CC BY
12CONDITIONS TO PREVENT COLOR POLLUTION IN WATERCOLOR TECHNIQUE
Yunusaliev M.T.
Senior Lecturer, Department of Fine Arts, Faculty of Arts, Fergana State University https://doi.org/10.5281/zenodo.8171994
Abstract. In response to the technological mistakes made by students in the process of performing plein-air practical tasks with watercolors, I would like to inform you that most students do not have full practical experience and knowledge about the subtle nuances of the technological aspects of working with watercolors. painting, or their disregard for the subject became known. However, in order to consistently perform these conditional actions, it is very important to establish more plein-air studies, and students are required to constantly search. Only then will students have a certain experience and be free from the above errors and shortcomings. As a result, they will have practical knowledge and skills on the topic. This article presents an analysis of options for solving a problem situation regarding the unique features of the technique of drawing with watercolors.
Keywords: watercolor, technique, painting, technique, transparent, bright, colors, warm tones, cold tones, dilution, ultramarine, palette, phasing, layered technique, standard, quantity, specialty, knowledge, experience, skill, analysis, repair, exhibition, blur, shade, paint molecule, theory, quality, tonality.
INTRODUCTION. Watercolor, from the types of fine arts, with easel painting there is a constant debate: what is it - painting or graphics? - to the question, the fact that watercolor paint is based on paper brings it closer to graphics. What about the method of describing ranzvir-ku? -the question is still waiting for its decision. Watercolor technique in its pictorial essence is a kind of graphic drawings, drawings and is widely used in artistic and architectural projects. Based on the analysis, if you pay attention to the opinion of some academic artists, they gave such an assessment of the repair of watercolor painting, for example: "Repair work is not characteristic of watercolor technique," wrote A.P. Ostroumova-Lebedeva. Because, firstly, the surface of the paper will be damaged, and secondly, the purity and transparency of the colors will be lost, and it will be deprived of that freedom and lightness and attractiveness, which is an important condition for watercolor technique. This feature of watercolor activity determines its characteristic side. The strict prohibition of doubts and changes, the duty of clear compositional guidance leads to strict adherence to a clear sequence in the creative process. So the watercolor technique also prevents oscillations. Knowledge and ability to work with watercolors is one of the conditions for speed and enthusiasm, success; however, he must have a skillful hand, a keen eye, and perfect knowledge. This is the only way to show real skill. Watercolor art attracted many master artists with its richness of technical possibilities, lightness of colors, lyricism and unique freedom of experience and has already become their main specialty. Large-scale demonstrations of watercolor masters at various exhibitions, the fact that the creative products of this art form are made at a high aesthetic level, testify to the methodology, and it should be noted that it, in turn, occupies a worthy place. in the formation of artistic taste in the minds of the youth of our society and has a pedagogical significance.
LITERATURE ANALYSIS AND METHODS. A feature of watercolors is their transparency. The white paper should show through the layers of paint, giving the colors an attractive and clear transparency. Otherwise, if a methodological error is made, the paints will become cloudy and suffocated, and this situation, in turn, will cause watercolors to lose their brightness and transparency, and look like gouache paints. Therefore, watercolor paints on paper are applied not in a thick layer, but in a thin one. White is not used in watercolor, as the white paint of the 15th century was used in its pure form without any additives. Because white has no transparency. Therefore, the whitest areas are left with white paper, and the lighter ones are painted over in a light state, slightly diluting the colors in the required amount. Then the white paper glistens transparently from under the light layer and adds brightness to the watercolor. To skillfully work at this level requires tireless work, experience, knowledge and skills from creative students.
RESULTS. In order to avoid the above mistakes, based on my experience, I will give information and advice on the following conditions to avoid the possibility of contamination and color smearing during the painting process.
These include:
- The pencils used in the initial drawing phase should not be too soft or too hard, otherwise the soft pencil will darken and even smear the graffiti and soil the surface of the paper. As a result, it transparently shows through under the color layer, spoiling the quality of the work and spoiling the purity of the colors. A hard pencil scratches the surface of the paper. This situation destroys the transparency of the colors. Therefore, you need to draw graffiti carefully, without pressing on the paper with a medium pencil. If the image is complex, the image can first be developed separately on another paper, and then transferred to watercolor paper using tracing paper.
- Only the soft eraser is used to erase error lines in the image. Wipe gently and lightly without pressing the eraser against the surface of the paper. Otherwise, if the eraser's rubber is hard, the surface of the paper will become dirty from friction and become unsuitable for watercolor.
- When working with the varnishing method (transparency of paints in a thin layer), the previous paint layer must dry before applying each paint layer. If the previous preset color is reliable, then it is expected to dry completely. Otherwise, the color will be washed out and the color will be polluted by the addition of the next layer of color set on the non-dry color layer. This situation affects the quality of work.
- The most important thing is that students study well the norms of the amount of water added to the paint in the process of work. To do this, students should organize more plein air studies and practice the correct use of color in the workflow.
- This is one of the important conditions for the glazing method, and each layer is painted in stages, drying from light to dark. This is of course a controversial situation, but this is exactly what the glazing method requires.
- The fifth condition is close to the above conditions, in the process of work, the layer of color paint should not be more than 3 or 4. Otherwise, the paint will fade and lose transparency.
- Start work first with transparent paints and at the last stage of work gradually finish with opaque dark paints. As you know, watercolor paints consist of transparent and opaque colors. Translucent paints are molecularly rare, and their transparency increases as the amount of water added increases (these include cooler tones). Transparent paints are molecularly dense and very saturated colors with dark tones (these include earthy tones as well as whites). If you start working
with opaque colored paints, it is very difficult to correct the mistake made. Therefore, the level of transparency of each paint is always indicated on the packaging of watercolors.
- It is advisable to start painting with cold colors, and finish with warm ones. Otherwise, start over with warm colors to cool finishes, colors are washed out, and pollution levels are high.
- One of the most important things to keep in mind is color theory so that the added colors don't become washed out and muddy. As you know, all colors are based on three colors, namely yellow, red and blue. However, artists choose two types of each primary color for their palettes, i.e. warm and cold versions. This is not in vain, for example, mixing some yellow and blue colors together to make a bright green color is unlikely to work. Unfortunately, this is a very difficult task, and it does not even depend on the quality and price of paints, but on the theory of the origin of colors, that is, on the position of each color in the circle of colors according to its tonality. For example, on the spectrum of colors, ultramarine is close to red, and blue is close to green. From mixing yellow and ultramarine, it is impossible to create a bright and pure green color, only a cloudy shade. From mixing yellow and ultramarine, it is impossible to create a bright and pure green color, only a cloudy shade. A mixture of gelt and ultramarine in a bright, pure and pure green color.
Because ultramarine contains a certain amount of red color, which does not allow it to give a bright green color. In Figure 3, we analyze the colors obtained by mixing the three primary colors of beryl, yellow, violet and blue. Blue and yellow became bright green, and yellow and purple became red. Ultramarine is a combination of purple and blue. If you carefully analyze, if these three colors are mixed in equal proportions, then black is formed in the grass. Analysis shows that the amount of reddish purple in ultramarine is strong enough to change color.
In conclusion, it is very important to be able to choose the right three primary colors in order to create pure bright colors. These three primary colors are best chosen from the colors closest to each other on the color wheel. Based on the above analysis, theoretically learn from nature the secrets of creating harmonious and bright colors in the palette. It is extremely important for students to consolidate knowledge with practical knowledge.
DISCUSSION. Recently, white paint has appeared among watercolors, which has a negative effect on new students and discourages them. In academic painting, white paper is left alone in the white areas of the image, white paint is not used in watercolor at all, because, firstly, white paint is not transparent, and secondly, the color added to white paint becomes pale and suffocating. Black is rarely used.
CONCLUSION. And recently, this paint has appeared among watercolors, which has a negative effect on new flyers and scares them away. In academic painting, white paper remains alone on the white sakts of the image, white paint is not used at all in watercolor, because, firstly, white paint is not transparent, and secondly, the color added to white paint becomes pale and suffocating. Black is rarely used. With strict observance of the above conditions, in the process of painting with watercolors, the brightness and transparency of colors will be achieved in the picture.
REFERENCES
1. Р.Ш. Xaлилов. Учебное пособие «АКВАРЕЛЬ» ТАШКЕНТ 2009 г.
2. R. Xudoyberganov. Rangshunoslik asoslari-Toshkent. G'.G'ulom nomida-gi nashriyot-matbaa ijodiy uyiushmasi. 2006.
3. Sohibov, R. (2022). RANGLARNING ASOSIY XUSUSIYATLARI. Oriental renaissance: Innovative, educational, natural and social sciences, 2(10-2), 234-238.
4. Nodirjon, M., Abdusalom, M., & Ozodbek, S. (2021). TECHNOLOGIES OF TEACHING FINE ARTS WITH MODERN METHODS.
5. Ахмедова, Н. Э. (2022). МУЪЖАЗ САНЪАТНИНГ БЕТАКРОР НАФОСАТ ОЛАМИ. Oriental renaissance: Innovative, educational, natural and social sciences, 2(10-2), 125-130.
6. Sulaymanova, S. B. Q. (2022). BADIIY OLIY TA'LIM MUASSASALARDA TASVIRIY SAN'AT FANINI O'QITISHGA BO 'LGAN EHTIYOJNING OSHISHI VA UNING BUGUNGI HOLATI. Oriental renaissance: Innovative, educational, natural and social sciences, 2(10-2), 89-96.
7. Сулайманова, С. Б. К. (2022). BADIIY TA'LIMDA TALABALARNI O'QITISHDA SAMARALI DIDAKTIK PRINSIPLARDAN FOYDALANISH USULLARI. Oriental renaissance: Innovative, educational, natural and social sciences, 2(10-2), 143-150.
8. Nazokat, A., Ibrokhim, Y., & Makhpuzakhon, A. (2021). FACTORS OF D EVELOPMENT OF FINE ARTS.
9. Nazokat, A. (2021). Means of Ensuring the Integrity of the Image and Writing in the Performance of Visual Advertising.
10. Ахмедова, Н. Э. (2022). МУЪЖАЗ САНЪАТНИНГ БЕТАКРОР НАФОСАТ ОЛАМИ. Oriental renaissance: Innovative, educational, natural and social sciences, 2(10-2), 125-130.
11. Сулайманова, С. Б. К. (2022). BADIIY TA'LIMDA TALABALARNI O'QITISHDA SAMARALI DIDAKTIK PRINSIPLARDAN FOYDALANISH USULLARI. Oriental renaissance: Innovative, educational, natural and social sciences, 2(10-2), 143-150.
12. Yuldashev, I. (2022). BORLIQNI IDROK ETISH VA TASVIRLASHGA DOIR DASTLABKI MA'LUMOTLAR HAMDA ULARNI XARAKTERLI JIHATLARI. Oriental renaissance: Innovative, educational, natural and social sciences, 2(10-2), 9-15.
13. A'Zamjonov, A. A. Z. (2022). UMUMTA'LIM MAKTABLARIDA TASVIRIY SAN'AT FANINI O'QITISHGA INNOVATSION YONDASHUV YO'LLARI MAVZUSI BO'YICHA AMALIY ISHLANMA. Oriental renaissance: Innovative, educational, natural and social sciences, 2(10-2), 56-60.
14. Barchinoy, K., Sevarakhon, S., & Mukhammadkodir, Y. (2021). EFFECTIVE METHODS OF TEACHING FINE ARTS AND DRAWING AT SCHOOL.
15. БМ Курбанова, М Юнусалиев, Н Арзиева. ОСОБЕННОСТИ ТЕХНИКИ: АКВАРЕЛЬ, МАСЛО И ГУАШЬ Research Focus 1 (2), 319-325
16. A'Zamjonov, A., & Hamdamov, K. H. (2022). TASVIRIY SAN'AT MASHG'ULOTLARI MAZMUNINING DAVLAT TA'LIM STANDARTLARI BILAN BOG'LIQLIGI. Oriental renaissance: Innovative, educational, natural and social sciences, 2(10-2), 71-77.
17. Omonov, D. A. O. G. L. (2022). RANGLARNING INSONIYAT BILAN UZVIY BOG'LIQLIGI. Oriental renaissance: Innovative, educational, natural and social sciences, 2(10-2), 97-100.
18. Boboyeva, Z. A., & Mo'Minova, D. B. Q. (2022). ALABALARNING KREATIVLIK QOBILIYATLARINI RIVOJLANTIRISHNING NAZARIY ASOSLARI. Oriental renaissance: Innovative, educational, natural and social sciences, 2(10-2), 221-233.
19. www.wikihow.com
20. www.helenstrom.blogspot.com
21. www.thesmartteacher.com
22. www.crayola.com
23. www. ziyonet.uz
