of wildflowers. Dandelions, lilacs, cornflowers, immortelle, ferns and azaleas... After the forest, the artist’s studio turned into “either a greenhouse or a flower shop.” Levitan loved flower still lifes and taught his students to see both color and inflorescences: “They should smell not of paint, but of flowers.”

"Apples and Leaves"

Apples and leaves

The works of Ilya Repin organically set off the brilliant setting of the Russian Museum. The Itinerant artist composed a composition for his student, Valentin Serov. It turned out so picturesque that the teacher himself took up the brush. Six apples from an ordinary garden - bruised and with “barrels”, and a heap of leaves, tattered autumn colors, as a source of inspiration.

“Bouquet of flowers. Phloxes"

Bouquet of flowers. Phloxes

Painting by Ivan Kramskoy. “A talented person won’t waste time on depicting, say, basins, fish, etc. It’s good to do this for people who already have everything, but we have a lot to do,” Kramskoy wrote to Vasnetsov. And yet the genre of still life at the end of life famous portrait painter did not ignore it. A bouquet of phlox in a glass vase was presented at the XII traveling exhibition. The painting was bought before the opening day.

"Still life"

Still life

Kazimir Malevich on the way to the “Black Square” through impressionism and cubism, bypassing realism. A bowl of fruit is the fruit of creative quests, even within the same picture: thick black lines of the French cloisonné technique, flat dishes and voluminous fruit. All components of the picture are united only by color. Characteristic of an artist - bright and rich. Like a challenge pastel colors real life.

"Herring and Lemon"

Herring and lemon

Four children and painting. This combination in the life of an artist unmistakably dictates the genre. This is what happened with Zinaida Serebryakova. Numerous family portraits and still lifes, from which you can create a menu: “Fruit Basket”, “Asparagus and Strawberries”, “Grapes”, “Fish on Greens”... In the hands of a true master, “herring and lemon” will become a work of art. Poetry and simplicity: spiral lemon peel and fish without any frills.

"Still life with samovar"

Still life with samovar

A student of Serov, Korovin and Vasnetsov, “Jack of Diamonds” - Ilya Mashkov loved to portray the world around us, yes brighter. Porcelain figurines and begonias, pumpkins... Meat, game - in the spirit of the old masters, and Moscow bread - sketches from the Smolensk market of the capital. And according to Russian tradition, where would we be without a samovar? A still life from the area of festive life with fruits and bright dishes is complemented by a skull - a reminder of the frailty of life.

"Study with medals"

Study with medals

Still life in Soviet style. The 20th century artist Anatoly Nikich-Krilichevsky showed in one painting the entire life of the first Soviet world champion in speed skating, Maria Isakova. With cups, behind each of which are years of training; medals that were won in a bitter struggle; letters and huge bouquets. Beautiful picture for the artist and an artistic chronicle of sporting successes. Still life story.

GOUACHE

Translated from french word"gouache" means "water paint". Gouache paints have great covering power and are opaque, although they can be diluted with water (see Paints).

Using the gouache technique, artists paint on paper, cardboard, plywood, and thick silk. The works have a matte, velvety surface. But when using gouache, its own difficulties arise - the paints quickly lighten after drying. It takes considerable experience to predict the degree of change in tone and color.

Gouache was widely known already in the Middle Ages, when it was used to create book miniatures(usually in combination with watercolors) in many countries of Asia and Europe, and in the Renaissance - sketches, cardboards, portrait miniatures. In Russia, the gouache technique has reached a high level of development in art. late XIX- beginning of the 20th century Artists V. A. Serov, A. Ya. Golovin, S. V. Ivanov painted large easel works, masterfully using its dense color to achieve impressive decorative effects.

Famous artists use the gouache technique in different ways. Thus, the painting “Fair” by B. M. Kustodiev was painted in a framed manner, in a decorative manner. The painter showed the colorful clothes of people and buildings in general, especially the rows of tents, roofs and behind them a dark strip of forest.

B. M. Kustodiev. Fair.
1908. Paper, gouache.

A remarkable master of gouache was A. S. Stepanov, known for his works dedicated to landscapes and animals. One of his best works is “Wolves”. The predators, hungry and wary, are surprisingly vividly written. Bleden moonlight, the sky is mysteriously illuminated. The silver-blue color scheme creates a feeling of night cold.

Artists from the World of Art association often turned to the gouache technique. They often combined gouache with other materials. For example, in the work “The King's Walk” A. N. Benois used watercolor, gold, and silver in addition to gouache. Application of two latest materials gave the picture pomp, so characteristic of the then inhabitants of Versailles.

A. N. Benois. King's Walk

A. N. Benois. King's Walk
1906. Paper on cardboard, gouache, watercolor,
bronze paint, silver paint,
graphite pencil, pen, brush
State Tretyakov Gallery

Very often posters and sketches are made in gouache. theatrical scenery, decorative design works.

How to work with gouache

To work with gouache, it is best to use a porcelain or plastic palette with holes for paints along the edges or just a small, flat white board (30x40 cm). Brushes are round and flat (see Brushes). You can use bristle brushes when working on decorative panels, posters and slogans. But here you will also need poster feathers or sticks, sharpened in the form of a spatula. And when working on a large surface, use a flat brush - a flat bristle brush. Cover the surface with gouache several times without waiting for the paint to dry. If there are any unevenness, level the entire plane with a damp flute. First, draw the stripes sequentially from left to right horizontally, and then over the coating. Do not apply too thick a layer of paint: it will easily crack and crumble. The gouache dries at room temperature for an hour.

It is better to work on a tablet, but you can also use an eraser - a plywood tablet with an outer frame that clamps the edges of the paper, or with two frames inserted into one another.

Paint with gouache on white drawing paper, wrapping paper, or gray cardstock. To stretch the paper evenly on the tablet, place it so that its edges on each side are 2-4 cm larger than the tablet. Then wet both sides of the paper with a sponge until it lies flat. After this, dry the paper with cotton wool, and grease the edges of the tablet with flour paste or dextrin. Start gluing from the middle of the tablet, pulling evenly in all directions. Secure the corners with buttons. To dry, place the finished tablet horizontally on a level place, paper side up. Your material for working with gouache paints is ready.

Majestic and diverse Russian painting always delights viewers with its inconstancy and perfection artistic forms. This is a feature of the works of famous art masters. They always surprised us with their extraordinary approach to work, their reverent attitude towards the feelings and sensations of each person. Perhaps this is why Russian artists so often depicted portrait compositions that vividly combined emotional images and epically calm motifs. No wonder Maxim Gorky once said that an artist is the heart of his country, the voice of an entire era. Indeed, the majestic and elegant paintings of Russian artists vividly convey the inspiration of their time. Like aspirations famous author Anton Chekhov, many sought to bring into Russian paintings the unique flavor of their people, as well as an unquenchable dream of beauty. It is difficult to underestimate the extraordinary paintings of these masters majestic art, because under their brush truly extraordinary works of various genres were born. Academic painting, portrait, historical picture, landscape, works of romanticism, modernism or symbolism - all of them still bring joy and inspiration to their viewers. Everyone finds in them something more than colorful colors, graceful lines and inimitable genres of world art. Perhaps such an abundance of forms and images with which Russian painting surprises is connected with the enormous potential of the artists’ surrounding world. Levitan also said that every note of lush nature contains a majestic and extraordinary palette of colors. With such a beginning, a magnificent expanse appears for the artist’s brush. Therefore, all Russian paintings are distinguished by their exquisite severity and attractive beauty, which is so difficult to tear yourself away from.

Russian painting is rightfully distinguished from the world artistic arts. The fact is that until the seventeenth century, domestic painting was associated exclusively with a religious theme. The situation changed with the coming to power of the reforming tsar, Peter the Great. Thanks to his reforms, Russian masters began to engage in secular painting, there was a separation of icon painting as a separate direction. The seventeenth century is the time of such artists as Simon Ushakov and Joseph Vladimirov. Then, in Russian art world portrait was born and quickly became popular. In the eighteenth century, the first artists appeared, moving from portrait painting to landscape. The artists’ pronounced sympathy for winter panoramas is noticeable. The eighteenth century is also remembered for the emergence of everyday painting. In the nineteenth century, three movements gained popularity in Russia: romanticism, realism and classicism. As before, Russian artists continued to turn to the portrait genre. It was then that the world-famous portraits and self-portraits of O. Kiprensky and V. Tropinin appeared. In the second half of the nineteenth century, artists increasingly depicted the common Russian people in their oppressed state. Realism becomes the central movement of painting of this period. It was then that the Itinerant artists appeared, depicting only real, real life. Well, the twentieth century is, of course, the avant-garde. The artists of that time significantly influenced both their followers in Russia and throughout the world. Their paintings became the forerunners of abstract art. Russian painting is a huge amazing world talented artists who glorified Russia with their creations

Voronezh artist Olga Brazhnikova is known for her bright, sunny works done in gouache. The path to art was not easy for her; giving up work as a designer, she entered the Voronezh Art School, and this year she graduated from the Pedagogical University with a degree in Fine Arts. Olga mainly works with gouache and destroys stereotypes associated with this material. For Umbra Media, the artist showed her home studio and told how creativity changed her life.

About studying
“Run away from work at the factory”

— When did you realize that you wanted to become an artist?

— I always liked to draw, but in the minds of my parents (my mother worked as an accountant, my father still works at an aircraft factory), being an artist is not a serious profession. So I had to go to aviation college. I don't understand how I was able to finish it. My ability to draw well helped, I made wall newspapers for tests. When my studies came to an end, I realized that I would never go to the factory. And I went to evening art school so that I would have at least something for my soul. The teacher suggested that I enter the Voronezh Art School.

— How did your parents perceive that you wanted to become an artist?

“They didn’t believe that I would do it.” It was a funny story. Dad said that he knew a man who could draw a portrait of Lenin with a stick in the sand! And if I can’t do that, then I’m not an artist. Despite everything, I prepared for admission, took courses for 2-3 months, and studied drawing separately with a teacher. And when I entered, my parents supported me and were happy. And only later, when my works began to be taken to exhibitions, they believed in me. After college, I ended up at a defense company, where I still work as a designer. I had a rather long break - seven years, but then I decided to return to painting and creativity. In 2013, she entered the Voronezh State Pedagogical University, from which she graduated this year.

About materials
“Few people believe that my paintings are painted in gouache”

— Why did you choose gouache, what interests you about this material?

— I became interested in gouache at the pedagogical institute. Previously, I perceived it more as a transitional stage to oil. But now this is my favorite material. It dries quickly, is odorless, gives textured strokes and bright colors. I paint impasto, I don’t dilute the gouache with water. I usually draw on thick paper. Oil, of course, is not so convenient to work in an apartment. Especially considering that my cat constantly tries to get into some kind of jar. Once I was painting in oils, I was distracted for a while, and she had already gotten into the blue paint and left paw prints all over the apartment. Then we spent the whole evening scrubbing away these marks.

— What do you think about the fact that gouache is often called a “children’s” material?

— It seems to me that this is a stereotype and prejudice. It was in gouache, according to my colleagues, that I developed my own style. When I post my works on the Internet, many people write how surprised they are that the paintings are painted in gouache and not in oil. Gouache is not children's creativity, but a worthy material. It seems to me that masterpieces can be created with any material; the material does not play a primary role here.

— What inspires you?

— I love cityscapes. Houses that have lived and have their own history fascinate me. I usually walk around the city, shoot stories, and then write at home. I love the riot of color and textured strokes. And among contemporary artists, I am very inspired by the watercolors of Arush Votsmush.

— In what atmosphere do you like to work – in silence, or with music?

— When I write, I most often listen to good old rock. Some of my favorite bands are Aquarium and The Doors

— There is a widespread opinion that academic education “kills” the artist’s individuality. What do you think about this?

— It seems to me that education in the artistic field is more important than ever now. When you watch the same video lessons over the Internet, you are not a participant in the process, but this is necessary. I think that academic education helps to gain drawing skills. I studied with Alexander Starilov, he was a versatile artist, architect, and innovator. He believed that you need to have a classical education, and then look for your own style; the same primitivism is not born out of nothing. And I agree with him.

About implementation
“An artist is more than a profession”

— How do you manage to combine work as a designer, creativity and family?

— It’s difficult, I write mostly on weekends. And the daughter is already an adult, you don’t need to be with her all the time, she already has plenty of her own interests. During the period when I did not draw, I constantly felt that I was missing it. Now I am not going to give up painting, I like to be creative and search. Being an artist is for me the meaning of life and more than a profession. Creating a painting is some kind of mystery for me, although, of course, from a technical point of view there is no mystery. But the process is always intriguing - I wonder what will come out in the end.

— What are your plans in the near future? Would you like to have your own workshop?

— I really want to participate in exhibitions, and not be confined to my own space. I hope that soon I will be able to have a personal exhibition at the art school. And the workshop is perhaps only a matter of the distant future. For now, all my works fit in the apartment. We recently completed renovations. The walls were specially painted white so that paintings could be hung. I organized the work space so that there was air around and a lot of light. So far it has not become overgrown with all sorts of interesting objects and details, but I think that this will not last long.

I still go to blogs of different artists and take a closer look at the gouache that people work with. (I also have my own, but you have to see what people are doing.) I realized that for me personally, watercolor is not well suited for plein air. I need something with more coverage and faster drying. And at the same time less capricious. Therefore, gouache now seems to be a more optimal option for plein air work, when the light and weather conditions change very quickly and there are really no amenities.

I’m not ready for oil yet; I need to carry too many heavy things with me, including canvases or boards for work, as well as a special box for sketches so that they don’t smear during transportation. And now, when equipped to work with watercolors, pastels and colored pencils, my shoulders just come off. So much so that after the last few trips last month I am living with Voltaren. This is not some kind of guy, if anything. This is an ointment for muscle and joint pain.

Works by James Gurney from here

Works by Nathan Fawkes from here

These are my heroes now, basically. I would like to move in my works from life from detailed piping to a freer stroke. But not because I stopped loving to languish over the details - this will not happen, I adore them. But because I would like to see, after the plein air, finished or almost finished works that could be used for more serious paintings. Because now, while I’m bringing to mind the sketches from life and completing the drawings - from memory and from photos - I no longer have the strength for a larger repetition.

While searching for gouache varieties, I came across another talented illustrator, whom I will not link to here, because he causes me some internal contradictions. Moreover, I often came across the fact that it is useless to ask Western illustrators about materials or any subtleties of work. In 90% of cases they simply do not answer and are not particularly focused on the topic of how exactly they work. I understand their position perfectly well, but I think it’s ugh. But then it turned out that there is an even more superlative degree. The talented illustrator, to whom I am NOT linking, answers all questions about the technique and materials used very clearly: “Please send me an email to purchase the information.” At first I thought that it was simply misspelled when I saw the signature under one of the works after the list of materials used. Because purchase information is information about a purchase, but to purchase the information is the purchase of information. But no. A person really only shares information for money. And I still don’t understand how I feel about this.

On the one hand, he is right. This information didn’t just fall out of the sky to him either. He invested time and money into his work technique. It’s scary to think how much money I’ve already spent on finding materials that best suit me. So it is with him. Why should he now share with someone for free? I myself have often encountered the fact that my detailed stories or thoughtful topics and lessons that people received for free were used for entire master classes, that is, monetized and everything passed me by into someone else’s piggy bank, including the piggy bank recognition. But there is also such a thing as creative exchange. Without it there is no normal development. There is only stagnation. What if it was my information, which I shared from the heart, that helped some very cool artist get on his feet?! After all, without him the world would be a much poorer place.