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Master class school of an artist, Oleg Savostyuk


Special Discipline Program: Drawing, Painting, Cmposition, Applied and Decorative Arts, Art History.


Option 0

Plan of the educatory schedule of master class of Oleg Savostyuk, education period - 2 years


Group 5-7 years 2 years

Clay molding (children of 5-7 years)

    Why do all children love to mold clay? Why does a modern child need molding? What and how and from what materials do children mold? There is no answer to many questions as every child has its own perception of the world and molds it as he wishes.
    Molding is one of the forms of fine art, where flexible materials are created into voluminous (and sometimes diaglyphic) objects and compositions. Molding technique is rich and various, but at the same time is accessible even for small children.
    Molding gives a unique possibility to model the world and own perception of it in volumetric-flexible forms.
    Molding is the most tangible type of artistic creation. Child not all sees what he or she created but also feels it, takes it into his hands and, if needed, changes it. Hand is the main instrument in molding (to be more precise, both hands), therefore, level of skill depends on the ability to use both hands. An infinite number of forms can be created from one ball of clay, finding new options every time.

Molding has an integrated effect on the development of a child:
Increases sensory acuity, i.e. allows for acute perception of the form, facture, color, weight, flexibility;
Develops imagination, spatial thinking, overall hand skill, fine motor skills;
Synchronizes the work of both hands;
Forms the ability to plan work as was intended, foresee the result and achieve it;
But the one thing which is of most value and significance is molding along with other forms of fine art, develops the child in the esthetical direction. He learns to see, feel, value and created by the laws of beauty.


Approximate theme schedule.
Course stats - 144 hours - 72 lessons - 1 year.

Familiarization with simple objects and forms (ball, line, curl) understanding that various forms are created by various methods, different hand movements. How to create a cylinder form and how to change it. How to make a circular form and ways of changing it (carrot, sun). 2 hours

Molding technique:
Constructive method.
Sculpture method.
Combined method.
Model molding.
Form molding (fish, hedgehog) 2hours.
Molding techniques.
Retraction and modeling.
Pinching.
Curling.
Use of various tools (flower, swan) 2 hours.
Transfer to object molding. Molding of a green pasture, chamomile, cornflower, poppies, bellflower 2 hours.
Carnation, strawberry, butterfly 2 hours.
Caterpillars and snails, bugs - spiders 2 hours.
Dragonflies, bee, ant, grasshopper 2 hours.
Butterfly beauties 2 hours.
Field mouse 2 hours.
I am molding my own horse 2 hours.
Chicken with chicks 2 hours.
Peter the cock 2 hours.
Duck, etc.


Drawing. (children 5 - 7 years).

Develops imagination, spatial thinking, overall hand skill, fine motor skills.

Aim of the class:
Familiarize children with the paintbrush and paint. Teach children to reflect the environment in their paintings. To teach how to perfectly hold the paintbrush, mix paint and draw accurately. To familiarize children with main and secondary colors, teach them to mix fades. To teach the laws of compositional mix.

Approximate theme schedule.

Course stats 288 hours 144 lessons 2 years.
Whale (simple form) 2 hours.
Penguin - 2 hours.
Still life with vegetables and fruits - 2 hours.
Underwater world - 2 hours.
Mushrooms in the grass, forest - 2 hours.
Magic flower - 2 hours.
Chicken and his friends - 2 hours.
Goldfish - 2 hours.
Autumn has come - 2 hours.
First snow - 2 hours.
Soft teddy bear - 2 hours.
The tree in the snow - 2 hours.
Still life with ash berry - 2 hours.
Fairy house - 2 hours.
Bunny in the winter woods - 2 hours.
Fir tree - 2 hours.
Free theme - 2 hours.
Flowers for Mother - 2 hours.
My house at night - 2 hours.
Clever cat - 2 hours.
Still life in warm colors - 2 hours.
Still life in cool shades - 2 hours.
Flying rocket - 2 hours.
Dressed up fir tree. New Year - 2 hours.
Flowering garden. - 2 hours. etc.


Option 1

Plan of the educatory schedule of master class of Oleg Savostuk, education period - 9 years

Group 7-9 years 3 years
Group 10-12 years 3 years
Group 13-15 years 3 years
(I half of the year 16 weeks
II half of the year 18 weeks)



Summer practice includes: drawing 28 hours, painting 28 hours.


Option 2

Plan of the educatory schedule of master class of Oleg Savostuk, education period - 4 years

Group 7-10 years 4 years
Group 11-15 years 4 years
(I half of the year 16 weeks
II half of the year 18 weeks)



    Chromatics color mixing
Chromatics is the science of color, that includes knowledge about the nature of color, main, composite, and additional colors, the basic characteristics of color, color contrasts, mixing colors, richness of color, color harmony, color language, color harmony and color culture.
    Color is one of the properties of objects of the material world, perceived as a conscious visual sensation. Any color is attributable by the man to objects in the process of their visual perception. The perception of color can partially change depending on the psycho-physiological status of the observer, for example, increases in dangerous situations, while decreasing with fatigue.
    In the vast majority of cases, color sense emerges as the result of exposure, to the eye, of a flow of electromagnetic radiation in the range of wavelengths, in which this radiation is perceived by the eye. Sometimes color sensation occurs without the effects of radiant flux on the eye - with pressure on the eyeball, shock, electrocution and other irritation; as well as from mental association, and as a result of the imagination. Various color sensations result in varied color items, their variously lighted areas. However, the perception of colors may vary (even in the same relative spectral composition of the flow of radiation), depending on whether the radiation from the source of light or from non-luminous objects falls into the eye.


Approximate theme schedule.

Course volume 30 hours 1 month
System of color - 3 hours.
Main colors - 3 hours.
Secondary colors - 3 hours.
Achromatic colors - 3 hours.
Chromatic colors - 3 hours.
A smooth transition of secondary colors - 3 hours.
Changing the color tone. Loss of saturation - 3 hours.
Warm colors - 3 hours.
Cold colors - 3 hours.
Color-range - 3 hours.


Aquarelle

    Aquarelle is one of the most interesting, but nonetheless sophisticated techniques. Transparency of colors requires certain lightness and a specific, decided in advance position of the color.
    There are many ways of producing works of art through this technique. Selection of paper, brushes and sometimes a certain wetting of the surface before beginning to paint is very important.
    Aquarelle is created as ala-prima or in multiple executions. A lot of experience is required in order for the work to be fresh and expressive in color.



Approximate theme schedule.

Course volume 236 hours
Apple painting - 3 hours.
Jug with lemon - 3 hours.
Cleaning the ball (grisaille) - 3 hours.
Still life with vegetables - 6 hours.
Still Life with a dish - 6 hours.
Simple objects - 3 hours.
Flowers - 6 hours.
Landscape - 6 hours.
Still life with a bottle - 6 hours.
Still life with a pumpkin - 8 hours.
Still life with mushrooms - 12 hours.
Aquarelle on nature - 3 hours.
Drawing the bow - 3 hours.
Still life with a fish - 3 hours.
Dried flowers - 3 hours.
Folds - 12 hours.
Plaster socket - 24hours.
Complex still life with plaster mold (ornament) - 30 hours.
Complex still life with an animal mask - 30 hours.
Complex still life with a human plaster mask - 30 hours.
Complex still life with a human plaster head - 30 hours.
Complex still life in the interior - 30 hours.
Drawing a human - from 30 hours.


Perspectives. Main drawings.

    It is important to learn to draw objects in such a manner so that the objects in the picture look the same as in reality. To do so, it is important to observe the correct proportions and shapes. It is to draw side to side on paper, using its width. It is also easy to draw from top to bottom, using the height of paper. But to draw something that is moving away from you? How to create the illusion of depth of an image? Linear perspective teaches this, first developed almost 500 years ago in the Renaissance.


Approximate theme schedule.

Course volume 45 hours - 15 classes.
Introductory talk. Types of perspectives. Construction of the ellipse. Skyline. Vanishing point. Construction of a jug - 3 hours.
Cube in perspective. Triangular perspective of the cube, front perspective of the cube - 3 hours.
Cube below the horizon. The front and angular perspective - 3 hours.
Cube above the horizon. The front and angular perspective - 3 hours.
Perspective in action: road - 3 hours.
Perspective in action: corridor - 3 hours.
Equal division of space - 3 hours.
Construction of the bridge at the triangular perspective - 3 hours.
Inclined plane in the triangular perspective - 3 hours.
Checkerboard in perspective - 3 hours.
Perspective in action: house - 3 hours.
Shades in the three-dimensional art - 3 hours.
Three-point perspective - 3 hours.
Four-point perspective - 3 hours.
Multiple vanishing points - 3 hours.


Explanatory note. Drawing.
Course volume 102 hours.

    Drawing is the top discipline in the education of young artists. The basis of education is drawing from nature, providing a correct visual of a visible specific form in a real environment by the line, chiaroscuro, tone.
    Proceeding from this, teaching to draw under this program in the school of Oleg Savostyuk is aimed at the students, that do not have previous experience in drawing.
    Easiest to learn are the main concepts of the picture. Planar classes give students the basic skills of drawing, through simple examples are acquainted with the principle of continuous principle of study work from the general to private, from private to general, followed by a synthesis of both.
The transition from planar drawing to the depiction of image, is implemented gradually.
    Tasks are set at the complexity that takes into account the age of the child. In addition to work in the class, students perform mandatory homework: sketch of home life, favorite pets, sketches, landscapes.

Drawing

Approximate theme schedule

Third grade

1. Introduction. Drawing materials. Introduction to the outline of household items. 1 hour
2. Illustration of literary works in pencil. 5 hours
3. Working with ink. Animal silhouettes. 5 hours
4. Working in ink. Landscape. 5 hours
5. Introduction to the cutout. The general outline of objects. 2 hours
6. Construction of maple leaf. 2 hours
7. Introduction to dimensional solution. Landscape. Pencil. 4 hours
8. Figure household items with ornament. Pencil. 5 hours
9. Linear pattern of household items. Pencil. 5 hours

Total hours: 34 hours


Fourth class

Fourth grade

1. Line drawing. Drawing life: 1 item and an apple. Pencil. 4 hours
2. Exercise at hatching. The correct position of the hand. 2 hours
3. Life drawing 1 object (a large jug, pot, bucket, water-can). Line drawing with light chiaroscuro. 4 hours
4. Introduction to the horizon line, plane of the table. Construction of the circle, geometric objects. 4 hours
5. Cylinder figure. Construction: base, height, symmetry. 4 hours
6. Drawing circles, construction in different angles. 2 hours
7. Construction of 1 domestic item and hatching of the shadows. 4 hours
8. Outline of stuffed birds. 2 hours
9. Figure of dry branches of trees or tree roots. 4 hours
10. Outline of plants. 2 hours
11. Black and white picture of stuffed birds. 10 hour
12. Drawing still life of two items and fruit. 10 hours
13. Drawing drapes with the light black and white technique. 6 hours
14. Drawing still life of 3 items. Black and white drawing. 10 hours

Total hours: 68 hours


Explanatory note.

Still life. Course volume 646 hours.

    The beauty of form makes a strong impression on the souls of children. They like to look at various colorful pictures.
Painting course is one of the most important parts of the learning process. Its aim is to develop the ability in students to see and depict form in all variety of colorful relations.
    The basic principle of learning is the inseparability of work on the color and form. Students must learn that the solution of color tasks cannot be divorced from the study of forms.
    During the course, teacher is required to acquaint students with picturesque materials and their technical characteristics (paint, paper, brushes, etc.) as well as provide students with the necessary information about the color (local color, change of the local color in light and shade, color aperture in the air environment, the interaction of colors, cold and warm colors, convergence and contrast of colors, variety and extra colors).
    In the process of education students must learn to see and transmit color relations from the beginning in their simplest local state (on flat forms), and then on simple color volumes (taking into account the warm and cool colors), followed by more complex forms and more sophisticated color relations and reflexes, in a spatially-air environment, both indoors or outdoors (in summer practice).
    All information is provided during practical work on the painting, as well as reviewing and discussing the works of classical art and contemporary artists.


Picture art
Approximate theme schedule

First class

First grade
1. Introduction to materials (watercolor paints, brushes, paper, etc.). Primary and secondary colors.
Exercises:
- Fill in Romashka;
- Color rain.
10 hours
2. Chromatic and achromatic colors.
Exercises:
- Color fills;
- Ink fills;
- Spot-silhouette.
15 hours

3. Introduction to cold and warm colors.
Exercises:
- Warm fill ins Sun, Joy;
- Cold fill ins Snow kingdom, Sadness
10 hours

4. Introduction to contrasting colors.
Exercises:
- White - black;
- Red - green;
- Orange - green;
- Violet - Lemon.
5 hours

5. Changing the color tone of the background.
Exercise:
- Fill in the boxes;
- Fill in, level by level and continuous mixing;
- Fill in of animals;
- Fill in of material - fabric.
10 hours

6. Introduction to copy. Copy a piece of material with a picture:
- Transfer of the size, color and drawings of the pencil;
- Selection of colors.
15 hours

7. Depicting flat objects with color. Transfer with local color.
15 hours

8. Settings of one object of the simplest forms on the neutral background (vegetables, fruits). The solution of the local color of light and shadow.
5 exercise 2 hours each = 10 hours
10 hours

9. Painting on dark saturated colors (drapery) of a colored object or apple. Color solution without the volume. Ala-prima technique.
3 exercise 5 hours each = 15 hours
15 hours
10. Setting of the rich warm colors.
The subject - the focus.
Flat solution in the Ala-prima technique.
3 exercise of 5 hours = 15 hours.
15 hours

11. Setting of the two objects on a background of contrasting color. Flat solution in the Ala-prima technique.
2 exercise of 5 hours = 10 hours
10 hours

12. Examination setting, summarizing the acquired skills and knowledge for the year.
15 hours

Note: All tasks are performed by student until full knowledge is acquired.

Second class

Second grade

1. Setting of saturated cold colors. Subject-focus. Flab solution in the Ala-prima technique. 3 exercise of 5 hours = 15 hours
15 hours
2. Setting of two subjects of a background of contrasting color. Flat solution in the Ala-prima technique
3 exercise of 5 hours = 15 hours
15 hours

3. Setting: maple leaf, made with fill ins. Accurate color transfer
1 maple leaf
branch of maple leaf
a bouquet of flowers
3 exercises of 10 hours = 30 hours
30 hours

4. Setting of one object of the simplest form on a neutral background (vegetables, fruits). Solution of the local color and on light. An attempt to transfer the volume.
2 exercise of 5 hours = 10 hours
10 hours

5. Setting of two objects on a neutral background (mug and an apple).
The concepts of: light, highlight, shadow, penumbra are explained.
2 exercises of 5 hours = 10 hours
10 hours
6. Setting of the two objects on a color background.
The concept of color reflex.
Change of color from the environment.
3 exercises of 10 hours = 30 hours
30 hours

7. Setting of two subjects. Transmission of light and shade in one color, as a means of expression of the form (monochromatics).
2 exercises of 10 hours = 20 hours
20 hours

8. Setting of two object of the more complex forms on a background of contrasting color.
3 exercises of 10 hours = 30 hours
30 hours

9. Examination setting, summarizing the acquired knowledge and skills for the year.
1 exercise = 10 hours
10 hours

Total hours: 170 hours


Third class

Third grade

1. Short sketches of fruit and vegetables.
5 sketches of 1 hour = 5 hours
5 hours

2. Setting of two or three items on a neutral background (white, gray, black). Household items, vegetables, fruit. Side lighting, transfer of forms (highlight, light, semitone, shadow reflex).
3 exercises of 10 hours = 30 hours
30 hours

3. Setting of two or three objects on the hot and cold background. Transfer of space. Side lighting.
2 exercises of 10 hours = 20 hours
20 hours

4. Setting of few items of similar color on a color background.
Transfer of color of the settings and the departing planes.
1 exercise = 15 hours
15 hours

5. Setting of several objects different in material (wood, clay, paper, metal, etc.)
3 exercises of 15 hours = 45 hours
45 hours

6. Setting of several objects of different shape and color on a neutral background. A fabric is introduced with a small number of folds. Transfer of tone-color relations.
2 exercises of 15 hours = 30 hours
30 hours

7. Setting of fresh flowers, vegetables or fruit.
2 exercises of 5 hours = 10 hours
10 hours

8. Examination setting, summarizing the acquired knowledge.
1 exercise = 15 hours
15 hours

Total hours: 170


Fourth grade

1. Setting of fresh vegetables, fruit and leaves.
1 exercise = 12 hours
12 hours

2. Setting of fresh flowers, vegetables, fruit.
1 exercise = 12 hours
12 hours

3. Short-term sketches with stuffed birds.
3 sketches of 4 hours = 12 hours
12 hours

4. Setting of several objects of different material (glass, metal, fabric, wood, etc.) on a color background.
Transfer of the pattern (material of the objects).
2 exercises of 16 hours = 32 hours
32 hours

5. Setting of the several object close in color. Tone-color solutions in space (cold and warm gamma).
1 exercise= 12 hours
12 hours

6. Setting with stuffed birds and patterned drapery.
Transfer of tone-color solution in space.
1 exercise = 12 hours.
12 hours

7. Setting of several objects, different in material with more complex texture of fabric (silk, velvet, etc.)
Transfer of texture of the fabric with color.
1 exercise = 16 hours.
16 hours

8. Sketches of a persons - with the brush.
4 hours

9. Setting of several objects with drapery.
Transfer of substantiality, volume of wrinkles and tone in colors.
1 exercise = 8 hours
8 hours

10. Examination setting, summarizing skills acquired during the years in art school of Oleg Savostyuk.
16 hours

Total hours: 136 hours



Explanatory note.

Applied and decorative arts.
Course volume 476 hours.

    The primary role of aesthetic education is taken by decorative and applied arts.
The value of decorative and applied art is defined by the fact that it is mass in nature. The works of various kinds of applied arts surround us daily.
    Study of the Composition of applied arts and work in the material: helps children to actively think about the world around us, creatively translating it into forms of decorative and applied arts.
    This field vividly expresses the most concise and the most expressive image of harmonious mixture of functionality and beauty of an object, its form and decoration. It is important to show children the richness of artistic expression methods, to allow them with own hands to create beauty, transforming nature and the material into works of art.
One of the most important moments to teaching applied art - the principle of the game, which should be developed from very early age. During the game, children remember something understandable to them, and comparing it with what they see by walking on the street, reproduce it.
    The game is structured in such a way, that children are accustomed to courageously treat bad drawings, abandon them and start again until they like the drawing. During walks, in the creative game, they can draw with chalk on the pavement, with a small branch on the sand. In doing so, the children are offered to depict scenes from their lives, fantasize on fairy tales, observe and reproduce the natural environment.
    To accomplish the task, children can use stones, branches, trees, colored paper and paint. This is one way in the development of imagination and intelligence, their training.
    Independent form of work are excursions to art museums, exhibitions of works, and to the workshop of an artist. Here the students can see original works of art.
    Such excursions, to the extent possible, should be carried out systematically on the pre-planned schedule.
    With this children accumulate experience of creative activity, which manifests itself in the molding of clay or play dough, folding paper objects - origami.
    Regardless of age, children are taught to see the beauty of nature and architecture, their combination, so that the product of human hands does not spoil the impression of the nature but actually complements it, would leave the desire to build.


Decorative and applied arts

Approximate theme schedule

First class

First grade

1. Introduction. Talk about decorative and applied arts. Wall decoration; Flowers.
1 hour
Technique: spot painting, fill in, appliqué.
Material: paper, watercolor.
7 hours

2. Wall decoration unknown animal, Rooster
Technique: spot painting
Material: paper, ink
12 hours

3. Sketch of the fill in mosaics Flower, Fish, Horse, Palace for Cinderella.
Technique: Mosaic
Material: Colored paper, fill ins, watercolor.
40 hours

4. Sketch of wall decorations Tale of the kolobok, Golden Fish.
Technique: waxing
Material: wax crayons, paper, watercolor
12 hours

5. Sketch of wall decorations Bird
Technique: aqua tone printing of mint paper.
Material: watercolor, paper, glass.
4 hours

6. The sketch of a child rug for animal theme.
Technique: appliqué of mint paper.
Material: watercolor
12 hours

7. Sketches monotypes Bouquet
Technique: monotypes.
Material: watercolor or gouache, glass, plastic, paper
12 hours

8. Sketch of a child rug costume for Prince, Princess, Baba-yaga.
Technique: collage of tissue grafts.
Material: fabric, glue.
32 hours

Total hours: 132


Second class

Second grade
1. Paper flexibility Flower, Fan
Technique: origami
Material: paper, watercolor
16 hours

2. Paper flexibility Puppets on a pencil, Flashlight
Technique: origami
Material: paper, watercolor
20 hours

3. Modeling of plasticine Favorite beast
Material: plasticine, glass, buckram
12 hours

4. Stucco and painted toy Dymkovskaya toys, Favorite animal.
Technique: modeling, painting
Material: plasticine, gouchae.12 hours

5. Ornament composition, painted saucer.
Material: watercolor, paper
8 hours

6. Decorative painting. Papier-mache Pet, Cup, Plate.
Technique: sculpture, papier-mache and painting.
Material: plasticine, paper, gouache.
48 hours

7. Texture collage of fabric and cord Fantastic City.
Technique: appliqué
Materials: pieces of fabric, string, glue, paint.
20 hours

Total hours: 136


Third class
Third grade

1. A collage of natural materials Picture of leaves, Picture of a bouquet of dried flowers, pictures made of grains, seeds and etc.
Technique: collage
Material: glue, natural adhesive materials.
42 hours

2. Still life with gouache Flowers and Fruits.
Technique: monotypes.
Material: gouache, paper, glass, plastic.
6 hours

3. Sketches of carnival masks
Technique: painting
Material: paper, gouache
12 hours

4. Executing sketches of carnival masks in the material.
Technique: papier-mache, painting
Material: plasticine, paper, glue.
42 hours

Total hours: 102


Fourth class
Fourth Grade

1. Geometric and vegetative pattern in the line.
Sketches from life, stylization, compilation of an ornament. Introduction to the movement and rhythm. A limited number of colors.
Material: ink, 2 paints
39 hours

2. Modeling of a planned relief from one of the Still life objects.
Material: plasticine
15 hours

3. Greeting cards, bookmarks for books.
Technique: origami, appliqué, mosaic.
Material: Colored paper, fill ins, water color, gouache.
9 hours

4. Ornamental composition of string Blossoming tree
Technique: sewing
Material: cardboard, string, canvas
6 hours

5. Decorative panels Bouquet, Biscuit, Still Life, Cake, Basket of fruit.
Technique: salt dough
Materials: flour, salt, gouache
27 hours

6. Child rug for animal topic. Cover for the teapot.
Technique: collage
Materials: pieces of fabric, string, rope.

Total hours: 102


Note: all tasks are performed on sketches.



Explanatory note.
Composition.
Course volume 374 hours.

Composition course in art school of Oleg Savostyuk aims to develop figurative thinking and creativity in students, but also give them a foundation for professional skills and knowledge.
It is necessary to inculcate, to students, the ability to observe life from an early age. Required reserve of life observations is a key condition of those students working on the composition.
The purpose of educating composition is to develop imagination and creative thinking. Teach the use of composition possibilities of an image: choose a theme, format, control the paper, to interpret objects and space (to solve a system of subordination of details); outline rhythmic expressive elements of nature and to identify primary color-tone structure of the picture; to transmit the state and mood.
Learn the techniques of use of the sketch in the work on thematic compositions. To understand the need for observations and sketches from nature in order to enrich the idea of a thematic compositions.
Tasks included assignments on ornamental compositions, artwork, theatrical costumes, types of graphics, etc.
Basics of compositions in the younger groups are taught in a more simplistic manner, simply, taking into account the age, and in the older groups much more thoroughly and consistently studying the laws of composition.




Compositions

Approximate theme schedule

First class
First grade

1. Introductory talk. (1 hour)
The development of imagination. Working with fill ins. What do children see from completed fill ins?
- Underwater kingdom
- Space
- Flower Planet
3 exercises of 3 hours - 9 hours
9 hours

2. Simple theme Fantastic flower from the world of fairy tales.
The development of imagination.
Fill inn appliqué
6 hours

3. Topic Fantastic City.
Introduction to the sketch. Basic knowledge of technology of fill inn appliqué.
6 hours

4. Watercolor technique: spot painting. The development of imagination, figurative thinking - fantastic animal
6 hours

5. Watercolor technique: fill in mosaic
- Firebird
- Wizard
- The beast from another planet
9 hours

6. Watercolor technique: aqua tone printing (creased paper, watercolor). Underwater kingdom
3 hours

7. Watercolor technique. Composition in the spraying technique: Mood, Music, Color snowflakes.
6 hours

8. Watercolor technique. Fill ins with wax:
- Butterfly
- Joy
- Flowers
9 hours

9. Watercolor technique: complete the animal - color drape Fantastic animal
3 hours

10. Watercolor technique: spot painting Butterfly.
Fill in and appliqué.
6 hours

11. Mosaic Dancing Butterflies. Fill in and appliqué.
6 hours

12. Working with ink: spot painting
- Good and evil cat
- Fairy Tale Forest
- Wood
9 hours

13. Introduction to graphics (ink)
The nature of the line:
- broken
- soft
- good
- bad
3 hours

14. Introduction to monotypes. Work on the copier
- Portrait of Mother
- Portrait of Father
- Portrait of Grandmother
- Self portrait
9 hours

15. Composition of the musical associations (in lines)
Markers, ballpoint and capillary pens.
3 hours

16. Composition on colored paper is executed with white agents
Winter in the backyard - black and white.
Seasons
6 hours

Total hours: 102


Second class
Second grade

1. Simple composition, based on observations.
- The way home from school
- The road from home to school
Is implemented with lines on the fill in

6 hours

2. Watercolor portrait of mother. The development of observation.
3 hours

3. The development of imagination: Letter of the primitive man
(familiarity with the symbol, points, lines, diversity)
6 hours

4. The development of imagination: wax painting. Landscape with wax chalks and watercolor fill in.
6 hours

5. Getting started with gouache. Sketches. The Tale of Tsar Saltan
6 hours

6. Simple composition on the development of imagination, at the option of:
- Clay land, land of the day...
- Glass-land, land of the night
- Wooden land;
- Paper land, etc.
24 hours

7. Simple topic: illustration of a fairy tale by A.S. Pushkin, at own choice.
2 exercises of 12 hours = 24 hours
24 hours

8. Composition: Portrait of a friend, pet, toy.
2 exercises of 6 hours = 12 hours
12 hours

9. Composition on colored paper. Tale, fable, short story.
3 exercises of 6 hours = 18 hours
18 hours

Total hours: 102


Third class
Third grade
1. Composition How I spent summer, based on summer observations. Gouache
1 exercise = 6 hours
6 hours

2. Composition Landscape - wax chalks and watercolor.
1 exercise = 6 hours
6 hours

3. The literary theme - fable. Watercolor and gouache
12 hours

4. Composition Carousel - gouache
12 hours

5. Composition City landscape
12 hours

6. Composition I put set up still life
12 hours

7. Simple composition Bus stop
12 hours

8. The literary theme. Piece at own choice.
24 hours

Total hours: 102

Note: all drawings are done on sketches in pencil and color, center of the drawing, richness and format are explained.

Forth class
Fourth grade

1. Free topic for summer impressions
8 hours

2. Illustration of a literary work or exercise, or by choice.
2 exercises of 12 hours = 24 hours
24 hours

3. Self-portrait with a friend.
1 exercise = 12 hours
12 hours

4. Composition From the life of our city.
Examination Setting.
24 hours

Total hours:

Note: in 4 class, sketches are required from students with variants of compositional solutions (drawings and sketches).
In thematic tasks, recommend solution for sketches with various horizon, depth of perspective and space, familiarize with basis and laws of composition.
When working on the composition teacher holds exhibition of best sketches, essays, works. Marks are given for each task.



Explanatory note.

Art history.

Course volume 34 hours.
The main goal of talks on the history of art, is the creation of an inner world of children, development of their creative capabilities and foster of good taste. History of art offers a wealth of material for creativity, aids in development of sense of beauty, the development of artistic erudition, which is due to the personal interest of the arts, creative study of art history.
During the talk, students make sketches and rough drawings, fantasize, try to transfer the era and time.
The principle of reliance on the creative activity of students is very important, the students acquire practical skills of self-analysis of works of art.
It is important to remember that in order to awaken the creative activity of students, they need to face such issues, which on the one hand would be impossible for them, and on the other - would excite them, stir up considerable interest. This work will find very useful the contact with local art and history museums.
During history of art lessons, students receive elementary knowledge on the types and genres of art, get familiar with the rich history of Moscow and Russian cities.
Information about Russian art gives an extensive picture of our great historic, artistic heritage: the iconography, popular printing, architecture, sculpture, painting and applied art.
Extensive understanding of the culture of the peoples of Russia, is granted by the lectures on folk trades: folk toys, carpet weaving, costume of people, etc.


History of art
Approximate theme schedule

Approximate theme plan

1. Introductory talk. 1 hour
2. Types and genres of art. 1 hour
3. Acquaintance with the history of the city of Moscow. 7 hours
4. The history of cities in Russia. 5 hours
5. Russian art (icons, splint, architecture, sculpture, painting). 5 hours
6. Applied art (handicrafts: toys, carpet weaving, pottery, trays, costumes, etc.). 5 hours
7. Russian artists of Russia. 5 hours
8. Foreign Art (architecture, sculpture, painting). 5 hours

Total hours: 34 hours


III option

Plan of educatory schedule

School-studio of peoples artist
Oleg Sovoystuk
For students from 12-16 years and 17-18 years
Education period 2 years
Course volume 816 hours

/I half of the year 16 weeks/
/II half of the year 18 weeks/


1. Introductory talk about the picture.
Still life of items of everyday life, the simplest forms (pot, lid, kettle).
Paper, graphite pencil. ½ size sheet.
4 hours

2. Still-life of 3-4 plasters of geometrical bodies (cube, hexahedron, cone, prism).
Line constructive building.
Paper, graphite pencil. ½ size sheet.
8 hours

3. Still life with plaster ball and a small object with the background.
Transmission of the relative position of objects, their position in space and towards the horizon line, locating the falling and own shadows. Transfer of design of objects. Lighting - top, side. Paper, graphite pencil. ½ size sheet.
4 hours

4. Still life. Volumetric representation of objects in space. Figure of plaster ornamentation of the vegetable nature. In this task attention should be given to the possession of strokes, the nature of the object, the ability to solve a large space of the background, leaving no white fields.
Tonal solution, top side lighting.
Paper, graphite pencil. ½ size sheet.
4 hours

5. The study of tissue folds, flowing vertically and contacting the plane.
Transmission of the folds of fabric, their form.
Definition of the plane of the wall on which the fabric is hanged. Solution - tonal, with the environment.
Paper, graphite pencil. ½ size sheet.
8 hours

6. Drawing plaster capitals in perspective. A summary of the perspective construction of objects in space. Capital of the Ionian or Doric order is put at a tilt, in perspective. Picture will have a short-term nature. Proper construction of capitals with linear-design method. Ability to analyze complex shape, coordinating it with the tilted central axis.
Paper, graphite pencil. ½ size sheet.
8 hours

7. Figure plaster of the vase. Vase can be placed above the horizon line. Transition of the large form with careful processing, without destroying the whole. Lighting - artificial, top, side. The solution is tonal with the background.
Paper, graphite pencil. ½ size sheet.
8 hours

8. Picture of the plaster mask of an animal (lion). Construction of the mask with linear design method with the introduction of light and shade, which underlines the great shape. Picture is the transition to drawing plaster head of the human. Lighting - top, side. Solution is constructive, slight light and shadow.
Paper, graphite pencil. ½ size sheet.
8 hours

9. Plaster head (discussion). Picture of the head and skull.
There is a need to talk about the structure, proportions and methods of drawing plaster head.
Talk about the structure of the human head and its image is conducted with the display of the skull. Picture of the head and skull are performed on a single sheet, in the same perspective. Lighting - top, side.
Paper, graphite. Pencil. ½ size sheet.
24 hours

10. Drawing a plaster cast of parts of a person. (Eyes, nose, lips, ears).
In drawing parts of the human face there is a need to focus the students on design and anatomical analysis of the form. Solution is constructive with the transfer of light of light and shade. Lighting lateral.
Paper, graphite pencil. ½ size sheet.
24 hours

11. Drawing antique plaster head. The solution of a large form of the head with clearly pronounced aspect ratios. Linkage of the parts of the face with a common form of the head. Detailed study of the form.
Lighting lateral.
Paper, graphite pencil. ½ size sheet.
12 hours

12. Picture of the human head (constructive formation, expression of character, building volume, careful detailing of the common form. Lighting the top, side.
Paper, graphite pencil. ½ size sheet.
24 hours

13. Drawing of plaster figures in different turns. (Venus, disco ball, slave - Michelangelo). Find the movement and proportions of the figure, solution line-constructive, identifying the principal.
Paper, pencil. ½ size sheet.
20 hours

14. Drawing human skeleton. Talk about the human skeletal structure. Solution linear-constructive. The study of the structure, plasticity and form.
Paper, pencil. ½ size sheet.
8 hours

15. Figure of the human (talk about plastic anatomy, human structure). Sketches. Figure of a human in movement. Paper, pencil. ½ size of sheet.

16. Drawing parts of the human body (upper limbs, lower limbs, torso). Drawing of the upper limbs. One sheet should included the hand of the model and in the same position the skeleton of the hand, you can use plaster molds.
Drawing skeletal chest with shoulders and pelvis.
Particular attention is drawn to the place of adjoining of the head of humerus and scapula.
Drawing of foot, shin and knee joint.
Drawing hands. Hands of the model and skeleton hands should be drawn in the same position. Constructive solution with the transfer of light light and shade.
Paper, pencil. ½ size sheet.
24 hours

17. Figure of dressed male figure.
Model takes a simple posture, based on one leg. The transfer of motion, proportions, design and analytical analysis of the form. Natural lighting.
Paper, pencil. ½ size sheet.
12 hours

18. Picture of the nude man with a parallel study of anatomy.
Both drawings are done on one sheet of paper.
Model takes simple posture, based on one leg.
Note:
a) first the picture is drawn of the figure of the model. When drawing the model there is a need to focus on places where the bones of the skeleton approach skin and determine the best shape;
b) then next the human figure is draw with the in-drawn skeleton.
With the completion of the exercises, students should use the skeletons and anatomical drawings. Solution is constructive with the transfer of light light and shade. Students should explore the extent to which the skeleton and muscles relationship determines the form of the human body. Lighting top, side.
Paper, pencil. ½ size sheet.
24 hours

19. Familiarization and test of materials for the drawing (charcoal, sauce, sanguine, dry brush, pen, markers, etc.). Quick pictures of nude model in different angles and turns. The study of human plasticity.
Paper, charcoal, sauce, sanguine, etc. ½ size sheet.
8 hours

20. Work on the silhouette. The distribution of the object of drawing on the place, the balance of the plane of the sheet with the image.
Plastic solution of the drawn. Figure of a person.
Paper, watercolor, charcoal, sanguine, ink, etc.
½ size sheet.
8 hours

21. Drawings of nude models in various angles and turns. Quick drawings of the figure in strong angles. The model should be either in or put in to a simple position, if seated on a low bench on the floor. Because of the quickness of the exercise, there is no goal for detail processing of parts, but also draw attention to the precise spatial construction and relation of forms. Natural lighting.
Paper, charcoal, sanguine, etc. ½ size sheet.
8 hours

22. Drawing a nude man (final task).
The unity of all elements of the picture:
compositional placement of figure in motion, proportions, setting of the figure on the plane, design and anatomical link of the main links of the figure, tone sculpture of forms. In final exercise it is encouraged that the student shows all the knowledge and skills acquired during their studies.
16 hours



Drawing

Approximate theme schedule

Course volume 272 hours
2 years

Drawing is the basis of any true work of art, part of the expression of form and content.

1. Introductory talk about painting. Acquaintance with the techniques of watercolor painting. Watercolor paints and its properties. Selection of paper and it on the board. Watercolor paints.
Methods of conducting sketches.
Local and color construction on the plane.
Simple still life of two or three items.
Paper, watercolor, gouache. ½ size sheet.
4 hours

2. Color solutions by using a limited (specially prepared) number of colors.
Still life of items, clear and explicit in form.
Paper, watercolor, gouache, tempera. ½ size sheet.
4 hours

3. Still life of items, contrasting in color. It is necessary to identify differences by comparing the color contrast and ability to harmonize them.
Paper, watercolor, gouache or tempera. ½ size sheet.
4 hours

4. Still life of items close by color. Students perform two still-life drawings:
a) in the cold color;
b) in the warm color.
It is necessary to identify the differences of close colors by the comparison of color relations and the ability to harmonize them.
Paper, watercolor, gouache or tempera. ½ size sheet.
8 hours

5. Sketch of the stuffed bird or animal, color solution, spatial construction of the color.
The concept of color, transfer of materiality.
Paper, watercolor, gouache or tempera. ½ size sheet.
12 hours

6. Fundamentals of oil painting technique.
Introductory talk: priming the canvas (oil and emulsion ground), paints and organizing palettes, brushes and thinner, etc. The sequence of sketches. Still life of several items, simple in shape and bright colors.
Canvas, oil. Size 40x30
8 hours


7. Easy autumn still life. It is desirable to make it from fresh vegetables, fruit (e.g.: sieve, apples, jugs, drapery).
Canvas, oil. Size 40x30
12 hours

8. Still Life with a plaster fragment or plaster vase with drapery. Transmission of the form of objects and nature of the folds.
Canvas, oil. Size 40x30
12 hours

9. Sketch of the interior. The interior can be done in a museum or studio. Transfer of space, taking into account the linear and color aerial perspective.
Canvas, oil. Size 30x25
4 hours

10. Plaster head (grisaille). This task is a transition phase to the image of live head. Therefore, there is a need to carefully pick plaster head. Better to take the copy from the head of Socrates, where it is clear the characteristic of the face and form. Background - neutral, light - day or upper, day or evening. Task is performed in the technique of grisaille.
Consistent conduct of the sketch. Transmission of large forms. Careful study of details. Synthesis and connection of the head with the background.
Canvas, oil, size 40x50.
12 hours

11. Sketch of the head of an older model (grisaille).
The model is chosen with specific characteristics of the face, clear in form. Lighting should be side or top during the evening. The task is similar to task in part 10.
Canvas, oil. Size 40x50
12 hours

12. Sketch of the head of the model (with a shoulder line).
Model with the explicit form of the neck is selected. Side lighting. Identification of the relation of the head and shoulder line molding the form with color.
Canvas, oil. Size 40x50
12 hours

13. Portrait with hands with the use of the entire palette of colors. In setting there is a need to create conditions for expressive presentation of the character. Turn of the head, position of the torso, movement of hands. Lighting should work on the image.
Composition-flexibility and color solution, expressive characteristics.
Canvas, oil. Size 60x40
12 hours

14. Sketches of hands and feet in different positions.
Sketches are of complementary nature to the exercise 13 and may be performed simultaneously with it.
Cardboard, oil. Size at the choice of students
4 hours

15. Landscape. Color solution. Construction of space. Exercises for the different states of nature.
Cardboard, canvas, oil. Size - selectively.
8 hours

16. Sketch of the dressed female figure in different positions. In the setting there is a need to find typical, natural movement of the figure and the corresponding model of the environment, find the composite solution. Transmit the character of the model in the proposed environment terms, to explore the form of the human body.
Cardboard, canvas, oil. The size at own discretion
32 hours

17. Sketch of the nude male figure in a simple movement (standing, supported by one leg), still background. When working on the setting there is a need to convey movement, proportion, explore the human body, color solution.
Canvas, oil. The size at own discretion.
24 hours

18. Sketch of the nude female figure in the interior.
With the setting the model can sit or stand at the discretion of the teacher. Setting should be simple and concise, flexibly connected with the interior.
The task includes the examination of the forms of the naked body, composition solution, transfer of forms with the knowledge of anatomy, color solution.
Canvas, oil. Size 50x30
24 hours

19. Sketch of nude male figure with a complicated movement. In setting the movement is complicated. The environment should facilitate the identification of subtle color of the body.
The task includes the complete, composition-picturesque solution with the processing of forms.
Canvas, oil. Size 60x40
24 hours

20. Sketch of female figures dressed in the interior (the final task). Setting should assure beautifully-plastic and semantic cohesion of the figure, costume, interior and possible details.
The composition and picturesque solutions of the figure in the proposed space and environment, expressive characteristics.
Canvas, oil. Size 50x40 (by choice).
30 hours


Note:
Classes are held with the demonstration of the best study drawings of students, and also the drawings of the best Russian and foreign artists. Slides are shown.
Students in the older age groups study the naked figure of a person with the parallel study of the anatomy.
Students perform homework, sketches of animals, drawing flowers, birds, trees, human body drawings, etc.


Paintings

Approximate theme schedule

Course volume 272 hours
2 years

Painting, is a means of expressing feelings and artistic idea of the final composition, development of own individual perception of the world.

1. Introductory talk about the composition. Distribution of the simplest figures in the plane (circle, square, rectangle, etc.), the plastic interaction between each other. Study of the law of Equilibrium: Symmetry - Asymmetry.
Note: it is possible to take any silhouette of geometric figure cut from cardboard or paper and make several versions of the position of the silhouette in space of the sheet. The main task will be the definition of the proportional relationship between space and silhouette, the size of the figures - space.
Solution in color or tone.
Paper, gouache, watercolor. ½ size sheet.
4 hours

2. Composition of more complex silhouettes on a sheet of paper (the figure of man, tree, building, etc.). Contrast, Nuance. Black-and-white solution.
Paper, gouache, ink. ½ size sheet.
4 hours

3. Composition of two or three items, describing notions such as wind, silence, happiness, etc. Color, plastic solution.
Exercise at the identification plastic motive.
Paper, watercolor, wax crayons. ½ size sheet.
8 hours

4. Exercise for the development of artistic vision with the use of balance, contrast.
The composition of two or three figures in an interior or exterior.
Work on the composition must include sketches and drawings from life, which develop active imagination, acuteness of vision, generalized solution of the typical characteristic, the selection of the main.
Small size sketch, the material according to design: uniform or colors solution in gouaches and watercolors.
12 hours

5. The notion of rhythm. The role of rhythm in the formation of the idea of the composition. The search for manifestations of rhythmic situations in life.
Visual rhythm, based on the sense of an image, introduces a pattern to the composition, contributes to clarity of expression of feelings and imagination.
Composition for a simple plot, at own discretion.
Shaped design and clarity of the plot action.
Attention to work plastic relation, rhythmic repetition and harmony of forms.
Paper, ink. Size ¼ sheet.
6 hours

6. The composition based on the manifestation of color rhythmic situations in nature. Sketch of the urban landscape with staffage.
The aim is to identify the color of rhythm in nature.
Paper, watercolor or gouache. Size ¼ sheet.
6 hours

7. Basis of building movement in the composition. Monitoring the movement in life, static, dynamic.
Based on observations, drawings from life and from memory conduct the composite sketch.
In work on the composition attention should be given to the construction of a general movement in the composition, the development of movement in time, the transition from one state to another.
The solution in color. The material at own discretion. ¼ sheet size.
12 hours

8. The notion of unity based on the collateral subordination and harmony.
The composition of one or two figures in an interior or exterior, built on simple a plot.
Attention should be drawn to the integrity of the composition, identification of the primary and secondary. Mental collateral subordination, color collateral subordination, the role of the magnitude and significance of pauses. The transfer of the state and building with color.
Solution in color. Material at own discretion. ¼ sheet size.
12 hours

9. Light as a means of identifying the main point in the composition. Construction of a light-shadow composition (example of genre scenes in the interior).
Modern topic. The concept of light and shade, and its laws.
Identification of semantic point with light.
Solution in color. Material gouache or watercolor.
¼ sheet size.
12 hours

10. Composition for the given and free topic with the use of different formats (rectangular, square, circle, oval, etc.).
The material and color solution and the format are selected by the students.
12 hours

11. Poster on the assigned topic (the final task).
Using all the knowledge acquired in the composition ( balance, symmetry, and asymmetry, contrast, shade, etc.).
Paper, gouache, color. Format 70x60
24 hours

12. Copy fragments from works by Russian and foreign masters of fine art.
The student individually choose the painting, size and material for the exercise.
12 hours

13. Copying a Russian icon, its best copies. Study of priming mixture of alabaster and chalk. Priming mixture of alabaster and chalk, watercolor and tempera. No size limit.
12 hour


Note:
Classes are accompanied by best paintings of students and masters of art.
Homework of students is performed individually, during free time.


Composition

Approximate theme schedule

Course volume 136 hours
2 years

Compositional thinking result of art and thinking of the students.

1. Introductory talk. Types and genres of art. 16 hours
2. Familiarization with main historical and artistic monuments of the city of Moscow. 20 hours
3. Historical and artistic heritage of the cities of Russia. 20 hours
4. Russian art (icons, splint, architecture, sculpture, painting). 20 hours
5. Applied art (handicrafts: toys, carpet weaving, ceramics, trays, costumes, etc.). 20 hours
6. Artists of Russia, the life and creative heritage. 20 hours
7. Foreign Art (architecture, sculpture, painting). 20 hours



History course
Of Russian and foreign art.

Approximate theme schedule

Course volume 136 hours
2 years


Note: Lectures on art are accompanied by films, slides, reproductions.
Visits to museums and exhibitions are compulsory.
At the end of the school year, exhibition of the best works of students is organized, during their return from the summer holidays - an exhibition of the best summer works.
Establish Prizes for the best works with the consequent publishing of their works in a special collection.


Schedule of the program

Drawing:


Drawings of trees: sketches of one or a group of trees.
Objective: Draw different trees: oak, birch, aspen, osier, etc., to trace the characteristics of the structure of the tree, its nature.
Material: pencils, paper A4, A2.
Drawings of rural landscapes.
Objective: to spatially portray the landscape (trees, clouds, rural estate).
Materials: pencil, charcoal, water colors black.
Drawings of antiquity (frames, interesting carved gates, etc.).
Objective: A close examination of the historical heritage of Russian people.
Materials: pencil, paper A2, A4.
Drawings of different household items (cups, spoons, plates, etc.).
Objective: Careful detailed study of small objects, their characteristics.
Materials: pencil, paper A4.
Animal drawings.
Objective: A careful study of the structure of animals and their movements.
Material: at own choice, paper - at own choice.
City landscape.
Objective: drawings of the historic sites of the city, interesting and beautiful estates, houses, courtyards, streets, etc.
Material: at own choice, paper - at one choice.
Drawing interesting details of city streets (lamps, grates, gates, etc.).
Objective: A careful study of natural objects.
Materials: pencil, paper A2, A3.
Drawing people in the interior and exterior.
Objective: Draw people that are engaged in some kind of an activity. Gathering material for future compositions.
Materials: pencil, paper A4.



Painting

Sketch of the landscape in the morning.
Objective: Use of color relations, characteristic of the morning, a special richness.
Material: paper at own selection - A4, A2.
Sketch of the landscape in the afternoon.
Objective: Use color solutions, inherent in daylight, track lighting, shadow.
Material: paper at own selection - A4, A2.
Evening landscape.
Objective: Use of color relation, characteristic of the evening.
Material: paper at own selection - A4, A2.
Sketch of the urban landscape in overcast weather.
Objective: Transmission of the rain, puddles, reflection, reflexes.
Material: paper at own selection - A4, A2.
Still life in the sun.
Objective: Set still life with a white cloth and flowers in the vase, and then draw it. Track color relations at the plane.
Material: paper at own choice - A4, A2.
Still life in the shade of a tree.
Objective: Set still life with bright drapes and dark colors, apples. Sketch.
Material: paper at own choice - A4, A2.
Still Life on the grass: apples on fabric in the plate.
Objective: Draw a sketch. Carefully track features of lighting on the plane.
Material: paper at own choice - A4, A2.
Sketch of the human head on the plane.
Objective: Track particular features of the richness.
Material: paper at own selection - A4, A2.
Sketch of the human figure.
Objective: Interestingly compound the figure in the format. Use color relations.
Material: paper at own selection - A2, A3.




Composition
Task 1. Summer topic.
Objective: Compound, in the format of one sheet, one or two people in the outside environment.
Material: paper at own selection - A2, A3.

Task 2. Where I spend my summer topic.
Objective: Compound in the format of one sheet, with humans or animals.
Material: paper at own selection - A2, A3.

Task 3. Free topic drawing
Material: paper at own selection - A2, A3.


Art of the VII century


Italian art

Baroque architecture and sculpture.
Lorenzo Bernini.
Painting. Bologna Academy (Annabelle Carracci, Gverchino, Salvatore Rosa...).
Michelangelo da Caravaggio.

Spanish art of the XVI-XVII centuries.
Architecture: (Rodrigo Gil de Ontanon, Juan de Orochko...).
Sculpture: (Gregorio Hernandez, Alonso Cano).
Painting: El Greco, Husepe Ribera, Francisco Zurbaran, Diego Velazquez, Bartolome Esteban Murillo.

Flanders Art

Peter Powell Rubens
Anthony van Dyke
Jacob Jordaens
Adrian Brauver

Holland Art
Franz Hals
Rembrandt van Rijn
Jan Vermeer and the Delft Art School
Peter Klaus
Willy Klaus Heda
Willem Kalf

French Art

Architecture (Levo Louis, Jules Hardouin-Mansart, Andre Lenoir).
Sculpture (Francois Zhirardon, Pierre Pyuzhe).
Art: Georges de Latour, Nicolas Poussin and painting of the classicism period.

Art of the VIII century

French Art

Rococo architecture (Pierre Alexis Delamer).
Jacques-Ange Gabriel and architecture of Neo-Classicism.
Sculpture: Jacques-Antoine Gudon.
Paintings: Antoine Watteau.
Jean-Baptiste Simeon Chardin.

Italian art

The architecture of the late Baroque and Neo-Classicism (Filippo Yuvara, Pietro Bracci, Alekssandro Spekki...).
Art: Giovanni Battista Tiepolo.

English art XVII-XVIII of the centuries.

Architecture: Inigo Jones, Christopher Ren...
The architecture of Neo-Classicism: Robert Adam.
Paintings: William Hogarth, Joshua Reynolds, Thomas Gainsborough.

German art

The architecture and sculpture: Balthasar Neumann, Matthäus Daniel Peppelman, Georg Ventseslaus Knobelsdorf, Andreas Shlyuter.
Art of XVII-XVIII centuries. (Adam Alzheimer...).

Russian art

Architecture: Francesco Bartolommeo Rastrelli, Vasily Bazhenov, Matvey Kazakov...
Painting of the first half of the eighteenth century: Ivan Nikitin, Louis Karavakk, Andrei Matveev, Ivan Vishnyakov, Alexei Antropov, Ivan Argun, Anton Lysenko.
Fedor Rokotov.
Dmitry Levitsky.
Vladimir Borovikovsky.

Art of the first half of the
I century.

Art of the western Europe

The architecture of the French era of Napoleon I: Jean Francois Shalgren, Francois Ryud.
Architecture of Germany: Karl Friedrich Shinkel, Leo von Klenze.
Sculpture: Antonio Canova (Italy), Bertel Torvalds (Denmark), Gottfried von Schadow (Germany). Spanish paintings: Francisco Goya.
French paintings: Jacques-Louis David, Jean Auguste Dominique Ingres, Theodore Zheriko, Eugene Delacroix.
German painting: Philipp Otto Runge, Caspar David Friedrich.
English paintings: William Blake, John Constable, William Turner.

Russian art

The architecture and sculpture: Andreyan Zakharov (Admiralty in St. Petersburg).
Andrei Voronikhin (Kazan Cathedral in St. Petersburg).
Karl Rossi (Mikhailovsky Palace, Palace Square).
Vasily Stasov (Pavlovsky barracks).
Osip Bove (Red Square, Bolshoi Theater).
Ivan Martos (Monument to Minin and Pozharsky).
Konstantin Ton (Cathedral of Christ the Savior).
Art: Orest Kiprensky, Sylvester Shchedrin, Karl Bryullov, Alexander Ivanov, Pavel Fedotov, Alexei Venetsianov, Grigory Soroka, Pavel Fedotov.

Art of the second half of
I century.

Art of the western Europe

Architecture: Joseph Pakston (Crystal Palace in London), Alexandre Gustave Eiffel, Teofilius Edward von Hansen, Georg von Dolman (Castle Neyshvanshteyn, Bavaria), Paul Abadie (Church of Sacré-Coeur, Paris), Charles Garnier (Theater Grand Opera, Paris).
Sculpture: Auguste Rodin.
French painting: Camille Corot.
Barbizon School: Theodore Rousseau, Jules Dyupre, Charles Dobini, Jean Francois Millet, Onore Daumier, Gustave Courbet, Edouard Manet.
Impressionism: Claude Monet, Alfred Sisley, Edgar Degas, Auguste Renoir, Camille Pissarro.
Neo-impressionism: Georges Seurat.
Post-impressionism: Paul Sinyak, Paul Cezanne, Vincent Van Gogh, Henri de Toulouse-Lautrec, Paul Gauguin.
German painting: Adolf von Menzel, Wilhelm Label, Anders Tsorn.
English painting:
Pre-Raphaelite: John Reskin, William Holmen Hunt, John Everett Milles, Dante Gabriel Rosseti, William Morris, Edward Burne-Jones, James Whistler.

Russian art

Architecture and sculpture:
Vladimir Sherwood (Historical Museum, Moscow), Mikhail Mikeshin, Alexander Opekushin, Mark Antokolsky.
Art: Vasily Perov, Ivan Kramskoy.
Genre art of painters of the 19th-century Russian realist school: Vasily Maximov, Vladimir Makovsky, Grigory Myasoedov, Mykola Yaroshenko.
Nikolai Ge
Ivan Aivazovsky.
Landscape of painters of the 19th-century Russian realist school: Alexei Savrasov, Ivan Shishkin, Fyodor Vasilyev, Arkhipov Kuindzhi, Vasily Polenov, Ilya Repin, Vasily Surikov, Vasily Vereshchagin, Viktor Vasnetsov, Isaak Levitan.

Foreign art of the I- centuries.

Art of the western Europe

Architecture: Antoni Gaudi (Barcelona), Victor Horta (Brussels), Henry Van de Velde (Brussels), Peter Behrens (Hamburg).
Sculpture: Antoine Bourdelle (France), Aristide Mayol (France).

Modern and symbolism in art and graphics:
Aubrey Berdsli (England), Pierre de Pyuvi Shavaenn (Italy), Gustave Moreau (France), Odilon Redon (Bordeaux).
The group Nabi: Maurice Denis, Paul Seryuze, Jean Edward Vyuyyar, Pierre Bonnard, Paul Elie Ranson (Paris), Henri Rousseau (Paris), Gustav Klimt (Austria), Ferdinand Hodler (Switzerland), Edvard Munch (Norway), James Ensor (Belgium), Mikoloyus Chyurlenis (Lithuania).

Russian art

Architecture: Theodore Shehtel (Mansion of Z.G. Morozov, Moscow, Ryabushinskogo, Yaroslavl Station), Roman Klein (Museum of Fine Arts, TSUM), Fedor Lidval (Finance house at Prospect Kamennoostrovsky in St. Petersburg, Hotel Astoria).
Sculpture: Paul Troubetzkoy, Anna Golubkina, Sergei Konenkov, Alexander Matveev.
Art: Mikhail Nesterov, Konstantin Korovin, Valentin Serov, Mikhail Vrubel, Viktor Borisov-Musatov.
World of Art, 1898: Alexander Benois, Lev Bakst, Eugene Lancere, Konstantin Somov, Mstislav Dobuzhinsky Boris Kustodiev, Zinaida Serebryakova, Nicholas Roerich.
The Union of Russian Artists, 1903: Konstantin Yuon, Abram Arkhipov, Igor Grabar, Arkady Rylov.
Blue Rose, 1907: Pavel Kuznetsov, Sergei Sudeykin, Nikolay Sapunov, Martiros Saryan.

Art of the XX century

Foreign Art

Architecture: Walter Gropius and Bauhaus (Berlin).
Bauhaus: Paul Klee (Switzerland), Vasily Kandinsky, Theo van Dusburg (Netherlands), Ludwig Mies van der Goe (Germany, USA), Le Corbusier (Charles-Edouard Zhannere, Switzerland), Frank Lloyd Wright (USA).
The architecture of the second half of the twentieth century:
Ero Saarinen (Air terminal of the TWA company, New York), Oscar Nimeyer (Building of the National Congress, Brazil), Joern Utson (Opera House in Sydney).
Sculpture: Ernst Barlah (Cologne), Constantin Brancusi (Chicago), Alexander Arhipenko, Anton Pevzner (Detroit), Naum Gabo (Russia-USA), Henry Moore (England).
Fauvism, 1905: Henri Matisse (France), Andre Derain (France), Maurice de Vlamink, George Ruso, Albert Morke.
Expressionism (Germany):
Association Bridge: Ernst Ludwig Kirchner, Fritz Bleyl, Erich Hekkel, Karl Schmidt Rotluffe.
Paris school: Pit Mondrian (Netherlands), Diego Rivera (Mexico), Constantin Brancusi (Romania), Paul Klee, Juan Grisa (Spain), Osip Tsadkin (Russia), Haim Sutin and Marc Chagall (Russia), Amedeo Modigliani (Italy).
Cubism: Pablo Picasso, Leger Ferman, George Brak".
Futurism: Filippo Tommaso Marinetti, Umberto Boccioni, Giacomo Balla, Carlo Carr, Luigi Russolo.
Metaphysical painting: Giorgio De Chirico.
Neo-Plasticism: Piet Mondrian, Theo van Dusburg.
Dadaism: Tristan Ttsara.
Surrealism: Hans Arp, Max Ernst, Marcel Duchamp, Rene Magritt, Salvador Dali, Miro Hoan.
Abstract expressionism: Arshile Gorky, Jackson Pollock.
POP-ART (popular public art): Andy Warhol, Roy Lichtenstein.
Hyper-realism (photo realism), USA: Richard Estes, Chay Klose.
Conseptualism (idea, presentation), England and USA: Joseph Koshut.

Russian Art

Architecture: Alexei Schusev (Mausoleum of V.I. Lenin), Vladimir Shukhov (Radio tower), Konstantin Melnikov (House of Culture of Rusakov), Lion Rudnev, Sergei Chernyshev, Paul Abrosimov, Vsevolod Nasonov (MSU), N.V. Nikitin (Ostankino television tower).
Sculpture: Ivan Shadr, Eugene Vuchetich, Vera Mukhina, Sergey Orlov, Mikhail Anikushin, Ernst Neizvesntni.
Art: Kuzma Petrov-Vodkin.
Jack of Diamonds and Donkey's tail: M.F. Larionov, I.I. Mashkov, N.S. Goncharov, A.V. Lentulov, P.P. Konchalovsky, A.V. Kuprin, R.R. Falk, Nico Pirosmanishvili (Georgia), Marc Chagall, Vasily Kandinsky, Pavel Filonov, Kazimir Malevich.
Cube-futurism: Kazimir Malevich, Vladimir Tatlin.
Art associations of 20-30-ies.: El Lisitsky, Alexander Rodchenko, Sergei Malyutin, David Shterenberg, Yuri Pilyanov, Alexander Deineko, Alexander Tyshler, Alexander Labas, Vladimir Favorsky, Alexander Drevin, Boris Ionason, Mikhail Sokolov, Viktor Popkov, Dmitry Zilina, Helium Korzhev, Oleg Savostyuk, Sergei Gerasimov, Pavel Nikonov, Dimenty Shmarinov, Tatyana Nazarenko, Natalia Nesterova, Nikolai Andronov, Igor Ambrosio, Tair Salakhov, Nikolai Voronkov.
Sculpture: A. Pologova, Oleg Komov, Michael Pereyaslavets.





Anatomy program

Task 1.
Human skeleton: the total structure. 206 bones.

Task 2.
Skull.
The front part: eye socket, nasal bone, cheekbone, upper jaw, lower jaw.
Brain: The frontal bone, temporal bone, parietal bone, occipital bone, external acoustic poradenolymphitis, mastoid.
Objective: Draw the skull in various turns.
Material and format: ½ a sheet, pencil.

Task 3
Skeleton of the torso.
Chest: manubrium of sternum, sternum-clavicular joint, sword-shaped bone, 12 ribs, rib arch, Lewis's thoracic angle, 12 thoracic vertebrae.
Objective: Draw chest in 2 turns.
Material and format: ½ a sheet, pencil.

Task 4.
Shoulder line.
Clavicle, jugular fossa.
Scapula: rostral bone, akromion, spine of scapula, sebaceous surface, lower angle, joint cavity, medial edge.
Spinal column and vertebrae: section 4: Cervical lordosis, thoracic kordosis, lumbar lordosis, sacral kyphosis, 7 cervical vertebrae.

Task 5.
Pelvic girdle.
Pelvic bones: sidebone, pubis, ischiadic bone, sacral bone, coccygeal bone, upper back respiratory axis, respiratory crest, acetabulum.
Bone protuberances on the surface of the rear of the body: bone bearded of the 7th vertebrae, the lower angle of the scapula, upper back respiratory axis, sacral bone.
Bone protuberances on the surface of the front part of the body: upper front respiratory axis, thorax and jugular fossa.

Task 6.
Skeletal upper limbs.
Shoulder.
Shoulder bone: a large protuberance of the shoulder bone, medial epicondyle.
Ulna: ulnar bone, belemnold.
Radial bone: head of the radial bone.
Hand: wrist bone - 8k., metacarpal bones - 5k., phalanx of fingers - 3 - 2 f.

Task 7.
Skeletal lower limbs.
Femur: lesser trochanter, greater trochanter, cerbix, head of the femur, lateral epicondyle, medial condyle, medial epicondyle.
Knee ball.
Lower leg:
tibia: medial ankle.
fibula: head, lateral ankle.

Task 8.
Foot.
Astragalus, heel bone, navicular bone, first sphenoid - 3k., cuboid.
Phalanx of toes: the first metatarsal bone, phalanx of the big toe.
Task - task 4,5,6,7,8.
Draw a given subject in different corners and angles.
Material and size of ½ a sheet, paper, pencil.

Task 9.
Mimic muscles of a human.
Sfrontal belly of occipitofrontal muscle, muscle, shrinking eyebrows, circular muscle of eye, muscle, raising the upper lip and nose, muscle, raising the upper lip, large malar muscle, small malar muscle, laughing muscle, chewing muscle, muscle, raising a corner of the mouth , muscle, lowering the angle of the mouth, circular muscle of the mouth, muscle, lowering the lower lip, mentalis.

Task 10.
Neck.
The first cervical vertebra, atlant, the second cervical vertebrae, axial, cross-bone, intervertebral disc, acantha of the first thoracic vertebrae, trachea, annular cartilage, thyroid cartilage, hyoid, nuchal ligament, the upper line of attachment of the nuchal ligament, the sternum-clavicular-mastoid muscle, trapezoidal muscle, the front triangle of the neck (shoulder-clavicular triangle), the rear triangle of the neck (shoulder-trapezoidal triangle).

Task 11.
Chest Muscle.
Large breast muscle: breast head, clavicular head.
Small breast muscle, serratus anterior.

Task 12.
Abdominal muscles.
Large abdominal muscle, abdominal external oblique muscle, abdominal internal oblique muscle.

Task 13.
Back muscles.
Longissimus muscle, spinalis muscle, respiratory rib muscle, lumbar quadrate muscle, the broadest dorsi, trapezoidal muscle, muscle, raising the shoulder blade, small rhombic muscle, large rhombic muscle, splenius muscle of neck, upper back seratuss muscle.

Task 14.
Shoulder muscles.
Deltoid muscle, rostral-shoulder muscle, biceps.
Triceps: lateral head, longitudinal head.

Task 15.
Muscles of the dorsal surface of the shoulder blades.
Supraspinous muscle, infraspinatus muscle, musculus teres minor, musculus teres major.

Task 16.
The front group of muscles, forearm (flexors).
The deep muscular system: instep-raiser, pronator round, pronator square, long flexor of the thumb of the hand, deep finger flexor,
Superficial muscular system: surface finger flexor, brachioradial muscle, radiant flexor of the wrist, long palmar muscle, elbow flexor of the wrist.
The rear group of muscles of the forearm (extensors).
Muscles of the wrist and fingers: ulnar extensor of the wrist, long radial extensor of the wrist, short radial extensor of the wrist, extensor of the index finger, small finger extensor, finger extensor.
Task: 9,10,11,12,13,14,15,16 are performed in one angle on the whatman drawing paper with a pencil.

Task 17.
Back turn.
The task is performed in 4 turns on the ½ of a whatman paper, pencil.

Task 18.
Hand in various rotations.
The task is performed in different rotations of the hand on ½ a sheet. Material - pencil.

Task 19.
Hand in different rotations (supination and pronation).
The task is performed in different rotations. ½ a sheet, pencil.

Task 20.
Thigh muscle.
Adductors (adductor muscles): plicate, long adductor, short adductor, thin muscle, large adductor muscle.
Thigh quadriceps muscle: direct thigh muscle, wide lateral thigh muscle, an intermediate broad thigh muscle, medial large thigh muscle.
Longitudinal muscle, inguinal ligament, side psoas muscle, large gluteus, middle gluteus, small gluteus, broad fascia, the tensor of fasciae latae, side psoas tract.

Muscles of the thigh and foot.
anterior tibia muscle, salens muscle, calfmuscle, superior extensor retinaculum of foot, inferior extensor retinaculum of foot, large extensor of the thumb, third peroneal muscle, large extensor of the fingers, long peroneal muscle, short flexor of the thumb, short flexor of the fingers, achilles tendon, an additional finger extensor, popliteal muscle, musculus plantaris.

Task 20.
Drawing of the rear and the front. ½ a sheet, pencil.

Task 21.
Knee joint. The structure and movement in it.
The task is performed in different rotations. ½ a sheet, pencil.




Perspective

Task 1.
Simple structures:
Cube in perspective, skyline, the point of vanish.

Task 2.
Complex structures:
House in perspective, street in perspective.

Task 3.
Shadows:
Light Source.

Task 4.
Ellipses and curved lines:
Roundness in perspective.

Task 5.
Linear perspective:
Laws of perspective structure of objects:
Picture plane, subject plane, the base of picture plane, skyline (LG), the point of vanish (R), the points of distance (D 1, D 2), perspective scale, front perspective, angular perspective.

Task 6.
Perspective structure of the interior.

Task 7.
Perspective structure of roads and streets.

Task 8.
Aerial perspective.
Task: Done on a piece of A4 paper in pencil.

Painting with oil paints

If to imagine the picture plane in cross section, we can see that it is composed of several different material layers, located in order of the process of creating the picture. This is painting framework, sticking, base soil, undercoat, the main art layer, cover layer.

Art framework
Unlike the art basis for water color, gouache, the surface of the basis for oil painting requires special training - sticking and priming.
Oil paints are done on hard surfaces (wooden planks, plywood).
Plywood and boards must be dry, without any signs of former branches, influx.
Boards are imbued with linseed oil, heated above 100 degrees.
Boards can also be processed through heated water. Then dried at temperatures no higher than 50 degrees. Then they are process with the solution of sublimate in ethanol.
Metal panels, glass are sometimes used as the basis.
Glass is drawn with a thin layer of paint, mixed with turpentine varnish. The surface is not primed but is simply cleared of dust.
Cardboard as a foundation, is very hygroscopical, and losses shape. If handled roughly, can be damaged.
Canvas, as a basis for painting, is most prevalent. It is durable, elastic, light, has a good texture, large size.
For painting canvas must have several qualities - be tough, tight, no knots, etc.
The paintings drawn on canvas, are less strong than those on boards, because the air and humidity have easy access to the base and color layer. In addition, the canvas is prone to mechanical damage - it can poked, ripped, cut, etc.
Canvas is put on a stretcher before the drawing starts. Stretcher has to be strong and light. It is made from dry wood without cracks, mold, without signs of former branches.
Stretchers that are larger than 110-130 cm. in most cases are produced with two crossbars, that protect the stretcher from bending.
The new canvas should be, preferably, washed first in hot water to remove finishing material from it.
It is better to stretch the canvas in slightly moist conditions.
Sticking and priming the foundation.
This is a difficult phase in the work. The quality of the soil affects the quality of painting, preservation of paintings.
Preparation of glue (joiner's, osseous).
Glue is grinned down, fill with boiled water and keep it for about a day until it swells.
Then the water is drained, glue is spilled and stirred. Then again it is filled with boiled water, mixed and boiled for 40 minutes in the glue pot, not bringing it to the boil.
The cooked glue is poured through a small hole fabric. Then glue is added with boiling water and plasticizing agent. The solution is mixed.
The glue solution must be strong. Sticking has to be applied quickly. Excess glue should be removed. Glue should soak well into the canvas. Gelatin is used for sticking, joiner's glue, caseic, starch.
Canvas that has undergone the procedure of sticking can be applied with soil of all kinds. Soil consists of a binder, glued fillers and various additives.
Animal and vegetable glue are used as the sticking agent (gelatin, etc., vegetable oils, egg yolks).
In order for the soil to be more elastic, glue solution is added with glycerin, honey, castor oil, etc.
To prevent soil from mold and rot its composition is added with preserving agents formalin and other.
Pigments, fillers provide color, texture, structural mass and absorbent ability.
The classic filling is chalk. Chalk is sometimes used in a mixture of zinc whiteners.
Soil prepared with the use of chalk, strongly absorbs binders of paints, stains can appear.
In addition to chalk, fillers can be plaster, kaolin, flour, ash, sawdust.
Half-oil soil is soil with oil paint. More often whiting lead is used for this.
Oil soil is made of specially prepared paint. Sticked basis is applied with a layer of soil by a palette-knife (small layer), which is then rubbed into the canvas, and evened up. After drying second layer is applied, thinner layer of much more liquid paint.
Emulsion soils are used since the nineteenth century.
The combing agents in the soils are emulsions. When dried, they produce a transparent film with matte surface.
Emulsion dries in two stages: 1. water dries, 2. oil dries.
Emulsion of glue and vegetable oil is a mixture, in which the oil is in a liquid state.
Emulsions can be cooked from egg yolk. The yolk is mixed with water, chalk or dry white pigments are added.
Emulsion soils have a matte surface.
Glue soils.
They are prepared without oil. They consist of sticking, several layers of the base soil. Soil is prepared on the watered down solution of glue with the addition of plasticizer. Glue soil is always permeable.
On glue soils, paints are less likely to yellow and black down. These soils are quick to dry and do not require time lag. One of the best glue soils is caseic. It holds the paint well, and decreases detioration.
Casein - water-soluble glue. This is the most solid and reliable glue. It is well emulsified with oil.
Casein glue is easy to prepare. To do this you need 100 parts of low fat cream cheese, 4 units of the liquid ammonia. Squeezed cream cheese needs to be washed in warm water, then wipe through a sieve and mix with water. When the mixture is homogeneous, in the form of sour cream, add liquid ammonia. Mix to obtain a dense mass. The solution needs to settle for several hours, then re-mixed. The resulting glue can be diluted with water to desired consistency.


Soils

One-layer soil: 100 g of water, 5 g of sturgeon glue, zinc and lead white pigments, in equal shares. The solution is applied in warmed form. Drying time - 24 hours.
Double layer soil: 1 layer: for 100 g. of water - 5 g of gelatin and chalk. 2 layer: the same composition, but the solution is slightly thicker. After drying, buffing and soak for several days.
Synthetic soil
Prepared with synthetic binders: polyvinyl alcohol (PVC) and emulsion (PVA-EM) (polyvinyl acetate).
Polyvinyl alcohol (PVS) - dry, solid powder, without flavour, smell. Only water-soluble. Particularly resistant to the action of oils, fats, gasoline.
Polyvinyl acetate - solid, colorless, non-toxic substance, insoluble in water, gasoline.
PVA - EM - white emulsion. Does not become yellow, harmless. Compatible with paints, with exception of cobalt violet.
The structure and elements of paint color layer.
Each stroke of paint can have a specific form, size, direction. Texture of the color surface is an important means of artistic expression.
First method - undercoating, repaint, glazing.
Completion of work on each step must be accompanied by breaks for the full drying of the paint.
Undercoating is known as the first repainting of the painting basis with color. It is a preparatory stage. The main paint of the undercoating can also be white pigments. Undercoating in using the white pigments can also be multi-colored.
The next stage - in repainting - on a well dried undercoating the artist approaches the finished piece.
Glue soils are sometimes used with water color or tempera paints.
Tempera paints are applied in a thin layer on in extremely watered down state.
Method of Ala-prima
The peculiarity of the method is that the painting is done in a single layer. Method of Ala-prima is more suitable for sketches.

Cover layer
Complete picture is covered with varnish and other substances. First, the picture is cleared of dust, dirt.
Liquefier of paints
Oils - linseed or sunflower, varnishes (domar, copalic and others), thinners (purified turpentine, kerosene), etc. Turpentine evaporates when dried.
Liquefier 1 - a mixture of turpentine and white spirit, 2 - purified white spirit. Pinen - treated turpentine.
Brushes
Brushes can be bristle, badger, bear, etc.
Bristle brushes are the most rigid, in order for the bristle not to come out from the brush during painting, metal frame must still have some glue. After work brushes are washed with thinner 2.

Art with tempera
Tempera - an ancient painting technique. Tempera paints are a paste, easily dissolved with water. When dried tempera whitens, but does not glitter, it has a matte surface. Compared with oil tempera dries very quickly. Binders in tempera are the natural or artificial emulsions. Tempera has good technical ability. Thin painting with tempera is more preferable, i.e. the layer of paint when dried can crack.
Tempera is used without mixing it with other colors, or adding to oil, gouache, pastels, etc to it.
Paintings with tempera is sometimes covered with varnish of resin of domar, mastic.
Tempera is designed for mounted and decorative painting on canvas, cardboard, wood and other materials.
It is preferable to have a palette of plastic when working with tempera. Bristle brushes can be used.
Casein-oil tempera is a paste mixture of light-resisting pigments with emulsion, obtained through emulsification of linseed oil in water solution of casein.
Polyvinyl acetate tempera is prepared of fine mixture of pigments with water dissolved emulsion PVA, of a specific dispersion.




Half-oil soil



For glue-chalk soils, designed for priming the canvas, 4 percent glue solution is used, taking for 1 unit of dry glue, 25 parts water.
Glue-plaster soils for the canvas, are made on a 5 percent glue solution, taking for 1 unit of dry glue, 20 parts water.



Head O.M.Savostyuk

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