1) Selecting a topic:
in its diploma work I turned to one of the types visual arts- painting. The theme of the work was landscape. It is appropriate to quote the statement of the famous Russian landscape artist I.I. Shishkina: “The painting must be a complete illusion, and this cannot be achieved without a comprehensive study of the selected motifs to which the artist feels the greatest attraction, which remain in his childhood memories, that is, the landscape must be not only national, but also local.” (Abeldyaeva I.G. School of Fine Arts. Issue 5. - M., 1962).
The criterion for choosing the topic was my personal attitude towards the local seascape. The desire to convey in the picture a sunny state, the view of Tsemes Bay familiar from childhood, complemented by modern buildings of the seaport.
2) Collection of material:
a painting is a creation complete image nature is an artistic generalization, the transformation of nature with the help of the artist’s imagination. It is impossible to transform picturesquely what you have no idea about. Therefore, the creation of a landscape is always preceded by long work on sketches from life. “You should look at nature simply, carefully, trying to understand its general impression, and from there go to the details...” (Masters Soviet art about landscape, 1965).
To complete the work, preparatory material was collected. These are sketches, pencil sketches, pictorial short-term and long-term studies made from life.
(Appendix A, Fig. A1-A6). The main advantages of a landscape sketch are the transfer of a certain state of illumination of nature, the influence of the air environment and significant space. The sketches were completed at different times of the year, at different times of day.
3) compositional and coloristic solution:
Compositional integrity pictorial sketch depends on the relationship between the main and the secondary, on linking the entire image into a single work. When identifying the compositional center, the artist has to consciously generalize the details, weaken the tone and color strength of objects moving away from the compositional center, and subordinate all tonal and color relationships.
4) cardboard (preparatory drawing):
having clarified the idea in sketches and sketches, finding linear and color composition, you need to start drawing the entire composition on cardboard or paper (Appendix A, Fig. A7). The cardboard is made to life size using pencil and charcoal. In it, the compositional solution, the nature of the shape and proportion of objects, the tasks of aerial and linear perspective are honed and brought to completion, the layout of the landscape is determined, and the compositional center is worked out. After this, the drawing from the cardboard (through tracing paper or with gunpowder) is transferred to the canvas.
5) Canvas painting:
After compositional searches and making cardboard, you can begin painting on canvas, starting with underpainting, clarifying tonal and color relationships, laying shadows, working out details. Next comes the generalization and completion of the work (Appendix A, Fig. A8-A14).
Dmitry Revyakin’s work is very diverse and covers a wide range of areas - from oil painting and tempera to wood carving and creating custom items in the “Steampunk” style. A special place is occupied by works that are business card the author - painting and wood carving in one work. Versatility artistic skills And high level Dmitry Revyakin's mastery allows him to create original creative works that represent the organic unity of painting and wood carving - the picture and the frame as its semantic continuation.
Dmitry Revyakin's paintings are imbued with love for Russian nature. His paintings speak of the endless variety of beauty, the beauty of all seasons and the artist’s reverent attitude towards native land. Landscapes and still lifes in oil are characterized by brightness of writing, expressiveness of details, beauty of light nuances, and a general feeling of cheerfulness
Copies of paintings
(paintings were made during master classes)
Choose a picture(s), in the order, instead of the name of the film, indicate the name of the picture and within 1-6 hours you will receive payment details by email
Do you want to buy a painting at the lowest price in Moscow? Contact us, because at painting master classes, explaining to students how to paint this or that landscape or still life, Dmitry paints a picture, and then we sell it. The most cheap oil painting Only here! If you find paintings in Moscow cheaper than in Leonardo's studio, write to us where this place is! You can look and order an oil painting or purchase from those below. Dmitry Revyakin is an excellent painter and master of his craft, you can order him copy any known paintings or order a painting from a photograph. Below is a selection of Dmitry Revyakin's original works (all paintings are for sale).
Wood carving D.V. Revyakina.
Dmitry is engaged in wood carving and works using the marquetry technique. You can see photographs of D.V.’s works. Revyakina below.
Wood carving - traditional Russian art, which has received worldwide recognition. Items made of natural wood fill the interior with special comfort and warmth, creating the image of a home rich in tradition and valuing stability. The site presents the following wood carved products that you can buy: shepherd (tea board), mirror frame, box, carved furniture, etc.
Steampunk.
D.V. Revyakin performs work in the Steampunk style (see photo below). You can order a steampunk portrait framed in a steampunk frame. The artist will be able to fulfill any order. Steampunk (or steampunk) is a direction based on fantasy, creating new reality, objects, using mechanical and technological elements of steam engines. Steampunk as a style is common in painting, graphics, sculpture and design, and everyday items created in the Steampunk style are very popular in youth environment. You can also order a fantasy portrait, and Dmitry will paint an excellent picture.
Plein air.
Dmitry Revyakin very often writes from life. Any artist will confirm that you can only gain the experience of a real painter by working in the open air, studying nature. A fun activity to find a place in nature and write early in the morning beautiful landscape from nature. It is best to work in the morning or evening because the colors are most interesting to the artist at this time. By studying nature, you learn real, not fictitious shades, find and compare complex color combinations with the reality around you.
“The painter’s painting will not be perfect if he takes the paintings of others as inspiration; but if he learns from natural objects, he will produce good fruit.” Leonardo Da Vinci.
the past fascinates with its colors, the play of light and shadow, the appropriateness of each accent, the general condition, and flavor. But what we see now in galleries, preserved to this day, differs from what the author’s contemporaries saw. Oil painting tends to change over time, this is influenced by the selection of paints, execution technique, finishing coat of the work and storage conditions. This does not take into account minor mistakes that a talented master could make when experimenting with new methods. For this reason, the impression of the paintings and the description of their appearance may differ over the years.
Technique of the old masters
Technique oil painting gives a huge advantage in work: a picture can be painted for years, gradually modeling the shape and filling in the details with thin layers of paint (glaze). Therefore, corpus painting, where they immediately try to give completeness to the picture, is not typical for the classical manner of working with oil. A thoughtful step-by-step approach to applying paint allows you to achieve amazing shades and effects, since each previous layer is visible through the next one when glazing.
The Flemish method, which Leonardo da Vinci loved to use, consisted of the following steps:
- The drawing was painted in one color on a light ground, with sepia for the outline and main shadows.
- Then a thin underpainting was done with volume sculpting.
- The final stage was several glaze layers of reflections and detailing.
But over time, Leonardo’s dark brown writing, despite the thin layer, began to show through the colorful image, which led to the darkening of the picture in the shadows. In the base layer he often used burnt umber, yellow ochre, Prussian blue, cadmium yellow and burnt sienna. His final application of paint was so subtle that it was impossible to detect. Own developed sfumato method (shading) allowed this to be done with ease. Its secret is in heavily diluted paint and working with a dry brush.
Rembrandt – Night Watch Rubens, Velazquez and Titian worked in the Italian method. It is characterized by the following stages of work:
- Applying colored primer to the canvas (with the addition of some pigment);
- Transferring the outline of the drawing onto the ground with chalk or charcoal and fixing it with suitable paint.
- The underpainting, dense in places, especially in the illuminated areas of the image, and completely absent in places, left the color of the ground.
- Final work in 1 or 2 steps with semi-glazes, less often with thin glazes. In Rembrandt, the ball of layers of the painting could reach a centimeter in thickness, but this is rather an exception.
In this technique special meaning was given to the use of overlapping additional colors, which made it possible to neutralize the saturated soil in places. For example, red primer could be leveled out with a gray-green underpainting. Work with this technique was faster than with the Flemish method, which was more popular with customers. But the wrong choice of the color of the primer and the colors of the final layer could ruin the painting.
Coloring of the picture
To achieve harmony in painting use the full power of reflexes and complementary colors. There are also such small tricks as using a colored primer, as is common in the Italian method, or coating the painting with varnish with pigment.
Colored primers can be adhesive, emulsion and oil. The latter are a pasty layer oil paint required color. If a white base gives a glowing effect, then a dark one gives depth to the colors.
Rubens – Union of Earth and Water Rembrandt painted on a dark gray ground, Bryullov painted on a base with umber pigment, Ivanov tinted his canvases with yellow ocher, Rubens used English red and umber pigments, Borovikovsky preferred gray ground for portraits, and Levitsky preferred gray-green. Darkening of the canvas awaited everyone who used earthen colors in abundance (sienna, umber, dark ocher).
Boucher – delicate colors of light blue and pink shades For those who make copies of paintings by great artists in digital format, this resource will be of interest, where web palettes of artists are presented.
Varnish coating
In addition to earthen paints, which darken over time, resin-based coating varnishes (rosin, copal, amber) also change the lightness of the painting, giving it yellow tints. To artificially make the canvas look antique, ocher pigment or any other similar pigment is specially added to the varnish. But severe darkening is more likely to be caused by excess oil in the work. It can also lead to cracks. Although such the craquelure effect is often associated with working with half-damp paint, which is unacceptable for oil painting: they paint only on a dried or still damp layer, otherwise it is necessary to scrape it off and paint over it again.
Bryullov – The Last Day of Pompeii
If there are several publications on a particular issue, you need to familiarize yourself with all publications in order to understand how the point of view on the issue under study has changed.
Collection and processing of factual material (sketches, sketches, sketches and compositional searches)
Collection of factual material is a crucial stage in preparing the practical part of the course work. Its quality largely depends on how qualified and complete the factual material is selected.
subject training disciplines are sketches, sketches, sketches, compositional searches for plastic forms, decorative panels, samples of execution techniques, source images for computer graphics, reproductions of works of art.
Factual material for course work on general professional disciplines– this is data from an experimental study based on the results practical activities At school.
Collection and processing of natural material (sketches, sketches and sketches), compositional searches are a labor-intensive stage in the course work. In order to speed up the processing and systematization of material and the successful completion of work, students are given the right and opportunity to use educational, scientific laboratories and workshops, library funds and reading rooms.
Preparation for defense and defense of course work
Completed and properly formatted coursework is submitted to the supervisor no later than two weeks before the defense at the department. The work supervisor checks the work, signs it and presents it to the head of the department. Based on the submitted documents, the head of the department decides on the admission of the work to defense. The admission permit is issued for title page course work and signed by the head of the department. If the head of the department does not consider it possible to admit the student to the defense, the issue is resolved at a meeting of the department with the participation of the head and the author of the work.
In this case, the decision on admission to defense is made by the head of the department based on the decision of the members of the department.
The work accepted for defense is returned to the student to correct comments and prepare abstracts for defense.
Defense of course work is held at an open meeting of the department, in which scientific supervisors of the work, faculty teachers, students, etc. participate. All those present can ask the defender questions about the content of the work and participate in its discussion.
No more than 20 works are submitted for defense at one meeting. No more than 15 minutes are allotted for the defense of one work, including 5-7 minutes for the student’s report.
The graduate's report (1-1.5 pages) contains:
Work theme;
Goal of the work;
The relevance of the topic being studied, its rationale;
Characteristics of the volume and structure of work;
Sequence of the practical part;
Conclusion.
The report is presented freely and clearly; the student does not read the text, but logically presents his observations and conclusions.
The student’s answers to the questions of those present, their completeness and depth influence the assessment of the course work.
After the author of the work speaks and answers the questions, the leader speaks with his feedback. After discussing the work, the student is given the opportunity to respond to comments made. Course work is assessed on a four-point system: “excellent”, “good”, “satisfactory”, “unsatisfactory”. In doing so, members of the department are guided by the following criteria:
Professionalism of skills and abilities in performing the practical part;
Defense of the work: the student must show how deeply he has comprehended the topic, the ability to navigate scientific problems related to the topic of the work: the student must demonstrate the ability to briefly and clearly express his thoughts, give comprehensive answers to questions, logically and correctly conduct scientific debate;
Design of work: compliance with the design rules recommended by these regulations, spelling, punctuation and stylistic literacy; correct bibliographic design.
The student needs to know that the grade consists of many indicators; the decisive indicator is the defense itself. Discussion of the results of the defense of each work is held at a closed meeting of members of the department. The decision on evaluation is made by a majority vote, the voice of the head of the department is counted as 2 votes. The results of defending coursework are announced on the same day after approval of the defense protocol by the head of the department.
In case of an “unsatisfactory” grade, the student has the right to defend the work again within the next semester after making additions, corrections, and revisions, but no more than once.
The general results of defending coursework are necessarily discussed at the department. Based on the results of the defense, the department can recommend individual works for publication in collections of student scientific works.
The theoretical part of the course work for 2 years from the date of defense is stored in the methodological office of the faculty, where it can be used (on a common basis with educational and scientific literature) students, teachers, teachers, etc. Practical part stored in the exhibition fund and used for exhibitions and as Toolkit in class.
Withdrawal of materials, changes, additions to coursework not allowed. If necessary, the author of the work has the right to make copies of materials available in the work.
there are answers to all these questions. Here are the basics of where to start painting. Follow these tips, do the exercises and you will no longer be afraid clean slate. You will receive the necessary knowledge and basic skills. Painting will become closer, clearer and will bring a lot of pleasure.
Part 1. Preparatory
1. Find an inspiring subject to draw
It happens that you have already prepared everything, but you cannot find an object that would inspire you. This should be taken care of in advance. Something interesting is probably lying around in cabinets and desk drawers. Look for items at estate sales, consignment stores and grocery stores. Study paintings by your favorite artists.
The selection should include items that are pleasant to look at: this is important for creating successful work.
An interest in color and shape will motivate you as you work on your painting. There is a connection between feelings for an object and the ability to reveal your abilities. You can do more than you think.
For the first picture, a simple one-color symmetrical vessel, such as a regular coffee cup, will do. Illustration from the book
2. Get to know brushes and paints
Take a soft round brush and a bristle brush in your hands and compare their bristles. Squeeze a little onto the palette acrylic paint from a tube. Try applying undiluted paint. different brushes on canvas or watercolor paper. The strokes should be bright and bold. Feel the differences in strokes with different brushes. Add a little water and apply the strokes again. Medium consistency paint has the same color intensity as undiluted paint, but its texture is smoothed out. And do this exercise again with a weak paint solution. Notice how quickly the paints dry the first, second, and third times.
Illustration from the book
Try applying paint with different brushes - soft oval, synthetic thin, bristly flat. Try each brush until you are confident that you know which brush to use to achieve the design you have in mind.
Illustration from the book
3. Useful techniques for working with the palette
The colors in the paintings we see are usually obtained through mixing: the pure color from the tube is usually too intense. These techniques will make it easier for you to get the color you want.
- 1 Squeeze the paint from the tube onto the edge of the palette, leaving space between the colors. Use the center of the palette for mixing. Make batches farther apart to prevent unwanted mixing.
- Apply pure color to the brush from the edge of the palette, and not from above or from the middle of the squeezed out “sausage”.
- Intensive dark colors, such as black (although it is not scientifically considered a color), add with caution: even a small amount can significantly change the color being mixed.
- You need to mix the colors together until the mixture becomes completely homogeneous.
- Don't skimp on the paint. Squeeze out as much as you need - usually this is a circle the size of a ruble coin (for whitewash - the size of a five-ruble coin). Paint consumption is an integral part of the painting process. If you save too much, you will never learn how to use paint.
4. Learn to get neutral colors
In any picture there are neutral colors - “visually gray”. Due to their low intensity, they are invisible at first glance, but they are the most useful tool for creating a harmonious color composition. Let's see how to achieve this.
Mix blue and orange in any proportion. Now let's try to change the color temperature by proportional ratio warm and cool colors in a mixture. If the result is more purple, try making a rusty color by adding more orange paint and then white for a lighter color. peach color. If the first step produces a rusty color, add blue to create a cool color, close to purple, and then white to create a light violet-gray.
Repeat the previous steps for another pair of complementary colors - yellow and purple, red and green.
Pairs of complementary colors are connected by short vertical strokes. The colors of each pair are mixed with each other to create two neutral colors, each of which was dominated by one of the parent colors - these are located to the right of the corresponding parent. Illustration from the book
5. Primary, secondary and tertiary colors
Draw a circle, then divide it into three equal sectors. Paint the upper sector with cadmium yellow medium, the lower right one with ultramarine blue, and then mix the main red from naphthol crimson and cadmium red light and paint the lower left sector with it.
On the color wheel of primary colors, draw semicircles with centers at the intersection of the sector boundaries with the outer contour color wheel. Fill these semicircles with secondary colors, placing them above the “parents”: cadmium red light above the border between red and yellow, dioxazine violet above the border between red and blue. Add yellow to the green FC and fill in the green semicircle above the border between yellow and blue.
The primary color, when mixed with the adjacent secondary color, produces a tertiary color. Add one triangle on each side of the semicircle, making a total of six. Color in each triangle based on the labels.
Primary, secondary and tertiary colors. Illustration from the book
Part 2. Drawing
6. Start with abstractions
Abstraction is an interesting and simple way to prepare for working on a realistic piece. It is important to choose 3-4 colors that you like in order to feel an emotional connection with the painting. Draw over the entire surface of the sheet with a simple pencil a continuous angular or rounded line. It may intersect several times.
Paint the shapes in the drawing with the colors and shades, paint consistency and brush that you like. Listen to your inner voice. the main task- do it the way you like, forgetting about everything else.
Illustration from the book
7. Smear pattern
Beginners are often unsure how to apply strokes. The arrows in the figure show the direction that will help to achieve good depth in the depicted space using the example of a mug.
Smear diagram and result. Illustration from the book
8. How to apply eye shadow
Shadows play a key role in creating a three-dimensional image: first of all, you need to learn to see and write them. There are four types of shadows:
- Own shadows located on objects. These are areas of dark tone that contrast with the illuminated parts of the depicted form. They usually have a sharp edge at the outer edge and a smooth transition at the edge of the light-colored areas of the subject. They own the main role in creating volume.
- Halftone areas- narrow, with a soft contour, located on the border between its own shadow and the illuminated area of the object. These shadows are the mid-tone between the contrasting dark and light tones of the subject.
- Falling shadows- silhouettes of an object, “fallen” or thrown by it onto any surface other than itself. They give the impression that the object is on some surface.
- T Eni at the point of contact- the darkest area of the falling shadow, lying next to the object. They are responsible for the “stability” and mass of the object. These shadows are also called the accent - the darkest area among the dark tones. An accent is the dark counterpart of a highlight, the lightest area among the highlights.
To paint a shadow, apply black paint or paint of a darker color than the base color. And in the second step, cover this darkened area with the main color. The halftone black should show through under the new coat of paint, creating a colored shadow. If you want to make the shadow darker, apply more black from the clear edge of the shadow and mix with the color in the midtone.
Shadow using the example of a cylinder. Illustration from the book
9. How to apply highlights
To create a realistic highlight, use a dry brush with white paint to paint the lightest area on the subject as many times as necessary to achieve sufficient brightness. In the middle of the highlight, place a small dab of thick paint for extra brightness.
Two examples of highlight overlay. Illustration from the book
10. Paint pictures in your imagination
While going about your daily activities, paint pictures in your imagination. Mentally look for correspondence between the surfaces and textures you see around you and the way you work with a brush and apply paint.
