Watercolor Painting Research Articles

Особенности обучения китайских студентов - будущих учителей изобразительного искусства китайским акварельным техникам на пленэре

The study aims to determine the features of teaching traditional Chinese watercolour painting during the training of future teachers of fine arts in plein air practice in higher education institutions of the People’s Republic of China. The paper analyses the main genres, styles, techniques of Chinese painting used in plein air work in watercolours by students. Scientific novelty lies in identifying the features of Chinese watercolour techniques employed in plein air practice when teaching students. The use of problem-based learning technology makes it possible to form professional skills in future teachers of fine arts when working in watercolours, preserving the continuity of Chinese fine art traditions. As a result, it has been shown that the teaching of Chinese watercolour techniques en plein air contributes to the formation of professional artistic knowledge, skills and abilities in future teachers of fine arts in Chinese national traditions.

БЪЛГАРСКИТЕ И КИТАЙСКИТЕ АКВАРЕЛИСТИ В СЪВМЕСТНО УЧАСТИЕ ВЪВ II МЕЖДУНАРОДНО ТРИЕНАЛЕ „ДУХЪТ НА АКВАРЕЛА“, ВАРНА, БЪЛГАРИЯ

The International Triennial “Watercolour&Spirit” in the city of Varna is a form of presentation of the art of watercolour painting, held every three years. Launched in 2016 and held again in 2019, the Triennale has undoubtedly become a unique phenomenon in Bulgaria, an international platform for communication and artistic exchange. The festival has aroused great interest among Chinese watercolourists. Chinese participation in this prestigious forum showed the willingness of the artists to strengthen cultural ties between Bulgaria and China.This article gives a brief overview of the works of watercolour painting and their authors – participants from Bulgaria and China. Emphasis is placed on the genre preferences of the painters who presented their works. The author relies on the material from the exhibition catalogue, as well as on her own experience as a participant in the Triennale.

Artist's Statement: Side Effects.

As a medical student, helping patients to the postanesthesia care unit (PACU) for recovery was a typical role I played during my clinical rotations. Although some patients would still be sleepy, some would already be chatting with my colleagues and me while we rolled their bed to the PACU. As patients recovered, they would speak with us about how the surgery went and tell us how they were feeling. Many of them expressed sincere gratitude, noting their comfort and relief with the entire experience. One patient comment that will always stand out to me was, “My expectations matched reality.”Side EffectsInspired by this experience, I composed Side Effects, on the cover of this issue. This digital watercolor painting describes the physical, mental, and emotional postoperative journey a patient takes from the cool, sterile operating environment to the PACU. The unclear, hazy nature of the piece emphasizes a patient coming to their senses, a perspective of side effects, and the imperfect process of achieving clear communication with physicians that calms patients and bridges expectations of comfort and relief with reality. Adverse side effects are an important consideration in perioperative care. Although some patients are aware that medications have side effects, disclosing the likelihood of potential side effects upfront is vital for patient confidence. Transparency builds trust and helps patients feel well informed about their health care. In addition to establishing a therapeutic alliance between physicians and patients, this practice increases the probability that every patient’s expectations match reality when they reach the PACU.

A Comparison of Watercolor Painting and Boneless Painting: From Technique to Connotation

Watercolor painting is a western painting method, which is concerned with the relationships of light and shadow as well as brightness and darkness. Chinese painting includes brush painting and ink painting; there is a special painting method that is known as “boneless painting.” This technique involves painting directly with color without outlining, and it is between brush painting and freehand brushwork. Both, boneless painting and watercolor painting are rich in color expression, and their techniques have many similarities in expressing the relationship between man and nature as well as the inner feelings of the painter. Watercolor painting was introduced to China from the West at the end of the 19th century, and it soon became a popular type of painting. The technique of brush painting in boneless painting has a history of several thousand years, from the Warring States period to the Song Dynasty. It pursues the shape of modeling and focuses on realism. Boneless painting, on the other hand, is mainly concerned with flowers and birds, between brush painting and painting with a sense of style, without outlining, directly painting flowers and leaves with colors or ink. They are both painted with brushes on paper, and they use water as a medium to mix pigments. The wet and dry intensity of watercolor painting as well as the interplay of ink and colors in Chinese painting have both developed their own unique charms. The two different types of painting represent the cultural epitomes of two different nationalities. In contemporary times, the techniques of watercolor painting and Chinese painting can be learned from each other. This paper explores the different connotations and expressions of boneless painting and watercolor painting through the combing of watercolor and Chinese painting techniques.

HERBARIUM OF THE KARELIAN RESEARCH CENTRE OF THE RUSSIAN ACADEMY OF SCIENCES. M. V. FREUNDLING’S COLLECTION OF FUNGI

First reports on fungi in Karelia were published by Finnish and Swedish researchers in the second half of the 19th century, and then, in the 1920s data were gathered by the Olonets Expedition and surveys by Finnish scientist M. Laurila in the 1930s provided data from the north of the present-day Republic of Karelia. Systematic studies of the fungal biota of Karelia, however, began only after Maria V. Freundling started working at the Karelian (Complex) Research Institute (KRI) in 1931 and produced her first fungal collections in 1933. M. V. Freudling worked at KRI from 1931 to 1936, and then also at the Karelian-Finnish Research Facility (later named Karelian-Finnish Branch, KFB) of the USSR Academy of Sciences from 1946 to 1953. She collected specimens from the Kivach State Nature Reserve, which was then a unit of KRI, later KFB. The Herbarium of the Karelian Research Centre RAS currently stores some 500 herbarium specimens collected by Freundling from the Kivach reserve, of which 137 are supplied with the collector’s paintings. Some 40 specimens were mounted on herbarium sheets and illustrated by the author’s watercolor paintings. This article provides a list of 222 species of sac and basidial fungi based on the specimens collected by M. V. Freudling in different years. The fungal herbarium is now a component part of the Herbarium of the Karelian Research Centre RAS (PTZ).

Dreaming Differently

Dreaming Differently

Robotic Sponge and Watercolor Painting Based on Image-Processing and Contour-Filling Algorithms

In this paper, the implementation of a robotic painting system using a sponge and the watercolor painting technique is presented. A collection of tools for calibration and sponge support operations was designed and built. A contour-filling algorithm was developed, which defines the sponge positions and orientations in order to color the contour of a generic image. Finally, the proposed robotic system was employed to realize a painting combining etching and watercolor techniques. To the best of our knowledge, this is the first example of robotic painting that uses the watercolor technique and a sponge as the painting media.

TO DEVELOP THE SKILLS AND COMPETENCIES OF WATERCOLORS FOR FUTURE TEACHERS OF FINE ARTS

Watercolor is a Latin word that means water-based paint, as well as watercolor painting. Watercolor was widely used in ancient Egypt, Japan, and from the 21st century the work of major works of art in watercolor is highly developed. Working with watercolors was developed in England a century and a half ago. The following is a description of the origin and processing technology of watercolors.

Iltja Ntjarra artists and the making of contemporary lumen prints: documentation, display and storage

Mparra Karrti—Us mob belong to the Country, is the collective title attributed to a series of twenty-two lumen prints on paper with watercolour media, produced by Central Desert region artists. The artists work out of the Iltja Ntjarra (Many Hands) Art Centre in Mparntwe (Alice Springs) with their practices inherited and learned through lineage traced back to Albert Namatjira and the Hermannsburg School of watercolour painting. The artists’ novel approach to painting in watercolour on photo-sensitised paper resulted in a unique visual aesthetic of cockling throughout the sheets, requiring that the works be presented ‘floating’ on the wall with no mounting visible. This technical paper details the innovative approaches used by the artists in making these distinctive works and the subsequent methodologies applied by the Art Gallery of NSW team in preparing them for display in The National 2019: new Australian Art. The paper highlights the importance of knowledge sharing amongst artists, facilitators, curators, conservators and wider teams to ensure both the physical and intrinsic values of such works are fully acknowledged and understood.

Watercolor Image Processing Method for Big Data Analysis

The colors in a watercolor painting are transparent. The watercolor style uses one layer of color over another to achieve a special transparent visual effect. Therefore, the watercolor pixel color change level is more complex, and the color edge is not apparent. The traditional image processing method is challenging to carry out high-quality image transformation, image coding, image compression, and image segmentation. This paper proposes a watercolor image processing method oriented to big data analysis. First, the collected watercolor image is preprocessed to eliminate background noise in the watercolor image. Then, the watercolor image is colorized through image semantic segmentation. Based on the semantic segmentation results, the images can be clustered by different layers. These layers are then colorized according to their properties. Finally, the colored layers are combined with a degree of transparency to get the final watercolor-style image. The watercolor obtained by this method is more consistent with the actual watercolor painting form and fully uses the advantages of big data analysis. The computer simulation of the watercolor painting process and the parallel deep learning method can significantly improve the algorithm's efficiency.

Techniques of watercolor painting in the artistic and aesthetic education of primary school children

Techniques of watercolor painting in the artistic and aesthetic education of primary school children

Development of Teaching Materials for Understanding the Concept of Reaction Rate Using Prussian Blue Watercolor Paint

Development of Teaching Materials for Understanding the Concept of Reaction Rate Using Prussian Blue Watercolor Paint

Art as a Vehicle for Compassion

I address the range of human experience and emotion in watercolor paintings. Watercolor, much like emotions, is unpredictable and requires special care to harness its infinitely varied and nuanced complexities. Creating such works requires forgiveness in how water and pigment interact, as well as the physical manifestation of subjective experience. These emotional paintings express topics ranging from gender and cultural identity, to mundane life experience. Vulnerability and empathy are required to portray hardship and loss in a manner that honors humanity’s lived experience. Working beyond the boundaries codified by narrative realism, this work seeks to offer a glimpse into the realm of the unknown. My primary themes focus on aspirations, secrets, and dreamlike qualities. For this reason, I call my work ethereal realism. These fleeting moments of inspiration, while difficult to grasp and attuned to distant memories, are fortified through an improvisational painting process. Using subtle symbolism in relation to nature and soft feminine figures, I invite the audience into an alternate space where trauma can be healed, and compassion takes hold. The paintings also make use of negative space, so that viewers can insert themselves in the paintings and infer what might lie beyond humanity. This work does not merely paint a picture of melancholy but opens a window to the divine.

Cultural Considerations to the Life Participation Approach in Aphasia:A Filipino Case Study

Stroke is among the common causes of chronic disability (Feigin, 2014). Around one-third of stroke survivors are affected by aphasia, a communication disorder affecting the ability to comprehend and express oneself (Dickey, et. al., 2010). Culture is essential to understanding aphasia and providing person-centered care. Philippine cultural identity is reflected via respect for older persons, collectivism in family and community, and devotion to religion (Pe Pua & Protacio-Marcelino, 2000). The Filipino family is a primary support system, and cultural values directly influence caregiving approaches in chronic disability. This single case study examines the life of a Filipino man who has successfully lived with aphasia for over 25 years. Having finished a doctorate from Harvard University, served as the youngest University president, and member of the Philippine government, he suddenly had a stroke and was able to communicate only via single words, gestures, and facial expressions. His life is discussed in the context of the unique, multi-modal communication system which developed through the years with his family. Music and symbolism via watercolor paintings also define his aphasia journey. The value of religion in Filipino culture (Cruz, et. al., 2019) and its role in fostering positivity in his aphasia journey is examined. This study also highlights Filipino collectivism through the support of family and community in addressing communication needs and facilitating meaningful relationships at various stages in life. Cultural values deeply rooted in Filipino caregiving, such as debt of gratitude and filial devotion to parents (Enriquez, 1992), are discussed.

Artistic features of watercolor graphics by architect Pyotr Shcherbachev

The article discusses the paintings of Samara architect P.A. Shcherbachev from the personal fund of the Shcherbachev family. The features of the masters watercolor painting that form the culture of visual perception, the sharpness of spatial thinking, compositional skills are analyzed. The characteristic of the use of style-forming techniques for developing the composition of landscape sketches, depending on the object of drawing, is given. A brief classification of the artistic trends represented by the graphic works of P.A.Shcherbachev is given. A judgment is made about the need for creative application of watercolor painting approaches to the choice of expressive means, methods and techniques in the visualization of architectural projects.

Cellulose nanocrystals as sustainable material for enhanced painting efficiency of watercolor paint

Currently the watercolor used in painting on paper has been confronted with many problems such as deterioration, fragility and fading to light. This study evaluates the potentials of cellulose nanocrystals (CNCs) in improving painting efficiency of watercolor paint. The paint was mixed with cellulose nanocrystals (CNCs) at different concentrations (1, 3, 5 and 7 wt.%). The CNCs-based mixture was painted on paper, and the presence of CNCs in the painting was confirmed by energy dispersive spectroscopy (EDS) and X-ray diffraction (XRD) analysis. Scanning electron microscopy (SEM) analysis demonstrated better smoothness of watercolor paint mixed with CNCs on paper than painting without CNCs. Mechanical test showed the CNCs concentrations of 3 and 5% were significantly higher, in terms of tensile strength and Young's modulus. There was an improvement in color fastness to light from “noticeable fading” in watercolor without CNCs to “slight fading” in all the paintings containing CNCs. Cellulose nanocrystals as eco-friendly material could be employed as coating agent in paint production to enhance longevity and durability of paintings.

METHODOLOGICAL AND TECHNICAL ENVIRONMENT OF WATERCOLOR PAINTING FOR STUDENTS-ARCHITECTORS

The article considers that watercolor technique is the most advanced one for the transfer of living architectural forms of structures in the drawing. Drawings of architectural projects should give a full understanding of the correct purpose, about the cost-effectiveness, strength and beauty of the future building. Therefore, drawings must be clear, understandable, expressive, their graphic performance must be based on the high foundations of realistic art. Watercolor is a professional and traditional visual means of an architect. Watercolor is an amazing material that combines the ability to comprehend both the pictorial, color organization of the image and the graphic, sign-tonal one. The architect, referring to the picturesque development of the drawing, first of all, must determine its purpose and choose from all the numerous visual techniques of watercolor painting those that will better contribute to the expressiveness of this drawing. Then they will be correctly used: the perfect visual equipment, a large arsenal of tools, a wide range of techniques, a large palette of colors, various possibilities of tools and materials. These features allow you to cope with multitasking in a wide variety of visual arts. The main features of watercolor painting are high airiness and transparency. However, architectural watercolor has its own specific conventions, some generalization, laconicism, business simplicity, clarity, a certain limited palette of colors, but at the same time it successfully fulfills its task only when it proceeds from the position of realistic painting.Such watercolor techniques as: “wet”, “dry”, “glaze”, “ά la prima” are considered The technique of watercolor painting is a visual reflection of the main theoretical postulates of the composite space organization on the plane. Watercolor techniques solve these problems and clearly show the interaction of tonal and color characteristics of all elements of the composition.

ARCHITECTURAL LANDSCAPE IN THE WORKS OF VADIM KONSTANTINOVICH SKUGAREV

The article considers the work of architect Vadim Konstantinovich Skugarev, whose work is inextricably linked with Dagestan. The object of the study was a number of graphic works in the genre of architectural landscape, made by the artist in the technique of watercolor painting during a trip to the villages of Dagestan, in the 1970s – 1990s. The author substantiates the conclusion that the architectural landscapes of the artist are an important part of his work. The artist, carefully studying the Dagestan architecture, noted the originality and peculiarity of the national architecture.

Soar: A Glimpse of Hope During the Pandemic.

Description This original watercolor and ink painting features a cardinal with its wings spread against a blue sky. The cardinal symbolizes pivotal moments, and we as a nation find ourselves at a pivotal moment with regards to our handling of the coronavirus pandemic. The bird with its wings spread against the sky gives a vision of anticipation. These feelings of hope and anticipation mimic those that many are starting to feel as vaccine distribution has ramped up. Health workers should take a moment to acknowledge this extraordinary state that we have reached while continuing our care and following CDC guidelines. We hope that we will soar into a new tomorrow where we are able to tackle the pandemic and we appreciate that we are allowed a glimpse of hope into a return to normal.

Watercolor Painting Series: The Countryside Life

Watercolor Painting Series: The Countryside Life