Abstract work using the ala prima technique. Voloshin Maximilian Aleksandrovich

Watercolor is a very popular and relevant painting technique today. Sometimes it seems that absolutely everyone works with watercolors and, it is worth noting that everyone works differently! There are a lot famous technicians working with watercolors, and new effects and techniques are constantly appearing. Often, novice authors try to work with all possible techniques at once, apply various effects, experiment in the open spaces watercolor painting and, as a rule, sooner or later they find their combination, which subsequently often develops into their unique author’s style. I think the main advantage of watercolor is its versatility... I like to work in new genres and hone my skills in old ones. I always want to be able to choose a painting technique for a specific task, because I find it boring and wrong to approach a portrait or landscape in the same way and paint them in the same watercolor technique. Today I will talk about five different ways to work with watercolor using the example of a botanical illustration of the fly agaric mushroom. I'll try to draw five identical motifs, five different ways watercolor painting: 1. Watercolor technique “Glaze” 2. Watercolor technique “A la prima” 3. Watercolor technique - use of masking fluid 4. Combination of several watercolor techniques 5. Technique “Wet watercolor” or “Watercolor wet”

Watercolor technique “Glassing”

The first fly agaric I painted was made using the “Glaze” watercolor technique (from the German Lasierung - glaze). This technique is very suitable for beginners. She often works in art schools. It consists of layer-by-layer application of paint to the drawing. From the lightest shades to the darkest. Each layer must have time to dry. Working in this watercolor technique, we build up the tonality of the subject gradually, and always have the opportunity to adjust the color at each stage.

Watercolor technique “A la prima”

The second mushroom is drawn using the “A la prima” technique (or “Alla prima”, from Italian a la prima - “in one sitting”). This is a more expressive technique, and is very suitable for those who know how to mix beautiful colors the first time. A drawing using this technique is done quickly in one layer, in one session, without further additions or alterations. We immediately receive the finished drawing. Here you need to be careful that when mixing large quantity The watercolor colors didn't turn out muddy and the colors were bright and clean. Watercolors made using this technique are usually very colorful! This watercolor technique is quite quick to execute and is loved by those who do not like to work for a long time.

Watercolor technique - using masking fluid

I painted the third mushroom using a reserve (masking) liquid. In order not to bypass the white spots on the mushroom cap, I “hid them with a reserve,” that is, I first applied a reserve liquid to the spots of the spots (on a dry sheet, before starting to work with paints). Of course, this cannot be called a watercolor technique, it is more of an effect. Today, all kinds of reserves (masking liquids) have become very widespread. If you don’t want to paint over every spot or are afraid that in an emotional outburst you will paint over some highlights, then you can use a reserve.

Working with a reserve goes much faster. But it is worth noting that this technique also has disadvantages. The main disadvantage is that the edge is very sharp. In your work there will always be a sharp border in the place where the white sheet on which there was a reserve liquid passes into the area painted over with paint. This will give you away. This doesn’t bother many artists, and sometimes it even helps create additional effects! Also, the reserve is sometimes difficult to remove from paper, and sometimes it is not removed at all. Therefore, before using the reserve in your work, test it on a small sheet of similar paper.

A combination of several watercolor techniques

The fourth mushroom is drawn with a combination of effects (watercolor technique). Before starting to work in color, I “hid” the entire mushroom with a reserve liquid. This allowed me to create a dense multi-layered background with paint. I applied the paint in 4 layers. Only by layer-by-layer glazing is it possible to achieve a sufficiently dense, dull, but at the same time not black background. After waiting for the background to dry, I removed the reserve and painted the mushroom using the same “Glaze” watercolor technique.

“Wet watercolor” or “Wet watercolor” technique

With the fifth mushroom I worked with the most “watercolor” technique of all. Looking at it, it is immediately clear that we are looking at watercolors. This is a “Wet Watercolor” technique (often called “Wet Watercolor”, “Wet Watercolor”), and it is certainly impressive. In my opinion, this is the most difficult aspect of watercolor painting. The artist’s skills and exclusively personal experience are very important here. The “Wet Watercolor” technique is that before you start painting, a sheet of paper is completely moistened with water, and then you quickly write on the still wet surface. Spreading, watercolor paint can convey soft transitions from one color to another. If you need to draw small parts, then you need to wait until it dries completely, and only then make additions.

Wet watercolor is especially sensitive to the quality of the materials used. Paper, paints, brushes - everything is important here. In this watercolor technique you have to work quickly and confidently. The artist must be extremely concentrated and ready for anything. We must give the watercolor some freedom, but at the same time create conditions in which it will flow exactly as we need it. And the watercolor should dry when we need it. In this watercolor technique, the most common mistakes are a poorly wetted sheet and a lack of understanding of the depicted form. And most importantly, wet watercolor is beautiful in its lightness and ease. But we are often afraid to “let go” of the paint, we try too hard to control it, we try too hard, thereby losing that very lightness and ease. This technique requires constant practice, and if you want to work in wet watercolor, I advise you to practice it more often.

Conclusion

In this article I described the main effects and watercolor techniques that I work with. Of course, this list can be continued for a long time, and I am sure that there will always be something that I have not tried yet, which will inspire me to new works and experiments. Wish you creative success and inspiration!

In technical terms, this method of painting is the best, since with it the entire painting consists of one layer, the drying of which, with a moderate thickness, proceeds unhindered and quite normally, which is why, with the appropriate soil, it is protected from cracks, just as the paints themselves retain their original freshness. But this method cannot always be implemented in practice and, moreover, it is not always part of the painter’s task.

The primer for painting “alla prima” should not be too tugging, nor too impermeable and slippery, which is why when using adhesive primer, all necessary measures are taken to prevent too noticeable changes in the color of the paint due to loss of oil. Oily soil, especially one that has dried thoroughly and is therefore impenetrable, is given some permeability, which is achieved by rubbing it with alcohol or pumice; In addition, choose soil with a rough surface. As for the color of the soil, the most suitable in this case are light soils with various shades, in accordance with the painting task, as well as pure white soil. Pinkish, yellowish and other shades of primer are obtained by painting the white primer with transparent paint.

The painting method described often does not require regular pattern, and the artist can directly begin painting and writing, depending on the painting task and the experience of the artist.

If a drawing is necessary, then it can be limited to a light charcoal sketch. Black charcoal drawing with its fixer should be avoided, since any sharp black contours will subsequently show through a thin layer of paint and thus spoil the painting. The composition of the fixative is also not indifferent to its strength.

The drawing can be executed separately on paper and then transferred to canvas to better preserve the purity and color of the ground.

In order to be able to finish painting in the raw, that is, before the oil paints begin to dry, all sorts of measures are taken, but harmless to painting, starting with the selection of paints. Slow-drying paints are preferred here. So, zinc white is more appropriate here than lead; in addition, the composition of the paint binder also has here great importance. That is why paints grated on slow-drying oils are most applicable here: poppy, walnut and sunflower; paints based on linseed oil are suitable only for quick, short-term work.

In order to delay the drying of paints as long as possible, the painting being executed is placed in the cold, in the dark, in the intervals between work, and, if possible, it is blocked from Free access air. The implementation of these last measures, unfortunately, cannot always be used, especially with large sizes of the painting, however, these measures are very valid.

Essential oils are used for the same purpose, slowing down the more or less severe drying of oil paints, which are mentioned above. The most energetic in this case would be clove oil. There are, however, authoritative indications of harm from using these oils for painting in large quantities.

Painting with this method is carried out differently and depends largely on the individuality of the artist; That is why, when presenting this method, we can limit ourselves to only the most significant and important instructions.

By “alla prima” painting, in the literal sense of these words, one must mean one of the methods in which the artist sets himself the task of immediately reproducing in paint everything that he sees in nature, i.e. color, shape, light and shade, etc. , without resorting to dividing this complex problem into individual moments work. The difficulty of solving this problem is, of course, great, and becomes even greater if the artist strives to finish his work “raw,” that is, before the paints dry.

Painting is done in different ways. It can be started with strokes of semi-thick paints, applied freely, tone by tone, without stirring them for a long time on the palette, until the entire canvas is revealed. At first it is advantageous to keep the shadows lighter and warmer than they should be in their finished form; light, on the contrary, is darker and colder. The strongest lights and shadows are applied at the last moment, when the painting comes to an end. Decisive and final strokes with impasto paints are very appropriate here.

Painting should be done with tube paints as they are, without adding fatty oils to them. When using black paints (light in weight), you should not apply them in a thick layer, since heavy paints applied on top of them drown in black, contaminating the painting.

When applying too thick a layer of paint, which makes further work difficult, you should remove the excess using a palette knife, spatula and knife, as well as applying it to the layer of paint blank paper, which presses the palm of the hand against it and then, upon removal, takes on all the excess paint. When painting “alla prima,” you can start rubbing it, thinning the paints with turpentine and applying them liquidly, like watercolors. This laying is carried out planarly, without modeling forms, with the goal only of a broad overall effect. For it, it is better to use body paints, introducing white into them. Then, in further work, impasto paints are introduced, and real painting begins.

When working “alla prima”, on too tacky ground, oil paints produce a matte painting, which in terms of color is inferior to tempera and, in addition, if the paints are de-oiled too much, they lack strength.

Painting performed “alla prima” has a unique beauty; it is pleasant in its freshness and spontaneity, revealing the author’s “brushstroke” and his temperament. Examples of this type of painting can serve as I. Repin’s sketches for his painting “The State Council”.

Translated from Italian, “alla prima” means “in one step.” This is a technique in which the drawing is done straight away, without retouching, also known as “painting without underpainting”. If you want to work in this technique, all you need is to be able to finish the drawing before the paint dries. This may require one session or several, although purists argue that one is enough.

This definition leaves room for different interpretations. For example, some say that retouching is acceptable as long as the paint is still wet, while others believe that in the alla prima technique, every stroke matters and should not be corrected. Most people agree that it's okay to wash and redo the areas you don't like. You can choose what you like. For many, this is a favorite technique because it has a sense of spontaneity and freshness.

The alla prima technique, as it exists today, was first used in the 16th century. Flemish artist Frans Hals. It was very different from the then common and very labor-intensive practice of using underpainting and multiple layers of paint. In fact, his one-step drawing techniques have been used since ancient times and are instinctively understandable. Due to its speed, the alla prima technique is often used in plein air painting, oil sketches and preliminary studies.

Use a tinted canvas or base

A white surface can be distracting or confusing. In addition, it will not be scary if there are unpainted parts of the canvas left somewhere. Use a medium or neutral tone. Personally, my favorite color is taupe pink.

Consider the colors

Prepare the colors you want to use and try to limit the palette. Mark the places where there will be a lot of colors, with a brush, pencil or charcoal (you need to be careful with it - make sure that it does not spoil the color of the paint). Remember that the purpose of this preparation is to create a single layer design. Although painting alla prima is to some extent instinctive, good result Without planning it is quite difficult to achieve.

Move from dark to light colors

This is my personal preference; some artists do the opposite, moving from light to dark, or even starting with neutral colors. The benefit of going from dark to light tones is that when you work with fresh paint, the colors blend quickly. It will be difficult to get a rich dark color if there is already a lighter color underneath. It is best to use the lightest colors last.

Be confident

Start with the largest brush and end with the smallest, and do not skimp on paint - apply it liberally. Use confident strokes. Main principle“alla prima” - every stroke matters.

Don't overload individual areas

If you make a mistake, simply peel the paint down to the canvas and start again. This will help you maintain the fresh, economical finish of your alla prima work.

Three samples

If you run out of inspiration, you can consider the works of some masters. Explore the light, colorful portraits of Dutch artist Frans Hals, as well as the paintings of the great impressionist Edouard Manet, who used the alla prima technique to capture fleeting phenomena in the here and now, such as clouds or sunsets. Finally, discover Tom Thompson, an early 20th century Canadian landscape painter. It's less famous artist, author of vibrant miniature oil sketches.

The alla prima technique can be described as fast, creative manner letters, and translate the Italian term itself with the words “in one go.” The picture, if you work in this manner, is painted immediately in one session, i.e. without steps requiring layers to dry before reapplying subsequent layers. The main thing here comes down to capturing the essence, showing the most interesting things with bold colorful spots, while avoiding glaze - the colors should be pure.
This technique is applicable both in oil painting, and in watercolor, but there are differences - watercolor is fluid and transparent, so it is very important to avoid “dirty” flows, but, at the same time, the infusion of color into color can be used to advantage.
You need to start your work with an analysis of nature - try to conditionally, in your imagination, break the object into spots of color, and do not forget to “weigh” it on a darker/lighter scale. You can start with the most intense, bright colors and work your way up to the lighter ones. Actually, each spot of color is applied to its place, and the image is put together like a mosaic. You can, of course, re-cover something, but in watercolor this can lead to a loss of freshness.
The “leaf” exercises illustrate the above.

And these are fruits. Isn't it beautiful?

By the way, this technique is indispensable if you need to quickly capture something elusive. Such work can serve as a sketch, or an independent work, if it can be done carefully. As an example, I will try to depict a bird - the most restless creature. The parrot is offered a sprig of grapes, and while he is tormenting it, I take up the paints.

I'll start with the bird (I had a minute before it turned the other way).

I paint everything else in exactly the same way - I immediately apply the color that is needed in one place or another.

Perhaps this painting technique seems too free, but it, like no other, contributes to the acquisition of confidence, because it requires tenacity of sight and a steady hand. Painting work will have a living breath and the power of a real impression straight from the scene of the event.

The primer for painting “alla prima” should not be too tugging, nor too impermeable and slippery, which is why when using adhesive primer, all necessary measures are taken to prevent too noticeable changes in the color of the paint due to loss of oil. Oily soil, especially one that has dried thoroughly and is therefore impenetrable, is given some permeability, which is achieved by rubbing it with alcohol or pumice; in addition, choose soil with rough surface. As for the color of the soil, the most suitable in this case are light soils with various shades, in accordance with the painting task, as well as pure white soil. Pinkish, yellowish and other shades of primer are obtained by painting the white primer with transparent paint.

The painting method described often does not require conventional drawing, and the artist can directly proceed to paint and writing, depending on the painting task and the experience of the artist.
If a drawing is necessary, then it can be limited to a light charcoal sketch. Black charcoal drawing with its fixer should be avoided, since any sharp black contours will subsequently show through a thin layer of paint and thus spoil the painting. The composition of the fixative is also not indifferent to its strength.

The drawing can be executed separately on paper and then transferred to canvas for better preservation purity and color of the soil.

In order to be able to finish painting in the raw, that is, before the oil paints begin to dry, all sorts of measures are taken, but harmless to painting, starting with the selection of paints. Slow-drying paints are preferred here. So, zinc white is more appropriate here than lead; In addition, the composition of the paint binder is also of great importance here. That is why paints grated on slow-drying oils are most applicable here: poppy, walnut and sunflower; paints based on linseed oil are suitable only for quick, short-term work.

In order to delay the drying of paints as long as possible, the painting being executed is placed in the cold, in the dark, in the intervals between work, and, if possible, free access to air is blocked. The implementation of these last measures, unfortunately, cannot always be used, especially when large sizes painting, meanwhile these measures are very valid.

Essential oils are used for the same purpose, slowing down the more or less severe drying of oil paints, which are mentioned above. Most energetic in in this case There would be clove oil. There are, however, authoritative indications of harm from using these oils for painting in large quantities.

By “alla prima” painting, in the literal sense of these words, one must mean one of the methods in which the artist sets himself the task of immediately reproducing in paint everything that he sees in nature, i.e. color, shape, light and shade, etc. , without resorting to dividing this complex task into separate moments of work. The difficulty of solving this problem is, of course, great, and becomes even greater if the artist strives to finish his work “raw,” that is, before the paints dry.

When applying a layer of paint that is too thick, making further work difficult, you should remove the excess using a palette knife, spatula and knife, as well as by placing clean paper on the layer of paint, which is pressed with the palm of your hand against it and then, upon removal, takes on all the excess paint .

When painting “alla prima,” you can start rubbing it, thinning the paints with turpentine and applying them liquidly, like watercolors. This laying is carried out planarly, without modeling forms, with the goal only of a broad overall effect. For it, it is better to use body paints, introducing white into them. Then, in further work, impasto paints are introduced and the real painting.

When working “alla prima”, on too stretchy ground oil paints They produce matte painting, which is inferior in color to tempera and, in addition, if the paints are de-oiled too much, they lack strength.