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The superimposition of one paint layer on another is called. Sequence of drawing from largest to smallest, from general to particular

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Performing a painting, you must adhere to a certain sequence. Typically, an artist begins work on a painting or mural by making several small sketches, in which he concretizes his idea. For the same purpose, he can perform sketches from nature.

Then the artist draws the future picture. He can use a pencil, charcoal or liquid diluted paint and a thin brush for this. It is possible to manufacture the so-called "tracing paper" or "cardboard" in the case when the drawing needs to be transferred to some surface. Sometimes artists skip this stage of work and immediately start painting with paints without a preliminary drawing.

There are many ways to apply paint to a plane. Some artists prefer to use the glazing technique: apply thin transparent layers over the dried paint layer. Others achieve the desired color solution in one coat, while others use separate strokes.

An artist can simultaneously work on drawing, composition, sculpting forms, transferring space and coloring. So P. Cezanne liked to work, especially when he painted his landscapes or still lifes from nature.

However, this path is not available to everyone. You must have an excellent visual memory, accurate drawing, compositional thinking, an impeccable sense of color.

Most artists prefer to work from the general to the particular, gradually applying the main color of the objects and following the modeling of the volume. Then they refine the nuances of color, color reflections, the overall color of the picture. At the last stage, they again proceed to generalization. For the sake of achieving the integrity of the work, you can remove unnecessary details, weaken contrasts, highlight the main thing. This is how the wonderful artist A. A. Ivanov loved to work. He spent a lot of preparatory work before creating the painting "The Appearance of Christ to the People." Numerous pictorial sketches exhibited next to this painting in the Tretyakov Gallery help to trace the author's creative search.

For educational purposes, it is better to work on a pictorial composition sequentially. To learn some of the secrets and mysteries of painting, the statements of the masters placed at the end of this book will help you.

Artists-painters convey the beauty of the world around them with the help of paints. You can choose any base: canvas, paper, cardboard, board, wall, etc. The base is usually primed with special compounds. Painters use a variety of paints: gouache, watercolor, oil tempera, etc. Are the paints applied to the bases? round and flat brushes of different thicknesses. Sometimes a palette knife, a rag is used for this, they even apply paint with a finger, but it is still better to create paintings with the help of special tools, and not with improvised means. The technique of writing, its features largely depend on the properties of paints, solvents, tools.

Where to start drawing? This question is often asked by novice artists when they start work. However, experienced draftsmen have long known the answer to it, because in the classical art school there is a wonderful principle of doing work. You should draw or write from the general to the particular, from the largest to the smallest.

To understand this clearly, it is enough to remember how young children draw. Often a child will focus on the detailed drawing of an object without thinking about its size or how it fits into the environment. Children can draw a small figure on a large sheet. It happens that the drawn object is somewhere in the corner of the sheet, and there is empty space around. Children, due to their age, do not perceive the entire sheet as a whole, so they draw everything separately.

Something similar happens when aspiring artists start drawing or painting. I would like to convey all the beauty of a single detail, draw it in detail, without thinking about the unity of the picture, about how this detail should be subordinated to the environment. But when you look at the “conscientiously” worked out fragment from afar, moving away from the easel, you see that everything is not so good as it seemed close up. The detail itself may have been a success, however, it did not fit into the rest of the drawing, so in general everything turned out crooked. Let's look at this with an example.

Suppose an artist is painting a portrait. And he starts work immediately with drawing the eye, forgetting about everything else. Next, draws the nose, lips, the entire face and outlines of the head. Then he completes the whole portrait. That is, I started the drawing with the eye, and ended with the whole silhouette of the head (see illustration). As a result, the eye itself turned out, but shifted to the side. The same thing happened with the nose and lips. Therefore, the portrait came out not only dissimilar, but also crooked.

But why did this happen? Because the artist first began to draw small objects, and then finished with large forms. That is, he worked from smallest to largest. But if he had started working with the contours of the head, the oval of the face (i.e., from a large one), and then moved on to the nose, lips, eyes (smaller) - the above error would not have happened (more precisely, the probability of this would have been less). After all, having outlined the basis of large forms, it is much easier to enter small details into it. It is easier to compare distances and proportions. And if you start with small things, without defining large silhouettes, then later it will be very difficult to fit one to the other. Therefore, artists use the sequence of drawing from largest to smallest. And although this method in itself does not guarantee success, it greatly helps in the work. But isn't it possible to draw the way you want? In any order? Great masters with great experience can start drawing from point "A" and finish at point "B" without thinking about the sequence. Everything works out for them already on an intuitive level, since they have vast experience behind them. But in most cases, it is recommended to start work not with trifles, but with general, large masses, looking at the whole picture. After all, great masters, even if they violate the classical stages of drawing, still see the whole picture in their minds, not in fragments.

Seeing the whole in the small details is very important for a number of reasons. One of them is the ability to generalize. Without generalization it is impossible to imagine drawing or painting. Generalization is not only a way to make things easier. Through generalization, artists create the illusion that a painting or drawing can come to life. Take, for example, a bouquet of flowers. If you start writing it from separate petals, and continue to work with such a detailed letter to the end, then the painting can not only contain errors, but also be less expressive, “dry”. However, if the artist starts working with large masses, generalizing and combining flowers into groups, and then paints individual flowers in detail, then such a sequence will help not to get confused in shades, to see the main thing, to enliven the painting. Enliven with the effect of selection, when the artist generalizes the secondary and highlights the main thing. The neighborhood of the detailed and the generalized creates an illusion in which the depicted view seems to come to life.

Such selection requires from a person the ability to see the big picture, the ability to pay attention to the main thing, not to focus on trifles. When an artist has an eye in this regard, he will be better able to determine what needs to be generalized and how to do it. Looking at the picture from this angle, the artist will be able to more accurately determine the proportions, better see the color and tone relationships.

When creating a painting, it is necessary to adhere to a certain sequence. Usually the artist begins work on a painting or wall painting with several small compositional sketches, in which he concretizes his idea. For the same purpose, he can perform sketches from nature.

To create an interesting pictorial canvas, it is necessary to learn to see interesting events, characters, motives, angles and states in the surrounding life. The constant execution of sketches, sketches and sketches from nature develops not only the eye and hand, but also compositional thinking.

It is not so easy to see an interesting compositional motif in life. A viewfinder frame, which is easy to make yourself, can help with this. The main thing is that its opposite sides remain movable, then it will be easy to change the format, increase or decrease the circle of objects entering the field of view. If there is no frame, then you can simply fold your palms like this, as shown in the figure.

Choosing the most expressive plot for the composition is also not an easy task. Hundreds of people perceive and interpret the same plot in different ways, that is, they create their own version. The plot should be understood as what the artist directly depicts on the canvas, and the content or theme can be much broader, that is, works with different plots can be created on the same topic.

It is important even before the beginning of the image to try to imagine the future picture. As a rule, the artist first performs several small sketches in order to find the most expressive composition. At this stage, the format of the picture (elongated vertically, rectangular, square, elongated horizontally, etc.) and its size are determined.

The elongated format gives the image a sense of harmony and loftiness. The format in the form of a rectangle located horizontally is convenient for depicting epic action. We have already said that the format based on the golden ratio is well suited for depicting a wide landscape motif. The format, obtained by enlarging a square by a full diagonal, is equally convenient for depicting a landscape, still life and thematic composition.

An excessive increase in the vertical format turns the image into a scroll, and an excessive increase in the horizontal format dictates the use of a panoramic or frieze composition. When choosing a format, one should take into account the location of the main objects of the composition - horizontally or vertically, the development of the plot - from left to right, in the depth of the picture, etc.

The square format is best used to create balanced, static compositions because they are mentally related to equal central axes and equal sides of the image borders.

The composition in an oval and a circle is built relative to imaginary mutually perpendicular central axes. The top and bottom of the image should be clearly defined here. The oval is often used as a format for portraits, as this configuration easily matches the oval of a human face or the outline of a bust.

Artists also use complex configuration formats, consisting of a combination of two geometric shapes, such as a half-circle and a rectangle.

In the sketch, a general compositional scheme is drawn, the location and the relationship of the main actors without a detailed drawing. Perhaps the tone and color scheme of the sketch. Next, they move on to the drawing of the composition, then to its pictorial embodiment.

One of the interesting stages of the work is the collection of natural material: observations of the surrounding life, sketches and sketches of the house and on the street, depending on the chosen plot. You can collect natural material immediately after choosing a plot, or do it after the first sketch of the composition.

Then the artist draws the future picture using a pencil, charcoal or liquid diluted paint and a thin brush. It is possible to manufacture the so-called tracing paper or cardboard, if the drawing needs to be transferred to some surface. If something does not work out in the drawing, you can once again go to the sketches, work out the details that caused difficulties, and then refine the drawing using the collected natural material. You can even make a new compositional convict.", taking into account the completed sketches and sketches from life, to clarify the idea.

After that, they move on to the picturesque solution of the canvas. First, underpainting is performed with liquid diluted paints, in which the general color and tone relationships of objects, their local color are determined. Then they proceed to the main stage - the actual pictorial solution of the canvas. It is better to do everything from the general to the particular, gradually applying the main color of objects and oil for volume modeling. It is necessary to clarify the contrasts and nuances of color, color reflections, the overall color of the picture. At the last stage, they again proceed to generalization. In order to achieve the integrity of the work, it is necessary to remove unnecessary flyers, weaken contrasts, highlight the main thing.

The listed stages of the execution of a painting are very important, especially for educational purposes. However, it happens that artists refuse some stage. Everyone works differently. Some perform a detailed sketch, while others write straight away, without a preliminary pencil drawing. Someone persistently searches for everything in nature for a picture, makes sketches in various states of nature, draws sitters in appropriate costumes and poses, studies the necessary historical or art history material. Another artist trusts his visual memory and imagination more and generally refuses to study nature.

An artist can simultaneously work on a drawing, composition, sculpting form, rendering of space and color. This is how P. Cezanne liked to work, especially when he painted his landscapes or still lifes from life. However, this path is not available to everyone. You must have an excellent visual memory, accurate drawing, compositional thinking, an impeccable sense of color.

Most artists prefer to follow all the necessary steps to create a painting. This is how L.A. Ivanov loved to work. He did a great deal of preparatory work for the painting "The Appearance of Christ to the People." Numerous pictorial sketches exhibited in the State Tretyakov Gallery help to trace the creative search of the author.

Everything that has been said about the work on a painting should not be understood as a permanent, obligatory and unchanging order. However, following the rules helps to achieve good results, to master the skill.

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Movement transfer rule. An object in a painting will appear to be moving under the following conditions:

* if one or more diagonal lines, directions of movement are used on the cardin; *if you leave free space in front of a moving object;

*if you choose a certain moment of the movement, which most clearly reflects its character, is its culmination.

In addition, the image will appear to be moving if it recreates not one moment of movement, but its successive phases. For example, on the ancient Egyptian relief. Each of the figures froze in a certain position, but, considering the composition in a circle, one can see the sequence in motion.

Movement is understandable only when considering the work as a whole, and not individual moments of movement. Free space in front of a moving object makes it possible to mentally continue the movement, as if inviting us to move along with it.

In another case, when the object is shown too close to the edge of the sheet, it seems that the movement cannot be continued.

You can emphasize the movement with the help of the direction of the lines of the picture. For example, if all lines are directed deep into the sheet. The expressiveness of the movement is achieved if the hero is depicted at the moment of the highest tension of his forces. Also, a blurred background gives a sense of movement. unclear, indistinct contours of objects. A large number of vertical or horizontal background lines can slow down the movement.

Changing direction sometimes speeds it up or slows it down. The peculiarity of our vision is that we read the text from left to right, and the movement from left to right is easier to perceive, it seems faster.

Static transfer rule. A composition is considered static under the following conditions;

*if there are no diagonal directions in the picture;

if the objects are depicted in calm (static) according to sax, there is no climax of the action;

if the composition is symmetrical, balanced or built on the basis of simple geometric patterns (triangle, circle, oval, square, rectangle).

A sense of peace can arise in a work of art under other conditions.

For example, in K. Korovin’s painting “In Winter”, despite the presence of diagonal directions, the horse with the sleigh stands calmly, there is no sense of movement for the following reasons: the geometric and compositional centers of the painting coincide, the composition is balanced, and the free space in front of the horse is blocked by a tree.

Selection of the plot-compositional center: When creating a composition, it is necessary to determine what will be the main thing in the picture, and take care of how to highlight this main thing, that is, the plot and compositional center, which is often called the "semantic center" or "visual center" of the picture.

Of course, not everything in the plot is equally important, and the secondary parts are subordinate to the main one. The center of the composition includes the plot plot, the main action and the main characters.

The compositional center should first of all attract attention. The center is distinguished by illumination, color, enlargement of the image, contrasts and other means.

Not only in paintings, but also in graphics, sculpture, decorative arts, architecture, the compositional center is distinguished. For example, the masters of the Renaissance preferred the compositional center to coincide with the center of the canvas.

By placing the main characters in this way, the artists wanted to emphasize their important role, their significance for the plot.

Artists have come up with many options for building a picture when placing the center of the composition anywhere on the canvas. This technique was successfully used to convey movement, the dynamics of events, the rapid development of the plot in V. Surikov's painting "Boyar Morozova".

Rembrandt's painting "The Return of the Prodigal Son" is a classic example of a composition where the main thing is strongly shifted from the center for the most accurate disclosure of the main idea of the work.

The plot of this picture is inspired by the gospel parable. On the threshold of their home, a father and son met, who returned after wandering around the world. Painting the wanderer's rags. Rembrandt seems to be conveying a story about the difficult path traveled by his son.

You can look at this back for a long time, sympathizing with the suffering of the lost. The depth of space arises due to the consistent weakening of light and shade and color contrasts, starting from the foreground. In fact, it is built by the figures of the witnesses of the siena of petition, gradually dissolving in the twilight.

The blind father put his hands on his son's shoulders as a token of forgiveness. In this gesture - wisdom, pain and longing, accumulated over the years lived in anxiety, and forgiveness. Rembrandt highlights the main thing in the picture with light, focusing our attention on it.

The compositional center is located almost at the edge of the picture. The artist balances the composition with the figure of the eldest son standing on the right. The placement of the main semantic center at one third of the distance in height corresponds to the law of the golden section.

Since ancient times, it has been used by artists to achieve the greatest expressiveness of their creations.

The rule of the golden section in the composition(one third). To identify the compositional center, the most important element of the image is placed in accordance with the proportion of the golden section, that is, approximately at a distance of "Dot of the whole. The proportional ratios of the sides of the depicted objects and the canvas itself, in order to achieve harmony, must be built on the basis of the golden section.

Pictures with two or more compositional centers allow you to show several events that occur simultaneously and are equal in their significance.

Consider the picture of Velasquez "Las Meninas" and its scheme. One compositional center of the picture is the young infanta. The ladies-in-waiting leaned towards her from both sides. In the geometric center of the canvas there are two contrasting spots of the same shape and the same size. They are opposite, like day and night, one white, the other black - these are two exits to the outside world - another compositional center of the picture.

One exit is a door illuminated by the sun. The other is a mirror in which the royal couple is reflected. The second exit can be perceived as an exit to a secular society. The contrast of light and dark beginnings in the picture can be understood as a dispute between the artist and the ruler.

The characters depicted by the artist are numerous enough for the imaginative viewer to draw up portraits that are related or contrasting with each other (artist and king, courtiers and elite, beauty and ugliness, child and parents, people and animals).

In one picture, you can use several methods at once to highlight the main thing.

For example, the technique of "isolation" (the image of the main thing in isolation from other objects) can be used by highlighting the main thing in size and color.

It is important to use the methods of highlighting the plot-compositional center not formally, but in this way. in order to best reveal the idea and content of the work.

The transfer of symmetry and asymmetry in the composition. Artists of different eras used the symmetrical construction of the picture. Many ancient mosaics were symmetrical. Renaissance painters often built their compositions according to the laws of symmetry. This construction allows you to achieve the impression of peace, majesty, special solemnity and significance of events. In a symmetrical composition, people or objects are almost mirrored in relation to the central axis of the picture.

Symmetry in art is based on reality, replete with symmetrical forms.

For example, a human figure, a butterfly, a snowflake, etc. are symmetrical. Symmetrical compositions are static (stable), the left and right halves are balanced.

In an asymmetric composition, the arrangement of objects can be the most diverse, depending on the plot and intent of the work, the left and right halves are not balanced.

The transfer of balance in the composition. In a symmetrical composition, all parts are balanced, an asymmetrical composition can be balanced and unbalanced. A large light spot is balanced by a small dark one.

Many small spots can be balanced by one large one. There are many options: parts are balanced by weight, rut and color. Equilibrium concerns both the figures themselves and the gaps between them.

Special exercises develop a sense of balance in the composition. It is necessary to learn how to balance large and small values, light and dark, various silhouettes and color spots. Here it will be useful to recall your experience of finding balance on a swing.

Everyone can easily figure out that one teenager can be balanced if two kids are put on the other end of the swing. And the baby can swing even with an adult who does not sit on the edge of the swing, but closer to the center.

The same experiment can be done with weights. Such comparisons help to balance different parts of the picture in size, tone and color to achieve harmony, that is, to find balance in the composition.

In an asymmetric composition, balance is sometimes completely absent if the semantic center is closer to the edge of the picture. The impression of the picture changes if you look at its mirror image. This property of our vision must also be taken into account in the process of finding balance in the composition.

Compositional rules, techniques and means are based on the rich creative experience of artists of many generations, but the technique of composition does not stand still, it is constantly evolving, enriched by the creative practice of new masters. Some methods of composition become classic, but new ones appear, as life sets other tasks for art.

3 . Gouache as one of the materials and techniques of painting

3.1 Painting art materials and work techniques

Painters convey the beauty of the world around them with the help of paints: gouache, watercolor, tempera, oil, etc. You can choose any base: canvas, paper, cardboard, board, wall, etc. The base is usually primed with special compounds. Paints are applied to the base with round and flat brushes of different thicknesses. Sometimes a palette knife is used for this. knife. a rag, even a finger, but it’s better to use special tools rather than improvised means.

Paints are laid out on a palette and mixed to get the desired color shade. A palette is a small thin board of a rectangular, oval or other shape. oil palette painting are made mainly of wood, and for work watercolor and gouache- of white plastic, sometimes with recesses for paints. I sometimes use it as a palette! white saucer, tile or piece of paper. The list of colors used by an artist is also called a palette. In this sense, the term "palette" is close to the concept of "color".

The technique of writing, its features largely depend on the properties of paints, solvents, tools. Until the end of the XVII - beginning of the XVIII century. artists and apprentices prepared paints on their own, it was usually entrusted to students. They ground the stones into a powder and mixed it with glue, oil or an egg. The industrial production of paints has made the color palette more diverse.

Paints for painting have special names. Very often these names are associated with chemical or natural elements (minerals, plants) from which they are made. The basis of all paints - pigment - these are various coloring substances, or dyes. They are mineral, chemical, organic(animal or plant) origin. For the preparation of paints, pigments are finely ground into powder and mixed with binders (oil, glue, etc.). Organic pigments are inferior in strength to mineral ones. Now mainly artificial pigments are used, as the most persistent.

Often the name of paints comes from the binder used to make them. For example, the basis of oil paints is linseed or some other oil. Glue paints are watercolor, gouache, tempera. We will tell you more about glue paints, since they are most often used in the practice of teaching fine arts in teacher training schools and in elementary school.

Gouache- opaque (case, covering) paint, which is diluted with water. A work of art made with such paints is also called "gouache". Gouache paints are made from pigments and glue with the addition of white. Unlike watercolor, the layer of paint applied to paper is not transparent, but matte, dense, with a velvety surface, which is given by an admixture of white. When dried, the gouache colors are somewhat whitened (lightened), which the artist must take into account in the process of drawing. Gouache paints are bright, corrections are possible during work, suites can only be put on top of an unsuccessful place of another color. Dark tones can be covered with light ones. White is added to gouache to obtain a lighter tone.

3. 2 The sequence of execution of a painting

The square format is best used to create balanced, static compositions because they are mentally related to equal central axes and equal sides of the image borders.

Artists also use complex configuration formats, consisting of a combination of two geometric shapes, such as a half-circle and a rectangle.

3. 3 Still life painting technique

painting gouache color composition

Still life painting is fundamental to the learning process. This is a necessary stage in the setting of the hand, the eye, the development of a sense of color, the integrity of vision. Through still life, the real world is known in all its diversity. Still life is not a random collection of objects. An active attitude towards nature, a sense of beauty should be manifested at every stage

The sequence of images of a still life from household items: First stage. Performing a detailed drawing of a still life with thin lines, identifying the main proportional relationships and design of objects.

Second phase. Execution of underpainting. The first laying of local colors of objects and draperies. The color of objects is compiled on a palette using white silt.

Third stage. Identification of color and tone relationships. Elaboration and refinement of details light on dark and dark on light. Gouache allows you to make changes to the work; if something does not work out, overlap one color with another. Generalization and completion of the work.

Landscape Image Sequence Gouache: First stage. Making a drawing of a landscape composition. The brush drawing is light and free, using warm or cold paint, depending on the color of the picture.

Second phase. Laying the main color of the sky, crowns of trees, water. Transfer of true tonal and color relationships.

Third stage. Drawing details, summarizing and completing the work. Achieving the color unity of the landscape.

3. 4 Technique of working on a picturesque image of a human head

The painting of the human head is based on the general principles of creating picturesque images. Let us dwell on some methodological features of performing head studies. The tasks of depicting the head are reduced to conveying its structure, sculpting the shape with color, and revealing the individual qualities of nature. It is necessary to convey the color richness of the living human body, the connection of the human head with the environment.

Drawing for painting can be done with a pencil, charcoal, but you can draw immediately with a brush. It is necessary to convey with thin lines the constructive structure of the head, its position in space, to outline the boundaries of chiaroscuro.

The work, as always, is carried out from the general to the particular: first, in the underpainting, the general tonal and color relationships of large planes are determined, then the shape is molded in small strokes, the details are drawn, and at the last stage, everything is generalized to achieve integrity.

It is better to start work from the darkest place in nature. The shadows on the face are very transparent Oni. almost do not hide the living complexion. By comparing the illuminated parts of the dyne with them, it will be easier to find the midtones. The white color of the paper temporarily replaces the illuminated surfaces. Do not rush to write out each eyelash if other parts of the face have not yet been solved at least in general. Work through all parts of nature at the same time, work with the method of relationships. In the process of transferring the volume of the head, keep an eye on that. so that the strokes lay down in the form. Subtle color variety depends on many reflections. The color of the face and clothing always takes on a tint that is complementary to the color of the background.

At the last stage of work, pay close attention to the expressiveness of the silhouette of the head, its contact with ([young. Somewhere it is necessary to dissolve the contour lines, and in other places, on the contrary, make them clearer. If the painter has a holistic vision of nature, he will correctly complete the work.

Sequence of performing a pictorial study of the head of a living model: First stage. Drawing with a brush. Outline the general shape of the head and its position in space. Draw parts of the linden, the shape of the hairstyle without unnecessary details.

Second phase. Laying the main color of the face, hair, background, observing the correct tonal and color relationships.

Third stage. Prescribing details, summarizing and completing the work, achieving a portrait likeness, conveying the character and image of the model.

3. 5 Methods of working on a picturesque image of a human figure

For educational purposes, the figure of a person is depicted but with a belt and in full growth. Painting a figure requires knowledge of plastic anatomy, perspective, and the laws of color science. Before working on a pictorial image of a human figure, it is useful to perform several studies of this object with one paint (grisaille).

At the very beginning of the work, it is important not only to plant or put the nature in a certain pose, but to study its characteristic features and movements, to think over the choice of costume. Therefore, it is recommended to perform picturesque sketches of nature. In the process of searching for the most successful compositional solution in the sketches, one should determine the plastic placement of the figure in the selected format, the overall color. The nature of the model decides the entire construction of the composition.

In the underpainting, the basics of tonal and color solutions are determined. Further, conveying the volumetric, material and spatial qualities of the model, it is necessary to sculpt the form with strokes and work with relationships.

When depicting a human figure, it is imperative to find color relationships in connection with surrounding objects and the background. The same drapery next to the illuminated part of nature will appear somewhat darker, and in the vicinity of its dark places - somewhat lighter.

At the last stage, attention should be paid to the material and textural characteristics of the face, hair, clothing. The face and hands are always worked out more carefully than the accessories and the background. It is important to complete the work on time, to avoid fragmentation, excessive elaboration of details and sketch incompleteness. Various creative approaches to the image of the human figure are possible.

Sequence of performing a pictorial study of a human figure: First stage. Drawing with a brush. Outline the general movement of the figure, its proportions and position in space. Draw the head, neck. tore, arms, legs without unnecessary details.

Second phase. Laying the main color of the body, hair, clothes, background, transferring the correct tonal and color relationships.

Third stage. Drawing details, summarizing and completing the work, transferring the character and image of the model.

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The superimposition of one paint layer on another is called. Sequence of drawing from largest to smallest, from general to particular

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