INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE
ISSN: 2692-5206, Impact Factor: 12,23
American Academic publishers, volume 05, issue 06,2025
Journal:
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page 215
LINE DRAWING AND COLOR PAINTING ARE THE FOUNDATION OF
COMPOSITION
Nazirbekova Shakhnoza Batirovna
Associate Professor, Department of Fine Arts,
Tashkent State Pedagogical University named after Nizami
Abstract:
This article discusses the purpose of studying the subject of painting: to ensure that
future teachers of fine arts deeply master the theory and practical skills of painting, develop
their creative abilities, and understand the indispensable role of easel painting in their artistic
observations and research processes, particularly in the creation of sketches and large-scale
artworks. It emphasizes how the knowledge and competencies acquired in painting support
these efforts.
Keywords:
Gamma, sketch, motif, watercolor, tempera, gouache, primer, constructive,
plasticity, grisaille, monumental, composition, portrait, still life, achromatic, chromatic,
spectrum, perspective, color scheme.
The role of line drawing in creating expressive paintings is invaluable. Although a skilled artist
may work directly with paint without preliminary drawing, in the creative process the
relationship between drawing and painting becomes evident. Spatial positioning of objects, the
accuracy of proportions, the correct application of colors, and the overall coherence of a work
all largely depend on the artist. Only when an artist has thoroughly mastered line drawing can
they achieve the desired outcome in painting. Otherwise, no matter how attractive the colors, a
work based on a weak drawing cannot be considered high quality.
Historical experience from various art schools confirms that mastering line drawing in the
initial stages of education lays the groundwork for later success. When young artist Odoardo
Fialetti arrived in Venice to study painting, he asked Tintoretto what should be done to master it.
Tintoretto replied, “Draw!” When asked again what else he would advise, Tintoretto responded,
“Draw, and draw again!” — emphasizing that drawing bestows elegance and perfection on
painting.
The great sculptor Michelangelo saw line drawing as the root and foundation of all knowledge
in painting, sculpture, and architecture. Charles Le Brun declared that “Drawing is a pole star
and compass that always guides us and saves those sinking in the ocean of colors.” Engraving
master Engr had inscribed on the doors of his studio: “I teach drawing to students who come in;
when they leave, they are masters of painting.”
Caracci once said, “There is one element that forms the basis of all art forms — drawing.
Whoever masters drawing will master both painting and sculpture.” Titian asserted, “It is not
color that makes a shape beautiful and delicate, but the precise line drawing.” Even in his old
age, he did not let a day pass without drawing something with charcoal or chalk.
INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE
ISSN: 2692-5206, Impact Factor: 12,23
American Academic publishers, volume 05, issue 06,2025
Journal:
https://www.academicpublishers.org/journals/index.php/ijai
page 216
V.Ye. Makovsky famously said: “Painting that is not based on drawing is not art, but a chaotic
collection of colored blotches.” P.P. Chistyakov taught that “One who does not thoroughly
understand drawing cannot be creative.” I.Ye. Repin practiced drawing two to three hours daily
and considered it the foundation of painting. A.M. Vasnetsov recalled that Chistyakov’s
favorite occupation was drawing. At Aschbe’s art school in Munich, even graduates of art
academies were taught drawing — focusing on the constructive structure of forms, tonal
relationships, and grisaille technique — for extended periods before moving on to painting.
Only after mastering constructive design and tonal values were students allowed to work in
color.
The masterpieces of great painters stand out for their well-composed structures, relevant themes,
and the harmony of warm and cool colors. Many renowned painters were, above all, masters of
drawing — such as K.P. Bryullov, I.I. Shishkin, V.Ye. Makovsky, V.D. Polenov, I.Ye. Repin,
M.A. Vrubel, V.A. Serov, K.A. Korovin, A. Abdullaev, U. Tansykbaev, Z. Inogomov, M.
Nabiev, R. Akhmedov, B. Jalolov, A. Mirzaev, A. Ikromjonov, and I. Khaydarov.
In painting, the presence of fine plastic forms, proportional harmony, and spatial characteristics
is essential.
A painter must fully reflect these elements in nature; otherwise, the work is judged as clumsy,
careless, and of poor quality. The colors in painting must be closely linked with the drawing.
Before starting to work in color, the necessary parts of nature should be outlined in pencil, then
the volume of the shape can be conveyed using color.
According to D.N. Kardovsky, if we consider painting as the continuation of drawing in color,
then interpreting the shape in color starts with drawing, is corrected several times during the
creative process, and is refined through colors. Mastery of drawing ensures the creation of
unique painting works. P.P. Konchalovsky also wrote: “The true method of painting is the
application of color that fully conveys form.”
In true art, the main artistic expression is drawing. It defines shapes, provides information about
events and people, and embodies creative ideas. Composition first emerges in drawing (as a
plastic idea) and is recorded there. Even sculptors and architects begin their ideas with a
preliminary sketch. Artists also develop their ideas about form and composition in their
drawings.
Mastery of drawing is vital for artists of all fields: graphic artists, architects, stage designers,
monumental painters, and more. A film or theater artist who does not master the secrets of
drawing cannot be considered a true creator. In fact, the artistic and cultural level of artists
trained in the school of truthful drawing is assessed by the quality of their works in all genres of
visual art.
If a decorative artist-pedagogue or a monumental artist begins creating works without
thoroughly understanding the foundations of drawing, it can result in incomplete artwork,
inauthentic scenes, and an inability to accurately portray the human figure or the essence of
events. For young artist-pedagogues to work successfully in painting, they must master the
theoretical knowledge and practical skills of drawing.
INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE
ISSN: 2692-5206, Impact Factor: 12,23
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Painting in various colors is a serious responsibility, as painting relies on a unified whole of
color and tone relations. Misunderstanding tone relations when depicting form leads to
confusion. Therefore, the most important goal in drawing is to achieve tonal harmony and
wholeness, which naturally facilitates a smooth transition to painting.
K.F. Yuon said, “In painting, all parts of the picture are related to each other. Through the
comparison of the lightness and relationships of each part, and by observing the power of colors
and subtle differences over time, reality can be fully expressed.” In landscape sketches,
especially when painting the sky and water, relationships are shown through the brightness and
saturation of colors. In other genres (such as portrait or still life), the accurate relationships of
tone and color determine the truthfulness of the depiction.
The origin and distribution of colors in nature has fascinated scientists and artists for centuries.
Renowned scientists like I. Newton, M. Lomonosov, and Helmholtz have studied the essence of
color from a scientific standpoint. M.V. Lomonosov was the first in science to identify primary
colors. Isaac Newton conducted experiments proving that white light consists of multiple colors.
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ISSN: 2692-5206, Impact Factor: 12,23
American Academic publishers, volume 05, issue 06,2025
Journal:
https://www.academicpublishers.org/journals/index.php/ijai
page 218
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Journal:
https://www.academicpublishers.org/journals/index.php/ijai
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