Painting tests for students of the Children's Art School and Children's Art School test in fine arts (art) on the topic. The sequence of drawing from larger to smaller, from general to particular When performing a painting, you must adhere to the following sequence

Kuzmina G.N.
additional education teacher
UIA DO METs
(painting, fine arts)

Tests for knowledge of the main criteria of painting

1. Which of these colors is not "warm":
A) yellow
B) red;
B) orange;
D) blue
2. Which definition is most consistent with the concept of "aerial perspective":
A) the art of depicting three-dimensional space on a plane;
B) change in the size of objects depending on their distance from the point of observation;
C) a change in the color of an object depending on its distance from the point of observation;
D) proportional change of objects.
3. Primary colors are…
A) red, purple, green;
B) red, blue, yellow;
B) yellow, blue, green;
D) yellow, blue, orange.
4. Harmonious combination, interconnection, tonal association of different colors in a picture is called:
A) local color
B) color
B) in contrast
5. Performing a painting, you must adhere to the following sequence:
A) from general to specific;
B) from cold to warm;
C) from light to dark.
6. What kind of lighting does not reveal the shape, volume and texture of the depicted objects.
A) controversy
B) frontal
B) side
7. What form of painting can convey the volume of objects in space, their relationship with the environment.
A) abstract
B) decorative
B) realistic
8. What stage can be neglected when writing a short-term study of the head.
A) molding
B) color-tonal relationships
B) detail work
9. Type of painting based on the principle of stylization:
A) realistic
B) decorative
B) abstract
10. A type of painting based on a non-pictorial color composition.
A) decorative
B) abstract
B) realistic
11. Write life, write vividly, i.e. to fully and convincingly convey reality is:
A) painting
B) drawing
B) DPI
12. Work done from nature is:
A) study
B) sketch
13. When performing a study of the head, which angle is most beneficial for conveying volume:
A) fas
B) profile
B) three quarters
14. Certain established systems of methods of work that were developed by various national schools.
A) painting technique
B) gouache painting materials
15. Drawing under gouache painting is usually performed6
A) coal
B) felt-tip pen
B) pencil
16. When working on a landscape from nature, how long does it take for the state of nature to change completely:
A) two hours
b) four hours
B) thirty minutes
17. Harmonious states, interconnection, tonal association of different colors in a picture is:
A) color
B) lightness
B) monochrome
18. The main color of an object without taking into account external influences is:
A) reflex
B) local color
B) semitone
19. The main tasks of realistic painting:
A) write vividly, catchy
B) write in relationships
c) use more color
20. Which of the following thinners is used in gouache painting:
A) water
B) turpentine
B) acetone
21. What is the most important stage when writing a study on the state:
A) detail work
B) color relationships
B) mold molding
22. How to start work on a picturesque study:
A) detail work
B) format layout
B) building
D) laying the main color and tonal relationships
23. Which of these colors does not belong to the achromatic group:
A) white
B) purple
B) gray
D) black
24. If the artist depicts only seascapes, then they are called:
A) Marinas
B) "Svetlana"
B) Elena
25. The imposition of one paint layer on another is called:
A) glaze
B) alla prima
B) raw
26. Which color is not chromatic:
A) red
B) white
B) blue
D) blue
27. Gray appears lighter on black and darker on white. This phenomenon is called:
A) light contrast
B) color
B) color contrast
28. Painting of a complex plastic form - the head of the sitter should be based on knowledge:
A) the anatomical structure of the skull
B) art history
B) linear perspective
29. Reflex in relation to the illuminated part of the head of the sitter is always:
A) lighter
B) darker
B) exactly the same
30. The pictorial method, in which the color of each detail of the production is taken immediately in full force, in one layer, is called:
A) glaze
B) raw
B) "alaprima"
31. Choose the correct sequence:
A) generalization, layout, molding, construction
B) layout, molding, construction, generalization
C) construction, layout, molding, generalization
D) layout, construction, molding, generalization.
ANSWERS TO PAINTING TESTS
1. G
2. In
3. B
4. B
5. A
6. A
7. In
8. In
9. B
10. B
11. A
12. A
13. In
14. A
15. In
16. A
17. A
18. B
19. B
20. A
21. B
22. B
23. B
24. A
25. B
26. B
27. A
28. A
29. B
30. In
31. G

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Performing a painting, you must adhere to a certain sequence. Typically, an artist begins work on a painting or mural by making several small sketches, in which he concretizes his idea. For the same purpose, he can perform sketches from nature.

Then the artist draws the future picture. He can use a pencil, charcoal or liquid diluted paint and a thin brush for this. It is possible to make the so-called "tracing paper" or "cardboard" in the case when the drawing needs to be transferred to some surface. Sometimes artists skip this stage of work and immediately start painting with paints without a preliminary drawing.

There are many ways to apply paint to a plane. Some artists prefer to use the glazing technique: apply thin transparent layers over the dried paint layer. Others achieve the desired color solution in one coat, while others use separate strokes.

An artist can simultaneously work on drawing, composition, sculpting forms, transferring space and coloring. So P. Cezanne liked to work, especially when he painted his landscapes or still lifes from nature.

104. P. CESANNE. In the woods

However, this path is not available to everyone. You must have an excellent visual memory, accurate drawing, compositional thinking, an impeccable sense of color.

Most artists prefer to work from the general to the particular, gradually applying the main color of the objects and following the modeling of the volume. Then they refine the nuances of color, color reflections, the overall color of the picture. At the last stage, they again proceed to generalization. For the sake of achieving the integrity of the work, you can remove unnecessary details, weaken contrasts, highlight the main thing. This is how the wonderful artist A. A. Ivanov loved to work. He did a great deal of preparatory work before creating the painting "The Appearance of Christ to the People." Numerous pictorial sketches exhibited next to this painting in the Tretyakov Gallery help to trace the author's creative search.

105. A. A. IVANOV Appearance of Christ to the People

106. A. A. IVANOV Head of John the Baptist. Study for the painting "The Appearance of Christ to the People"

For educational purposes, it is better to work on a pictorial composition sequentially. To learn some of the secrets and mysteries of painting, the statements of the masters placed at the end of this book will help you.

Artists-painters convey the beauty of the world around them with the help of paints. You can choose any base: canvas, paper, cardboard, board, wall, etc. The base is usually primed with special compounds. Painters use a variety of paints: gouache, watercolor, tempera, oil, etc. Paints are applied to the base with round and flat brushes of different thicknesses. Sometimes a palette knife, a knife, a rag are used for this, they even apply paint with a finger, but it is still better to create paintings with the help of special tools, and not with improvised means. The technique of writing, its features largely depend on the properties of paints, solvents, tools.

107. Watercolor, gouache and oil paints

108 a. watercolor b. gouache c. Butter

Until the end of the 17th - beginning of the 18th centuries, artists and apprentices prepared paints on their own, usually entrusted to students who crushed stones into powder and mixed it with glue, oil or an egg. With the industrial production of paints, the color palette has become more diverse.

Paints for painting have special names. Very often these names tell us what chemical or natural elements (minerals, plants) they are made of. The basis of all paints is pigment (finely ground colored powder). Often the name of paints comes from what kind of binder is used to prepare them. For example, oil paints are based on linseed or some other oil. Adhesive paints are watercolor, gouache, tempera. In the old days, egg tempera was made from the yolk of a chicken egg.

When creating a painting, it is necessary to adhere to a certain sequence. Usually the artist begins work on a painting or wall painting with several small compositional sketches, in which he concretizes his idea. For the same purpose, he can perform sketches from nature.

To create an interesting pictorial canvas, it is necessary to learn to see interesting events, characters, motives, angles and states in the surrounding life. The constant execution of sketches, sketches and sketches from nature develops not only the eye and hand, but also compositional thinking.

It is not so easy to see an interesting compositional motif in life. A viewfinder frame, which is easy to make yourself, can help with this. The main thing is that its opposite sides remain movable, then it will be easy to change the format, increase or decrease the circle of objects entering the field of view. If there is no frame, then you can simply fold your palms like this, as shown in the figure.

Choosing the most expressive plot for the composition is also not an easy task. Hundreds of people perceive and interpret the same plot in different ways, that is, they create their own version. The plot should be understood as what the artist directly depicts on the canvas, and the content or theme can be much broader, that is, works with different plots can be created on the same topic.

It is important even before the beginning of the image to try to imagine the future picture. As a rule, the artist first performs several small sketches in order to find the most expressive composition. At this stage, the format of the picture (elongated vertically, rectangular, square, elongated horizontally, etc.) and its size are determined.

The elongated format gives the image a sense of harmony and loftiness. The format in the form of a rectangle located horizontally is convenient for depicting epic action. We have already said that the format based on the golden ratio is well suited for depicting a wide landscape motif. The format, obtained by enlarging a square by a full diagonal, is equally convenient for depicting a landscape, still life and thematic composition.

An excessive increase in the vertical format turns the image into a scroll, and an excessive increase in the horizontal format dictates the use of a panoramic or frieze composition. When choosing a format, one should take into account the location of the main objects of the composition - horizontally or vertically, the development of the plot - from left to right, in the depth of the picture, etc.

The square format is best used to create balanced, static compositions because they are mentally related to equal central axes and equal sides of the image borders.

The composition in an oval and a circle is built relative to imaginary mutually perpendicular central axes. The top and bottom of the image should be clearly defined here. The oval is often used as a format for portraits, as this configuration easily matches the oval of a human face or the outline of a bust.

Artists also use complex configuration formats, consisting of a combination of two geometric shapes, such as a half-circle and a rectangle.

In the sketch, a general compositional scheme is drawn, the location and the relationship of the main actors without a detailed drawing. Perhaps the tone and color scheme of the sketch. Next, they move on to the drawing of the composition, then to its pictorial embodiment.

One of the interesting stages of the work is the collection of natural material: observations of the surrounding life, sketches and sketches of the house and on the street, depending on the chosen plot. You can collect natural material immediately after choosing a plot, or do it after the first sketch of the composition.

Then the artist draws the future picture using a pencil, charcoal or liquid diluted paint and a thin brush. It is possible to manufacture the so-called tracing paper or cardboard, if the drawing needs to be transferred to some surface. If something does not work out in the drawing, you can once again go to the sketches, work out the details that caused difficulties, and then refine the drawing using the collected natural material. You can even make a new compositional convict.", taking into account the completed sketches and sketches from life, to clarify the idea.

After that, they move on to the picturesque solution of the canvas. First, underpainting is performed with liquid diluted paints, in which the general color and tone relationships of objects, their local color are determined. Then they proceed to the main stage - the actual pictorial solution of the canvas. It is better to do everything from the general to the particular, gradually applying the main color of objects and oil for volume modeling. It is necessary to clarify the contrasts and nuances of color, color reflections, the overall color of the picture. At the last stage, they again proceed to generalization. In order to achieve the integrity of the work, it is necessary to remove unnecessary flyers, weaken contrasts, highlight the main thing.

The listed stages of the execution of a painting are very important, especially for educational purposes. However, it happens that artists refuse some stage. Everyone works differently. Some perform a detailed sketch, while others write straight away, without a preliminary pencil drawing. Someone persistently searches for everything in nature for a picture, makes sketches in various states of nature, draws sitters in appropriate costumes and poses, studies the necessary historical or art historical material. Another artist trusts his visual memory and imagination more and generally refuses to study nature.

An artist can simultaneously work on a drawing, composition, sculpting form, rendering of space and color. This is how P. Cezanne liked to work, especially when he painted his landscapes or still lifes from life. However, this path is not available to everyone. You must have an excellent visual memory, accurate drawing, compositional thinking, an impeccable sense of color.

Most artists prefer to follow all the necessary steps to create a painting. This is how L.A. Ivanov loved to work. He did a great deal of preparatory work for the painting "The Appearance of Christ to the People." Numerous pictorial sketches exhibited in the State Tretyakov Gallery help to trace the creative search of the author.

Everything that has been said about the work on a painting should not be understood as a permanent, obligatory and unchanging order. However, following the rules helps to achieve good results, to master the skill.

Home > Educational and methodical complex

LECTURE TOPIC	QTYHOURS	VISIT	NUMBER OF POINTS
1. The concept of "Painting". Tasks of realistic painting.	4
2. Color is the most important quality of painting. Color spectrum.	2
3. Achromatic, chromatic colors. Primary and secondary colors.	2
4. The concept of gouache painting and its difference from watercolor	2
5. Oil painting technique, materials and features	2
6. Nude and its nuances	4
7. The main forms of folds, their color characteristics and features of the image	4
8. Interior in the history of painting	4
9. The combination of living and non-living nature in easel painting	2

The number of passes for an unexcused reason is counted. Skipping one pair - "- 2 points. II.

THEME of seminars	HOURS	VISIT	ANSWERS ON QUESTIONS	TIING

Workshop responses: 1. Knowledge of the terms and basic provisions of the discipline - from 3 to 5 points. At each seminar, a term survey is conducted. 2. Speeches on the issues of the seminar. - from 3 to 5 points. 3. Answering questions, completing tasks (given in advance) - from 3 to 5 points.

INDEPENDENT WORK Training essays on the subject of the course	SPEECH WITH A REPORT
	DEVELOPMENTS	SOURCES

Additional information / report. Prepares in advance. The norm is 1 performance per semester - from 3 to 5 points.

IV.

WRITTEN FINAL WORKS		TOTAL POINTS
Test (points)	Control work (points)

Test At the end of the semester, there is a course test. Evaluation criteria: 100-90% -5 points. 90 - Test The control work is offered to students at the end of the session and covers the topics of lectures and seminars Evaluation criteria: 100-90% -5 points. 90 - 80% - 4 points. 80 -60% - 3 points. Less than 60% - 2 points. Ranking at the end of the semester is the arithmetic mean of all types of work carried out during the semester. The number of absences due to unexcused reasons is taken into account. Missing one pair - "-" 2 points.

MATERIALS

3.2.1. current control

Forms of current control: rating assessment, implementation of practical classroom and independent tasks. Content of current control measures: an approximate list of practical classroom and independent tasks. for practical exercises is presented in the methodological recommendations for students.

GPD.F.04 Academic painting

The concept of "F painting» (didactic unit).

1. Which of these colors is not "warm":

A) yellow

B) red;

B) orange;

2. Which definition is most consistent with the concept of "aerial perspective":

A) the art of depicting three-dimensional space on a plane;

B) change in the size of objects depending on their distance from the point of observation;

C) a change in the color of an object depending on its distance from the point of observation;

D) proportional change of objects.

3. Primary colors are…

A) red, purple, green;

B) red, blue, yellow;

B) yellow, blue, green;

D) yellow, blue, orange.

4. Harmonious combination, interconnection, tonal association of different colors in a picture is called:

A) local color

B) color

B) in contrast

5. Performing a painting, you must adhere to the following sequence:

A) from general to specific;

B) from cold to warm;

C) from light to dark.

6. What kind of lighting does not reveal the shape, volume and texture of the depicted objects.

A) controversy

B) frontal

B) side

7. What form of painting can convey the volume of objects in space, their relationship with the environment.

A) abstract

B) decorative

B) realistic

8. What stage can be neglected when writing a short-term study of the head.

A) molding

B) color-tonal relationships

B) detail work

9. Type of painting based on the principle of stylization:

A) realistic

B) decorative

B) abstract

10. A type of painting based on a non-pictorial color composition.

A) decorative

B) abstract

B) realistic

11. Write life, write vividly, i.e. to fully and convincingly convey reality is:

A) painting

B) drawing

12. Work done from nature is:

13. When performing a study of the head, which angle is most beneficial for conveying volume:

B) profile

B) three quarters

14. Certain established systems of methods of work that were developed by various national schools.

A) painting technique

B) gouache painting materials

15. Drawing under gouache painting is usually performed6

B) felt-tip pen

B) pencil

16. When working on a landscape from nature, how long does it take for the state of nature to change completely:

A) two hours

b) four hours

B) thirty minutes

17. Harmonious states, interconnection, tonal association of different colors in a picture is:

A) color

B) lightness

B) monochrome

18. The main color of an object without taking into account external influences is:

A) reflex

B) local color

B) semitone

19. The main tasks of realistic painting:

A) write vividly, catchy

B) write in relationships

c) use more color

20. Which of the following thinners is used in gouache painting:

B) turpentine

B) acetone

21. What is the most important stage when writing a study on the state:

A) detail work

B) color relationships

B) mold molding

22. How to start work on a picturesque study:

A) detail work

B) format layout

B) building

D) laying the main color and tonal relationships

23. Which of these colors does not belong to the achromatic group:

B) purple

D) black

24. If the artist depicts only seascapes, then they are called:

A) Marinas

B) "Svetlana"

B) Elena

25. The imposition of one paint layer on another is called:

A) glaze

B) alla prima

B) raw

26. Which color is not chromatic:

A) red

D) blue

27. Gray appears lighter on black and darker on white. This phenomenon is called:

A) light contrast

B) color

B) color contrast

28. Painting of a complex plastic form - the head of the sitter should be based on knowledge:

A) the anatomical structure of the skull

B) art history

B) linear perspective

29. Reflex in relation to the illuminated part of the head of the sitter is always:

A) lighter

B) darker

B) exactly the same

30. The pictorial method, in which the color of each detail of the production is taken immediately in full force, in one layer, is called:

A) glaze

B) raw

B) "alaprima"

31. Choose the correct sequence:

A) generalization, layout, molding, construction

B) layout, molding, construction, generalization

C) construction, layout, molding, generalization

D) layout, construction, molding, generalization.

ANSWERS TO PAINTING TESTS

3.2.2. Final control

Forms of final control: academic review

QUESTIONS FOR THE EXAM

7 semester

What are the types of painting.

What role does color play as an expressive means in the design of objects of applied and decorative art.

What is the role of drawing in painting.

What is the difference between achromatic and chromatic colors. What colors are called primary.

How contrasts manifest themselves: tonal, color.

What is the difference between optical color mixing and color mixing.

What pairs of complementary and contrasting colors do you know.

What are the requirements for a preliminary sketch in color.

With the help of what light and shade and color gradations it is possible to express the volume, materiality of forms, the texture of objects.

What role does light play in painting?

How does the color environment affect the surface color of an object.

How the nature of highlights and reflections depends on the texture of the surface of the forms in nature.

On which part of the form is the local (subject) color most clearly read.

What are the features of the image of a still life in the technique of grisaille.

How to determine warm and cold colors on the surface of an object in relation to the direction of light rays.

Where should you start with the registration of the color of still life objects - from the illuminated or shadow areas of the form (watercolor).

How to achieve the color and tonal unity of the study.

How the laws and rules of aerial perspective are applied in solving pictorial problems in the work on a sketch.

How do you understand the professional expression "to take a relationship", "to write a relationship".

How are the volume and spatial position of objects transmitted on the pictorial plane and what role do own and falling shadows play in revealing the illumination of a still life.

What is color.

8 semester

1. Tonal painting, its application in work. Form as the nature of the subject, its transfer by pictorial methods.