Lesson type
Combined.
Target: To form in students the concept of a spring.
Tasks
Educational:
Give students an idea of how springs are formed.
correct students’ logical thinking through exercises in establishing cause-and-effect relationships
replenish the active and passive vocabulary of students.
cultivate observation and independence.
Multimedia equipment, cards for independent work.
During the classes
^ ORGANIZATION OF THE BEGINNING OF THE LESSON
Checking readiness for the lesson, checking seating, communicating the topic and goals of the lesson.
Checking homework:
In previous lessons we learned about land bodies of water. Let's review what bodies of water there are on land.
^ Working with cards:
Assignment: choose the correct answer and underline it. (application)
Assignment: sign which column talks about the dangers of reservoirs, and which talks about the benefits (appendix)
As we know, reservoirs can be artificial and natural.
^ Work at the board: Underline the names of artificial reservoirs.
The names of reservoirs are written on the board: POND, RESERVOIR, LAKE, SWAMP
The rest of the class works with the teacher:
1.Who creates natural reservoirs? (Natural bodies of water are created by nature)
2.Name the natural bodies of water on land
Now let's listen to ________________, who worked using a card.
3.Where lakes most often form.
4. Show a flowing lake in the picture
5. Show in the picture a closed lake
6.What do people use ponds for?
7.Tell us about the damage caused during the construction of reservoirs.
8.Tell me about the benefits of reservoirs
^ UPDATED AND CHECKING STUDENTS' KNOWLEDGE ON THE TOPIC
Today in the lesson we will get acquainted with the concept of a spring. The topic of today's lesson is “Spring and its formation”
^ Work in the notebook: Open the notebooks, write down the number, Class work, lesson topic Spring and its education.
During the lesson we must find the answer to the question:
^ How is a spring formed? (written on the board)
And the knowledge you gained in biology and natural history lessons will help you answer this question.
Let's remember where water comes from on Earth?
^ U: falls as precipitation
What kind of precipitation do you know?
U: rain, snow, hail, dew, etc.
So: In the spring the snow melts, in the summer it rains. What happens to water that falls on the ground?
^ U: puddles and streams appear, flowing into rivers.
What happens to water under the influence of the sun?
U: evaporates
As we said, part of the water flows into rivers, part of the water evaporates, and the other part is absorbed into the soil.
What grows on the surface of the soil? (plants). Do plants need water? Where do they get it from?
So, in the soil, water is absorbed by the roots of plants.
^ LEARNING NEW MATERIAL
But what happens to most of the water that seeps into the soil?
To answer this question, let's take a closer look at the screen.
Slide: Water fell on the ground as rain. What will happen to the water?
Most of it seeped through the soil layer and met a layer of sand on its way (remember, can sand allow water to pass through?)
Correctly, sand allows water to pass through, so the layers of soil and sand are called water-permeable breeds
Through a layer of sand, water reaches a layer of clay or rock.
Remember from biology course, do clay and hard rocks allow water to pass through?
U: no
Right. Therefore, layers of clay and hard rocks are called waterproof, that is, impermeable to water.
Water accumulates above these layers. But can water accumulate here indefinitely?
U: no
Quite right, the water begins to slowly flow in the direction where the rocks are inclined. Water flows underground until it reaches the surface of these layers. This is a spring, source, key.
Slide: with definition Nikita A. what is a spring? (is reading)
Work in your notebook: write down the definition of a spring.
A SPRING is a place where underground water comes to the surface of the earth.
PHYSMINUTE
Let's look again at how a spring is formed experimentally:
I created a small piece of earth in a vessel on the table. The bottom layer consists of clay, above is a layer of sand and the topmost is soil. Tubes are made from a layer of sand and clay that will help us see the process of formation of the spring.
What layer do you expect water to start coming out of? (Layer of soil, sand or clay?)
EXPERIMENT: Let's begin an experiment: precipitation fell to the ground from a cloud (pour water).
Was our guess correct?
Which layer stopped the water?
^U: layer of clay.
What are the names of rocks that do not allow water to pass through?
U: waterproof
What is the name of the place where underground water comes to the surface?
U: spring
Raise your hand if you've ever seen a spring.
How would you describe spring water?
The water in the spring is clean, transparent, cold. Why do you think?
^ Listen to the answers
What causes water to heat up on the surface of the earth: in puddles, rivers, lakes, etc.
U: from the sun
Can the sun heat the water that runs underground?
^ U: no, the sun can’t heat it up
Conclusion: that's why the water is cold.
What layers does water pass through before reaching the surface?
U: through soil and sand
What will happen to dirty water, which is passed through the sand.
^ U: It is being purified.
Conclusion: therefore the water is clean.
Cold, clean water comes out of the ground to the surface. She digs a hole for herself. The water from the stream gives rise stream.
^ CONSTRUCTION OF LEARNED MATERIAL
Now I will read you a poem, pay attention to how spring water is described in the poem.
Poem: Spring
Ivan Bunin
In the wilderness of the forest, in the wilderness of green,
Always shady and damp,
In a steep ravine under the mountain
A spring gushes out of the stones icy:
It boils, plays and hurries,
Spinning crystal clubs,
And under the branchy oaks
Glass runs molten.
And the heavens and the mountain forest
They look, thinking in silence,
Like pebbles in light moisture
Patterned mosaics tremble.
How did Bunin describe the water in the spring in his poem?
Slide : Now let’s look again in the picture at how a spring is formed.
Based on the picture, tell us through which layers the water passes?
Which layers retain water?
Show on the screen where the water comes to the surface of the earth
Show the spring in the picture
Show the beginning of the stream in the picture
Slide: K Which layer is waterproof? Choose the correct answer on the screen
^ Game: “Find the mistake”
There are cards attached to the magnetic board that can be used to describe water, but are they all suitable for describing spring water?
Your task is to go to the board and remove the card that is not suitable for describing spring water. Each person removes only one card.
^ MUDDY, CLEAN, COLD, DIRTY, TRANSPARENT, HOT, TASTY.
The board should remain: CLEAN, COLD, TRANSPARENT, TASTY.
A game:
Each of you has cards in an envelope. The task is to arrange the cards in the sequence necessary to form a spring.
Now let's test ourselves. Call one student to the board and place cards on a magnetic board.
There are 4 cards on the magnetic board with the image of: soil, sand, clay, water (arranged out of order: clay, sand, water, soil, stones). Will a spring appear with this arrangement of rocks?
^ EXPLANATION AND RECORDING OF HOMEWORK.
Pages 56-57 answer questions 1;2,3,4
Draw a diagram of the formation of the spring in your notebooks. Color the permeable layers with a brown pencil, and the waterproof layers with a red pencil.
^ SUMMARIZING
Teacher Questions:
What topic did you study in class?
What layers does water pass through when a spring forms?
How are springs formed?
Application:
^ POND, RESERVOIR, LAKE, SWAMP
Independent work:
Each student has cards on the magnetic board with the definition of the sequence of formation of the spring. Task: put the cards in order
Call one of the students to the board and place the cards in the correct sequence on the magnetic board. The rest are self-checking.
Finally, listen to the story:
Three travelers met at the same spring.
The spring flowed out of a rocky place. A dense forest grew around it, the branches and leaves of which shaded the spring. The water in the spring was clean, cold as ice, and sparkled like glass. In the place where the water flowed out, someone put a stone the size of a cauldron, drilled it, hewed it, and in the place where the water flowed down, carved the inscription: “Hey, traveler, be clean, like this spring.” When the three travelers, having drunk plenty of water, read the inscription, one of them, apparently a merchant, said:
Clever words are carved here. A stream from the spring runs day and night, without ceasing, and flows to distant lands; and the further it flows, the more streams flow into it. So, as it flows, it turns into a big river. From this follows the following conclusion: “You, man, also work without ceasing, never stop and do not indulge in laziness; If you do this, you will eventually be great and achieve your goal.”
The second traveler was a poor sage; he shook his head and said:
No, I don't think so. The meaning of this inscription is much more significant than you realize. This spring is ready to help everyone: whoever is languishing from the heat, it gives coolness and delight to the soul, whoever is thirsty, it quenches his thirst, and for all this he does not expect a reward from anyone. And if so, the meaning of this inscription is this: if you do good to someone, then do not impose on him the obligation to respond in kind. This is what this inscription says.
The third - a traveler, a very slender, handsome young man stood silently. His comrades asked him what he thought. The young man replied:
I think otherwise. If the water in this spring stood calmly in one place, then grass and debris falling into it would muddy and pollute it; then people and animals would not love the spring so much. But since the spring flows continuously day and night, it is cleansed and everyone loves it for this. If so, then the meaning of the inscription is this: keep your soul and body pure, like this spring, for when you look into it, you see how the shine of the sun and the reflections of the grass are reflected in it, if they look into it? Therefore, keep your soul, like this spring, open to everyone - let everything in it be visible. That's what I think the inscription says.
Springs have become a symbol of the things that are most dear to us - our father’s home, the region where we grew up, the Motherland. It is not for nothing that the words “Motherland” and “spring” have a common root.
Modern creativity and handicrafts offer a lot of very interesting and unusual techniques, including the technique when pictures are painted by scratching on wax. This technique of drawing grattage, or waxography, is called. The result of such work is similar to an engraving.
Scratch - what is it?
What is the grattage drawing technique? The literal translation of this term is "scratching" (which comes from French verb gratter, translated as “scratch”). Scratching is essentially a type of engraving. True, the opinions of various artists differ on this matter. If we take as an engraving any image obtained by applying strokes without the presence of paint, then grattage is a typical engraving. Just like any pencil drawing.
If we take as engraving only what is applied to a special hard surface (such as wood or metal), then drawing using the grattage technique is a kind of imitation of engraving made on cardboard or very thick paper. Drawings using this technique are made with a slightly sharp object (such as a pen, a special chisel, a pointed stick) on a surface previously prepared for the painting.
Stages of creating a masterpiece using the grattage technique. Step one - how to choose an engraving base
To create a masterpiece using such an interesting technique, you first need to prepare cardboard or a sheet of thick paper (whatman paper can be used). Next, the artist has several options.
Option one is to leave the paper just white.
Option two is to make this base colored by applying watercolors to it in a creative manner.
Option three is to thoroughly paint over the cardboard with regular wax crayons. You can use one color, or you can sketch out multi-colored spots and stripes (you will need a fairly thick layer), without leaving empty spots.
Option four - you can use colored cardboard as a base.
Option five is to prepare cardboard with a finished drawing on it. For example, a piece of a box of chocolates or a notebook cover, which allows you to try scratching at home, with a minimum of materials on hand.
Step two - applying wax
Having prepared the base, you need to apply wax to it. This can also be done in various ways.
Option one - rub into the base
Option two is to grate the candle into a container and place it in a water bath. Once the wax has melted, apply the wax to the prepared cardboard using a small brush.
Option three is to light it (this is a small tablet candle) and draw wax onto a brush directly from the candle, transferring it to the cardboard.
If you previously applied the wax step to the base, you need to skip the step. True, if the application of crayons seemed uneven to you, this can be corrected at this stage. Try to improve the situation a little with a solvent (for example, take turpentine).
It is precisely due to the use of such materials that scratch paper is perfect for children's development. But professional craftsmen use chalk, special clay, and egg yolk instead of wax. But these materials are still for those who have long known what the grattage drawing technique is, in kindergarten the use of such bases is inappropriate.
Step three - add color
At this stage, you need to paint over the applied layer of wax. And there may be options here. You can do this using ordinary mascara. Perhaps during the process it will roll down the surface of the wax, then you will have to be patient and apply several layers. There is also the option of applying mascara with a cotton swab or sponge.
Another option for painting the surface is using gouache. The paint can be of absolutely any color, and it can also be applied in spots. True, this method is only good when the artist has a clear idea of the finished result. This type of engraving will be less durable, and during the work the gouache smudges and stains everything around.
And finally, the third option - the grattage drawing technique also involves the use of True, and there are subtleties here - as a rule, acrylic hardens into a film, and it is possible to scratch with small irregularities, just as polyethylene is scratched. You need to be extremely careful with this type of coating. By the way, work surface and it is better to cover the floor around the table, otherwise all surfaces will be strewn with small ink-wax crumbs.
Step four - the magic of engraving appearance
This is where the real magic begins. Here you will need any slightly pointed object, for example, a knitting needle, a nail, a toothpick, a disposable fork (which is great for drawing sea waves), etc. By the way, the simplest option is a ballpoint pen that has stopped writing. And let's start creating! Of course, professional artists, for whom the scratching technique is not new, use special cutters (cutters), but for amateurs and beginners, the listed available tools will be sufficient. You will scratch the top layer of paint, and white (or colored, if the base was previously painted over) space will appear in the scratches. Naturally, you can scratch not only dots, lines or stripes, you can also remove, if necessary, entire sections of the paint layer, drawing, for example, flower petals.
By the way, there is also a variant of the reverse scratching technique - scratching dark cardboard, which is covered with light paint on top.
If gouache (or ink) rolls off from the previous layer treated with wax crayons or pencils, you can first degrease the base with talc (just sprinkle on top and wipe with a cotton pad).
To prevent the gouache from staining your hands when scratching out the design, add a little PVA to the paint before applying it and mix well. Or, when drawing, place a piece of clean paper under your hand, which is resting on the sheet.
And if you want to find out what scratch paper is and try to transfer any drawing from an album, book, or magazine onto your sheet of paper, know that it is very easy to do. First transfer the drawing onto tracing paper, and then from the tracing paper, pressing lightly, apply a light outline of your drawing onto a sheet prepared in advance for scratching. And only after that scratch it properly.
THIS TECHNIQUE REQUIRES KNOWLEDGE IN DRAWING IN PHOTOSHOP
How to Draw Using Adjustment Layers in Photoshop. It's relative useful way drawing, which I discovered while working on Now Arriving, the star of this lesson.
You will need a graphics tablet and digital drawing skills
WHAT ARE ADJUSTMENT LAYERS?
Adjustment layers help you edit your images in Photoshop without directly changing the pixels in them. This technique is also called “non-destructive editing,” and although it is intended for editing photographs, it can also be used for quick sketches of a scene.
Adjustment layers can be found in the Adjustments panel in CS4, or through the button
in the Layers panel in Photoshop CS3.
WHAT BASICS DO YOU NEED TO KNOW?
When you select an adjustment you want to apply, it is inserted as a separate layer on top of the file you're working on. Adjustment layers are equipped with a layer mask (Layer Mask).
In the example above, I added a Photo Filter layer to my image. Note that an adjustment layer has several different components than a regular layer. By double clicking on the Settings icon you can change the settings of the adjustment you have chosen.
In the case of Photo Filter, I initially made the scene cold, but then I wanted to warm it up. To do this, I only had to double-click on the icon to change the settings from Cooler to Warmer!
This technique is superior to a regular adjustment filter from the Image menu because the layer never physically affects the pixels. If I want to see what the image looks like without any adjustments, I simply hide or delete the adjustment layers. Everything is as simple as shelling pears!
The white blank icon to the right of the correction icon is the Layer Mask. By clicking on this icon, you will be able to select the areas where the Layer Mask effects should be applied. This way, you can leave some areas of your drawing untouched, or apply a different adjustment layer to these areas.
You can only paint in shades of gray on the Layer Mask. By default, the Layer Mask is white, which means it is "on" around the entire perimeter of the image. Painting with black will "turn off" the areas you paint with the brush, thereby revealing the original drawing. Conversely, the lighter the shade of gray you paint with, the stronger the effect of the adjustment layer will be, until you fully “turn on” the white.
HOW TO USE THIS IN DRAWING?
Besides giving your image some post-processing without losing the original, adjustment layers can be very useful in directly creating detail in your digital works. Imagine painting shadows in a scene where you don't actually care whether the colors you're painting over are correct or not? Adjustment Layers give you the ability to paint just like that, saving a huge amount of time in the process.
Here you see a completed line art version of one of my latest drawings. For this tutorial I will try to show you the entire process of coloring this drawing, starting with creating a Photo Filter adjustment layer.
I want the image to be cool, so I choose a very saturated Cyan filter color with maximum Density. I unchecked the Preserve Luminosity option so that all the white was filled with color.
Now I'm going to use a Layer Mask on the Photo Filter to draw in the light source in this scene. Since the mask is on, I'll have to paint with black to allow the white background to show through.
I start painting on the Layer Mask, quickly applying the light that was already prepared in my head. I paint the areas where the light hits, while everything else remains in shadow.
I keep drawing the whole scene until I get this...
Now the entire drawing is drawn. This gives me a very clear sense of what colors to use at the beginning. Since this was painted on an adjustment layer, this first step will be very valuable. Now I can take the liberty and play with the Photo Filter settings and see if I like something different.
But I decide to leave everything as in the original blue version, because I wanted to create a feeling of cold.
Now that I have my shadows done with my base color, why don't I also work on the lighting?
To do this, I'm going to duplicate the Photo Filter layer so that I have two of these filters. Then I select the duplicate's Layer Mask and press Cmd+I (Ctrl+I if you're using Windows) to invert the mask. With this inversion we will ensure that the entire drawing again becomes monochromatic, without any colors, but this is only temporary.
I'm going to edit the settings of the duplicated Photo Filter and see how the warm ambient light will look...
Yes, it looks great! But... I think the light was too intense. The feeling of light outside was lost. Reducing the saturation of the Photo Filter would not work because it would only reduce the saturation warm light... So I'm going to enable the Preserve Luminosity feature for this Photo Filter to allow white color come through and bring light back into the drawing.
Now I got what I needed! Without any additional painting steps, I made the light warm while keeping the shadows cool! Conversely, the shadows outside turned out warmer because they were drawn with less saturation than the interior. The warm filter appears more prominently in the picture, thereby establishing that the temperature outside is warmer than inside the car.
Now, Photo Filters cannot apply any actions to this picture. They can't add enough darkness to the areas I want. So I'm going to add a new adjustment layer to achieve the darkness I want in certain areas.
I add an Exposure Adjustment Layer and adjust the Exposure, Offset and Gamma sliders until I get a very high contrast, dark version of the image.
It looks scary, of course, but remember that this effect is only as strong as the Layer Mask allows. I wanted to make sure I could achieve enough darkness in any given area. So, just like I painted the shadows in the first Photo Filter, I'm going to use the Exposure Layer Mask to paint on the dark areas.
For detailing smaller areas, as in in this case, it's a good idea to first invert the Layer Mask so you can paint with White on Black.
It looks more realistic this way. By using multiple shades of gray here on the Layer Mask, I could control the amount of darkness in certain areas of the painting. Here you can see how I left the areas on the inside of the door frame and the bottom of the rolling bag darker.
At this point, it's time to think about adding base colors that these adjustment layers will interact with. For now, it's best to turn off all adjustment layers so you can just focus on coloring.
On a new clean layer underneath all the adjustment layers and line art, I'm going to fill the image with simple basic colors.
Please note that the picture shows ONLY the base colors. There is not even a hint of shade or light. 100% pure colors of the main set.
Now that the base colors have been applied, you can re-enable all adjustment layers.
Now, it already looks like something! Adjustment layers interact with base colors exactly as they are supposed to!
At this point, the adjustment layers did their job. All that's left to do is add some details to the background, so I'm going to paint them on a separate layer below the base colors layer.
The background was very easy to draw, it was behind the base colors.
But... there is no feeling of harmony, as if something is wrong. The sky should be blue, not orange! Sometimes you'll have to edit an adjustment layer that isn't performing as well as it should. In this case, the Photo Filter, which we previously duplicated to add warm light, turns out to be the culprit in this situation. Here adjustment layers are presented in all their glory! We can easily edit the layer with the Photo Filter and reduce its brightness, and even remove areas covering the sky so that it remains blue.
I'm going to make the Photo Filter less saturated, and erase the areas where the sky is visible in its Layer Mask.
After these changes, the image looks almost ready for printing! But there is one more adjustment layer that I would add to make 100% sure that the result is really perfect...
On top of all the layers I add a Color Balance adjustment layer. Color Balance will allow me to make the final touches on the temperature of the drawing and the colors in the drawing. Almost all drawings could benefit from working with Color Balance. Sometimes the result can be much better than it was. And sometimes it won’t be needed at all.
That's all! I decided to change the colors and temperatures a little more to get the look I REALLY wanted to see. [Increasing the Red level helped to better match skin tones, and Yellow slightly diluted the saturation of blues.]
Now the drawing is confidently ready to print, and what's even better is that I can easily and quickly edit any of the adjustment layers in the future if I need it.
A FEW TIPS AND TRICKS
There are a bunch of adjustment layers and each of them has certain, unique effects that, one way or another, help your drawing. The trick here is to try them all and find their strongest points, which you can later use in your work. This tutorial is just the beginning if you're wondering how all these special layers can do so much for you.
Conversely, you need to remember that Adjustment Layers can't do absolutely everything for you. There will always be things you need to draw yourself. You shouldn't rely completely on adjustment layers; that's not what they're made for. The most important thing here is that Adjustment Layers act as ASSISTANTS, moving you towards the desired result.
It is quite possible to use adjustment layers to achieve a decent level of the final drawing, then simply complete the details and objects on new layers on top of the previous ones.
When drawing, you can note one of the most important characteristics of the Layer Mask - the Eyedropper “listens” only to the shades of gray on the mask. You can, for example, draw shadows, and ONLY worry about picking up the saturation of the shadows with an eyedropper. The eyedropper will simply ignore everything else, and will only work on the layer mask you're editing.
Layer Masks can be applied to any layer, not just Adjustment Layers. Want to delete something, but don't know if you'll want to put it back later? Simply apply a Layer Mask and make the area invisible by painting with black over the mask! This way, what you deleted will never be lost - just hidden! Paint the mask with white and everything will come back when you want it.
To make a Layer Mask appear, you just need to select the desired layer and click on the button (a rectangle with an oval inside), which is located at the bottom of the Layers panel. And then you know what to do!
Layer Masks can be extracted and copied to other layer masks, so you don't have to worry that what you draw will be locked onto that adjustment layer forever. To transfer what you drew on the layer mask to the actual layer itself, simply select everything, copy and paste the layer mask. It will look like a black and white drawing on top of your drawing.
To paste shades onto a new blank layer mask from another layer mask or from something you painted before, select the Layer Mask you want to transfer the drawing to and open the Channels panel. An additional channel will appear in your list, which represents the Alpha of the layer mask [or transparency]. Select that channel and make it visible, then just paste what you wanted into that channel. If you hide the channel, you will see a layer mask containing what you just pasted onto it, and you will get the result that you wanted to achieve this way.
This concludes the lesson! I hope you find this information useful.
YOUR POTENTIAL AND YOUR WORK IS AS LIMITED AS YOU LIMIT YOURSELF. NEVER STOP EXPERIMENTING!
Click on the picture to view the image in full size and 100% quality.
“Nothing beats the tried and true method. PRACTICE IS THE IDEAL, and I do what I can to help me achieve that.” (c) Matt Laskowski.
Photoshop, as an image editor, allows us not only to make changes to ready-made pictures, but also to create our own compositions. This process can also include simple coloring of contours, as in children's coloring books.
Today we’ll talk about how to set up the program, what tools and with what parameters are used for coloring, and we’ll also practice a little.
To work we need a special working environment, some useful tools and a desire to learn something new.
Working environment
The work environment (also quite often called the “Workspace”) is a certain set of tools and windows that determine the specifics of the work. For example, one set of tools is suitable for photo processing, and another for creating animation.
By default, the program contains a number of ready-made working environments, which you can switch between in the upper right corner of the interface. As you might guess, we need a set called "Drawing".
Out of the box the environment looks like this:
All panels can be moved to any convenient place,
close (delete) by right-clicking and selecting "Close",
add new ones using the menu "Window".
The panels themselves and their location are selected individually. Let's add a color adjustment window - we'll have to access it quite often.
For convenience, let's arrange the panels as follows:
The workspace for coloring is ready, let's move on to the tools.
Brush, pencil and eraser
These are the basic drawing tools in Photoshop.
Finger and mix brush
Both of these tools are designed to “smudge” drawn elements.
The tool “stretches” content created by other devices. Works equally well on transparent and colored backgrounds.
2. Mix brush.
A mix brush is a special type of brush that mixes the colors of nearby objects. The latter can be located both on one and on different layers. Suitable for quickly smoothing out clear boundaries. Doesn't work very well on pure colors.
Pen and selection tools
Using all these tools, areas that limit the filling (coloring) are created. They must be used, as this allows you to paint areas in the picture more accurately.
Fill and Gradient
Colors and samples
Main color so called because this is what tools are used to draw with Brush, Fill, and Pencil. In addition, this color is automatically assigned to the first control point when creating a gradient.
Background color can be especially important when using some filters. This color also has a gradient end point.
The default colors are black and white, respectively. Reset is carried out by pressing the key D, and changing the main to the background – keys X.
Color adjustment is done in two ways:
Styles
Styles allow you to apply different effects to the elements contained on a layer. This can be a stroke, shadow, glow, overlay of colors and gradients.
Adjustment window by double clicking on the appropriate layer.
Examples of using styles:
Layers
Each area to be painted, including the outline, must be placed on a new layer. This is done for the convenience of subsequent processing.
An example of such work:
Practice
The coloring job begins with finding the outline. This black and white image was prepared for the lesson:
It was originally set on a white background, which has been removed.
As you can see, there are several areas in the picture, some of which should have the same color.
- Activate the tool « Magic wand»
and click on the handle of the wrench.
- Clamp SHIFT and select a section of the handle on the other side of the screwdriver.
- Create a new layer.
- Adjusting the coloring color.
- Choosing a tool "Fill" and click on any selected area.
- Removing selection using hotkeys CTRL+D and continue to work with the remaining sections of the contour according to the above algorithm. Please note that the selection is made on the original layer, and the fill is made on the new one.
- Let's work on the screwdriver handle using styles. Call up the settings window, and first of all add an inner shadow with the following parameters:
The next style is inner glow. The settings are:
The last one will be the gradient overlay.
- Let's add highlights to the metal parts. To do this, select a tool « Straight-line lasso»
and create the following selection on the screwdriver shaft (on a new layer):
- Fill the highlight with white.
- In the same way, draw other highlights on the same layer, and then reduce the opacity to 80%
.
This completes the tutorial on coloring in Photoshop. If desired, you can add shadows to our composition. This will be your homework.
This article can be considered the basis for an in-depth study of Photoshop tools and settings. Carefully study the lessons that are located on the links given above, and many of the principles and laws of Photoshop will become clear to you.
If the technology is not followed when painting surfaces, various defects may occur.
Let's try to analyze in this article possible painting defects and ways to eliminate them.
Adhesive paints
Thus, when painting with adhesive paints, the following defects occur:The paint layer becomes shallow and peels off.
This is due to the fact that there was not enough glue in the composition or chalk with large particles was used.
To eliminate the defect, you need to either add glue or strain the composition through a sieve and re-paint the surface.
The paint film cracks and peels off.
This happens because the paint composition is too thick, because there is too much glue in it, or because the previous layer of paint was not removed.
It is necessary to dilute the composition, reduce the amount of glue, peel off all layers of paint, grind, prime and repaint the surface.
If shows through the previous paint layer, then either the primer is different in color from the paint composition, or there is not enough pigment in it, or the surface was previously painted with water-soluble paints.
It is necessary to prime the surface to match the color of the paint composition, or repaint it by adding pigment to the composition, or thoroughly wash, dry and repaint the surface.
The appearance of marble spots occurs when there is excess glue in the putty, primer or paint composition.
It is necessary to wash away the paint layer and repaint or prime the surface with a composition containing sufficient glue.
Oily stains on a surface
Appear if there are stains on the base from non-drying mineral and vegetable oils. In this case, the contaminated areas of the base are cut out, the surface is re-plastered and painted.
Rust stains on a painted surface
Protrude if through plaster long time water or resinous substances leaked.
It is necessary to remove the cause of the rust, clean off the rusty plaster, wash the surface with a warm 3% solution of hydrochloric acid, dry it, coat it with oil paint or rosin varnish, prime it and repaint it.
Efflorescence (white crystalline coating)
They are formed if salts are released from the plaster under the influence of moisture.
First of all, eliminate the entry of moisture, dry and clean the base with a wire brush, paint over the areas where there was efflorescence with oil or nitro-enamel white, putty, prime and re-paint.
The tone of the paint color changes when using pigments that are not resistant to alkalis, light, or hydrogen sulfide.
All paint must be washed off, primed again and the surface painted.
Dark seams at the joints individual areas of surfaces.
Appear if the surface is not primed before painting.
It is necessary to wash the surface, prime it with vitriol and repaint.
Paint does not stick to the primed surface if there is excess soap in the primer.
In this case, you need to add soap to the paint composition.
The painted surface dries unevenly, if during painting there were sharp fluctuations air temperature.
Needs alignment temperature regime, eliminate drafts.
Lime compounds
When painting with lime-based compounds, defects can also form.Lime paint film can shallow.
This happens if the surface was poorly moistened with water or painted during the hot season. It needs to be repainted.
The paint film is peeling off in the event that the surface is poorly cleaned.
You need to completely clean the entire surface and repaint it.
Oil and enamel compositions
When painting surfaces, defects are also possible.Paint may take too long to dry, if the paint composition contains pigments that delay drying: soot, kraplak, zinc white, sienna, etc., and also if the drying oil contains mineral oil or other impurities.
In this case, you need to add a drier to the composition and thoroughly shade the surface.
The painted surface remains sticky when using low-quality drying oil.
You can wash the surface with cold acidified water, and if this does not help, clean and repaint the surface.
Brush marks remain when applying too thick paint and insufficient shading.
The surface needs to be cleaned and repainted with a thinner paint.
The paint on the painted surface is blistering, if the surface is not sufficiently dried before painting or the base of the surface is constantly moistened.
You need to clean off the swollen paint, dry it and repaint the surface.
If there is a permanent source of moisture, it must be removed.
Cracks appear on the paint film, if the base is not dry enough or the primer contains too much drying oil.
The surface must be completely cleaned and repainted.
Wrinkles appear on the paint film, if too thick a layer of paint is applied. You need to clean the surface with sandpaper, prime it, putty it and repaint it.
Paint drips appear when painting if the paint is too liquid or poorly shaded.
It is necessary to clean the surface with glass sandpaper or pumice and paint it with a composition of normal thickness.
Rusty and dark spots
appear on the painted surface if oil and resin stains have not been previously removed from it. Or if the painting was done on insufficiently dried plaster or putty.
In the first case, the contaminated areas are cleaned, washed with hydrochloric acid, covered with two or three layers of alcohol varnish and repainted.
In the second case, the paint is cleaned off in those places where stains have appeared, the surface is dried, primed, puttyed and repainted.
Matt spots appear on the painted surface if it is poorly primed.
You need to clean it with fine glass sandpaper and repaint it.
The joints are noticeable, if they are colored too much large plots quick drying paint.
In this case, the surface must be repainted.
Rough paint texture This happens if they use an unfiltered compound or the putty was poorly cleaned and sanded.
The surface should be cleaned with sandpaper and pumice and repainted.
The paint film peels off from the base, if the surface is not sufficiently dried, especially wood, not cleaned and under-oiled.
It is necessary to remove the peeling paint, clean the surface, wash, dry, dry, and repaint.
Shows through the colored layer of old paint in case if old paint dissolves into a new one.
The dried painted surface must be opened with two or three layers of alcohol varnish or nitro varnish and repainted.
