Artist's Vision
Good day, dear friend!
I have often heard the question: are artists born or made? Of course, they become artists, but the talent of an artist lives in each of us, anddeveloping drawing skills and artistic vision is not only possible, but simply necessary!!!
Remember the statement of F.M. Dostoevsky: “Beauty will save the World!” I would add here: provided that the World can see this beauty. Agree, Seeing and Watching are two different things!
A person who has the Artist’s Vision perceives the World much more subtly and richly. Many people believe that artists embellish Life. They paint a person better than he really is. Or maybe it's a matter of vision?
Who is better able to see the person being portrayed - an artist who carefully studies nature, or an outside observer who glances briefly? Who can see inner beauty person?
An artist is not a strict judge who is trying to pass his verdict, an artist is looking for the best that is in a person, how a litmus reveals it and gives life to a new image.
Master Artistic Vision it means mastering the artSee the Beautiful, See Deeply and Fully!!! It means filling your life vivid impressions, make it richer, richer, more interesting. This means expanding your creative capabilities!!!
Have you, dear friend, ever observed an artist at work? You see an ordinary landscape, but on the artist’s canvas there is something extraordinary, beautiful, that touches your soul. And you also want to try to do something similar, but the realization that you don’t know how to draw cools your ardor.
But in childhood you drew, but for one reason or another you did not further develop this ability. What a pity! And this regret remains inside you.
On the pages of the blog “Draw Together”, drawing lessons will become tools for Mastering Artistic Vision
Portrait;
Landscape;
Wall painting
Why did I choose these particular topics for the development of Artistic Vision?
· Man and Nature are the main themesMy Creativity .
· For me it's an inexhaustible source of inspiration!
· « Because portrait drawing requires very subtle perception to create a likeness , drawing faces for beginners in art - a very effective waylearn to See and Draw» Betty Edwards ("Discover the Artist in You").
So, dear friend, Let's Learn to Draw in order to:
Enjoy life more fully, learn to see, understand and convey beauty;
Master the skills of drawing a portrait (from life and from a photo), landscape, wall painting;
Discover new talents (psychologist, life designer, etc.);
Learn to see the Great in the small;
Develop the abilities you already possess;
Develop abstract thinking;
Fill your life with bright impressions;
Become aware of yourself;
See the beauty inside and around you
Creating with Your Own Handsportraits, landscapes, wall paintings You will get many effects:
Focusing completely on your drawing subject disconnect from the problems of everyday life;
Understand human naturebecoming a subtle psychologist;
Depicting nature, you are filled with her energy and delight;
All the energy you invested during work will return to you and your loved ones a hundredfold when you hang it on your wall at home;
Give your art to your loved ones and friends!!!
You create with your own hands Your Space of Love
Discover Your Own Wealth!!!
You have a talent for drawing!
On the pages of the blog, step by step, you will master the art of drawing a portrait, both from photography and from life. In the videos you can watch how a portrait is created while simultaneously drawing your own.
I will be glad to see your comments!
Sincerely
What is creative work- a painting painted by an artist or piece of music, causing us a feeling of admiration and inspiration? Is it all from a simple desire to show us something new, something different, or is it a person’s desire to express what the artist himself saw and others could not see? As Pablo Picasso once said: “Some people see what is and ask why. I see what could be and ask 'why not?'" The main idea behind this statement is that some people see more opportunities in the things around them than others. And this is precisely the central link of the concept of creativity.
When testing creativity, psychologists often use divergent thinking tests. For example, a person is told to come up with as many uses as possible for the simplest things, like an ordinary brick. If a person is able to come up with many options and combinations of using an ordinary brick (up to creating a coffin lid for a Barbie doll from it), then the test will show that such a person will have significantly more developed divergent thinking than someone who believes that bricks can be used only for solving ordinary problems like constructing walls and buildings.
According to the same research, openness to experience, or simply openness to new experiences, is the aspect of our personality that stimulates our creativity. Of the five core personality traits (extraversion-introversion, agreeableness, conscientiousness, neuroticism, and openness to experience), openness is the best predictor of our performance on divergent thinking tasks.
As American psychologists Scott Barry Kaufman and Carolyn Gregoire point out in their book Wired to Create, the desire for creativity in humans “comes from a desire for cognitive exploration of one’s own world and the world around us.” The curiosity of a comprehensive study of certain things can lead to an increase in a person’s level of openness to see the world around him as different compared to average people. Or, as other researchers on this issue say, “the ability to see a complex of possibilities that lie unnoticed in the so-called established “familiar environment” for other people.”
Creative Vision
In a study whose results were published in scientific journal Journal of Research in Personality, says that open people do not just try to see things from their other sides and express their point of view in this way, such people actually really see the world around them differently, compared to ordinary people.
Experts wanted to find out whether there was any connection between openness and such a phenomenon as binacular competition. This phenomenon occurs when two different images are presented to each eye at the same time, for example, a red card and a green card. When viewing both images by an observer, a visual effect will be created for the latter, in which the card shown for one eye will seem to pass into the other eye and vice versa. That is, at some point it will seem that both eyes see either a green or a red background.
Interestingly, for some participants in such an experiment, it may seem that both backgrounds either merge or one is superimposed on the other, creating a kind of structured image, as can be seen in the central picture above. And such moments of binacular suppression, when both images become visible simultaneously, can be explained as an attempt by the consciousness to find a “creative” solution to a problem presented in the form of completely different visual stimuli (cards with different colors background in this case).
In experiments, researchers found that open-minded people were able to see merging or intersecting images for a longer period of time compared to average people. Moreover, the effect lasts even longer if a person at this moment has good mood, which, according to earlier studies, also plays an important role in creativity. Based on these observations, the researchers concluded that creativity open people extend down to the basic visual perception. And such open-minded people are able to experience a fundamentally different visual experience compared to the average person.
See what others don't notice
Another well-known perceptual phenomenon is called inattentional blindness. People can experience it when they focus on something so intensely that they literally stop noticing other things right in front of their eyes.
A great example of this perceptual glitch is an experiment in which people are asked to watch a short video. It shows several people throwing a basketball to each other. The observer is tasked with counting the number of passes between players dressed in white.
At one point, a man in a gorilla suit appears right in the center of the frame and then walks away. Did you notice him? If not, don't worry, you're not alone in this. About half of the 192 participants in the original study also failed to notice the man in the gorilla suit. But why do some people experience inattention blindness and others not?
The answer to this question only comes from recent research, which shows that your susceptibility to inattention blindness depends on your personality. And open-minded people are more likely to notice a gorilla in the frame. Again, from this we can conclude that more visual information penetrates into the process of conscious perception of the world around us in people who are more open - they are able to see what others do not notice.
Open your mind. Is it necessary?
It may seem that open people have more opportunities than others. But can people who initially have no creative features individuals, expand these opportunities? Is this really necessary?
There is compelling evidence that personality can be molded, molded like clay, and made to be what you want. An increase in perceptual openness is observed, for example, after specialized cognitive training using the substance psilocybin (a chemical compound present in some hallucinogenic mushrooms). In less radical examples, increased levels of openness are often observed among students studying abroad, which only once again reinforces the idea that travel helps expand your consciousness.
But in fact, not everything in “openness of consciousness” is as rosy as it might seem at first glance. Psychologists often link openness to certain aspects of mental illness, particularly an increased tendency to hallucinate. There is a very fine line between the ability to see more and the ability to see what is not there. In general, having diverse personalities is a good thing. It's important to remember that one person's point of view is not necessarily better than another's.
Each historical era shows off his type artistic vision and develops corresponding linguistic means. At the same time, the possibilities of artistic imagination at any historical stage are not unlimited: each artist finds certain “optical possibilities” characteristic of his era, with which he finds himself connected. The dominant ideas of contemporaries (picture of the world) “contract” all the diversity artistic practices into a specific focus, act as the fundamental basis cultural ontology of artistic consciousness(i.e. ways of being, creative manifestation of artistic consciousness within the boundaries of the corresponding cultural community).
Unity creative processes in the art of a particular era determines the emergence artistic integrity special type. The type of artistic integrity, in turn, turns out to be very representative for understanding the originality of the corresponding force field of culture. Moreover, based on the material artistic creativity it becomes possible not only to detect characteristic features consciousness and self-awareness the basic personality of the era, but also to feel their cultural limits, historical boundaries, beyond which creativity of a different type begins. The historical ontology of artistic consciousness is a space in which the mutual contact of the artistic and the general cultural occurs: it reveals many “capillaries” of both direct and reverse influence.
The muds of artistic vision thus have their own history, and the discovery of these layers can be seen as the most important task aesthetics and cultural studies of art. Studying the transformation of artistic vision can shed light on the history of mentalities. The concept of artistic vision is quite general, it may not take into account some features creative individuality. Establishing belonging to the same historical type of artistic vision of different authors, aesthetic analysis inevitably “straightens out” a number of distinctive qualities of individual figures, highlighting what they have in common.
G. Wölfflin, who devoted a lot of effort to the development of this concept, believed that the general course of development of art does not break down into separate points, i.e. individual forms of creativity. For all their originality, artists are united in separate groups. “Different from each other, Botticelli and Lorenzo di Credi, when compared with any Venetian, turn out to be similar, like Florentines: in the same way, Hobbema and Reyedal, whatever the discrepancy between them, immediately become related if they, the Dutch, are contrasted some Fleming, for example Rubens." The first furrows in the development of the concept of artistic vision, extremely fruitful for modern research in the field of cultural studies of art, paved the way for German and Viennese school art history in the first decades of the 20th century.
The formulation of a particular problem in culture is always subordinated to a certain historical moment, no matter what sphere of creativity it concerns. Based on this position, O. Benes, for example, strove to discover certain things in the figurative structure of art stylistic (times, which would be common to both art and science. “The history of ideas,” Benes wrote, “teaches us that the same spiritual factors underlie different spheres.” cultural activities. This allows us to draw parallels between artistic and scientific phenomena and expect their mutual clarification from this. Creative consciousness in every given historical moment embodied in certain forms that are unambiguous for art and science." Here a vertical is built: the type of artistic vision is ultimately the implementation of general cultural parameters of consciousness by means of art. The point is that the methods of artistic thinking and perception, established in art as dominant, are somehow connected with the general methods of perception and thinking in which this era recognizes itself.
Artistic vision reveals itself primarily in the form, in the ways of constructing a work of art. It is in the techniques of artistic expression that the artist’s attitude to the model and to reality is revealed not as his subjective whim, but as highest form historical conditionality. At the same time, many problems arise in the way of studying the types of artistic vision in history. Thus, one cannot help but take into account the fact that among the same people in the same era different types artistic vision coexist. This split, for example, can be observed in Germany in the 16th century: Grunwald, as art historical studies show, belonged to a different type of artistic expression than Dürer, although both of them were contemporaries. It can be noted that this fragmentation of artistic vision was also consistent with the various cultural and everyday structures that coexisted in Germany at that time. This once again confirms special meaning concepts of artistic vision for understanding the processes of not only art, but also culture in general.
The sense of form, which is central to the concept of artistic vision, somehow comes into contact with the foundations of national perception. In a broader context, artistic vision can be understood as generating source of general cultural mentality era. Ideas about related content of concepts artistic form and artistic vision were expressed much earlier by A. Schlegel, who considered it possible to talk not only about style Baroque, but also about feeling of life Baroque, and even person baroque. Thus, a well-founded idea of artistic vision as borderline concept carrying within itself both intra-artistic and general cultural conditioning.
Although the evolutionary processes in artistic creativity have never stopped, in art it is not difficult to detect eras of intense quest and eras with more sluggish imagination. The problem is that in this history of types of artistic vision we can not only discern the consistent process of solving artistic problems proper, as this or that author understood them, but also find the key to realizing the universality of the culture that gave birth to them, to penetrating the cultural ontology of human consciousness, operating in a given time and space. With the progress of history, the problem under consideration becomes more and more complex, since with the expansion of the arsenal of techniques already discovered by art, the abilities of self-propulsion of artistic creativity also increase. The need to resist dulling of perception and to achieve an intense impact on the viewer forces every artist to change his creative techniques; Moreover, each effect found in itself predetermines a new artistic effect. This shows viutriartistic conditioning changing types of artistic vision.
The elements of the form of a work of art do not act as an arbitrary decoration of the content, they are deeply predetermined by the general spiritual orientation of the time, the specifics of its artistic vision. In any era - both with intense and sluggish imagination - one can observe active trends in the artistic form, testifying to its cultural-creative capabilities. Cultural(or culture-creating) possibilities of art appear when new ideals, orientations, and tastes arise and sprout on the artistic territory, which then spread in breadth and are picked up by other spheres of culture. In this sense they talk about cultural typicality art, bearing in mind that art, unlike other forms of culture, accumulates in itself all aspects of culture - material and spiritual, intuitive and logical, emotional and rational.
- Wolflin G. Basic concepts of art history. M.; L., 1930. P. 7.
- Benesh O. Art of the Northern Renaissance. Its connections to modern spiritual and intellectual movements. M., 1973. S. 170, 172.
Shaikhulov R.N.
The article examines the formation of pictorial vision as a necessary component in the professional training of artist-teachers. The author analyzes the features of pictorial vision in comparison with other forms of artistic vision, formulates criteria for assessing its formation. Based on the conducted ascertaining and formative experiments, a methodology for its formation is proposed.
In the process of training artist-teachers at the art and graphic faculties of pedagogical universities, one of the special disciplines that forms practical artistic skills and artistic vision is painting. The painting program involves the study of all its types, technologies, and visual arts. The effectiveness of mastering the program requirements for painting, along with other specific factors, depends on the level of formation of pictorial vision. What do we mean by pictorial vision? How does it differ from other forms of artistic vision? What is the level of pictorial vision at various stages of learning, and what are the ways of its formation?
It is known that the entire process of artistic vision is divided into: volumetric, linear, color, pictorial, coloristic, plastic and other forms, each of which has its own characteristics. It cannot be argued that this or that vision exists in a “pure” form. The artist sees color, volume, and other characteristics in nature at once, simultaneously, but when one of these aspects dominates, then they talk about a certain type of perception. N.Yu. Virgilis, and V.I. Zinchenko note that artists can develop two, three or more ways of perception.
The basis of pictorial and coloristic vision is color vision. It is inherent in nature, just like hearing, smell and touch. But it can also be acute, developed or, on the contrary, undeveloped. Initially, a person with a reduced level of color vision or suffering from diseases of color perception cannot be a painter, although he can develop other forms of artistic vision. Thus, developed, sharpened color vision, dominant among other forms of vision, is the basis for the development and formation of pictorial and coloristic vision.
Unlike color vision, pictorial vision is formed and developed only in the process of learning and practical visual arts. Since we can see pictorial relationships only by analyzing the state, nature and direction of lighting, analyzing the spatial position, shape, volume and materiality of objects, analyzing their color and spatial relationships. In the process of such analytical perception, color vision is sharpened and a pictorial vision is formed. What does pictorial vision involve in comparison with other ways of seeing? “The pictorial style conveys the optical impression of objects, it cares more about the visual image, there is more subjective in it than in the linear style, which strives to “comprehend things and make them effective according to their strong, binding relationship” (...) “Linear conveys things as they are, the picturesque as they appear"
Describing the methods and techniques of images for these methods of vision, G. Wölfflin points out that with linear vision the emphasis is on contours; the image is usually obtained with emphasized edges, i.e. the shape is outlined by a line, which gives the image a stationary character. This approach to the image seems to affirm the phenomenon.
With a pictorial vision, attention is distracted from the edges, the contour becomes more or less indifferent to the eye. The main element of impression is objects as visible spots. At the same time, it also makes no difference whether such spots are described as colors or as lightness and darkness. Thus, paintings executed in monochrome can be picturesque, which excludes color. The works of many artists made using graphic means are called pictorial. Consequently, a pictorial vision does not necessarily have to be coloristic at the same time. Picturesque space is, first of all, a spatial environment, the “agent” of which is light and air.
How does a pictorial vision differ from a coloristic vision? As is known, color in works of painting is a certain system of color relationships that convey a certain state of lighting or emotional state of the depicted. Color is a strict relationship between all color relationships in the picture and the subordination of these color relationships to the dominant color, and coloristic vision is the ability to see and connect into a single color-tone system visual impressions that are often scattered in nature. Thus, we will classify the heightened ability to see “visual impressions scattered in nature” as pictorial vision, and the ability to systematize these impressions into a complete picture as coloristic vision. The transmission of light and air in painting enriches the color, giving it an exquisite quality, distinguished by a richness of color vibrations, depending on the color of the lighting and mutual reflections from surrounding objects. All these qualities were most clearly manifested in impressionism, which G. Wölfflin called the extreme degree of picturesqueness.
Pictorial vision is the ability to see the whole variety of color relationships of nature in the finest nuances, in connection with lighting, the location of objects in space, the ability to see the impact of the thickness of air on the object environment and, as mentioned above, in contrast to color, works can also be picturesque executed in monochrome relationships. Therefore, we can say that the pictorial vision is the arsenal of the painter’s enriched artistic vision, which he then embodies in a certain coloristic system. Based on this, we can conclude that in teaching students of initial courses in painting, we, first of all, must talk about the need to form a pictorial vision. That it is necessary to develop a certain training system, establish the content and sequence of tasks, the required volume and topic of theoretical material.
Based on this, after analyzing the studied theoretical material on the issues of philosophy and psychology of perception, theory and methods of teaching painting and educational process in painting at the art and graphic faculties, we concluded that the pictorial vision consists of the following components:
- 1. Developed color vision and understanding of the characteristics of its impact on the perception of the surrounding world.
- 2. A holistic vision of all color relationships between objects and the surrounding space.
- 3. Ability to identify proportional relationships of color spots in the model and on the pictorial plane.
- 4. Visions volumetric shape, chiaroscuro and tone, the ability to sculpt shapes with color.
The study contains detailed analysis of these features and based on them are considered paintings students of initial courses of study, where characteristic shortcomings in the works are analyzed, that is, the level of formation of pictorial vision on initial stages training. Based on this analysis, the following criteria for assessing the formation of pictorial vision have been developed:
- 1) Theoretical knowledge of technique, technology, history of painting, color science.
- 2) Vision of volumetric form, light and shade and tone, spatial position of objects, technical skills in modeling form using light and shade and tone, sculpting the form with color.
- 3) Developed color vision, rich pictorial understanding and vision of color.
- 4) A holistic pictorial vision of all relationships between objects and characteristics of nature. A holistic vision of the pictorial structure of a still life, the ability to determine its dominant color structure.
- 5) The ability to convey the nature of lighting by warm-coldness, warm-cold contrast between illuminated and shadow areas.
- 6) The ability to work with proportional relationships, seeing color relationships in nature and in a painting.
- 7) Ability to apply technique work in watercolors in accordance with the assigned tasks, combine technical techniques for working in watercolors to achieve planarity, texture and materiality of the image.
To develop a system of methods for the formation of a pictorial vision, we conducted an ascertaining experiment, which pursued the following goals: to determine the initial level of formation of a pictorial vision; identify the difficulties of elementary students in the process of learning painting.
For this we have developed:
- 1) a program of tasks: a series of educational performances, the nature of which revealed certain aspects of the level of formation of pictorial vision.
- 2) interviews and questionnaires were conducted.
Based on the criteria and parameters we developed, three main levels of pictorial vision were identified: high, medium, low, and on their basis, 3 tables of student evaluation criteria were developed: 1) high level, 2) medium, 3) low level with six error options. These tables are taken as a basis for determining characteristic errors in the depiction of a still life when conducting a ascertaining experiment.
The first task of the ascertaining experiment was completed by 1st year students at the beginning of their studies, the second and subsequent ones at the end of each semester until the end of the 2nd year. The study describes the sequence of each task and analyzes the results according to the above criteria and levels of pictorial vision, identifying shortcomings. The results of each task were tabulated and summarized into the following conclusions: high level approximately 7% of those experimented in the 1st year, 12% in the 2nd year had pictorial vision; an average level of 51% in the 1st year and 65% in the second year and a low level of 42% in the first year, 23% in the second. As we can see, research has shown that without special training, pictorial vision develops only in individual, most gifted students and therefore requires development special system methods of its formation.
To develop methods for forming a pictorial vision, we conducted a formative experiment, which was carried out in two student academic groups of the art and graphic faculty of Nizhnevartovsk State Humanitarian University for four years. The main training on the formation of pictorial vision was focused on courses 1 and 2; in courses 3 and 4, the results of experimental training were tested.
The main tasks of experimental learning relate to three areas of cognitive activity:
- organization of perception;
- mastering theoretical knowledge;
- teaching students practical skills and painting skills.
Essence organization of perception consisted of active and purposeful observation and study of the color patterns of nature; in the ability to see color differences in relation to each other, consciously and purposefully examine a full-scale setting, remembering what is visible for the purpose of subsequently depicting it in color; see and accurately evaluate color changes depending on the change environment and light source; perceive nature holistically.
The organization of perception of works of painting and other works of art in which the expressive capabilities of color are used consisted in the study of the patterns of color construction of the composition, in the study expressive means art, including painting.
Practical classes included: doing exercises, working from nature, using imagination and representation.
In order to acquire knowledge about the laws of constructing color harmony, study the intrinsic and inappropriate qualities of color and study the basic technical techniques of working with watercolors, we have developed a system of short-term exercises, their peculiarity is that they solve educational problems in a complex. That is, in parallel with studying the principles of color science, “temperature” features of color, such color qualities as lightness, saturation, hue, etc., we structured these exercises so that when solving these problems, students also mastered the technical techniques of working with watercolor paints.
We structured some of the tasks related to the depiction of still life in such a way that they were not related to the depiction of a specific still life from nature, but were aimed at conveying space, depth and volume in color under the proposed conditions. Here the question may arise: why can’t this be studied when working directly from nature?
When working from life, an inexperienced painter becomes his “slave,” that is, he strives to strictly follow the color and external contours of objects, and cannot abstract from their visible signs. These tasks allow you, without attachment to specific objects, to study how color can bring you closer and further away, how color can sculpt a shape, convey the state of lighting, and then apply this knowledge to work from life.
And the second half practical tasks consists of painting from life, still lifes composed in such a way that each task solves certain problems of forming a pictorial vision.
After the formative experiment, when determining the results of the proposed methodology, we relied on the levels of development of pictorial vision that we had developed. In assessing the formation of the level of pictorial vision among students in experimental groups, we used mathematical method calculations according to criteria. Grades were given in semester reviews using the generally accepted five-point system, as well as during experimental sections in the middle of each semester. As a result of the training experiment, the following data were obtained (Table 1):
Table 1. Results of the training experiment
|
1st year, 1st semester |
|
|
EG - high - 30% |
CG - high - 6.4% |
|
average - 52% |
average - 48.2% |
|
low - 18% |
low - 46.4% |
|
1st year, 2nd semester |
|
|
EG - high - 30.6% |
CG - high - 6.1% |
|
average - 47.2% |
average - 42.8% |
|
low - 12.2% |
low - 51.1% |
|
2nd year, 1st semester |
|
|
EG - high - 23.8% |
CG - high - 11.3% |
|
average - 64.8% |
average - 42.8% |
|
low - 11.4% |
low - 45.9% |
|
2nd year, 2nd semester |
|
|
EG - high - 39.5% |
CG - high - 5.3% |
|
average - 51.6% |
average - 49.1% |
|
low - 8.9% |
low - 45.6%. |
Comparison of the results of the experimental groups with the control groups clearly proves the advantage of the proposed system of exercises and confirms its pedagogical effectiveness. We have found that by using a targeted methodology for teaching painting, it is possible to achieve significant success in the development of students’ pictorial vision, which develops more successfully when, from the first days of painting classes, the teaching of color, coloring, and painting techniques is intensified. It should consist, first of all, in an in-depth theoretical and practical study of the laws of color harmony, knowledge of which enriches the perception of color and contributes to the development of a sense of color - a unique artistic property that is a necessary component of pictorial vision.
Throughout the entire process of learning to paint, in each task it is necessary to set color tasks related to modeling shape, conveying space and volume. It is necessary to diversify and specify the goals and objectives of each individual task.
In general, the results of experimental training of students confirmed the effectiveness of the applied methodology for teaching pictorial vision to primary-year students and the need for its use in further pedagogical and creative activity students.
REFERENCES:
- 1. Welflin G. Basic concepts of art history. - M.-.: 1930.-290 p.: ill.
- 2. Virgilis N.Yu., Zinchenko V.P. Problems of image adequacy. - “Questions of Philosophy.” 1967, No. 4, pp. 55-65.
Bibliographic link
Shaikhulov R.N. ON THE FORMATION OF THE PICTURE VISION OF INITIAL COURSE STUDENTS OF ART AND GRAPHICS FACULTIES OF PEDAGOGICAL UNIVERSITIES // Contemporary issues science and education. – 2007. – No. 6-2.;URL: http://science-education.ru/ru/article/view?id=784 (access date: 02/01/2020). We bring to your attention magazines published by the publishing house "Academy of Natural Sciences"
Determination of light-shade and color relationships in nature is achieved by the method of simultaneous comparison. The effectiveness of this method is due to a special vision of nature - the integrity of vision, or, as artists say, “broad viewing”, “holistic generalized perception”, “opening of the eyes”. As already noted, with ordinary vision the landscape in question is visible clearly and definitely in those parts where our gaze is directed.
This means that the contrast and definition of color, the relief of objects increase when approaching the visual center (the yellow spot on the retina, called the central fovea) and decrease when moving away from it. Therefore, if in the process of painting we constantly transfer the visual center from one object to another, then we will not determine the relationships correctly.
The painter should not focus his gaze on individual objects, particulars, but embrace the entire nature as a whole, at once, comparing and noting the differences in objects in lightness, color, relief, etc. As a result of such a generalized broad vision, the entire group of objects will be perceived vaguely . However, in this generalized “spot” it is easier to see and determine the color difference of objects, the activity of one color and the mutedness, subordination of another, the relief of plans.
“With a wide scope of the visible, the artist does not peer into every point,” wrote B.V. Ioganson, “but sees in a generalized way... Covering everything with his gaze at the same time, the artist suddenly notices what is especially bright, claims the right to the first voice, and what is barely noticeably sings along... Thanks to the fact that the artist proceeded from the whole, he had the opportunity to compare one thing with another, which the artist who proceeds from the detail is deprived of... Only through constant comparison with the unity of an integral vision can one learn the truth of painting.”
The same idea was once expressed by K. A. Korovin: “... it is not the shadow that needs to be taken, but the relationship of all tones together with the shadow. That is, to look at the same time, not to violate the subtle interdependence of pictorial relationships... Educate the eye first little by little, then open the eye wider, and in the end everything that is included in the canvas must be seen together, and then what is not accurately taken will be false, like an unfaithful note in the orchestra. Experienced artist sees everything at once, just like good conductor He hears the violin, the flute, the bassoon, and other instruments at the same time. This. so to speak, the pinnacle of mastery, one must approach it gradually.”
Holistic vision and constant comparison do not allow you to dwell too long on individual objects or unimportant details; one must be able to distract from a previously known color, to see that color, those relationships in which objects are located at the moment of observation.
Various techniques help to correctly determine relationships visible in nature. Thus, many artists advise squinting your eyes at the moment of observation, looking at objects not at the 3rd focus, but as if “past and quickly”, “not at the point, but nearby”, etc. For the same purposes, novice artists are sometimes recommended to use black glass, mirror, viewfinder-frame, compare visible colors nature with clean palette colors. For example, you can apply pure paint colors to glass or an easel.
By pointing the glass at the depicted objects and comparing their color with pure paints on the glass, you can determine the sound of the colors of nature. Sometimes, to determine color saturation, artists place a painted object of a similar color shade next to an object in nature. These techniques allow you to more accurately determine the color of the depicted objects.
Let's analyze some features of our visual perception and related errors found in educational work. When the painter’s gaze is directed to the distant plan of nature, all objects of this plan and their details, tonal and color characteristics are visible clearly and definitely; other objects are less visible. If the gaze is directed at objects in the background or foreground of the depicted nature, then they are clearly visible in color and relief, while objects in the background, on the contrary, are vague and unclear.
When compared and seen separately, the sketch is replete with color spots and contrasts; details on the entire image plane are worked out with equal care; there is no unity of optical and compositional centers. A correctly written sketch represents a holistic pictorial image respecting the unity of the optical and compositional centers.
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