How to make a relief from plasticine. Synopsis of a technology lesson on the topic "Bas-relief. Plasticine." Video: sculpting a bas-relief from putty

Master Class. Panel “In the kingdom of goldfish”

Description: The panel “In the Kingdom of Goldfish” is made using the technique of multi-faceted relief, the material is plasticine. Multiplane relief is a type of sculpture where the sculptor resorts to depicting several planes to give volume. In this case, the images that are in the foreground are layered on the images that are in the background. Multifaceted relief is the oldest sculptural art. The most ingenious creation in this type of sculpture was the Eastern bronze doors of the Baptistery in Florence, the so-called “Gates of Heaven”, created by Lorenzo Ghiberti during the Renaissance.

The master class will be of interest to everyone: children, teachers, parents. First of all, the master class is intended for children in grades 3-4, but when making panels, adults must supervise and help children, since work with a cutting tool is provided - a stationery knife.

Purpose of crafts and: interior decoration, gift.

Purpose of the master class: introduce the technique of making multi-faceted relief from plasticine.

Tasks:

Broaden your general horizons, including in the field of world artistic culture;

Instilling interest in creative activities;

Development of aesthetic taste, compositional thinking, imagination;

Development of fine motor skills of the hands;

Development of strong-willed qualities: perseverance, composure, diligence, accuracy, attentiveness;

Progress of the master class:

Now we will all go on an unusual fairy-tale journey together - to a beautiful kingdom. And you will find out who lives there by guessing the rebus.

That's right, the owner of this amazing kingdom is a goldfish.

Do you know her?

Where did you meet her? (In the fairy tale by A.S. Pushkin)

Do you think goldfish are only found in fairy tales?

Not only that, goldfish exist in the real world. Yes, yes, don't be surprised.

In fact, this is the name of a species of freshwater fish of the crucian genus. Once upon a time in China, silver crucian carp lived in ponds. They were unusually beautiful, so people decided to breed them at home as ornamental fish. Later, it was possible to breed crucian carp with a golden color. They began to be called goldfish. (Material from Wikipedia)

Goldfish have been admired throughout the centuries, idolized, and endowed with magical qualities. Poets and artists dedicated their creations to them. Consider how the ancient Chinese artist depicted the kingdom of goldfish. Describe the fish, tell us what the underwater world looks like.

Today you will also try to depict the kingdom of goldfish, but not with paints, but with plasticine. You will make a wall panel. When doing the work, you will need to convey the amazing property of the underwater world - its depth.

To do this, I will introduce you to a new technique of plasticineography - multifaceted relief.

Execution of the panel:

To work we need to take: a sheet of cardboard, plasticine (yellow, blue, green and black), 2 sheets of paper, a picture of fish, copy paper, sequins, pencil, scissors, a stationery knife or a sharp glass, rolling pin, vegetable oil.

We make the basis - the background. Let's take a sheet of cardboard and begin to apply a thin, even layer of blue plasticine onto it.

Let's check the result.

Let's prepare yellow, green and black plasticine for making panel parts. First, let's take yellow plasticine and make a thick cake out of it.

Now you need to make the cake thinner and more even. To do this, lightly grease it with sunflower oil (so as not to stick), place it on a sheet of paper, cover it with another sheet on top and roll it out with a rolling pin. We also make green and black flatbreads.

Let's check the result. Plasticine blanks need to be put in the freezer for a few minutes.

We make stencils of panel details. To do this, use carbon paper to transfer the images of the fish and cut them out.

Let's check the result.

We make the panel details. Place a stencil on a yellow plasticine cake and carefully cut the plasticine along the contour of the stencil with a stationery knife.

Carefully remove the part and straighten the edges. We also perform the remaining details of the panel.

Let's check the result.

From a green plasticine cake, cut out algae and leaves.

Making the background of the relief. Add seaweed to the background.

We make the foreground of the relief. We put fish on the seaweed.

We decorate the fish and algae with black plasticine details and sequins.

Side view. The relief (volume) of the panel is clearly visible here.

Bas-relief modeling

First you need to prepare the wall: level and prime. Construction stores have a huge selection of putties, plasters and primers for this.
When the wall is ready and has dried well, draw a drawing with a pencil. I decided to make roses scattered on the wall. We check the composition: uniformity of the pattern over the entire area, alternation of small and large colors. If something doesn’t suit you, you can fix it - the pencil on the wall can be easily erased with an eraser.

Let's start sculpting. Professionals recommend using gypsum putty. But I had some polymer-based putty left over from other jobs, so I started working with it. Then, when I had to buy more material, I took plaster. Thus, I can compare two types of putties.
It turned out:

• diluted polymer putty is more elastic and docile, unlike gypsum putty;
• the color of the polymer putty is pure white, the color of gypsum putty is gray;
• When dry, polymer putty can be easily and effortlessly processed with sandpaper; gypsum putty has to be sanded with considerable effort.

I don't name the brands of putty, it doesn't really matter. You can take those that are available in the store and fit your budget.
So, let's spread the putty.

The consistency should be quite dense, but not tight, but elastic.
I worked with a palette knife. It is more convenient to start from the middle of the flower. First I lay out and level the central petals.

Then I gradually move on to the next ones. The mass is laid out on the wall along the lines of the drawing in small parts.

We smooth them a little, level them, giving them the desired shape. For final leveling, you can moisten the palette knife in water and run it wet over the petal. In general, it is better to try to level it as smoothly as possible, so that you don’t have to sand a lot later.

Having formed one petal, we move on to the next.

This is what a rose made from polymer-based putty (white) looks like.

Now let's start sculpting the leaves.

Spread the mixture over the entire area of ​​the sheet.

Using a palette knife, draw the main line in the middle of the sheet.

Lightly smooth the putty in the directions of the side veins. There is no need to smooth the surface too much.

When everything molded has dried, we begin to sand it with fine sandpaper. Finally it turns out like this:

When all the flowers have been processed, you need to thoroughly clean them from dust with a brush and coat them with primer, preferably 2-3 times.
In this photo you can clearly see where the flowers are made from gypsum putty (dark) and where from polymer-based putty (white).

You can cover the bas-relief with varnish. This will better preserve the paint from fading and contamination.
The sculpting process is very exciting. I'm now thinking about the option of stucco molding on the balcony. By the way, if you can’t decide to make a bas-relief on the wall, you can take a sheet of fiberboard and start making a picture. Good luck!

In today's modeling lesson, we invite you to feel like not only young sculptors, but also architects, by creating a bas-relief from plasticine. This material resembles clay, and therefore is quite suitable for depicting any three-dimensional decoration. One of the directions of this type of creativity is transferring three-dimensional outlines of animals onto the walls. But it can also be plants, birds, or just some intricate ornaments. We suggest you create a tiger head; a step-by-step method for implementing such an idea is given below.

Materials for work:

• plasticine of one color (preferably one that resembles clay);
• stack or knife.

1. Brown plasticine, similar to wet clay, is suitable for creating this craft. She will be unusual. Since there will be no bright shades, it will be impossible to play on color combinations. The distinctive features of the selected object will have to be conveyed by changing the relief.

2. Give any shape (circle, square, oval) to the cake from which the bas-relief will be made.

3. Push the plasticine with a stack to indicate the eyes, attach the tubercle-nose.

4. Stick on semicircular tubercles - eyebrows.

5. Apply round cheeks and attach the lower lip to highlight the mouth.

6. Add a little plasticine to the cheeks and apply transverse notches in a stack.

7. Attach the ears to the sides, point them and raise them.

8. Draw a picture to show the tiger's fur.

9. Insert small dots-eyes and make the final relief processing of the design.

This is how the sculpture turned out. Using the same principle, you can depict the appearance of any animal, and for this you only need one shade of plasticine.

Technology lessons,”Plasticine bas-relief”

I decided that we need to write down what we do in the subjects of fine art and technology, because I have to go through this 4 more times))

First there will be information from the Internet, later I will add the result of what we got))

Bas-relief is a more complex version of working with plasticine. This will require some skill in working with this material, the ability to mix colors and accuracy. It is best to start mastering the technology of plasticine paintings with simple small-sized images.

In the process of making a painting using the plasticine technique, everyone develops their own style and manner, gains confidence in working with the material, their own recipes for obtaining tones and shades, as well as little tricks and secrets. By completing several simple and small paintings. It will be possible to proceed to a more complex work.

So, to create a plasticine bas-relief you will need a plot (your own or from a book (magazine)), a base, a set of stacks and a little initial knowledge about the technique of making a plasticine picture. Thick cardboard, plexiglass plate or plywood are suitable as a base.

Bas-reliefs made of plasticine can be either flatter or convex, depending on the constituent parts. At first, the background of the painting has a flat surface and resembles an oil painting, and in bas-relief the component figures may protrude slightly above its surface. The picture can be square, round, oval, etc.

Plasticine is applied to the base using a stack or fingers. It is best to spread plasticine on cardboard by hand, since the material under pressure lays in an even layer on the surface, thus achieving the effect of a brush stroke with oil paints.

The picture can be made in relief in different ways - by forming elements using a stack, sculpting individual parts, by cutting with scissors and lifting the cuts, rubbing plasticine through a sieve or squeezing it through a garlic press.

Work on the painting begins from the upper edge of the base to prevent hands from touching the surface areas covered with plasticine. Round and oval elements are made from rolled plasticine balls, which are flattened when attached to the base. Thin stripes in the painting are made using rollers rolled on a plane.

The rollers should not be too long, otherwise they will be difficult to transfer to the base. Long lines and elements are made up of several short rollers. Before applying the rollers to the surface, they must first be cooled. When rolling out thin rollers, you need to take into account that when flattened they increase in cross section.

To complete such details of the picture as petals, flower stems, curls, strands of hair, you will need smooth rollers, which can be obtained by squeezing heated plasticine through a disposable syringe or through a garlic press.

If you rub plasticine through a fine metal strainer, you can get loose and fluffy elements of the picture, such as corals, grass, animal fur, etc. Using a comb, the tips of scissors, an awl or a stack, by pressing through thin grooves, you can achieve the effect of relief of some details of the picture (for example, sea waves or ripples can be created by scratching the surface with a comb). To depict leaves or crowns of trees, a carved edge is created on the plasticine part. This can be done by cutting the plasticine cake with scissors, a stack or a scalpel, pressing it at an angle to the design line.

Some details of the plasticine painting may have a complex outline. In this case, you need to apply a plasticine cake and remove excess plasticine using a stack.

If the painting contains elements that are difficult to sculpt, then they are repeated with a thin layer of plasticine on paper, cut out with scissors and stuck to the base using thin plasticine rollers.

To obtain the effect of volume or transparency of some elements of the picture, plasticine is applied in a thin layer and rubbed with fingers.

To achieve the desired effect, the excess layer of plasticine is scraped off with a stack.

How to arrange and store plasticine bas-reliefs? They are best stored under transparent film; you can also place them in a frame under glass, but put a spacer along the frame that matches the convexity of the image. Plasticine paintings should not be deformed, exposed to direct sunlight or heat.

So, to summarize, what is needed to create a plasticine picture? Base: cardboard, plexiglass, plywood, oilcloth.

Tools: a set of stacks, scissors (for cutting out parts), a stationery knife or scalpel, an awl or toothpicks, a rolling pin, a comb, a metal strainer, a garlic press or a special press for plasticine, a regular medical syringe, special sets of molds and syringes for plasticine. Black graphite pencil for sketching.

Triangular black graphite pencils are very convenient for little ones. Modeling board. You can take a piece of regular linoleum. A glass of water (for wetting your hands so that the plasticine does not stick) Hand wipes. It is very convenient to use a regular kitchen damp microfiber cloth. Good plasticine.

This is the plasticine that is brightly colored, rolls out thinly and does not stick to your hands. Come up with a sketch. Select image color and background. Select the desired picture format. Decide what size and shape it will be. Prepare the base according to these dimensions.

Frame with glass or cling film.

Using the bas-relief technique, you can create individual scenes, masks and much more. For a bas-relief that will be painted, you can take the remaining plasticine and mix it into a total mass.

All kinds of masks, images of which can be found in books and magazines, can be a wonderful decoration on the wall.

The basis for such products are wooden and plastic boards; for very small children, nylon or metal lids for jars are suitable.

We sculpt a bas-relief.

Select a picture to create a bas-relief.

We tear off small pieces from the plasticine and smear them. We will have the basis for the bas-relief.

This is the drawing we got.

We complete the details for the painting separately. We use special molds.

We attach the resulting silhouettes to the base. Let's decorate them. To do this, use a thin stick to draw a relief pattern on them (needles for a Christmas tree, feathers for birds, fur for animals).

Using the tearing technique, we pinch off a small amount of plasticine and immediately attach the birds’ wings, grass and petals. We obtain stems for flowers by rolling sausages. Roll and attach small balls into the center of the flowers.

We decorate our craft with multi-colored beads. giving her a cheerful mood.

ideas for inspiration will be in the comments.

MAKE THE WORLD BRIGHTER| MAKE THE WORLD BRIGHTER

Many parents are interested in the development of their beloved babies. Which need comprehensive development.

Modeling develops Creative skills children, and also develops fine motor skills of fingers, which affects development of speech and thinking.

I have already said that you can sculpt from almost anything. Today we’ll talk about modeling from plasticine.

Some parents believe that it is enough for a child to simply buy plasticine, that the child himself will start doing something with it and sit for hours at work.

This is not at all true, and those parents who decide to leave their child unattended with plasticine end up with stained wallpaper, floors, rugs, furniture, etc. There is nothing to be surprised here; a child who began independent studies found only this use for plasticine.

Having explained to the child that we only sculpt on a board, we can’t do it anywhere else, and leaving the child again, you will see a lump of plasticine where the child mixed all the colors, and maybe even “hid” a toy or mother’s favorite earrings... After this, as a rule, mothers decide that it is too early to give plasticine to a child, but for now it is enough to practice modeling in kindergarten or school. This is where the modeling classes at home end completely.

If you have had such a negative experience of modeling from plasticine and abandoned it forever, then I advise you to try other materials for classes and find one that suits you (salt dough, cold porcelain, clay, plastic, wax, etc.).

There is no need to leave your child alone with creative materials. Try sculpting yourself, feel the pleasant sensations of working together with your child. You don’t need to be able to sculpt brilliantly at all; learn along with your child. Your child will be extremely grateful to you.

An important factor in choosing plasticine is its quality. Plasticine that is too soft is difficult to work with; it doesn’t hold its shape well and sticks to your hands. Plasticine that is too hard is difficult to pinch off, roll, and small fingers will not be able to work with it at all.

When sculpting with children, choose bright colors and the greater the number of colors, the greater the flight of imagination. It should be noted that scented plasticine will distract the child from the activity; he will sniff the plasticine, then lick it and, most likely, bite it off.

We carefully select plasticine for classes!

In addition to plasticine, you will need oilcloth to protect the surface of the table; boards on which you will roll plasticine and cut; stacks - a tool for cutting plasticine; wet wipes or cloths to dry your hands.

Let's conclude that plasticine classes are necessary for a child, but only under the supervision of adults, classes will be more interesting, if adults also sculpt, you will get amazing work!

Read where to start and what to sculpt with a small child in the article “First lessons with plasticine.” And today I want to introduce you, my readers, to the bas-relief.

What is a bas-relief?

Bas-relief is a common type of decoration of architectural structures and decorative products, which appeared in ancient times. Bas-relief is translated from French as low relief, i.e.

an image protruding from the plane by less than half of its volume (weak convexity). High relief image - high relief.

Bas-relief and high relief can be made of different materials: clay, marble (or other stone), wood, bronze, etc.

After introducing the second grade students to bas-relief, looking at its samples in photographs of various architectural structures, she gave the children paper plates and asked the question “What are we going to create a bas-relief?”

After listening to a lot of ideas, we have settled on two so far: fruits and vegetables. The guys came up with the composition and color scheme themselves, some tried mixing different shades of color. To work out the details we used a stack.

This is what we got.

The work turned out to be unusual; the guys created their works with great interest and looked at others. Parents also praised the children for their excellent work. Despite the fact that children are 8 years old, interest in plasticine does not disappear!

Beauty! Modeling: bas-relief with a fantasy flower. Master Class

I bring to your attention my master class on sculpting a bas-relief of a flower.

Any idea finds its beginning in a pencil sketch. Our Flower could not be an exception.

Based on this diagram, we drew a sketch to scale, where all proportions were preserved.

The tracing paper with the sketch was attached to masking tape on the wall prepared for this.

And the preparation is that it must be leveled and plastered.

The translation of the drawing is done by tracing it using carbon paper.

For further work we needed: about 2.5 kg of well-mixed sculpture clay (it should be soft, but not stick to your fingers), stacks, a knife, a kolinsky brush, a bristle brush, a rolling pin, two containers - one for water, the other - for slip.

We also need to prepare a slip onto which we will glue the relief fragments. Slip is nothing more than the same clay brought to the consistency of liquid sour cream. We use ordinary water as a thinner. You can add PVA glue there (about a third, but this is not strict).

The clay itself must be wrapped in a damp cloth and placed in a plastic bag so that it does not dry out.

In our case, we started sculpting from the top left edge. Although, in fact, we should have started from the central part, where the most massive and multi-layered fragments would be. All this in order to optimize the drying process. After all, it is better to apply the next layer on top of the dried one. But we had time to stretch out the pleasure.

It is necessary to separate from a whole piece of clay exactly as much as is required to form a fragment. Try to immediately hide any excess pieces in a bag. Do not make the elements too bulky so that when you transfer them to the wall they will not fall apart.

All molded elements can be divided into 3 main types: flagella or sausages, layers and balls. Everything else is a derivative of them. Therefore, before sculpting a fragment, determine for yourself what kind of look it will be.

The layers are rolled out with a rolling pin, and everything else is done by hand. Coat the area where you intend to glue the fragment with slip and use a bristle brush.

Only when the fragment has stuck well enough, smooth it around the entire perimeter without leaving any gaps.

Using your fingers, sticks or even a rolling pin, give the mass the desired shape and work out the details. If necessary, smooth the relief with a core brush dipped in water.

Match the next fragment with the previous one so that the joints are not visible. Do not leave the unsmoothed area for a long time, the clay dries and then the untreated part will have to be cut and sanded.

Step by step - and the relief is molded.

Leave it to dry naturally for one week. With high humidity and low temperature, the process slows down. Accordingly, you can speed it up by increasing the temperature and decreasing the humidity.

When the work is dry, sand it with fine sandpaper. Before painting, prime it with a solution of PVA glue and water (50%). Wait until completely dry. Then you can tint it in any color. In our case, we used a spray gun, because the brush leaves marks.

If desired, again after complete drying, go over all surfaces with acrylic varnish (glossy or matte).
Thank you for your attention! Unfortunately, MK may not be sufficiently illustrated, but I tried to describe the process in detail.

I hope it will be useful to someone!

Keywords: bas-relief flower, bas-relief, relief flower, relief, three-dimensional flower, flower panel, panel, relief on the wall, three-dimensional painting, modeling, flower modeling, master class on modeling, clay modeling, sculpture, plastic, flower, stucco flower, flower on the wall, sculpture on the wall

Relief sculpting in the senior classes of the art department of the art school | Wood, bone and stone carving

Goals and objectives of methodological development

The goals of this methodological development are to study interdisciplinary connections between sculpture, drawing and composition. Three-dimensional image of objects in relief, development of observation, visual memory and the ability to use composition, including decorative composition.

Also, the purpose of this methodological development is to summarize the work on the subject “Sculpture” for the last four years of the art class of the Duminici Children's Art School. As well as transferring the accumulated experience to fellow teachers of art classes at art schools.

The objectives of this methodological development are to teach relief sculpting to students in an art class at an art school. It is necessary to take into account the limitation of the hourly load for the subject “Sculpture”. In addition to the classical still life, the task of decorative composition is set. In this case, the task of sculpting a decorative frame is being performed.

As a result, the connections between sculpture, drawing, and composition, including decorative ones, are studied. It is very important to combine work both from life and to perform compositional tasks.

Still life sculpting

Modeling a still life is impossible without basic knowledge of drawing and linear perspective. A class on sculptural relief should be taught in a high school art school. By this age, the final positioning of the hand occurs and fine motor skills of the fingers develop. Students master sculpting clay and have sufficient skills in working with stacks.

At the beginning of the process of making a still life, an introductory conversation is held. The concept of relief is given. Examples of relief, bas-relief and high relief are studied. In addition to the blackboard and chalk, a classroom computer is used, on which both educational photos and masterpieces of world sculpture from different times are examined. After this, the still life fund is analyzed.

The objects from which the still life is composed are selected. Productions are selected differentially. It is necessary to take into account the age and level of training of students. It is very interesting to carry out this exercise in a complex. Drawing, grisaille, modeling. The dimensions of the future plinth and the pattern are the same. A3 format or, roughly speaking, 30x40 centimeters.

The performance itself is placed below eye level, the “horizon”, of the shortest student. As a rule, this is a stool or chair. Simple drapery with a minimum of folds is used. First, a pencil drawing is made. Attention is paid to the design of the still life. The plane of the table is carefully aligned, and all the rules of perspective are observed.

Then, the drawing is translated through glass. All this is done solely due to the fact that the limit on hours per sculpture is very small. Therefore, drawing and grisaille can be done in drawing and painting classes. Grisaille is made using the technique of multi-layer watercolor painting. The main thing at that stage is to analyze the volume and depth of the production.

Of course, this is not the traditional “grisaille” technique, but something more conventionally adapted to school conditions and requirements. It's more of an architectural wash using black watercolor.

After the preparatory stage, we move on to preparing the plinth. On a piece of hardboard, plywood or linoleum we apply a layer of sculptural plasticine with a thickness of two to three millimeters. The size of the plinth, as mentioned above, is equal to the picture.

We have a structural drawing, “grisaille”, on which we worked out the future volume, we move on to creating the so-called “cardboard”. The very concept of cardboard, its origin and application is given at the orientation lesson. Tracing paper made through glass on a plinth scale of 1:1 is applied to the surface where sculptural plasticine is applied in an even layer.

Then the stylus, which is an old ballpoint pen. On tracing paper, through holes are made. The technique is also known from medieval frescoes. The drawing was applied under the reliefs in approximately the same way. Only instead of pressing, dusting with coal was used. The step is applied every 3-4 millimeters. We remove the “cardboard”. Connect the dots with lines.

On the plinth we get a diagram of the future still life. Now you need to finalize the structural drawing, or “grisaille” of your choice. But drawing is preferable. It is better to work using both preparatory works. In the drawing we begin to work out plans for the future relief. A thin marker is better suited for these purposes.

We make the foreground lines bold, the middle and background lines thinner accordingly. For greater attention, check the boxes “more” and “less”, as in mathematics. Let's start sculpting. For these purposes, flesh-colored sculptural plasticine is better suited. It is softer for children's hands. Of course, it would be better to use clay.

But due to the special requirements of the school, plasticine is preferable. He can easily tolerate a break between classes. We apply plasticine to the more massive foreground. To better convey depth and perspective, we sculpt from the corner of a table or stool. The sculptor's main tool is his hands. But metal stacks are also widely used in the work.

The main condition is that they are dull enough to avoid injury. We apply the plasticine in crushed lumps, giving the necessary volume to the foreground. We level it with steel stacks in the form of a carving or shoe knife. Let's move on to the middle shot. We start modeling with the largest object, a jug, a bottle, a geometric shape.

When sculpting figures of rotation, it is necessary to pay attention to the clarity of the arcs along the axes. To do this, you can cut out small templates. We carefully make the transition between objects and the table plane lines. The main thing is to follow the rules of perspective and avoid objects “hovering” above the plane. Here we are faced with the peculiarities of relief sculpting.

It is useful to make a “handwriting” of the types of relief from below, above, from the side. That is, study again how objects of rotation behave on a plane. It is very useful to conduct demonstration experiments with objects immersed in water. A regular basin is suitable for this. It is very valuable to periodically take photographs of the work. Moreover, it is now quite accessible.

Almost everyone has a camera on their phone. Let's get back to sculpting. Plans in relief convey the depth of the work and linear perspective. Therefore, the drapery cannot be convex, for example, of a jug or a stool on which it stands. Therefore, moving on to the final stage of modeling, it is necessary not only to combine the still life plans, remove the unnecessary and add the necessary.

Perform final finishing. Bring polish. To do this, students use water and their fingers. At the end of the work, an analysis of the completed still life is carried out. The reliefs are taken to the drawing class, where they are compared with the initial setting. There is a discussion of the work. Analysis of mistakes and successes. Because it’s easier and more pleasant to find someone else’s mistake.

Modeling a decorative frame

Decorative sculpture in art classes at Children's Art Schools, as a rule, follows the path of creating round sculptures using fairy-tale or genre scenes. From the point of view of the new requirements for an additional pre-professional program in the field of decorative and applied arts, this is not enough.

Modeling of decorative ornaments is also necessary for future woodcarvers and ceramists. Preparatory work for sculpting a decorative frame begins with a study of the historical heritage. In the elementary grades of art school, ornament was studied during decorative composition lessons. The concept of rappaport of static and dynamic composition in ornament was given.

In high school, time is allocated to study stucco patterns. The historical excursion begins with the study of ornament through the centuries. From Ancient Egypt, Greece, Rome to Europe of the Renaissance, Baroque, Art Nouveau. Domestic wood and stone carvings are studied separately. Ship, house, temple.

For an introductory conversation, both the teacher’s literature and printouts from the Internet are used. Using the example of the still life fund, sketches of acanthus, etc. are made.

The next stage is the compilation stage. Students are given the task, based on the studied material, to make several sketches in a free manner. They are not presented with a specific imitation of one of the styles they have seen. Rather, on the contrary, freedom of creativity is encouraged in every possible way.

As a rule, work is performed in bilateral symmetry, but there may also be asymmetrical options.
After the sketch stage is completed, the “cardboard” is completed. If the work is symmetrical, one side can be done, which is then copied through glass.

The work is carried out with sculptural plasticine on a plinth made of hardboard, plywood or linoleum. A layer of plasticine of two to three millimeters is applied to the plinth. A drawing is pinned onto it from “cardboard”.

The modeling technology does not present any great difficulties, since the plasticine is selected for its softness, and the room is warm. The opposite may occur, the plastic mass is too soft and sticky. But here we must take into account the strength of children's hands. As a last resort, the plasticine is heated in hot water and then wrapped in canvas.

In this way, its plastic properties can be improved.
During the modeling process itself, it is important that the student understands the algorithm of work. There are two sculpting options. The first consists of the production of “semi-finished” parts, which are then assembled according to the principle of a designer.

The disadvantage of this method is that in a hurry, the parts are poorly attached to the plinth. After some attempts, the student understands that they need to be attached more reliably, “smeared.” The second option is more labor-intensive. It implies widespread use of all kinds of stacks.

On the finished drawing, a layer of plasticine of about three centimeters is applied to the plinth. And then it is trimmed with stacks and loops.

The complexity of this method is that the plasticine “sole” covers the pattern transferred from the cardboard. And the student may become confused and panic. Therefore, it is important that the preparatory drawing is always at hand. And the work itself was done in parts.

You should not immediately make a thick plinth for trimming. No more than a quarter of the drawing. Since the total number of hours for the subject “Sculpture” is small, it is advisable to carry out these exercises in the third, largest quarter.

The assessment may be taken into account when summing up the annual results.

The use of these exercises significantly diversifies the learning process and arouses genuine interest among students...

MCOU DOD “Duminich Children's School of Art” Methodological development on the subject of additional education “Sculpture”

On the topic: “Relief sculpting in the senior classes of the art department of the art school”

Performed by the teacher of MKOU DOD Sergey Karpikov

Duminichi 2012

List of used literature:

P.P. Gnedich “History of Art”. M. Eksmo 2007 E. Lanteri “Modeling” M. 1963 “Publishing House of the USSR Academy of Arts” B.R. Vipper “Introduction to the historical development of art. Sculpture section.” M. 2004 Ast-Press A.A. Melnik “Basic principles of constructing sculptural relief” M. 1985. “Higher School”

Review

Farnieva S.I.

Having looked through the educational material, I note its methodological completeness, interdisciplinary connection, as well as the teacher’s real concern for the safety of completing educational tasks for students. For my part, I would like to add a couple of professional recommendations. They relate to achieving a sense of volume of objects. To prevent objects from appearing to be cut in half and glued to the background, it is necessary to make a separation from the background along the silhouette on the line of the horizontal axis of the base, and the height of the most convex part is not higher than this size. This creates a feeling of the object being rounded on the invisible side and generally makes the object three-dimensional. Congratulations once again on a good and necessary methodological development.

Do-it-yourself bas-reliefs/stucco moldings on walls made of plaster and other materials

New materials

Types of bas-reliefs

Tool

Bas-relief technologies

Once upon a time, decorating the interior with stucco molding and bas-reliefs was available only to the highest nobility, the rich and large temples. Nowadays, making a bas-relief with your own hands is just a matter of labor and patience.

Advances in modern technology make it possible to bypass the technical difficulties of creating stucco at home for people who do not have an artistic education, but who are not devoid of artistic taste and imagination. Create bas-reliefs like those in Fig.

Below, it is quite possible for a patient and attentive amateur.

Bas-reliefs of modern work

New materials

In addition to the traditional material for stucco - gypsum - do-it-yourself stucco can be created from modern building mixtures with polymer additives; they are often combined under the general name “acrylic plasters”. You can learn how to increase the volume of a bas-relief with construction putty compounds from the video:

Video: sculpting a bas-relief from putty

Hobbyists also use a basic composition of architectural plaster, acrylic plaster and PVA glue in a ratio of 1:1:0.5 by volume. The gypsum and plaster mixture are mixed dry and sealed with water, i.e.

add water to the mixture, not the other way around. Bring to a dough consistency like yogurt or low-fat kefir and add PVA, stirring thoroughly.

The thickness of the mixture is selected according to the type of work with it, in which case which mixture is needed, see below.

Types of bas-reliefs

The bas-relief on the wall is made using the technique of low relief (top left in the figure) or high, with protruding figures (top right). A high bas-relief is also called high relief.

Technically, high relief differs from low bas-relief in that the figures are sculpted like a round sculpture (see below).

Low bas-relief looks good in any lighting, except very dim, and high relief looks better in diffused light.

Types of bas-reliefs

In living spaces, which are often lit quite brightly and evenly, it makes sense to use a mixed bas-relief technique (bottom left), without making the figures very convex. How to sculpt the bas-relief “Klimt Tree”, see for example. Master class video below:

Video: master class bas-relief “Klimt’s Tree”

Plastering on site

This is perhaps the most accessible way to make, say, a molded lampshade for a chandelier (see figure) without experience.

Plastering the model in place differs from the previous method in that the model is first glued in place and then plastered with a brush. The plaster solution is made thicker, like sour cream.

If the stucco is on the ceiling, the layers are applied very thin, translucent, so that there are no drips. Accordingly, up to 10-15 or more layers will be required.

Stucco lampshade for chandelier

The main problem here is the material of the model. They are usually made from polystyrene foam, polystyrene foam, polyurethane and other soft plastics. But over time they all decompose. This happens very slowly, but still, after 3-7 years, dirty gray or yellow-brown irremovable stains begin to appear on the stucco.

Therefore, it is best to sculpt models for on-site plastering from salted dough, the same dough from which you make your own Christmas tree decorations. Salt dough is glued to plaster, stone and other mineral building materials with acrylic glue or any mounting glue.

Stucco molding based on non-removable salt dough models retains its appearance for 30-50 years or more.

Reverse casting...

This is the most common way to create stucco with your own hands, allowing you to obtain results of a completely professional appearance and quality without excessive work and skill.

The classic procedure for reverse casting from plaster is shown step by step on the left in the figure, pos. a-e. Model 1 made of plaster, plasticine, plastic, etc., or an exemplary product that it is desirable to repeat/replicate, is placed on a flat board 2.

Now, to make it easier to remove the mold with the model, the shield is covered with film.

Reverse casting from plaster

Then the model is coated with a thin layer of lanolin. It is not advisable to use medical Vaseline; the model may stick to the mold. A plaster and any other porous (wooden, salt dough, stone, etc.) model is coated several times, allowing the lanolin to soak in for an hour or two, until a solid greasy sheen appears on the surface.

Next, the model is coated with a layer of gypsum or alabaster mortar of 3 dough thickness, approx. 1 cm, immediately forming protrusions-anchors 4 and stiffening ribs 5. The set and almost hardened, but still slightly pliable coating is tied with a frame made of soft (annealed) steel wire 6. The branches of the frame are fastened with ties 7 made of thin copper wire.

The next step is coating 9 with a thick cement-sand mortar from M150 in a layer up to 5 or more cm thick, this is already a casting mold. Here you need to remember to form the supporting surface of the mold 8.

After a period of time for the cement-sand mortar to gain 3/4 strength (7-20 days, depending on external conditions), the finished mold 10 is separated from the shield using a wedge 11. Well, if the shield was covered with film, the mold is simply removed.

Finally, the inner surface of the mold is cleaned with a copper brush 12 and, if necessary, defects are corrected with gypsum or alabaster mortar. The burr is removed from the side of the mold 13 and, from its internal edge, a chamfer of approx. 0.7 mm.

In a mold without a chamfer, the casting will almost certainly get stuck. Before casting, the inner surface of the mold is coated with lanolin, like a model. The mold is filled with the casting mass layer by layer.

As soon as its penultimate layer begins to set, eyes with mustaches are inserted into it (upper right in the figure), by which the casting is then pulled out. For small ebbs, the eyes can be made from paper clips.

The last layer is poured when the eyes are already firmly seated in the penultimate layer, i.e. when it is completely hard, but still slightly damp. It is unacceptable to test the firmness of the lugs by shaking them!

Currently for runs up to 15-20 pcs. in the old fashioned way they do not cast from plaster; the mold for such cases is cast from silicone (bottom right). Model prepared as before.

case, pour silicone layer by layer, in layers 1-2 mm thick, until a mold thickness of approx. 1.5-2 cm.

In addition to technological simplicity, the silicone mold allows you to produce castings with shallow recesses, because it is elastic and stretchable.

Mini gypsum reverse casting

Also, small rounded plaster parts are poured into silicone molds: berries (see figure), acorns, mushrooms, etc., even small fish.

In this case, a flask tray is sculpted from plasticine, and the model is also sculpted from plasticine. The silicone is poured into the flask all at once; The flask and the model are not coated with anything.

Once the silicone has hardened, the mold is simply torn off and the model is picked out. This is the so-called. mini – reverse casting of plaster.

In plaster mini-casting, a removable model is already used; I mean, the model disappears and needs to be made again for the next batch of castings.

A silicone mold can also be made for plaster casting using a lost wax model, then from it it will be possible to obtain up to 100-200 or more castings, but convex ones, without depressions.

In this case, the flask is made in the form of a box without a bottom made of plywood with a height 2-3 cm greater than the height of the model and a size such that the gap between the flask and the model is at least 1-1.5 cm.

The model is formed from wax on a board covered with film. Then they place the flask and cover the gap at the bottom with plasticine. Next, the model is doused with silicone in layers, as in the previous one.

case, and when its last layer hardens, silicone is also added layer by layer along the contour until the mold is filled to the top. As soon as the last layer is poured, fill the plywood bottom.

The model is melted with a household hairdryer: the lousiest silicone holds 140 degrees, which a hair dryer does not provide.

Modeling

Sculpting a bas-relief in place allows, as mentioned above, to achieve maximum artistic effect, but requires certain skills. You can purchase them without enrolling in an evening department at an art university or courses.

Just practice with plasticine; The technique is the same, only when working with plaster the time is limited - work with the next section must be completed before it begins to set.

Technically, plaster modeling is distinguished between low (flat) and high (round).

Flat

The technique of flat plaster modeling is shown in the selection of photos below. The rules here are like this. First, the material of thick dough or rich sour cream is applied in layers. Second, each layer is first smoothed, forming a relief at the same time, and then its contour is trimmed.

The third, next layer, as in general in layer-by-layer filling with gypsum, is applied to the set but still wet previous one. Fourth, as the layers build up, they switch to smaller tools. And fifth, in each layer the work is carried out from the thinnest and smallest details to the thickest and roughest.

In this case, from the leaf teeth to its petiole.

Low plaster casting

About branches

It is best to remove branches on bas-reliefs with a pastry syringe or, very thin ones, with a medical syringe. The thickness of the branches is adjusted by pressing harder and weaker on the piston (item 1 in the figure). In this case, the texture is applied with a brush, and the kinks are formed with the tip of a palette knife. The syringe is filled with the base solution, and for painting and for snow-white it is plaster, like a non-removable model in place.

Branches on bas-reliefs made of plaster

Strongly twisting branches (item 2) can be obtained by soaking a cord or twine in a gypsum solution of sour cream thickness, laying it on a board covered with film along the contour, and when dry, sticking it on the wall.

If the bas-relief is prefabricated, lay out the cord immediately, it will dry firmly. To obtain branches of decreasing thickness, some of the strands are removed or, conversely, 3-5 branches of twine are twisted at the butt, then 2-3, then left alone.

If the cord is visible through the plaster, the branch is gypsumed in place, applying the solution with a brush

Sharp ribs

You've probably seen sharp ribs in pictures with bas-reliefs. They are formed by folding the thumb and forefinger, and the thumbs by folding the fingers of both palms bent back. The height and thickness of the rib is changed by smoothly moving/spreading the fingers (palms) in motion as the rib is formed. Fingers, as in general for hand sculpting, should be slightly damp.

Round

The basis of the round molding is a wire frame anatomically similar to the object, i.e. with the proportions of the object and the location of the branches where the main bones of the skeleton are. The frame in a round figure works in the same way as the skeleton of a living creature.

Information about skeletons can be gleaned from any course on the plastic anatomy of humans, animals and birds. Plastic anatomy is a discipline not of medical, but of artistic education.

The material there is presented from the point of view of how to sculpt, and not how to treat, and is designed for listeners who are not inclined to the subtleties and rigors of science.

The figure is approx. from 30-40 cm is molded onto the frame as shown in pos. 1 pic. For smaller figures, the frame is simplified (item 2), but respecting the principle of anatomical similarity. In humans, by the way, it is not so complicated: we divide height by 8; 1/8 of it will be the dimensional module of a harmonious human body, pos. 3.

Plaster molding on the frame

The frames of small animal figurines are made in a similar way (items 4a and 4b). It is advisable to reduce the weight of larger figures so that there is less fuss with securing the bas-relief (see below). In this case:

• The basic frame (pos. 5a) is made voluminous approximately along the contours of the body minus 1-3 cm for modeling, with the help of additional. branches from the same wire (pos. 5b). Auxiliary branches are attached to the main ones and fastened together by winding thin copper wire, or even better - by soldering.
• In a liquid plaster solution, like low-fat kefir, rolls of medical bandage are soaked, as for plaster casting broken limbs (see, for example, the film “The Diamond Arm”), and the frame is wrapped with a plaster bandage, pos. 5th century It is the rolls that need to be soaked: as soon as the bandage begins to peel off poorly from the skein, it means that the plaster has begun to harden and the rest of the roll goes to waste.
• Once the plaster frame has completely dried, it is covered in layers with a base solution (tinting can be used), the shape and texture are adjusted with tools and sandpaper, and it is plastered to pure white (if necessary) with a solution of architectural plaster.

Support for figures

Figures for homemade high reliefs are sculpted separately; the location is too difficult. Therefore, each figure must have a flat area, and on the base surface, respectively. flat so that the shapes can be glued into place.

How to attach bas-reliefs

The high relief with round figures turns out to be quite heavy. If per 1 sq. dm. its supporting area is more than 1.5-2 kg, the bas-relief needs to be reinforced. Corrugated nails 80-120 mm, driven into plastic dowels, are best suited for this.

The attachment points are marked in advance under the thickest places, distributing them as evenly as possible over the area. The nail in the dowel should sit in the wall at least to a depth of 50-60 mm. The protrusion above the wall is 1.5-2 cm, for which the nail driven into the dowel is bitten off.

The bas-relief mass above the protruding fastening peg should be at least 1-1.5 cm.

Superbas-relief

And in conclusion - how to try yourself in the elite technique of shadow bas-relief. All you need for this is a piece of plasterboard with a layer of fresh base solution of approx. 0.5 cm and nail 100-150 mm. You need to carefully remove the flash from the edges of the nail tip to get a regular 4-sided pyramid.

We prepare the sample as follows: using a nail with a slight slope, we prick even rows of holes in a checkerboard pattern and close to each other along the still plastic gypsum board coating. The inclination of the nail and the orientation of the edges of its tip relative to the directions of the rows must be maintained as accurately as possible so that the holes are equally asymmetrical.

The next step is to take the sample out into direct sunlight and, turning this way and that way, and in some other way, observe the play of chiaroscuro. At the same time, we try to imagine how the holes should be pricked to create a changing pattern. And, who knows, maybe you will discover a talent for this rare, but extremely effective art - shadow bas-relief.

How to sculpt from sculpture plasticine

To perform sculptural work in art schools and workshops, in addition to gypsum and clay, various types of plasticine are used. The most popular is sculptural plasticine, which makes it possible to create the most interesting products.

Professional plasticine

First you need to understand the question of sculptural plasticine - what is it? Its difference from ordinary plasticine lies in its higher plastic properties.

Thanks to the huge range of colors, you can carry out work in various subjects.

For example, a face mask can be fashioned from such plasticine, which, thanks to its natural shades, will well imitate the natural shade of the skin.

Vegetables and fruits will also look realistic.

Plasticine heats up well from the palms and fingers, it softens easily, so when working with it, you can sculpt not only large parts, but also small thin elements.

Regardless of the size of the product, it will turn out clear and expressive. Plasticine may vary in hardness. Unlike soft, hard plasticine requires additional heating.

How to work with sculpture plasticine

The process of how to work with sculptural plasticine is very similar to sculpting from simple school material. But depending on what tasks you are pursuing, additional materials may be needed, for example, Vaseline, aluminum wire, heated water or other heat sources.

If you need to sculpt a small figure, you do not need to heat up all the plasticine - take a small piece of it. It can be broken off or cut with a knife, after wetting its blade with water. If at the end of modeling you still have pieces of plasticine, simply press them onto the main mass.

Before starting the main process, first decide what you want to sculpt and think through it in as much detail as possible. It is better to make small sketches of the future product.

Prepare the necessary material and your workplace, and look at the sketch while sculpting. The work is fixed using wire frames.

Once the sculpture is ready, remove it from heat sources, otherwise it may float.

How to sculpt?

First you need to separate the part you will be working with from the main block.

Before using sculptural plasticine, the material needs to be warmed up a little, but not overheated, otherwise it may become too brittle or unyielding.

To restore the plastic, you can use a little oil or Vaseline. And to increase strength, you can add talc or potato flour.

For large crafts, wire is used, from which a frame is created that does not allow the parts to float and settle. For these purposes, you cannot use copper wire - plasticine contains substances that react with it and corrode the metal. It should be noted that all modeling materials are absolutely safe for humans.

For large crafts, it is better to use soft varieties. It is convenient to sculpt small parts from hard plasticine, since then they will not stick to your fingers and spread.

Sculpture. Lessons for beginners. Step-by-step instructions for creating a plasticine sculpture “Hare”

If you are an artist at heart who wants to give the world three-dimensional works, you should definitely try your hand at creating sculpture. Start with simple things that require only sculpting clay and a few inexpensive, easy-to-use tools.

In our example, we will make a simple frameless sculpture “Hare”.

Prepare the plasticine.

To do this, knead it thoroughly in your hands until you obtain a homogeneous lump of uniform consistency.

Instead of sculptural plasticine, you can use ordinary children's colored plasticine: just dip the tiles of ordinary plasticine in hot water, and when they soften, knead them with your hands until they have a homogeneous consistency.

Of course, such plasticine is partly inferior to sculptural one. When it hardens, it is significantly softer, which is a big disadvantage if you plan to use a plasticine model to cast a sculpture in plaster. If your goal is to learn how to sculpt, then self-made plasticine may be an even more convenient option.

Prepare your tools immediately.

A sculptor's main tools when working with plasticine are stacks. Stacks look like small wooden, metal or plastic sticks with ends in the shape of straight, beveled or rounded spatulas, lancets, etc.

They serve to effectively process the surface of a sculpture - giving shape, leveling the surface and applying detail.

Stacks can be purchased in art salons and specialized online stores, or you can make them yourself, in accordance with your own ideas about a convenient tool.

At the initial stage, an old bank card, a table knife or a teaspoon with a narrow border can serve as a stack. You can also use wood carving tools, surgical instruments, awls, needles and various manicure tools - when creating a small plasticine sculpture, such sharp objects are very convenient for detailing.

When the material and tools are ready, you can start.

Step 1: FIGURE

First, let's make the figure of the hare itself. To do this, from well-kneaded plasticine, we will make three blanks: one small for the head, the second for the chest and the third for the lower part of the figure.

The hare's head is slightly elongated, try to immediately give it the desired shape. Then connect all three parts to each other using a simple “coating”, smoothing the joints with your fingers or a stack.

The result will be a general form - a figure, which we will further supplement with details corresponding to the anatomical features of the hare.

Step 2: FEET

To sculpt the front paws, we roll two small “sausages” from plasticine. Then, kneading, we attach them to the figure one by one, smoothing the joints with our fingers.

During the joining process, we give the paws the desired shape, achieving maximum resemblance to the paws of a real animal.

The hind legs of the hare are larger than the front ones, so to sculpt them we make “sausages” of a slightly larger size. We attach it to the figure, adjusting the shape of the hind legs, just as in the case of the front legs. We add plasticine to the sides, and, smoothing it with our fingers, give the paws a bent position.

Step 3: EARS

We will sculpt oblong ears from two pieces of plasticine, after which, having determined their position at our discretion - whether they will stand or lie, we will firmly attach the ears to the hare’s head.

Step 4: TAIL

Let's make the tail last. To do this, roll a small ball out of plasticine and attach it to the main figure in the same way as the other parts earlier. Smooth out the joint with your fingers.

With this, our hare figure is ready. Now we need to apply texture and features to it.

Step 5: DETAILING

Using a sharp tool, we mark the area of ​​the chest and folds at the withers.

We will remove excess plasticine from the back and other places, achieving the optimal shape. Using the same tool, we will cut small grooves on the paws - fingers.

Now let's work on the muzzle.

To do this, we will make indentations for the eyes and nose, and, pressing, place small balls of plasticine into them. As usual, smooth out the joints with your fingers and remove excess plasticine.

Then, using a thin stack, we cut out the eyes and work out the shape of the nose.

You can use the same tool to make a smile.

Using additionally applied plasticine, we make the cheeks and chin: we give them the desired shape with our fingers, smooth them out and remove all excess.

Let's give the tail a shape by putting several grooves on it and slightly narrowing it towards the end.

The last stage is applying the wool. To do this, use a stack to apply strokes of different lengths to the surface of the figure. The fur on the back is longer - the strokes there will be longer.

Apply the fur along the growth line - passing along the back, smoothly moving onto the paws and slightly changing the direction. Leave the areas that we highlighted before - the chest and cheeks - without hair. This way the hare will turn out more “alive”, and due to the difference in textures the sculpture will look even more interesting.

That's all, our hare is ready.

A master class on sculpture creation was conducted by the artist-sculptor, member of the International Art Foundation, member of the Professional Union of Artists, laureate of the sculpture prize of the International Competition of Young Artists Mila Zakatova.

Plasticine painting. Ideas for creativity:

Painting is one of the most difficult forms of art. And a person is a creature who always tries to make his life easier. And since people love art, and every second person wants to create, plasticine painting was invented.

Even a child can do the work using this technique. The main thing here is patience. After all, unlike an oil painting, a plasticine painting cannot fail. Today we want to offer some ideas for creativity and inspire you to create a masterpiece.

A little about plasticine painting

This type of art appeared relatively recently, at the end of the last century. Before this, artists sculpted three-dimensional figures from plasticine. This material was often used, and is still used today, by sculptors to quickly make any shape.

Initially, only children mastered the technique of plasticine painting. The artists considered it self-indulgence. But kindergarten teachers enjoyed smearing plasticine on cardboard with their children. This process develops fine motor skills, imagination and helps strengthen the muscles of the hands.

But over time, plasticine painting went beyond the kindergarten, and today it has many fans among adults. True, professional artists still consider this type of art too primitive. But in fact, it is not primitive, but decorative.

And it definitely has a right to exist.

Types of such painting

As with any art, with its development there are many different techniques in which you can create. What types of plasticine painting exist?

• sculpting with strokes;
• relief modeling;
• work according to a template;
• modeling from strands;
• contour creation of works;
• modeling with peas.

Each type of painting requires its own material. There are different types of plasticine. There is a soft material that spreads well over the surface. And there is hard plasticine that holds its shape well.

Materials needed for work

To create a picture using the plasticine painting technique, you need to purchase everything you need. What will it take to get the job done? Various types of plasticine. What are they like? Plasticine happens:

• ordinary;
• paraffin;
• wax;
• ball;
• fluorescent;
• sculptural;
• congealing.

In addition to plasticine, you will need stacks. These are plastic knives. They are usually placed in large sets of plasticine. But if you decide to take the matter seriously, then purchase high-quality wooden stacks.

The basis for any work should be either cardboard or a piece of fiberboard. The second option is preferable.

Various napkins and cloths may also come in handy.

New Year's landscape

When going on winter break, children, and often adults, don’t know what to do with themselves. Anyone can try themselves as a plasticine painter. The result of your creativity will inspire throughout the year.

How to create a picture using the plasticine painting technique? The New Year will be an excellent subject for the image. First you need to draw a sketch on cardboard with a pencil. It could be a house, a bridge, a river and snow-covered trees. We will create this picture using two techniques: sculpting with strokes and sculpting with polka dots.

First of all, we draw the background. We take blue plasticine, knead it in our hands, tear off a small piece and spread it on the cardboard. You need to rub the material hard to get a high-quality coupling. In order to reduce the consumption of plasticine, the background layer must be made thin.

Blue strokes should be alternated with white and dark blue. This will be a river. Next we draw the sunset. It will be purple-pink. The second stage of work is sculpting the background. It will be a house, a bridge and Christmas trees. We create the house as follows. We roll small multi-colored balls from plasticine and fill the outline with them.

The final action is to draw the trees in the foreground. We make the trunk using the usual method of smearing plasticine, and make the branches from strands.

Stylized tree

We will make this work in a very unusual way. To create a picture you will need a syringe. We remove the needle from it, immerse the plasticine in the cylinder and insert the piston. We fill the first syringe with dark green material, and the second with light green material. Now heat the water in a saucepan and put the syringes there.

When the plasticine has melted a little, you can start working. We take out the syringes and squeeze the sausages onto the cardboard. We alternate dark and light plasticine. We glue the sausages in semicircles, as if creating the effect of a hilly area. When the grass is ready, we rinse the syringes and fill them with blue shades of plasticine.

We heat up the material and begin to paint the sky. We make it in straight stripes, alternating several shades. Where there will be sun, you need to leave free space. Using a similar technique, we create a celestial body, a tree and stylized apples.

Plasticine painting is an interesting activity, and the method of working with a syringe is one of the simplest, but at the same time very effective.

Willow

One of the interesting leisure activities is plasticine painting. Read the master class on making a willow bouquet below. To create such a picture you will need colored cardboard and plasticine in blue, light blue, brown and white. We prepare the material.

You need to start by kneading blue and blue plasticine. When the material becomes soft, you should roll it into sausages. Now you need to visually divide the sheet of cardboard into three parts. The bottom of the leaf will be occupied by a vase. We mark its middle and begin to twist the sausages into the snail in this place.

You should alternate blue and blue colors.

When the large circle is ready, we frame it with straight sausages at the top and bottom. Now let's start making willow branches. To do this, you need to roll out sausages from brown plasticine. We lay out the branches in random order.

It is advisable to have an odd number of them. We collect willow buds. To do this, roll small brown and white sausages. We connect them with each other. Now the buds need to be glued to the branches - and the picture will be ready.

Gzhel

Plasticine painting can be made based on folk crafts. For example, Gzhel. Let's create an image of a bird from the strands. You need to draw the outline of a chicken on the cardboard. The picture can be copied from the example given above, or you can come up with your own picture. The bird will be complemented by a floral pattern located above and below.

To make this work you will need a syringe. We fill it with plasticine, heat it in a saucepan and start creating. Using thin strands we lay out the tail and outline of the bird, as well as the ornament. You need to complement the image with thick stripes of blue and blue. Roll the sausages by hand and flatten them a little with your fingers. We create an ornament inside the bird.

Using a stack or a fingernail, apply a pattern in the form of cuts to the thick sausages. We cut out the outline of the head from the rolled out layer of plasticine. All that remains is to place the small details. We roll blue plasticine balls and place them in accordance with the picture. White dots should be used as color accents.

They need to be made from balls and glued to the center of the blue circles.

sailboat

Works using the plasticine painting technique look beautiful and original. Before you start, you need to create a sketch. We take tinted cardboard and draw the outline of a sailboat and waves. To create an image, we need plasticine heated in syringes. When the material melts a little, we begin to work. We lay out the silhouette of the boat with thin strands.

A stretch from brown to white will look beautiful. When the hull is ready, you need to make the sails. We also draw them with strands squeezed out of a syringe. But the flags will have to be made manually. All that remains is to complete the picture with waves. We make lambs from plasticine. You need to select the material carefully so that the colors blend beautifully with each other.

If your kit does not have a suitable shade, you should make it yourself by mixing blue plasticine with white. As an addition, you can glue seagulls above the sailboat. The work should be framed using plasticine. You need to roll two sausages and twist them into a rope. If there is a break in the harness, it is better to redo it.

You can complement this work with shells and metal fittings in the form of an anchor.

Girl in a boat

Only an experienced master can create such a picture. Plasticine painting from a syringe requires skill. Before you start working, you should draw a sketch. Then you need to heat the plasticine in the syringes. And this will have to be done in batches.

Alternatively, you can leave unused plasticine syringes in warm water to prevent the material from hardening. The first step is to make a boat. It is made from shades of brown and yellow plasticine. There will be shadow on the right and light on the left.

This must be taken into account when filling the outline of the boat with strands.

When the swimming device is ready, we move on to making the girl. Using strokes we create her face and hand, and then we lay out her hair and dress with plaits. And again you need to remember about light and shadow. The hair on the right will be darker and the hair on the left will be lighter. The dress should be made in layers, and you should start making it from the end, that is, from the hem.

We apply strands tier by tier, creating the effect of voluminous ruffles. Let's move on to the final part - “drawing” the sea. The waves will look like swirling snails. They also need to be made in layers to create the effect of background and foreground. Some circles can be emphasized with white stripes - these will be highlights.

We make a frame from the strands, and on top you can depict a wave to show the infinity of the water element.

Giraffes

Creating animals from plasticine is an easy task. Moreover, making figures on a plane is even easier than sculpting them in volume. How to “draw” a picture with two giraffes? The first step is to create a background using strokes of soft plasticine. Then sculpt animal figures. They are created as follows.

To make a large giraffe, roll out a layer of plasticine. From it we cut out two ovals, one small and the other elongated, and a rectangle with soft edges. We glue all this in the required sequence onto the background. Thick sausages should be used to create legs, tail and horns. The ears should be drop-shaped.

Now you need to decorate the animal.

We make hooves and balls for the horns from purple plasticine. We make spots and a tail tassel from yellow circles, and eyes and a nose from black balls. By analogy, we create a small giraffe. Now let's move on to making trees.

Brown rectangles with soft edges will become trunks. They can be decorated with matching strands. Roll green plasticine into balls and flatten them. This way we create foliage. You can plant a variety of birds on trees.

Social work

Children can be instilled in a caring attitude towards our smaller brothers in different ways. One of them is to sculpt animals from plasticine. It is desirable that the work raises some kind of social problem, for example, friendship between a person and a dog.

You need to start making this picture from plasticine by rubbing the material into the background. Then you need to make a background - this could be windows and bricks that peek out from under the peeling plaster. In the foreground we depict with brush strokes a girl with an umbrella and a dog.

It remains to complement the composition with raindrops and a symbolic inscription.

Winter picture

Plasticine painting for children is not only a way to pass the time. Thanks to this creativity, fine motor skills develop, as well as imagination and patience. You can create a winter-themed picture not only on cardboard, but also on a disposable paper plate.

We cover this product with blue and white plasticine, which we rub into the cardboard with strokes. Now we build a hut from rectangles. We supplement it with a window. We make the roof. In the foreground, you should “draw” a spreading Christmas tree with green strokes, and form rowan branches from the flagella.

The composition needs to be supplemented with a bullfinch, a moon and snow flakes.

Dog

It will be easy to create any animal if you print its outline on a printer. The object of our creation will be a dog. Plasticine painting can be not only realistic, but also decorative. Therefore, we will make the animal multi-colored.

We warm a piece of plasticine in our hand. We decorate various parts of the dog with strokes of this color. Then we take another shade and do the same.

The work will be completed when there is “no living space left” on the dog, that is, it will all consist of smears of plasticine.