At the heart of the article lies the exploration of proper component selection and object arrangement of a still life composition. The theme is of particularly high relevance to modern art education as its every level has been marked by lack of clear understanding on the part of teaching artists, as well as art school students, of the approach, in accordance with which one construes still life composition as a oherent item ensemble. A well-organized still life is contingent upon students being given engaging and complex tasks to fulfil, involving the application of chiaroscuro, portrayal of space, texture, distinct color schemes, etc., yet, above all, the design of an artistic image. Consequently, not only creative, but also educational still lifes should be set up in such a way that makes them fascinating to perform; their execution should enhance art sense and teach students to see the beauty of the world. Still life compositions that develop students’ ability to master landscape painting over the course of en plein air practice are of great significance and utility. The article is illustrated with photographs showcasing step-by-step arrangement of several still lifes (ranging from simple to complex) and accompanied with comments on the stages of work and the rationale for choosing one or another element of the composition. Likewise, the paper presents an overview of principles underlying color and tone choices and constellations, as well as contrasts, rhythms, silhouettes, dynamics, ensembles of textures, etc. Separate sections of the article are dedicated to essential ideas behind the formation of a still life fund (collection) and usage of still life shadow boxes allowing to provide imaginative spatial, chiaroscuro composition solutions. Similarly, it delves into the details of optimal lighting and reflection placement in a still life, which are directly dependent upon the location of windows and wall color in a training workshop. Finally, the article substantiates the necessity of сomposing a still life painting while working on its execution with a view to creating a full-fledged artistic image.

The article examines the main elements of the unique method of teaching pastel painting that is being developed in Federal state budgetary academic establishment for higher education “Sergey Andriaka Academy of Watercolor and Fine Arts”. The authors describe the instruments and materials recommended for successful mastering of pastel painting. They reason what is the optimal choice of pastel sticks or crayons produced in Russia or abroad. The basics of painting with pastel are described as well as the methods of their preparation, different kinds of paper to paint with pastel on and the ways to prime and tone the support. Special attention is paid to the correct choice of support’s texture and the use of glue primers, ashes and grounded natural pumice. A list of instruments that would be needed at different stages of work on the painting is given. The authors provide arguments for creating of watercolor sketch underneath a pastel painting that would set its general tonal and coloristic solution and provide better adherence of pastel to paper. They reveal basic techniques of work including dry and wet application methods or their alternation. Different problems that occur while working with texture are described, most common technical difficulties that emerge on different stages of work on a pastel painting are mentioned, as well as the ways the difficulties can be resolved. The authors explain the optimal techniques of fixation and protection of pastel that can preserve the beauty of its mat velvety surface, the tone and color of finished work. They reveal the principles of correct archival precautions of unframed works as well as framing and displaying basics. The main peculiarities of this technique are characterized: the pastel effortlessly unites techniques of graphics and painting which makes it a unique visual medium.

The author reflects on his experience of working on frescoes in Pokrovsky Church of the Moscow Novospassky Monastery using the technology developed by D. V. Basnin, reverend father Petr (Eryshalov), P. I. Zubov, J. A. Kosheleva. Such an experience appears to be of particular interest primarily for practicing artists given that fresco is a technically complex and labor-consuming technique. As it has gradually been replaced by simpler drywall painting methods, only a handful of contemporary artists have acquired first-hand knowledge and expertise in the art of fresco. Furthermore, the continuous decline of fresco painting has been attributed to the appearance of new construction technologies and utilization of materials that do not secure good adhesion of levkas (gesso), which serves as the basis of the technique. The article delineates main stages of working on a fresco: creation of cartoons, selection of pigments, application of a three-layer levkas, sequential layer-by-layer execution of the painting with the usage of coloration. Likewise, peculiarities of working with roughly and finely grounded pigments are revealed. The author provides a recipe for levkas, the list of necessary instruments and materials. He outlines methods of correct planning and work process explaining key difficulties that arise when one sets out to execute a piece of monumental art upon wet lime plaster in a strictly limited time. Finally, he touches upon the advantages of fresco painting as compared with other techniques of mural painting. The material is written from the point of view of a practicing artist which allows it to be used by all painters who are studying the technique and who aspire to master it. The information presented in the article can also be useful for everyone intending to decorate churches with monumental murals, as well as for art historians who are interested in practical aspects of fresco painting.