Plan abstract for painting still life ultrasonic scanner. Plan - outline of a lesson in painting: Still life from objects of different materials (Imitation of oil painting technique)

3rd year of study

Target: to acquaint students with still life as a genre of fine art.

Tasks: educational: teach the basics of composition and the rules for constructing a still life. developing: to promote the aesthetic perception of reality and the artistic and figurative reflection of this reality in the drawing to develop a sense of proportion, proportionality, color. educational: to cultivate a sense of a harmonious, integral, artistic vision of the beauty of ordinary objects (vegetables, fruits, flowers, glass, metal), respect for artistic material, accuracy in work.

Conduct form: practical work.

Forms and methods used in the lesson:

1. Verbal (story, explanation)
2. Visual (illustrations by artists)
3. Practical (performing a practical task)

Class equipment:

Didactic material:

1. Reproductions of paintings: F. Snyders, J. Chardin, E. Manet, Gauguin, Cezanne, Matisse.
2. Still life illustrations:
   • grizal;
   • color watercolor;
   • plein air samples.
3. Natural staging.
4. Exhibition of educational works of students.

Material and technical equipment: easels, paper (drawing paper), paints (watercolor, tempera, oil), palette, brushes, water, pencil, eraser, sharpener.

Lesson progress

1. Organizational moment (5 minutes)
Greeting, preparation of the workplace, composure, concentration before starting work. Defining and choosing an expressive advantageous point of view.

2. The story "From the history of still life" (5 minutes)
If we turn to history, we will see that in ancient times, Egyptian and Greek artists loved to depict the fruits of the earth, sacrificial objects, and household utensils. These traditions were continued by the Romans, who painted the walls of villas and tombs with frescoes for decorative purposes.

In the Netherlands of the 17th century, the great masters of still life became famous - the artists Jan Davidsz de Heem and Willem Kalf, in Flanders large canvases depicting game were created by Frans Snyders (demonstration of reproductions of paintings), in France of the 18th century. J. B. Chardin, in the 19th century E. Manet, Gauguin, Cezanne, Matisse and other artists turned to still life.

In Russia in the 19th century still lifes were painted by I.T. Khrutsky (1810-1885) (“Still life with a candle”). At the beginning of the 20th century, K. Korovin, I. Repin, M. Vrubel, Mashkov, Kuprin, Konchalovsky, Petrov-Vodkin worked in the still life genre in Russia.

3. Main part (10 minutes)

Still life is an independent genre of fine art, as well as an auxiliary means of "genre painting".

Still life comes from the French "nature morte - dead nature" and refers to the image of household items (fruits, vegetables, animals, birds, etc.)

Still lifes differ in content, technique, selection of things, plot, composition, color.

In the genre of still life, artists affirm the poetry and beauty of the world, everyday things, urge people to admire the beauty of fruits, vegetables, flowers, metal, glass in the form of the most ordinary objects.

Still lifes are divided into educational and creative.

Educational still life provides an opportunity to study the basic principles of realistic drawing and painting, and also develops aesthetic perception, vision, hand motor skills, vision integrity, and most importantly, artistic and creative thinking.

Still life, as an educational task for students, is necessary for mastering the principles of a linear-constructive image of a form and introduces the theory of perspective, which develops spatial-figurative thinking.

The educational process of working on a still life is divided into stages (the division into stages is conditional).

First stage of work:

• preliminary analysis of the staging of the still life (the integrity of the staging);
• choice of place to work (point of view);
• making sketches (2-3 minutes each).

Second stage of work:- compositional placement of the image on the plane of the sheet. It is necessary to arrange the entire group of objects so that the plane of the sheet is filled evenly, the depicted objects do not rest against the edges of the sheet, and vice versa, there is not much empty space left. Often the visual center does not coincide with the compositional center. Much attention should be paid to lighting (artificial, overhead, side or natural daylight).

Third and fourth stages of work- the transfer of the nature of the form and proportion of objects. Revealing the constructive basis of the shape of objects, it is necessary to check the perspective of large forms and especially the bases of objects.

Sixth stage of work detailed drawing of the shape of objects.

When drawing a form in detail, one must carefully observe all the shades and transitions of chiaroscuro, all the details of the form. Starting to identify the volume of objects in tone or color, it is necessary to determine the lightest and darkest place in the still life. Having established these two poles, pay attention to the penumbra.

Seventh final stage of work- generalization and synthesis. Summing up the work on a still life. At this stage, it is necessary to carefully check the general impression of the image of nature from afar with squinted eyes and compare the strength of the reflexes with nature, which should merge with the shadows, that is, there should be a tonal and color unity of the image.

3. Watching a training film (10 minutes) Master class by S. Andriyaka still life "Yellow Lilies".
(as one of the options for working on a still life).

4. Practical part (45 minutes)
With the permission of the teacher, students begin to work on a still life from nature. Provision of individual pedagogical assistance. For each student, a break in work can be individual. This does not distract other children from doing their own task, does not interrupt the creative process.

5. Summing up the lesson (15 minutes)
Exhibition of student work. Mobilizing children for self-esteem. Tips and recommendations of the teacher to students. The use of information related to the practical creative activity of the teacher.

Still lifes made by students of the art studio "Zhivopi"

copy from the work of S. Andriyaka

Methodological development of the lesson

on the subject of painting

in prep class

2nd year of study

on the theme "Still life. Drawing

still life from nature»

Completed by: Kukushkina E.N.

Teacher

MOU DOD Children's Art School Nei

Kostroma region

year 2013

Lesson topic: "Still life. Drawing a still life from nature.

Target

Perform a simple still life from nature

Tasks :

Developing: to develop techniques for working with paints, the sequence of work on a still life.

Equipment:

For the teacher - natural setting (still life against a white sheet), the table "Still life (step-by-step work)", sketches from nature of vegetables and fruits (children's work)

3rd row:

Lesson Plan

1. Organizing time
2. Introductory conversation
3. Student work on the assignment
4. Lesson summary

During the classes:

1. Organizing time

Checking students' readiness for the lesson. Positive attitude of children to the lesson.

1. Introductory conversation.

Recall the genres of fine art. Next, one of the genres of art is considered - still life. (illustrations are shown)

If you see in the picture

Miracle vase on the table

It contains a bouquet of beautiful

Snow-white chrysanthemums;

There are a lot of dishes,

And glassy and simple,

Maybe a cup or saucer

With gilded border.

And it also happens like this:

The game is drawn there.

Finally, let's put

Ripe peaches and plums.

And also in the picture

Drawn to be a cake.

And so the picture

It's called a still life.

Still life - (translated from French - dead nature) - an image of inanimate objects. This word refers to a complex and diverse genre of fine art, as well as individual works that artistically reproduce household utensils, musical instruments, flowers, fruits, vegetables, dead game and other inanimate objects. Still life arose in connection with the development of realism in painting, and as the technical and cognitive capabilities of artists expanded, it was defined in the 17th century as an independent genre.

Still life performs various functions. For example:

Decorative - captures the brilliance, grace and splendor of natural forms, somewhat exaggerating and transforming them, decorates the interior;

Thematic - objects united by one theme are depicted (children - includes toys, sports - attributes of sports, etc.

Still life speaks of the lives of people from different times; even by drawing inanimate objects, you can express a lot, say a lot about people's lives.

What can you tell by looking at this still life? (demonstration of a reproduction) still life

Puzzles:

Six porcelain friends

On the tablecloth stood in a circle,

Wanted in the evening

Treat us with tea. (cups)

Shines brightly my uniform,

On the table, I am the commander.

Know cups, teapot;

I am a big boss. (Samovar)

Two sisters: one big,

It interferes with semolina porridge.

Well, little sister

The tea stirs loudly. (Spoon)

Just off the cam

red barrel,

You touch it - smoothly,

And take a bite - sweet! (Apple)

golden head

Big, heavy.

golden head

Lie down to rest.

Head lay down

Only the neck is thin. (Pumpkin)

The golden sieve of black houses is full. (Sunflower)

In the summer in the garden, fresh, green,

And in winter in a barrel they are yellow, salty.

Guess, well done

What is our name? (Cucumbers)

Balls hang on a knot,

Turned blue from the heat. (Plum)

Consider illustrations, reproductions and answer the questions:

What is still life?

Which still life prints do you like best and why? Name the authors of the paintings.

What colors (warm or cold) prevail in them? Why?

What unites all the objects of one still life? (Subject, affiliation)

Why do colors differ in lightness in the image of fruits: some are lighter, others are darker?

How do artists convey the volume of vegetables and fruits on a flat surface of paintings? Why are lighter strokes on all fruits and objects located on one side, and dark ones on the other? What role does sunlight play here? (sunlight, illuminating objects, makes them light on one side (this is light), on the other - dark (shadow). Light and shadow help convey a three-dimensional image of objects, their reality.)

Reflection

To consolidate the material, I propose the game "Compose a still life." From the proposed items in front of you, I propose to make still lifes and give them names. (Both strong and weak children participate)

Physical education minute

There was a basket on the shelf idle (sit down, round your arms - depict a basket)

She probably missed her all summer (head tilts, left and right)

Here autumn has come and the foliage has turned yellow, (get up, depict tree branches)

It's time to harvest. (stretch, portray picking fruit from trees)

The basket is happy (round hands in front of you, nod your head)

She was surprised (spread hands)

That so many fruits have been born in the garden! (get up on your toes, show a big circle with your hands)

1. Student work on the assignment

Still life from nature.

Today we have a still life of vegetables and fruits. This theme is “delicious” and it is very pleasant to draw it. Each fruit and vegetable has a basic shape and color that needs to be seen. They may be the same for different fruits and vegetables, but the color and details are inherent in them.

Subsequencework execution:

1. On preparatorystage with a pencil with very light lines outline the contours of all objects. It is advisable to draw without correction with an elastic band, in any case, do not abuse it, because. the texture of the paper destroyed by the rubber band darkens and drowns out the color. With the same thin lines, we mark the boundaries of highlights and shadows of all objects of still life and the environment.

1. At the first stage Let's start working with paint with the general color characteristics of the still life, for this we will prepare a low-saturated mixture - color, which we will apply with a transparent layer to all parts of the picture, excluding glare.
2. At the second stage of painting, the volumetric form of all objects is modeled and their illumination is transmitted. With separate strokes, we increase the color saturation of the illuminated sides. The color of the shadows is solid and is influenced by the environment. They are laid with transparent, but darker colors. Each stroke laid down for the image of shadows must be taken relative to the color of the surfaces of other objects and other shadows adjacent to it in terms of hue, saturation and lightness.

1. At the third stage work, we continue modeling the volumetric form and space with more subtle shades of color. We compare every smear put on paper with a still life, alternately shifting our eyes first to the image, then to nature. This allows you to see if the color proportion that is in nature is transmitted. The image of color shades in the light, penumbra, shadow gradually leads to a fine modeling of the form, to the image of space and illumination.

1. At the last stage we generalize all colors, if necessary, highlight some parts with a more saturated color, and extinguish excessively bright ones that break out of the general color gamut. The drawing is complete.

IV. Lesson summary

Review and analysis of completed work. To note the beautifully found combinations of colors in the transfer of the nature of objects of natural setting.

Analysis of common errors.

Workplace cleaning.

References:

• B. M. Nemensky "Fine art and artistic work" Grade 1-4 Moscow "Enlightenment" 2008
• E. Rozhkova "Fine art in elementary school" Moscow "Enlightenment" 1980

Introspection of the lesson

in the preparatory class (2nd year of study)

"Still life. Drawing from life still life of two

items"

Goal and tasks:

Educational: to acquaint students with the variety of forms of depicting the world of things in the history of art, to expand knowledge about the genre of still life, about the features of still life in painting, drawing, sculpture, to teach how to depict various objects.

Developing: develop techniques for working with paints.

Educational: educate aesthetic susceptibility.

Equipment:

For the teacher - natural setting (still life of two objects), table "Still life (step-by-step work)", sketches from nature of vegetables and fruits (children's work)

For students - watercolor, gouache, paper, brushes, graphic materials

Visual range:

I. Mashkov “Fruits on a Saucer”, A. Lentulov “Still Life”, V. Van Gogh “Sunflowers”, K. Korovin “Still Life. Flowers and fruits.

In accordance with the program, this topic is included in the drawing from life section. On the theme "Still life. Drawing from life a still life of vegetables, fruits ”2 hours are allotted.

The main purpose of this lesson is to give students knowledge about still life; to teach how to depict objects in a still life, both graphic and pictorial means. The lesson consists of an organizational moment, presentation of new theoretical material, consolidation of the studied material, independent work of children.

She prepared for the lesson in a timely manner, prepared all the visual material that would be needed in the lesson. The content, thematic focus and technology of the conduct fully corresponded to the level of development of the class.

Study time was rationally used by me. The lesson began with an organizational moment, which began with the labor mood of the students for the lesson.

The presentation of new material - the main part of this type of lesson - is carried out by the method of explanation, story with elements of demonstration of reproductions. At this stage of the lesson, she revealed to the students the concept of "still life", introduced them to the types of still lifes. To increase the effectiveness of the educational process and so that children of this age do not lose interest in the lesson, I used riddles in the conversation.

The consolidation of the new material was carried out in the form of the game "Compose a still life". Both strong children and weaker ones took part in this work. At this stage, the students' knowledge, which was obtained during the presentation of theoretical material, was very well traced.

Before independent work, in order to preserve the health of children, she held a physical education session.

At the stage of independent work of the lesson, I explained to the children the sequence of work on a still life.

In the course of independent work, the teacher provided individual assistance to students, based on individual abilities. For a better sequence of performing independent work, the training table "The sequence of performing a still life in color" was applied.

At the end of the lesson, she held an exhibition of students' work, where an analysis of the work was carried out: what worked and what did not? I was able to clearly see how the students learned the topic. Student assessment.

The chosen forms of work are not random, they are exciting for children of this age, they are of interest to them. I think that the perception of the goal by the students took place in full.

GOU SPO Russian College of Traditional Culture of St. Petersburg

Outline of the lesson in the discipline "Painting"

Subject: “Still life of objects simple in form, different in materiality. »

Theme of the lesson: "Drawing a still life for painting"

Group 319 H

Teacher:

Saprykin V.G.

Lesson topic: "Still life drawing for painting"

Lesson Objectives:

Educational:

Teach the basic principles of linear construction of objects;

Apply the acquired knowledge when performing a drawing for painting from nature.

Developing:

Develop analytical skills, logical and constructive thinking;

To promote the development of creative abilities, aesthetic attitude.

The development of fine motor skills.

Educational:

To learn how to carry out self-assessment of the work performed;

Be able to find answers to the questions asked;

Instill a taste for graphics.

Lesson objectives:

Apply knowledge of perspective when drawing;

Determine the proportions and reveal the plasticity of objects in a still life.

Didactic teaching aids:

Material according to the method of drawing.

Material support for the lesson:

Easels, chairs, tablets, paper, pencils of various softness, eraser.

Lesson type: practical lesson

Lesson structure:

1. Organizational moment - 5 minutes.

2. Introductory part (setting goals and objectives, a brief survey on the work performed) - 10 minutes.

3. Individual work with students - 10 minutes.

4. Independent (practical) work of students - 15 minutes.

5. The final part (analysis of the work performed, summing up the results of the lesson) - 5 minutes.

During the classes:

GOU SPO Russian College of Traditional Culture

Routing

(Plan of the training session)

Academic discipline: "Painting"

Topic (section): "Still life from objects of simple form."

Number of hours per topic: 36 hours

Ordinal number of the lesson according to the plan: No. 25-28

Lecturer: Saprykin V.G.

04/18/2013 academic year

Open painting lesson

in 1 "b" class

teacher Ershova I.M.

Lesson topic : "Step-by-step construction of a still life"

"Still life with a simple object and vegetables in cold colors"

Goals: consolidate knowledge about the genre of fine art "still life";

Develop figurative imagination, compositional thinking.

Tasks:

Educational : correctly compose the image in the sheet; put objects

on a plane, build them taking into account proportions and perspective cuts.

Developing: development of attention, visual memory, eye, feeling

proportions, color perception, artistic taste.

Nurturers: fostering love for the environment,

purposefulness, perseverance, accuracy, ability to see

feel beauty.

Lesson type: combined

Teaching methods:explanatory-illustrative, reproductive

Equipment and materials:

for the teacher: household items (jugs, cups, bowls, etc.), chalk, blackboard

Cool;

for students: A3 paper, graphite pencils of different hardness, eraser,

Brushes, watercolor, palette, water container;

Visual range:

works of students from natural fund;

artist reproductions:

K. Korovin “Still life. Flowers and fruits.

W. Van Gogh "Sunflowers"

I. Mashkov "Fruits on a saucer"

K. Petrov-Vodkin "Still life with apples"

P. Konchalovsky "Tray and vegetables"

Z. Serebryakova "Basket with zucchini"

Lesson progress:

1 lesson

I Organizational part.

Checking readiness for the lesson 3 min.

II main part.

Topic message. 2 minutes.

opening talk 5 minutes.

The teacher offers to guess the riddle, the children answer in unison.

If you see in the picture

Miracle vase on the table

It contains a bouquet of beautiful

snow-white chrysanthemums

Worth a lot of dishes

And glassy and simple

Maybe a cup or saucer

With gilded border.

And also, it happens

The game is drawn there.

Finally, let's put

Ripe peaches and plums

And also in the picture

Painted to be a cake

And so the picture is called - still life.

The word "still life" means "dead nature", "inanimate nature". It came to us from the French language.

Translated from Dutch, German and English, the name of this genre means "quiet life", "still life".

As an independent genre, still life was formed in the 17th century. in Holland.

Artists who worked in this genre were called "Little Dutch". Their distinguishing feature is the amazing materiality of objects in still lifes, the thoroughness of the transfer of details.

A still life does not usually need the same canvas sizes as a historical painting or an epic landscape. This is a more "modest" genre. But at the same time, one should not perceive a still life in the fine arts as an image of a random set of objects. Most often, the artist "sets" nature, that is, based on a conceived idea, he consciously selects suitable objects. In addition, the artist's intention involves certain combinations of shapes and colors of objects, lighting, location in space. The composition of a still life is born initially in the head of the author, although many things can push the artist to the figurative-plastic idea: life observations, memories, a book read, poetry, music.

Sometimes it is more difficult to put a still life than to paint it. The artist introduces his own order into the arrangement of objects. Such, when nothing can be removed, added or rearranged without violating the unity of the composition.

The teacher reminds about the rules of construction, compositional solution, step-by-step implementation of painting techniques for drawing a simple still life of 2-3 fruits and vegetables, made in the previous lesson. Further, he offers to get acquainted with the still life of a more complex composition. In a dialogue with children, the teacher discusses the artistic features of the reproductions of still lifes by famous artists posted on the board.

Problem questions (knowledge test): 10 min.

• What types of still life do you know?
• Find the distinctive features of the presented still lifes and comment.
• What colors (warm or cold) prevail in still lifes and why?
• What do still life objects have in common?
• How do artists convey the volume of vegetables and fruits on a flat surface of paintings? Why are lighter strokes on all fruits and objects located on one side, and dark ones on the other? (children's answers)
• What role does sunlight play in a still life?Sunlight, illuminating objects, makes them light on one side (light), on the other - dark (shadow). Light and shadow help convey the three-dimensional image of objects, their reality.
• Which still life prints do you like best and why?

The teacher explains different compositional schemes for constructing still lifes. To consolidate knowledge, the teacher asks the children to read the diagrams presented and answer the following questions:

1 What do the vertical and horizontal lines in the image of objects (axial lines) indicate?

2 Determine which objects in still lifes are closer, which are farther? Explain why?

3 What is composition? (This is a combination of parts of an educational drawing, a work of art for the most vivid expression of their content. This is the correct arrangement of objects on a piece of paper).

Objects must be harmoniously combined with each other, touch, making up a single whole, but not block each other(reasonable contrast of large and small, white and dark, wide and narrow, shiny and matte, spherical and planar objects enhance expressiveness, eliminate monotony, enliven the atmosphere);

This regularity in the construction of a still life is called its composition.

Any composition should have a compositional center. Usually such a compositional center is the largest object depicted in the picture. It is better to place it in the background and be sure to highlight it with color.(in the whole group there should be a main object, which, in terms of its semantic meaning, top, shape, color, would be the main, central one.)

Game workout. 10 min.

Students are divided into 2-3 groups of 3-4 people. They are invited to compose a composition of the proposed still life from geometric shapes and stick it on a sheet of paper. The teacher attaches finished compositions to the board for analysis of work, recommendations for eliminating errors.

ІІІ Independent work. 13-15 min.

With short segments-strokes, students outline the general location of the still life with a pencil on a sheet, taking into account the previous recommendations, the contours of all objects, observing the proportions and arrangement of objects in the still life, outline the boundaries of highlights, shadows, all objects and the environment.

IV Summary of the lesson: 2 min.

Answers on questions:

In what genre of painting did we work today?

Lesson progress:

2 lesson

I Organizational part.

Checking readiness for the lesson 2 minutes.

II main part.

opening talk 5 minutes.

The teacher offers to view several educational works in different performance techniques. Pay special attention to the work done in watercolor technique.

What techniques are used in the work?

What is the difference between gouache and watercolor?

ІІІ Independent work. 25 min.

Students clarify the details in the pencil drawing. Move on to watercolor. Moisten a sheet of paper with water so that the paint does not roll down in further work. In the process of work, the teacher helps students who experience difficulties in work.

IV Summary of the lesson: 13 min

Viewing drawings, analyzing their merits.

Choose the drawings that expressed the greatest resemblance to nature;

Evaluation of drawings;

Workplace cleaning.

Lesson topic: Still life painting.

The purpose of the lesson: Draw a still life painting.

Lesson objectives:

Educational:To systematize knowledge about the types and genres of fine art (still life)

 To form graphic skills in the image of three-dimensional objects of a simple form and the ability to determine the shades of "cold" and "warm" colors in order to develop artistic taste and observation

Developing: - Develop visual representations and impressions of nature, a sense of proportion, proportionality (placement of 2-4 objects on a sheet large)

Educational:

Cultivate respect for nature;

Cultivate accuracy.

Planned results:

Subject: Perform a composition of objects, based on your own plan in a still life.

Cognitive UUD: brain teaser

Regulatory: Compose portray

Communicative: Ability express judgments about the artistic features of works of art depicting a still life.

Personal OutcomesThe ability to artistic knowledge of the world; skillapply acquired knowledge in their own artistic and creative activities.

Lesson type: Discovery of new knowledge.

Methods and techniques: conversation, story, illustrations, practical work.

Lesson equipment for the teacher: multimedia board, projector, presentation,B.M. Nemensky "Fine art and artistic work" 1-4 class Moscow "Enlightenment" 2008