This article introduces the key elements of original methodology for teaching watercolor landscape. The methodology has been successfully tested in the course of plein-air practice at Sergey Andriaka Moscow Specialized School of Watercolor and the Academy of Watercolor and Fine Arts. Grisaille watercolor painting technique is a transitional stage from a black and white drawing to a polychrome landscape, as practising in grisaille makes it easier to master the skills of working with watercolor paints. The article proposes a number of technical exercises, including the implementation of single-layer and double-layer graded washes. It describes the algorithm of creating a multilayer grisaille watercolor landscape based on a preliminary drawing of a landscape motif and formulates the principle of work that combines single- and multi-layer watercolor techniques. The author offers recommendations concerning the best selection of art materials and proper work space organization. Particular attention is paid to creating grisaille landscapes from memory and working with tone in the landscape on the basis of compressed tonal range.

This article introduces the key elements of original methodology for teaching the art of drawing. The methodology has been successfully tested at the Sergey Andriaka Moscow Specialized School of Watercolor and the Academy of Watercolor and Fine Arts. It is based on a combination of quick sketches of animals and elaborate “long” studies of motionless objects. The method enables students activate and develop their visual memory, quickly grasp the essence, nature and proportions of the depicted objects. The author subdivides assignments into sketches of animals in motion where the task is to render character, sketches of animals where the aim is to reproduce the tone and the color, portrait sketches of animals, images of animals in interaction, color sketches in brush, “longer” sketches. The article recommends copying animalistic sketches of classical artists as a compulsory task when mastering the classical drawing and offers the best choice of art materials.

This article describes materials, tools and equipment necessary for execution of stained glass in the Tiffany technique. The author suggests general guidelines for safe, competent and convenient work, as well as requirements for the placement of the workshop, the size and location of workspaces. Technical characteristics of the most convenient machines and tools for processing glass are given. The article provides a minimal list of materials, which allows executing stained-glass windows of any complexity and ensures the smooth operation of any workshop. The article concentrates exclusively on materials and equipment which are easily purchasable in the Russian market and were tested by the author in the course of over fifteen years’ professional experience. Safety, convenience, and reliability are the main criteria for approaching work, arranging a workspace and choosing tools.