: 121-125
Lviv Polytechnic National University, the Department of Design and Fundamentals of Architecture

The article is aimed at improving the professional skills of an architect-artist. The author's solution of the composition and the systematic arrangement of colors on the picturesque palette is offered. A clear study and memorization of the position of the colors of the colors on the palette will lead to a positive result in the field of painting. This authoring approach aims at the rational use of time, reduced searches and material costs.

The architect-designer repeatedly comes when it is necessary to show his skills in the field of painting. On the basis of the architect-designer actively advocates the need for an artistic superstructure. Here it is important to be guided by the principles of linear and colorful artistic harmony. Architects adapt to the basics of the "golden section" more quickly, but the coloristic component in practical application is not always positive. Understanding the function and ergonomics of paints is gained through hands-on experience. The same can be said about the factor of functional use of color palette, both in artistic creativity and in the artistic foundations of the visual order. Man, unlike animals, has the most important function of creating an image. Dual surround location apparatus, facilitates image and quality identification. The use of color as a tool for psychological impact on the viewer-customer is an important professional tool to achieve the intended purpose. Here it is important to combine psychophysical and psychological parameters to achieve the integrity of the image. That is why it is so important to have a color solfeggio, or applied aspects of using a color palette. Because the piano keys of sounds and colors of the palette of the ratio must be in a certain order or sequence of colors. The artist does not have to search and get acquainted with the color palette every time. The architect should know her by heart, or her approximate tonal location.

Based on the actual problems of using the color palette the architect, as far as professional necessity, is faced with the moment of practical application of paints as a means of figurative feeding. Among the many treasures, humanity has devised and created a number of tools that, in the course of evolution, have received quite specific names, semantic understandings and meanings. These include a brush that has not changed its design and palette for millennia. Similarly, the structure of the palette, which was formed on the basis of improvised materials. In the original context, it involves understanding the palette as a tool or plane for mixing colors.

 Historically or evolutionarily, despite the main task - the mix of colors, the meaning of the palette began to be used in a broader sense, namely the theoretical interpretation of color artwork. This is a certain analogue of color in an artistic sense or analysis that integrates the broad concept of color composition of a particular work without materials and means. In artistic interpretations, the color palette is often presented as the color of a work of art.

Adherence to the proposed layout system, the systematization of colors on the palette-plane, contributes to the improvement of professional results and skills of the artist-artist in painting. The proposed method is aimed at quick and high quality execution of painting or image. The names of the colors in the article are given on the example of the well-known names of oil paints of domestic and foreign production, but may differ from other foreign nomenclature and standards. They can have a universal color application regardless of the binder base. Watercolor, gouache, acrylic, tempera are subject to the same principles of placement on the plane of the palette. The main task is to adhere to these color variations in each case. It is important to maintain the ratio of cool to warm colors in colors, to keep the system cool, warm and earthy in the context of whitening and blackening, which will lead to the successful use of such a palette as a base.

Zherditsky V., 2007. Limited palette and oil paints. Visnyk Kharkivsʹkoyi derzhavnoyi akademiyi dyzaynu i mystetstv. №5. Kharkiv: Vydavnytstvo KHDADM..

Zherditsky V., 2008. Features of oil painting technique and preparation of oil paints. Visnyk Kharkivsʹkoyi derzhavnoyi akademiyi dyzaynu i mystetstv. № 13. Kharkiv: Vydavnytstvo KHDADM.

Muzyka O., 2013. Materials and techniques of oil painting. Tutorial. Uman: Vydavnytstvo «Vizavi».