Folk arts and crafts of Russia
Nizhny Tagil is the largest industrial center of the Urals and is the birthplace of the Russian painted iron tray. The art of Ural lacquer painting, which originated in the 40s of the 18th century and is actively developing even now.
This craft arose among the Old Believers, among whom there were many icon painters. Metal products were painted - trays, chests, caskets. In the 19th century there were several family artels of artists. Now, as far as I know, in Nizhny Tagil there are only 4 small enterprises engaged in this ancient craft. Let's talk about one of them. Finding this company was not the most simple matter- is located almost on the outskirts of the city and consists of a couple of rooms where trays are painted and fired. Natalya Zarubina, an artist of decorative lacquer painting, who has been painting for more than 10 years, or rather since 1993, gave us a short tour of it.
Why did Nizhny Tagil become the birthplace of this amazing craft? The point is in the peculiarities of the development of this region, which are now commonly called “mining civilization”. This is how it is now customary to call the Ural way of life that has developed in XVIII-XIX centuries. Its formation took place separately from Russia; there was an industrial “empire” controlled by factory owners, which developed its own form of serfdom, its own management system, and mythology. There are also some peculiarities in the formation of the population, most of which were moved here from other provinces of Russia by force during the 18th century.
Its history dates back to the conventional date of 1746, which includes the earliest archival information about iron trays with artistic decoration. Here it should be remembered that there was no sheet-rolling production at that time, and the metal was processed by forging - one of the most complex and labor-intensive metalworking methods. Minimum thickness, amazingly smooth surface, possibility decorative processing sides of the tray, as well as tables and chests, all this required high quality metal and virtuoso skill of metallurgists, blacksmiths, metalworkers and varnishers. Such products invariably attracted attention at fairs, and subsequently at industrial exhibitions. It is possible that the factory owners, fully understanding their advertising capabilities, encouraged the craftsmen in every possible way.
2.
Various shapes were used, including 6-8 octahedrons. The picturesque decor was complemented by delicate openwork on the edges of the product. The great capabilities of Tagil sheet iron allowed craftsmen to give the tray the most complex and bizarre shape by hammering (the second method of making tray shapes in Nizhny Tagil).
Press for making molds replaced handmade blacksmith, in conditions of fierce competition, the question arises of finishing the tray faster and cheaper. At this time, “swing” writing became increasingly widespread, when the tip of the brush picks up paint and white and, in two or three strokes, “sculpts” a flower corolla, stems, and leaves.
As I already said, now these are small enterprises that produce all the Tagil trays produced in Russia, but every year the demand for them is growing. This is also facilitated by permanent exhibitions of products and the established Tagil Tray Museum.
Blanks for trays.
3.
The metal workpiece is degreased, covered with primer and enamel.
4.
5.
After this, the artist paints the tray.
6.
7.
Then the tray is varnished twice, which gives the painting volume, depth, and protection.
8.
9.
Polished.
10.
Patterns and solid designs are first created on paper.
11.
Only then are they transferred from sketches to trays.
12.
13.
And here is the same “swing” letter, when the tip of the brush picks up the paint and whitewash and in two or three strokes “sculpts” a flower corolla, stems, leaves. Feature Tagil painting is a “double stroke”, when two colors are applied to the brush at once, which gives a special volume flower petal or a leaf. In our case, orange and yellow.
14.
15.
The production cycle of a Tagil tray can take from 11 to 20 days, depending on the complexity of the lacquer painting and the shape of the tray.
16.
Ready trays. The cost starts from 400-500 rubles and can reach several tens of thousands of rubles.
Truly Tagil folk craft- varnished trays. The Lacquer Painting Museum is housed in a beautiful two-story wooden house, where the founders of the tray business, the serf artists Khudoyarovs, lived.
At that time, varnish painting on metal brought good income. Sheet iron, of which Tagil residents had no shortage, cost 6 rubles per pood at the beginning of the 19th century. Painting and varnishing turned this pud into several trays priced from 12 to 28 rubles apiece.
250 years ago, the Khudoyarov brothers invented “crystal varnish”, which gave the drawing volume and depth. The heyday has begun unusual looking painting - paintings on metal, and in different genres. Pictured on trays early XIX centuries, Tagil factories and mines are perhaps the oldest examples of industrial landscape in all Russian art. Modern artists do not know the secret of Khudoyarov’s varnish, but they have preserved and developed the specific Ural technique of double brushstroke. Let's say the leaf edge is darker than the stem. To depict it, make up a mixture of colors on the palette with the desired transition, then dip the brush and paint the petal in one motion.
In Nizhny Tagil, over the years, entire artistic dynasties have formed, carefully passing on the secrets of painting and varnishing skills from generation to generation. Now in Tagil there are about 50 artists who are seriously involved in varnish painting. Among them are Sergey Veselkov, Olga Matukova, Irina Smykova, etc. Usually everyone has their own specialization. For example, Tamara Yudina is a master of depicting the Ural mountain ash, and Elena Otmakhova is considered a specialist in traditional flower painting.
Tagil trays had pronounced features both in the shape of the products (rectangular, round, oval, guitar-shaped, etc.) and in their artistic design. The traditions of Ural painting on lacquered iron developed in two main directions: picture painting and flower painting. The range of painting is deep and rich; red, blue, green and golden-yellow colors are predominantly used. Historical, allegorical, and landscape motifs served as subjects for painting tray-pictures.
Tagil trays in the 18th and mid-19th centuries were picture trays, when in the center of the mirror of the tray there was a floral, landscape image, and the edges of the mirror were framed by a wide strip of geometric or stylized floral ornament. The variety of shapes was amazing: round, rectangular, figured and oval, with an openwork lattice, with perforated handles - the trays were masterpieces folk art.
The decline of the “varnishing industry,” which began in the second half of the 19th century, lasted more than a century. And only in the mid-twentieth century a decision was made to revive and restore the unique fishery. Today we can proudly say that the hands of Tagil master artists have restored flower and berry paintings, stencil ornaments, and improved plot painting. A galaxy of young talented masters has grown up. Over the past twenty years, handicraft products have been exhibited in the country's largest museums and have been successfully exported to exhibitions in India, Bulgaria, the Czech Republic, Germany, Italy and other countries.
Tagil painting cannot be confused with any other: it is characterized by a richness of colors, increased decorativeness, purity and grace in the processing of flowers - the main one of which is the beautiful rose - the completeness of the composition, the refined ligature of ornaments, that is, all those features and features that have developed over two hundred years fifty years of its existence.
Lacquer painting on metal belongs to one of the branches of the artistic industry that uses traditional technology making everyday items. Despite all the difficulties, the Tagil tray continues to live. Many tray artists today are recognized masters of their craft. This is confirmed by the fact that they participate in many exhibitions of different levels - from city to international. Their works are acquired by regional and central museums. And nine of them: T. V. Yudina, L. I. Kizilova, V. P. Poleva, T. V. Gulyaeva, E. L. Otmakhova, Zh. R. Ovchinnikova, I. V. Reshetova, M. G Markina, L.A. Khaidukova became members of the Union of Artists of the Russian Federation.
In contact with
The folk craft of artistic varnish painting of metal trays originated and exists in the city of Nizhny Tagil Sverdlovsk region.
Guide to Russian Crafts, CC BY-SA 3.0Start
The quality and ductility of Tagil iron in processing were highly valued; Ural craftsmen were looking for various areas of application of these qualities of Tagil iron.
The 18th century became the “golden” age for Tagil varnish artists, among whom the Khudoyarov dynasty of artists - Vavila and Fedor - stands out. Around this period, the tradition of Tagil painting spread far beyond the borders of Nizhny Tagil, in particular in the village of Zhostovo, Mytishchi district, Moscow province.
Its masters succeeded in many ways in this craft, even establishing their own style, their own technique for painting trays and other items.
Protonnt, CC BY-SA 3.0 Development
In the first half of the 19th century, the craft developed rapidly, which is largely associated with the activities of the school of painting (1806-1820), specially established by the owner of Tagil factories N.N. Demidov.
Boys from the age of 12 were taken to school for full maintenance. The training lasted 4 years, it was led by a graduate of the Academy of Arts, professional artist V.I. Albychev. This had a positive effect on the level of sophistication of the paintings.
Various tray shapes were used, including six/octagonal ones. The picturesque decor was complemented by the delicate openwork of the perforated sides of the product. The great capabilities of Tagil sheet iron allowed craftsmen to give the tray the most complex and bizarre shapes using the hammering method (the second method of making tray shapes in Nizhny Tagil).
Guide to Russian Crafts, CC BY-SA 3.0 At the same time, large workshops for the production of lacquered iron products - trays, chests, caskets - operated by the Dubasnikovs, Golovanovs, Perezolovs, Berdnikovs, and Morozovs operated in Nizhny Tagil.
All of them had a full production cycle, from forging to varnishing and packaging of trays. Their products are kept in the largest museums in Russia, including the Russian Museum (St. Petersburg) and the State Historical Museum (Moscow).
At the end of the 19th century cottage industry Russia was going through a crisis, and the Tagil tray fishery was not spared, requiring it to adapt to the accelerating pace of life. The mold-making press replaced the blacksmith, and in the face of fierce competition, the question of how to finish the tray quickly and cheaply arose.
At this time, “Fly” writing became increasingly widespread, in which the tip of the brush picks up paint and white and, in two or three strokes, “sculpts” a flower corolla, stems and leaves.
“This flying cursive leads to the abandonment of painstakingly executed details, simplifies, extremely stylizes and generalizes the form,” emphasizes Olga Silonova. “What remains is only everything that is most expressive, simple, accessible to a rapidly fluttering brush - bright, catchy, elegant.”
After the revolution of the beginning of the 20th century, the life of the craft came to a standstill, as almost all techniques of traditional floral writing were lost.
A significant impetus for the revival was given by the resolution of the CPSU Central Committee “On folk artistic crafts” (1974), which stimulated their scientific study and revival.
The Scientific Research Institute of the Art Industry, in particular the art historian V.A., had a great influence on the revival of the craft. Baradulin.
However, in order to connect the traditions of the past with the development of the future, theory and practice, only one link was missing - a master who mastered the old two-color brushstroke and was able to convey this skill. It became one.
Tagil trays were demonstrated and received awards at the exhibition of national economic achievements; an experimental workshop operated at the EmalPosuda plant.
Modernity
Now trays with Tagil artistic lacquer painting are produced by 4 companies: Nizhny Tagil Center for Nizhny Tagil Tray Painting, LLC RSK Tagil Artel, LLC LITa and LLC Lacquer Painting of the Urals (Ekaterinburg),
Tray painting is done in art school Nizhny Tagil College applied arts and design at the Nizhny Tagil plant-museum.
However, due to the socio-economic crisis of the late 20th century, even now, even with the presence of talented, highly professional craftswomen, there is no need to talk about the prosperity of the fishery.
Photo gallery
Helpful information
Tagil painting
Prototype of Zhostovo
It is believed that Tagil painting is a predecessor Zhostovo painting. The Tagil tray craft is one of the brands of Russian culture, known far beyond the borders of Russia.
Tagil painted trays in large quantities presented in the Nizhny Tagil Museum of the History of Tray Crafts.
Early history
The earliest archival information about iron trays with artistic decoration in Nizhny Tagil dates back to 1746, which is considered the date of the founding of the craft.
School V.I. Alabycheva
During the period of Alabychev’s leadership, a fashion for painting trays appeared, where in the center of the product a copy of the painting (from paper engravings or the original) was painted in oil, while it masterfully fit into the given shape and size.
Engravings were often in black and white, so the choice color solutions belonged entirely to the artist. Mythological, historical, gallant scenes were placed in a frame formed by a thin stenciled gold ornament: fabulous lush flowers, curly stems and blades of grass, ripe clusters of grapes, juicy berries - the corners of the shape clearly fix flowerpots with lush bouquets.
Women's painting
When factories began to experience shortages work force, factory owners began to replace male painters with women. And from about the middle of the 19th century, painting trays became an exclusively female prerogative.
Factory
At the beginning of the 20th century. artels “Proletary”, “Metalist”, “Red Dawn” started producing trays with paintings. In 1957, on the basis of these artels, the Nizhny Tagil Enameled Ware Factory was created, which later became the center of the revival of the Tagil tray.
A.V. Afanasyeva
It was she who mastered the techniques of the original Tagil two-color painting and helped save the Tagil tray craft as an original artistic phenomenon.
In addition, Agrippina Vasilievna trained a whole team of talented craftsmen who mastered the traditional techniques of Tagil writing, moreover, significantly developed them in their creativity in all directions (floral, plot, ornamental).
School
In 1944, school No. 49 opened in Nizhny Tagil, where they taught tray painting. The craftswoman continued her education at the Ural School (now College) of Decorative and Applied Arts and the Art and Graphic Faculty of Nizhny Tagil Pedagogical Institute(now an academy).
Museum
The most important part of the revival of the Tagil tray craft was the creation in the city in 1991 of the Nizhny Tagil Museum of the History of Tray Craft, which later became integral part Nizhny Tagil museum association "Gornozavodskoy Ural".
The museum is located in the house where they once lived famous artists Khudoyarovs. The museum's exhibition includes unique examples of the work of masters of Tagil lacquer painting on metal over 265 years.
To begin with, we would like to mention that the one-line technique from Donna Dewberry and the Tagil painting on trays are completely different things. The only thing that “unites” them is single-layer painting and double-stroke painting, when two paints of any color are taken on the brush. Well, the difference between them is like between Heaven and Earth. Tagil painting is a unique folk craft, where each product is an independent work of art. At the same time, one stroke is a fashionable and much-loved kitsch by Americans, the philosophy of which is simple: paint it quickly, sell it quickly.
This lesson (master class) shows the sequence of steps when creating a composition.
We will need: a cutting board (clean blank), black acrylic, oil paints, linseed oil, solvent (turpentine or white spirit), flat and round brushes different widths(I prefer natural or synthetic cores).
Wood blank
Be sure to clean the board well sandpaper until smooth. Then we cover it with black acrylic, carefully painting the ends of the board and the edges of the hole from the inside. It takes time for the thick layer of acrylic to dry completely until it stops sticking. Therefore, we wait, and when it dries, we outline a drawing of the future composition with a pencil. Your drawing can be arbitrary. I used it as key element"Tagil rose", or, in local language, "rosana".
Compositional markup
Prepare a sufficient amount of paint in advance. If you use paint mixtures, mix a sufficient amount in a container (adding a little linseed oil) so that the desired color is enough until the job is completed and you don’t have to mix it again. Otherwise, you risk “not getting into tune.”
Painting usually starts from the center of the composition. I started with light colors, painting the lower petals of the blooming flowers with a combination of white and Neapolitan orange. Each element is written with one stroke.
Using a combination of dark tones we paint the rose petals of the background. This is necessary to add volume.
Using the same light colors with which we started, we outline the top of the core of the buds.
Moving deeper, we add volume to the core with dark red paint.
We complete the formation of the roses by painting the foreground petals with the same light paint.
Now we draw the leaves. To make them look like real rose leaves in color, we make the color transition to red at the tips. We register the leaves immediately so as not to return to them later.
In order to highlight the main element of the composition - roses, we add several small flowers of a lilac hue.
Selecting the petals lilac flowers With lighter colors, to give volume, we draw the cores and leaves.
The final stage of painting will be adding some details to the composition: we draw on the “whiskers”, draw small branches, tips of leaves and place white dots here and there. They will imitate dew.
Upon completion, varnish the board several times.
Experienced artists are unlikely to find our master class useful, except to see how others work. For beginners and those who just want to try, we recommend that you first practice the double stroke technique on cardboard, so as not to spoil the boards right away. One hundred percent guarantee that the painting will not work right away.
It is better to draw up a composition based on a model, but not to invent it out of your head. Find photographs from the Internet that are suitable for your specific form, since there are a great many of them. If you cannot transfer the drawing from the picture manually, use a printout or tracing paper.
Department of Culture Administration of Ust-Ilimsk
Municipal educational institution additional education for children
"School of Arts No. 2"
Department of Folk Decorative and Applied Arts
Performance decorative elements based on Tagil painting
Educational Toolkit
painting teacher
woodworking Municipal Educational Institution "School of Arts No. 2"
Ust-Ilimsk
2010
Introduction
This teaching aid is intended for everyone who is learning wood painting. Age is not limited. The main requirement is possession of basic painting skills.
The manual provides theoretical information about the history of Tagil and Ural-Siberian painting, and shows brush techniques that can be used in work. The methods described and illustrated with photographs will allow students to independently master the skills of writing decorative floral elements or practice them at home after class.
Teachers can use this manual as educational and didactic material when preparing and conducting painting classes.
The description of the stages of work and photographs illustrating them are made in such a way that they will be understandable to all students - adults and children.
Except practical advice on the “one stroke” technique, the manual describes in detail the paints and brushes needed for the work, and also prints wonderful photographs of painted products, the compositions of which can be copied.
All photographs showing brushstroke techniques were taken by the author. As examples of painted products, most are products painted by the author.
Dear reader!
You have in your hands a teaching aid for studying the basics of Ural-Siberian and Tagil painting. This manual will help to significantly expand the circle of people (children from 10-11 years old and adults - without age restrictions) who want to penetrate the world artistic painting.
To master painting techniques you will need paints, brushes, a palette, paper (all are described in more detail in the text necessary materials), patience and perseverance. This manual can be used not only by teachers and teachers of art schools and teachers visual arts in schools, but also any person who has a desire to learn artistic painting on wood.
Tips for teachers:
Before asking students to master the techniques of Tagil wood painting in a lesson, you need to master the writing of motifs yourself. During the learning process, the teacher helps students: clearly and intelligibly shows the features of writing individual elements, monitors the correct completion of tasks, corrects (if necessary) the writing of elements and motives by students. It is advisable to show students not only photos depicting products painted using this technique, but also prepare the finished product (tray, painted board, box, plate) in advance, since using the example of a product, it is easier for students to trace the implementation of individual elements of painting (hand movements master.)
DIV_ADBLOCK177">
1. Origin story
picturesque paintings of Russia
Decorative painting of the Urals is one of the most original phenomena of Russian folk art. It includes harmonious and striking in its integrity painting of household items: birch bark dishes, wooden utensils, metal products and the widespread custom among the peasantry of painting their houses. The origin of most centers of folk Ural painting proceeded along a complex path. First of all, this was due to the fact that from the 17th-18th centuries the colonization of the eastern part of Russia by Russians began, which proceeded in several stages. The first settlers laid the foundation for the culture of the Ural peasantry, which was close to the culture of the Russian North and Pomerania. And in the 18th-19th centuries, Ukraine, the Volga region, and the Vyatka region made serious adjustments to it. The settlers brought with them not only supplies and clothing, but also wooden dishes, metal tools. The most valuable thing was that they brought with them the culture, customs, and way of life of the area from which they moved. This is probably why such diverse styles of painting wooden utensils have developed in the Urals.
Various villages specialized in the production of one type of product. Thus, rockers were painted near Kungur, painted carts were made near Okhansk, and spinning wheels were made near Dalmaton. In the 40s of the 19th century, the craft of making and painting birch bark became widespread. They were different high quality and served as a kind of standard for workshops in nearby villages. This type of product was very popular among peasants. There was even special type painted beetroot, called "peasant" with bright floral pattern, performed using free brush painting techniques. The most common composition was the “bouquet”, used in various types painted crafts in the 17th-19th centuries.
The peculiarity of the construction of this composition was that the bouquet was vertically oriented and balanced according to color scheme from the center of the composition. This ornament was formed due to the shape of the product. The viewer practically saw square field, on which the painting was carried out. At the top and bottom they were limited by stripes running along the neck and at the base of the tues, and horizontally - by the visible part of the plane. The artists found amazing harmony in the composition and color of the painting. When painting the compositional center with paint of the main color, an underpainting was applied with fingers. Then, taking a brush, they painted the flower petals, shading them with white, and applied animation to the leaves. We ended up writing herbs. The mixing of colors took place during the work, as a modeling revival was applied to the still wet underpainting. Thanks to this technique, soft transitions from one color to another were created. After painting, the product was varnished.
Bud" href="/text/category/buton/" rel="bookmark">buds, leaves. Then they were modeled with white, if the “underpainting” was colored, or some other paint, if it was white. Dipping the brush in paint desired color, and rotating it around an axis, in one movement they turned the underpainting into a berry or petal. Thanks to this technique, which was preserved and developed the traditions of herbal paintings, soft transitions from color to color were created in the 17th-18th centuries.
In the process of development of painting, modeling with whitewash was replaced by whitening, during which whitewash was taken on one edge of the brush, and paint of the main color was taken on the other edge. The brush was applied in such a way that the white went along the outer edge of the motif. Thanks to the gradual transition to white, the pure, not always harmonious colors were softened, and the pictorial surface was unified. The painting was completed by applying notes and herbs, which broke up the clear contours of the forms and increased the ornamentality of the motifs, connecting them with each other and with the background. Figurative motifs in Ural painting were very diverse; These include floral patterns and images of birds and animals. In the second half of the 19th century, the image of a person became especially popular. In various subjects, artists embodied not only dreams of better life, but also events associated with one’s own experiences.
Folk art is a phenomenon of spiritual culture and, as such, participates in important points life, affirming the attitude towards it developed by the people's social consciousness. The beauty of the humble and simple objects everyday life is associated with the people’s understanding of life itself as a manifestation of beauty, with an awareness of the importance of every item necessary in everyday life, with the belief that a good thing brings prosperity to the house. The craftsmen who made household items studied natural phenomena and its natural forms. They perceived the integrity and harmony of these forms as aesthetic criteria. The ease of movement of a duck swimming on the water suggested the design of a boat, and the plasticity of the bird boat became a standard of beauty. Observations of nature contributed to the emergence of metaphorical images common to many peoples. Images of birds and heavenly bodies associated with the symbolism of life.
The need to understand the world and reflect human experience in works of folk art required that the viewer be ready and able to see beyond the outline of a horse and a bird, something more than an animal and a bird - human world. The poetic language of floral patterns and metaphorical images of birds, which speak volumes to the initiate, could not reflect the essence of the changing world. New phenomena entered the closed space of rural life. The plant compositions of the murals were replenished with new motifs, included by folk craftsmen in a still integral system, full of allegories. The human figures became evidence of a change in the artistic thinking of the peasantry. But the very essence of the worldview continued to remain intact and the new, which was part of the traditional structure, did not change it. The appearance of the plots indicates the increased interest of the peasantry in the life around them. Weddings, dates, walks, matchmaking and even military operations were depicted. The indispensable elements of the compositions of the wedding cycle were Blooming tree and a horse. The costumes of the characters were similar to urban ones: women in long skirts with bare heads, men in boots, jackets and caps. The attraction to wedding plots confirms great importance for the peasantry of this event and speaks of the persistent preservation in their minds of their positive content, promising well-being in the family.
In the middle of the 18th century, the birth of new form artistic metal processing - painting of iron products, which arose at the Nizhny Tagil and Nevyansk factories, which belonged to the Demidov manufacturers. During this period, not only large factories were built, but also numerous handicraft workshops that made trays, boxes and even tables. To give the products a marketable appearance and protect them from corrosion, they were coated with a special varnish. From simple varnishing of products they gradually moved to painting them. Factory owners encouraged the initiative of serf craftsmen, who created truly artistic works.
https://pandia.ru/text/78/395/images/image006_35.jpg" width="437" height="81">
The most famous and popular not only in Russia, but also in Europe and Asia were painted trays - “tray boards”, as they were called then. The plasticity and softness of Tagil iron made it possible to make trays of the most varied shapes: rectangular, oval, round, multifaceted, guitar-shaped and figured. The forged finished forms ended up in the workshop of the painter, who in the 18th century was a generalist: a primer, an artist, an ornamentalist, and a varnisher. The division of labor finally occurred only in the 2nd half of the 19th century. Finished goods were varnished with the famous crystal varnish, the invention of which is attributed to the family of Tagil serf artists, the Khudoyarovs.
DIV_ADBLOCK182">
https://pandia.ru/text/78/395/images/image009_25.jpg" width="197" height="257 src=">
https://pandia.ru/text/78/395/images/image011_40.gif" width="206" height="170 src=">.jpg" width="255" height="228 src=">
https://pandia.ru/text/78/395/images/image015_18.jpg" width="241" height="251 src=">
DIV_ADBLOCK183">
Squeeze or lay out two colors on the palette various colors. Then, if necessary, dilute them with water to the desired consistency, lower the corner of the brush along the edge of the puddle of paint of the same color.
https://pandia.ru/text/78/395/images/image018_16.jpg" width="231" height="228 src=">
As you can see in the photo, the two colors on the brush form a "V" shape. Press the brush against the palette and make a path of paint so that the paint is evenly distributed on the brush. We make the path moving back and forth, two to three times.
https://pandia.ru/text/78/395/images/image020_24.gif" width="397 height=272" height="272">
When performing a wave-like movement, you need to follow the movement of the brush: first, the brush is pressed against the sheet, making a scallop, then the brush is slightly raised from the surface of the sheet (we do not remove the brush completely), then we apply pressure again.
https://pandia.ru/text/78/395/images/image022_12.jpg" width="378" height="283 src=">
https://pandia.ru/text/78/395/images/image024_10.jpg" width="433" height="265 src=">
To write the second half of the sheet, turn the brush around and start moving it in the opposite direction.
https://pandia.ru/text/78/395/images/image026_11.jpg" width="321" height="279 src=">
Here is our sheet with a scalloped edge and it’s ready.
Drawing a leaf in one pass
Take a flat brush and put two colors on it. We place the brush on a sheet of paper, press it, move it, and then carefully place the brush on the edge; you need to practice a little so that this movement can be done quickly.
https://pandia.ru/text/78/395/images/image030_7.jpg" width="368" height="240 src=">
https://pandia.ru/text/78/395/images/image032_4.jpg" width="376" height="281 src=">
Here small example Using such leaves, you can make wonderful postscript branches from them.
You can also use these leaves to make sunflower petals, or you can design your own flower using these leaves - petals.
Photo from the Internet
The following pictures show examples of various leaves made using our technique.
https://pandia.ru/text/78/395/images/image035_6.jpg" width="439" height="545 src=">
Photo from the Internet
Writing a rose flower
To paint a rose, we will need acrylic or gouache paints in approximately the following shades: crimson and white or orange-yellow and red. If we write a rose with a white edge, then we need to choose a sheet for work other than white, for example, you can use colored paper(yellow, purple, green...)
So, we put two paints of different shades on the brush. And we make a “shell” stroke, for this we place the brush on the edge and press it tightly to the surface of the sheet and begin to move it, while performing a wave-like movement reminiscent of the letter “m”.
https://pandia.ru/text/78/395/images/image037_6.jpg" width="350" height="296 src=">
After we have completed the first petal, we begin to write in the rest in a circle. Please note that a flower with five or more petals looks best.
https://pandia.ru/text/78/395/images/image039_4.jpg" width="345" height="250 src=">
Here we have our first skirt ready. If the flower big size, then you can write a second skirt of petals inside in the same way, this will make the rose look fuller and more lush.
https://pandia.ru/text/78/395/images/image041_4.gif" width="445" height="292 src=">
In this case, we get a kind of “cone” or funnel of unopened petals. Now, using the edge of the hand, we perform the following movement – “comma”. We place the brush, lightly press it against the worksheet, move it a little, and then place it on the edge, as in the case of registering the tip of a leaf.
https://pandia.ru/text/78/395/images/image043_3.jpg" width="325" height="314">
“Comma” made in the other direction.
So, now that we have learned how to make the “cone” and “comma” elements, let’s start drawing the middle of the flower.
We made a “cone”, to make it I lightened the outer edge a little by adding a little white paint to the brush.