On one of my pages about shading in academic drawing, I found a mention of the studio, I have now dragged it into one category with other entries on this topic.

In order to somehow enliven our conversation, I will share my comments on the role of the eraser in the tonal elaboration of nature. We are used to the fact that the eraser can easily remove erroneous lines. In fact, the eraser is not only designed to correct, it is a full-fledged drawing tool.
Often, everything starts with a sweeping shading of shadow plans, with a light smearing of this shading with the palm of your hand, followed by a selection of light places with an eraser, and working out the smeared areas of the drawing with a dense stroke.
I explain in more detail. The eraser rectangle is cut in half diagonally to get two erasers with sharp corners for fine work. Now you can use the sharp corner of the eraser to carefully select (by light touch or erasing) the shadows, so that they look a little lighter than the common places. If it turned out very light, we muffle the spot with our finger, and refine its shape with shading. So you can choose light strands from the total mass of hair, subtle reflexes in the shadows and much more. I repeat - wide shading of the shadow part of the picture (1), its lubrication, but not mandatory (2), lightening in the right places with an eraser (3), deepening the shadow where it is required (4).

I don’t know what you understood from all that was said, but take a closer look at the training graphics and determine in which places the eraser worked. Almost everywhere where dark borders on light (edge ​​contrast), you can find traces of it. This is the so-called pruning. Near the dark edge, the tip of the eraser, the tone is slightly weakened, and the border of contact with the dark intensifies.
In addition, the wide edge of the eraser can be smeared Right place shadows, like a flat brush, can be pressed with an eraser (preferably with a knead or a crumb of dry black bread) on paper, weakening the blackness, etc.

These are my youthful educational works, miraculously preserved at home.
They are not exemplary, just, I think it will be interesting for you to compare two skulls drawn with a difference of one year. Well, Socrates, how can you do without him.

One of my first drawings of a toothless skull. Just my first skull. As you can see, they didn't let me finish the phonchik.

In those years, the studio was headed by the famous party graphic artist N. Zhukov, who specialized in drawing Lenin and children.
At one of the classes, he appeared in the workshop with his retinue (check). Big overweight, dressed in a black suit with a white shirt, in a tie, which gave him the boss. Frankly, I did not understand who brought to us. He silently sat down at my easel and began to draw, saying good-naturedly - now you need to crawl like a cockroach, a cockroach over the drawing. There was also a mandatory mention, already familiar to my ear, of studying at the Academy of Arts, where special attention was paid to the skull. I don’t remember his actions at all, he blocked everything with his hand, but the cockroaches don’t get out of my head even now. And only after the commission left I was told with whom I painted at the same chair!

With the second skull, there were few pleasant sensations in my memory. To replace the sick, came new artist, who, in his usual arrogant tone, began to make comments to me on the plaster drawing. Already accustomed to the delicate respectful manner of communicating with us all the artists, I suddenly took a dislike to him. Everything was said vaguely and in in general terms. When he asked, you understand everything, I firmly said no. It pissed him off. Out of confusion, he began to complain loudly to everyone - my students always understood me, I don’t know ... Half an hour passed, we both calmed down and figured out what was going on. It's a matter of shading. He rightly insisted on working with a stroke and always in form. I must admit that I was rebuilding with difficulty, I was terribly worried, showing the finished drawing of the skull at the next lesson. The old man's face became kinder - you need to work seriously, well done, well done. So I supported his brand as a teacher (he taught students somewhere).

This is not even a bad Socrates, and even now I can’t believe that I could give out such a thing. I remember that the general bright lighting of the hall, which the spotlight barely blocked, was very disturbing. This made the shadow part of the plaster look too transparent. And today I think there is something in it.

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Figure from general

The conversation will not be about the individual technique of conducting an educational drawing, but about its basic principle - “from the general to the particular, and from the particular to the general”, more precisely, about the first part of this principle.

In one film, a nun answered the heartfelt question of a young acolyte in this way: “... I hope, my child, the Lord will enlighten you on this matter!...”

People often ask how to learn to draw from life on their own, or simply ask to write something about drawing.

When the page was ready, I went to Google to see if I was repeating with someone, and ran into this ad:

“Do you want to learn how to draw quickly? Learning to draw in 1 day! Really! We go to the site and learn to draw!
God forgive me, but what I thought at that moment will be difficult to pray for until the end of my days.

How to understand the requirement of the school, to start drawing from the general, and not from the particular?

Open any textbook, and you will find the phases of drawing there. One of these textbooks can be viewed in this diary - “Learn to Draw” by A. Deinek, where drawings of students of the architectural institute are given. Agree, those entering this university already have initial training, and they do not need to explain the principle - “from the general to the particular, and from the particular to the general”, and conscientiously lay out the drawing into sequence diagrams for its maintenance. If the author wrote for beginners, then the book lacks elementary information about the drawing technique for them. I don't know if I can do it, but what am I risking?

Common mistake for all

The head did not fit on the sheet and stuck to its edge, leaving an unnecessary void in the paper.

You go from the general in order to come from it to the particular, that is, to the details.
And what happens if you start with the nose, as in this picture, and then paint on it one detail after another? You will lie in general proportions, and you will not be able to fit correctly on a sheet of paper. The object may not fully fit into the sheet, may be very small, or located in the wrong place.

The upper illustrations show the stages of drawing the same object with different methods (more precisely, with different handwriting). Each of three drawings executed in an individual manner, but they all follow the universal rule of the academic school - "from the general to the particular, and from the particular to the general."

What are the first actions of a draftsman who creates an extremely generalized form from an object stuffed in kind with a bunch of details, what is he guided by when putting the first strokes on paper?

All his actions have been worked out to automatism by previous practice, and in order to chew the meaning for you, even the first strokes, his brains will turn inside out.

Let's leave aside the reasoning about composition, about the fact that you can't start a drawing with details, let's leave even talk about the constructive construction of a drawing. Let's talk about business, about how we find a place for each group of strokes on paper.

Why are the strokes grouped?

The first answer: it is difficult to determine exactly the right place for the line on clean paper, we apply a spot, something like a stroke with a flat brush, and we say to ourselves - somewhere within this “stroke” our future exact line walks.

The second option: with a group of strokes, we not only mark the boundary of the break in the form, we simultaneously shade one of the planes that form this break. Yes, with strokes we create non-existent volume planes, large at the beginning of drawing, and broken into smaller ones at the end of work.

How do we look at nature while searching for the next portion of strokes, how do we determine the proportions of objects?

The key moment not only of our conversation, but of the entire learning process. The answer cannot be objective and categorical. Here, as in nothing, the individual view of the teacher is manifested, which he prefers not to talk about. Look at the wise epigraph of the page: “... I hope, my child, the Lord will enlighten you on this matter! ...”

I got the impression that all my teachers were guided by this universal wisdom, and I understand them. Much in art is beyond the limits of logical thinking, which forces teachers to push us onto empirical paths of development in its bushes.

I have already told you, look sideways, and not at one point of the object, embrace nature with a single meaningless look. In this state, it will be easier for you to fix the relative position of key points in visual memory. It is not easy to develop such an ability to perceive nature, and not many professionals succeed in this (the Lord cannot reason with everyone).

Another important point.

Having convinced, with great difficulty, readers to draw with a stroke, and not with shading, I could not really explain to them that hatching cannot be copied from other people's work ("I'll try to repeat your hatching!"). What became a pattern was formed by a complex process of gradual layering of one on top of another. You can not treat the finished drawing as an engraving on copper, where the stroke is applied according to a special system, filling in with itself the contour preparatory drawing.

To better understand me, take a look at the illustrations, take a look at how a sheet of paper is filled with strokes, and you will understand my words.

It is clear that at the next stages of drawing, when the proportions and design of the object are determined, the gradual drawing of the details of the form will begin, and the hatching will cease to be of an auxiliary nature. It will reflect the style of the author, which he consciously nurtured and invented, it can be both neutrally natural and with a pronounced show off. It's all about the taste and culture of the artist.

The first version of the drawing (the first series of drawing schemes "from the general").

There are a dime a dozen such schemes, the main thing is to figure out what to do with them.

The first thing to understand is that drawing begins with determining the general dimensions of the object, taking into account the choice of fields on paper that are optimal for it. What is "optimal", everyone understands in his own way, depending on the number of samples of finished drawings he has seen. Usually, this is well shown on the diagrams of textbooks, and everything seems to be clear, but in practice you get hung up on finding the exact proportions, correcting what you have done many times, starting to check the proportions by mechanical means, fiddling with the plumb line. Outlining top-bottom, right-left, you outline only the general composition of the drawing, and the search for the proportions of the object will continue throughout the initial stage of drawing, and it is not worth analyzing and correcting the first sketches of strokes endlessly. Each new line helps you to refine the proportions, as you correlate its location with existing ones, you are looking for matches and correspondences.

This first version of the drawing begins with contours, which I do not welcome, but do not reject either. For beginners, it is more accessible and understandable. One note, the contours give a generalized form, they do not copy nature.

The second version of the drawing (the most suitable for developing a whole vision of nature in oneself)

Here I wanted to show the way of drawing not from the contours of the form (there are none), but from the creation, starting from the very first strokes, of an integral volume, which is gradually divided and refined. Only after that you can methodically draw the details in the same manner, running wire lines.

Control in our brains

Circles and sticks are what you keep in your head, not draw on paper to demonstrate your scholarship. When choosing a point on an object, mentally connect it with other, clearly perceived points, in order to check the angles of inclination with nature (align the pencil in your outstretched hand with the desired angle of inclination in front of nature.).

Focus your attention on three noticeable points of nature at once, and compare the shape of the triangle with what you have on paper. Grabbing a look at the relative position of the points, you can easily mark one of them in the figure in relation to the two available. To put it simply, when you stroke the chin (what you are currently trying to stroke, but are not sure where to do it on the paper), you look at the crown and cheekbone of the head at the same time, trying to place it in exact relation to the location of the selected landmarks. (it didn’t work out easier, figure it out yourself).

Try to compare each direction of the lines with the direction of the line at the other end of the drawing and accurately convey their differences. The right side of the object is compared to the left, top to bottom.

And lastly, mentally continue each applied line until it intersects with the entire object. This way you can control its accuracy (what intersects in nature should also intersect in the drawing). Extend the line of the nose higher and see where it comes out at the back of the head or forehead..

This is a special case of controlling the construction of a picture by vertical and horizontal lines, when points located on the horizontal should also be located on the horizontal in the picture.

I repeat, do not engage in mechanical controls, get used to making mistakes and correcting in the course of vigorous work on sketches. It is long sketches (sketches), and not lengthy staging, that develop your skills in determining the exact proportions and creating generalized forms.

The third version of the drawing (the most difficult, finishing approach)

At first glance, this version of the drawing is helpless, in fact, it demonstrates the preparatory stage, after which its gradual detailing will begin. It is not worth recommending you a professional pictorial style of drawing as study guide. Everything has its time.

I would really like to wean you from drawing a neat wire outline. I won't say that I spent a lot of time on these illustrations, but that doesn't mean that they reflect my sloppiness in drawing. Study them carefully, trace the appearance of new strokes at each phase, and understand their meaning. If you really start to learn, try not to rush into beautifully detailed drawings, stop at building a solid form. I am sure that drawing details will not be as difficult for you as this topic.

I emphasize that we are talking about an educational drawing, and its tasks do not always need to be transferred to your drawing for your own creative purposes. In addition, the nature of the shape of the object is such that it requires a different approach to drawing, otherwise the hay-straw will come out to the fore where a very delicate approach is required. Educational - its goal is to develop skills, in this case, an integral perception of nature.

There is another, no less important rule, to constantly work with relationships. You constantly compare one with the other, how one relates to the other, and transfer the difference found on paper (location, tone, color).

Remember the need to draw according to the idea, from memory, when you are forced to create a form not by a contour, but to look for its constructive structure. Without such experience it is difficult to get away from blind copying of nature.

Drawing from the web

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7th grade 699 schools

If we talk about passion, we must also talk about the jewelry store. He was in a new high-rise at the Red Gate. It was built in front of my eyes, then the educators walked us (give him a pencil, and you can not approach him all day) in a nearby public garden, and we constantly watched the builders against the sky behind a wooden fence. An angry old painter painted a sketch from him with rough strokes, and I could not understand why he needed a fence. The fence didn't last forever. In addition to the entrance to the metro, a chic jewelry store was opened in the house. It has become my favorite place to walk. The whole deserted black room was in semi-darkness; in order to look into the shop window, which emitted a mysterious light, I had to stand on my tiptoes and raise my chin. This did not last long, my friends reported everything to my mother, who took me out of the store by force and tore me out with a belt for no reason. Divine days! The lower light illuminated tiny things on black velvet, studded with sparkling stones. What amazes me now is that the sellers have never reprimanded me. There were no buyers and my tattered appearance did not bother them much.

I know from my own experience that no one will read this if you don’t give a picture. Ever since I started drawing at school, I didn’t show anything to anyone, I was just ashamed of my inability. I sat alone at a desk in the corner, from this point of view, today's drawing is presented based on the sketches of that time. I promised the guys that when I become an artist, I will definitely paint a picture about our class. Maybe I'll have time to paint a picture, who knows?

Sketches in the classroom. I would like to urge you to treat them like a jewel that only increases in value over time. Do not try to evaluate their quality, do not filter out "garbage". The moment of truth will come, and they will tell you what they once hid.

Grishka Grinberg. Next to him, I felt very naive and stupid. But he was kind to me.

My friends from this study head goes around.

Artamonov looks with great irony from the opposite corner

for all this education.

I imperceptibly manage to apply the teacher to the blooper (not a masterpiece, of course).

Old sketches allowed me to compose an intermediate drawing

Digital sketch based on children's sketches.

Young math teacher. The "men" of the last parties demonstrate complete indifference to the newcomer.

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quick sketches

With each new page I feel myself approaching genius, at least some readers hint at it. The language itself begins to turn to talented words, to the right phrases with the right thoughts. That is why I strongly advise young people not to show their first sketches to others. Their opinions and advice will keep you from drawing naturally without frills.

You write very well and everything you write is valuable because they usually don’t write about it (the bastards hush up :))
And if that doesn't bother you, I have one more request.
I have been trying for several years to learn how to draw, so far to no avail, because I can not form for myself a system of daily classes that would allow me to count on gradual progress. I take on one thing, then another, but there is no SYSTEM, every day I tune in, decide that I should draw something, but the time comes, which I appointed for drawing, and I don’t have a clear plan of what to do, and therefore everything is canceled until tomorrow.
I did not study at any art institutions, and this does not shine for me, but I am interested in drawing, and I would like my drawings to simply please me. I am even ready to work for this every day, only I must know exactly what I will do when I take a pencil and a piece of paper in my hand.

You have created an impasse by striving for a useless goal - my drawings should just please me. Your knowledge, your tastes, passions are rapidly changing every day. What you like today will be funny tomorrow. As soon as you like your drawing, you will run into a tall fence. This is the same if I tried to please my beloved grandmother with my creativity, who does not understand anything in drawing.
If you want peace of mind, do embroidery.
For most people, the initial goal is to find opportunities to learn from someone, learn in order to move to a different level of knowledge, in order to escape from the earthly bustle into a completely different circle of people.
The system is provided by school discipline, without it, and even more so without personal volitional qualities, everything is useless. An artist is a bunch of irresistible WILL to win and a high internal culture. Vocational training begins with educating the student a professional view of work, with educating his taste, understanding what is good and what is bad. You can’t learn this at home on your own, maybe that’s why I started my writing to help people like you take the right starting position! :))
Thank you, and don't be offended by the straightforwardness.

I keep a bunch of small pocket notebooks. The ones shown here are 5x8 cm in size. They have not been opened by me for fifty years. Classmates and teachers soon got used to my lessons and stopped paying attention to me. When you look at the drawings, you will understand why no one has seen them until today. Yes, I was ashamed to show them. At the time of drawing, I looked in front of my peers much smarter than these classified sheets.

No special comments are required here. I gave you the opportunity to see the process of self-learning in its natural development, something that hardly anyone would dare to show you. And don't tell me after that that nothing works for you, nothing worked for me either. The whole value of these sketches is in their instantaneous execution, when no one posed, and often, did not notice me. I would like to say that the content of the drawings is not as important as the benefit from their execution. This is so and not so. For me today it turned out that their content is more important. From these scribbles, I instantly recognize my long-forgotten childhood friends and my teachers.

There is only one instruction for your whole life, make daily sketches as if your mother gave birth to you for this. Every day that goes by without a sketch will go down the drain.

The task of today is simple, to inject interested readers with a vaccine of creative longevity, to anger them with their laziness and spinelessness. It does not happen that a person draws, draws, and nothing would change in him.
I will try to develop the topic on the next page, there are sketches that are longer in time than these.

Good afternoon. Thank you so much for taking such good care of your readers.
I really liked that you started your new post with my words. It was so cool.
However, with each of your new phrases, it strikes me more and more how you can write like that, about what, if you don’t fight, you yourself won’t think of it, and you write about it like that about ordinary obvious things!?? That's great, honestly.
I was looking for the reason for my bad sketches in anything, but somehow it never occurred to me to give up such a simple look at my laziness and spinelessness. That's funny 🙂
Everything turned out to be much easier than I imagined.
And from this it is both sad and easy at the same time, because now it is clear what to do next. Thank you so much again for a good kick in the right direction 🙂

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Chiaroscuro in the drawing

Even a conditional children's drawing is able to convey the contour of the relative position of objects, their proportions, sizes, depth of space. Linear perspective is more serious, it guarantees us the mathematical accuracy of the displayed information. The black-and-white modeling of the form completes the creation of the picture, and it also obeys the exact sciences.

More light is caught by the surface that is turned to the side that emits light. This is a blow with a snowball directly on the forehead (frontal impact - headlight). As soon as you turn your head slightly, and the blow will turn out to be sliding, not so deadly-painful, its energy weakens. The more the surface turns away from the light, the weaker it is illuminated (darkens). We are talking about frontal and sliding or oblique lighting. Remember the mountains of snow on a flat roof, and how it slides off a sloping roof.

The plane changes direction, forming an edge along the break line, and instantly loses some of the light falling on it. The change in key tells the viewer that the two planes are at an angle to each other.

It is interesting to see how the shape of the silhouette affects the perception of the difference in tone.
In a square and a circle, the edge can be mistaken for the line of the distant horizon.
In the central silhouette, we can easily recognize a stone block.
The conclusion is that tone and contour work in close cooperation.

edge contrast

Now you need to pay special attention to the edge contrast of tone along the edge line. In practice, this means that along the line of contact between light and dark, you need to make the dark even darker, and the light even lighter. This is done very delicately.
No matter how complex the shape of the object, you will have to painstakingly go through all its smallest breaks to emphasize the edge contrast. The viewer should not notice this work, just as you did not notice the contrasting boundaries of tone until this moment.

In this image of a plaster cube, the edge contrast is deliberately exaggerated to make you believe it exists.

The first fragment of the cube is given in normal key,
the tone of the second is exaggerated. The edge contrast is better seen this way.

own shadow

The horizontal plane formed an edge and went into shadow.
If there is light, then there is also a shadow, where neither direct nor oblique light falls (deaf own shadow).

Reflex and drop shadow

And yet, we meet the crumbs of the world and where the road, it would seem, is ordered. It's about reflexes. The surface not only receives light, it is able to cast part of the light onto surrounding objects. The mirror reflects the incident light almost completely, like a tennis racket throws balls away, and the black velvet swallows it almost completely. It is the reflected light that creates the so-called reflex, which we often see in the shaded area of ​​​​the object.

Here, the illuminated planes, the plane in shadow (own shadow), and the drop shadow are well shown. The reflex is felt most strongly in the lower corner of the shaded face, as it is closest to the bright base plane. Reflexes help the viewer to feel the volume of nature.

visual perception

We would avoid a lot of problems if our vision were not part of the brain (joke).
It filters everything that enters our field of vision. He, like a graphic digital editor, in addition to our will automatically "corrects" optical picture retinas. Saves one thing, the ability to turn off the autopilot, and switch to manual control (vodka, drugs or developed professional ability).

From everything read on this topic in the scientific literature, I will single out useful for us.
The pupil constantly fluctuates (micro-oscillations), it is worth fixing it, and the picture will disappear.

The image on the retina is displayed upside down by the lens-lens, and only the brain turns it over in accordance with the position of our body. As soon as a person suffers for a week in glasses with an inverted image (with the help of a prism, you see everything upside down), your vision is gradually restored, and everything begins to be seen normally. Remove these glasses and it will take the same amount of time for rehabilitation (a week) until the picture is turned upside down again.
We perceive all straight lines of nature as straight, although they are curved on the spherical surface of the retina. The brain makes its own correction, straightening, against our will, those lines that it considers straight in reality. For this reason, all optical illusions arise, the brain intervenes, trying to reconcile our life experience with the "ugly" image on the retina.

Without special training, we do not see the real color of objects. It seems to us that a green car is locally green, but in fact it is bathed in numerous shades of the reflected color of its environment. It seems to us that the entire face of the cube is illuminated evenly, but in fact there are many light nuances on it. We need to teach our brain to see what is in nature, and not what it seems to it (to give up stereotypes of thinking). Otherwise, it will continue to make its own adjustments to our vision.

Tone gradations on a flat surface

Cube in daylight diffused light.

The training setting is illuminated by a spotlight from a relatively close distance. As objects move away from the soffit, their illumination weakens (this is not sunlight for you). The attenuation of such lighting is easy to trace on the surface of the table with a still life. The part of the countertop closest to the light is lighter, the part farthest from the light is darker.

On small planes, for example, on the edge of a cube, this is more difficult to trace. To sharpen the gradations of light on the plane, we will increase the contrast of the image.

A typical mistake of beginners, in the shady areas of objects, there are always places that are comparable in lightness to illuminated surfaces. This creates confusion, the tonal unity of the picture is broken, the reflexes glow with light bulbs, breaking the shadow. There must be an illuminated part of the object and a shadow part, otherwise we will get a vinaigrette from dark and light spots. I repeat, the lightest reflex in the shadow should be darker than the illuminated part of the object (polished and mirrored objects do not count).

Tone Scale Limits

Before you start drawing, find the lightest and darkest place in nature (for example, a highlight of an object and a hole in a vessel). In your drawing, these places should also remain the lightest and darkest. Everything else should be within this scale.

In order to make it easier to determine the lightest areas of nature, artists like to squint strongly. The illuminated bright part remains visible against the background of shaded places in nature.

tonal range

The cube presented from different positions has differences in tonal range. The darkest place they have is very different. In the first cube, the ultimate darkness is much lighter than the ultimate darkness of the second cube. therefore it is not as juicy and expressive as the second one. And there is no mistake here, simply, the general tonality of nature from this position is lighter, it does not have a shadow part of the object.

Choosing the overall tone of the picture

It is true to take the tone in full force on a blank sheet of paper, and so, right away, the student is not able to, the training drawing acquires the desired density of the overall tone gradually. In addition, one must understand that the choice of a general tonality can be approached creatively. Even in the educational drawing there are no strict restrictions and rules on this matter.

A number of photographs of the cube in different tonalities are presented.
Try to choose the right tone for your drawing.
Any of the options has the right to exist, but in this case it is more useful to consider the options as stages of drawing, as a sequence of increasing the density of the chiaroscuro elaboration of the cube.

Tone relationships (very important part)
In the process of drawing, you need to control the strength of the tone applied by the pencil, which can be lighter or darker. Inexperienced draftsmen rely on the sensitivity of their eyes. It usually goes like this. Some place of the drawing is shaded, then the neighboring area is shaded a little lighter or darker than the previous one, they look at how it is in nature, etc. When the drawing is “chirped” with a pencil completely, disappointment sets in. Chiaroscuro is hopelessly monotonous in its dull grayness.
I would like you to re-read this paragraph again and pay attention to the phrase, “Some place of the drawing is shaded, then the neighboring area is shaded a little lighter or darker than the previous one.” Remember this mistake. The treated area is compared not only with the neighboring area of ​​the drawing, but also with distant ones.
The teacher comes up to you and asks sympathetically - what is it with you, Roman Batkovich, this place (and pokes a finger at the drawing) turned out to be lighter than what is in the background? Can you see the difference in their tone? Where did you look when you worked?

And who knows where I looked, made a little darker here, a little lighter there. Why should I compare the strength of the tone with the opposite angle.

I think if you have mastered this text, then you understand that each applied tone is compared in strength with all parts of the drawing. In nature, there are always places that are the same in lightness, in the drawing they should also be the same! We are looking for differences in non-matching tones, and the degree of these differences.

We close the drawing with white paper with holes cut out in those places that we compared with each other in kind. In an isolated form, the tone is perceived differently, it is much easier to compare tonal relationships. But, this is just an explanation, in the process of drawing we do not make holes on paper.
The tonality of the circles shows that there is no need to be afraid of the pencil, the final tone is quite dense and you can safely “chirp”, especially in shady places.

We repeat.

We compare which of the two considered places of nature is darker and which is lighter, and we display this difference in the figure. The difference in tone can be subtle, and then it is not difficult to make a mistake in its definition. It is better to start comparing areas of nature that are clearly expressed in tone. The sense of tone must be developed in oneself, just like the sense of color in painting.

Surfaces with subtle tonal transitions are difficult to perceive with an inexperienced eye. The student hardly catches the difference in tones of neighboring areas, and often does not believe in their existence.
Let's introduce an artificially stepped gradation of tone and increase the density of chiaroscuro. As you can see, the differences in tone are more pronounced. Think about what is useful to compare with in order to convey differences or similarities on paper?

So what was it about? About the laws of distribution of light on objects and about our perception of this light. Why do we need it? In order to master the all-shadow modeling of a drawing, and to understand that you won’t go far on intuition alone, you need to learn to see what you are looking at, and not be deceived by illusions.

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Started with a circle...

Opened a private "Consultation"
What the hell is not joking, what if this will not be the last case, and people will be interested in our “showdowns” with art lovers?

I put the first simple object that came across on the sofa.
HB pencil. Artificial lighting chandelier. Album sheet.

Started with a circle. Then I saw that the ball was lighter than the upholstery. :)))
And upholstery with a pattern. In general, I started to get confused with the shadows. Well, here's what happened.

- Nice drawing, you might think you have already got acquainted with my last page, which was published after this comment.
You've been accepted into the studio and it's free. 🙂
Let's talk about your drawing.
It seems to me that you can more clearly accentuate the lightest (squint to reveal this place), dimming the rest. The same goes for the darkest one you don't have. Then you will get rid of the common gray (it can also be called a beautiful silvery tone).
Thank you.

— Thank you for your kind comment.
Thanks for the free studio. All amendments accepted. I think to take a softer pencil.
And I look forward to continuing. If that means anything to you...

- And what to expect, it is already in the diary!

I recommended the HB pencil for drawing plaster casts, and for sketches from nature I suggested taking 3M.
Chandelier lighting is not the best for training sessions, spot lighting (one lamp) is more useful, which does not smear the borders of shadows.
The background is more difficult, it can be chosen as a smooth, neutral tone (the subject is perceived more clearly), or it can be random, when it is important for you to convey a specific atmosphere, special intonations of the soul.

To make it easier for you to understand my remarks regarding the lightest and darkest tone, I suggest that you look at the digital edition of your drawing.
I hope you will notice not only a change in the overall tone, which has become denser, but also a softening of the contour of the ball and its letters in the light. By the way, the letters should shrink more in width at the edge of the ball. The ball's own shadow began to appear more distinctly, inside which I extinguished the sparkling places. A lot of effort went into removing the background, which in many places argued with the lighted part of the ball (they were equally light).

Lastly, I cropped your drawing at my own discretion so that you represent the importance of presenting the work correctly to the viewer. It doesn't mean that next time you show me cropped drawings, no, send everything alive.

Thank you for your trust.

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Sketches from nature

It is clear that sketches are something momentary and light in form and execution, but from a sketch we begin to draw a long-term educational setting. And it often happens that a well-executed fleeting sketch is a pity to leave alone, and it turns into a serious sketch from nature.

The purpose of this page is educational. Firstly, I want to tell you possible topics from life for drawing, you can’t draw endless apples and pots, and secondly, you need to draw your attention to such interesting materials as charcoal, ink with a pen and a brush, a simple pencil can sometimes relax. And yet, the main thing I want to talk to you about (thank God, now I have someone to talk to) is the hatching technique and the technique of drawing the drawing itself. I don’t even want to rant about it empty, there is nothing more useful than looking at someone’s interesting experience (of course, mine). I understand that many are already sick of incomprehensible calls not to do retouching, smearing the stylus with their fingers, constantly comparing one with the other, not replacing drawing with secret copying of photographs for the sake of their vanity. But how else to get the newbie off the ground?!

Manor in Bratsevo.
Album format. Pencil.
I would like to advise - do not draw leaves on the branches, but it’s better to keep silent

Ink, tubular pen.
Rokotov lived in this house!

A tiny sketch of the Northern River Station.

It seems to me that the drawing technique is quite clearly visible here.
This is not a drawing of contours and then filling it with chiaroscuro. The pencil immediately creates tone spots with strokes, which are gradually refined with smaller spots. The form appears from the vague tones of the picture, and only at the final stage we apply several details or contours that are important for the perception of the object.

I show two drawings of the same object for comparison. The first drawing of the doll looks more finished in detail, but the second one seems more alive, its line texture breathes. Remember the fragments of watercolors made by fillings with a heap of smudges. It is the uncontrollability of the paint layer, its improvisation, that creates the uniqueness (in the literal sense of the word) of each watercolor. The same is in the picture. If you try to paint like technicians depicting a pipeline project with neat chiaroscuro, you will become a technician. In fact, the first drawing began in the same way as the second, just the degree of completeness is different for them.

I think you understand the purpose of these miniature sketches. Yes, I can draw smoothly and in detail, but I draw "roughly" because I like energetic creative drawing, far from the student's copying of nature. I assure you, master reasonable educational drawing, you will be able to work in any technique in the future.

You can clearly see the difference in the hatching of the upper drawings, the differences in scale, in the sharpening of the pencil. There is one thing in common, the degree of detail of the form is minimal everywhere.

I love this quick portrait sketch of a student, he's not posing, he's standing behind an easel and working. The face is not frozen, it lives. Let me remind you again, do not work from the contours, sculpt the shape in tone, moving to the contours at the end of the work as necessary.

A series of sketches in ink and a flat bristle brush. At first glance, the technique is clumsy, it is not adapted to fine work, but this is its charm. It gives the drawings a special decorative effect and originality. I note that the format of the sheet is large, larger than the size of whatman paper, and the width of the brush is 2-3 cm.

Olya is on a chair. A young beauty with a figure of a top model. Glancing at the drawing, she artistically exclaimed, “Oh, I’m so shameless!
Whatman sheet and charcoal.

Ink, tubular pen.

It seems that he inserted a lot of drawings, but it was not possible to say everything. In fact, the technique of sketching and sketching is immense. Whatever you portray, it will be individual and not repeatable (I hope).

I know there are many novice draftsmen who seek to digitally imitate drawing skills by copying photographs. Don't be fooled, your vanity will kill whatever spark of talent you have. Draw from life, make sketches, sketches, long studies. It will be bad, but honestly, and most importantly, over time it will be good.

He even invited me to his hostel (he was from the school in 1905).

My first home drawing after entering the studio.
I already knew how to check the construction of a drawing and its all-shadow, I knew what the lightest and darkest place in a drawing is. I learned to work with relationships, I learned to transmit the spatial all-air environment.
Maybe there is no brilliance and dashing technique, but there is also no experience necessary to demonstrate such dashing.

At that time I was in the midst of older students, in the midst of philosophical conversations in the corridors about how one artist was able to start a drawing from the sitter's big toe and finish the whole figure on the same toe. And what is amazing is that the figure fit exactly into the paper format and is absolutely accurately built (then I recalled the tales of the yard guys about such a force of impact of one football player that the goal post broke in half from the ball). Then there were endless talks about conveying the feeling of gypsum in the drawing, so that it did not look like a tree. Gypsum is felt in this drawing, not in that one, that one knows how to draw, but that one does not ...

Then suddenly Mark appeared. After smoking a cigarette, he solidly entered into a conversation, striking us with another memory. Today he spoke in a hoarse voice about Laktionov, who perfectly began an etude with oils, and grasped color and air, well, he amazingly grasped, and how he began to masturbate with a small brush, working out in detail equally both distant and near plans, we all wanted to spit. At this moment, he spat dryly to the side, then slowly straightened up, tilting his head like a cock to one side in order to see the listeners with blind eyes. Without waiting for the necessary understanding, in a second, finally, he shot out the final phrase - and all the work is down the drain! Here he instantly leaned in my direction, as if he were a kid from a kindergarten, in order to enter through the glasses into my head. Frankly, I did not understand well the meaning of the word “masturbate”, and yet I caught some kind of contemptuous intonation of the narrator towards the lover of unnecessary details in painting.

In the middle of class, a girl came in. I don’t remember who represented her and explained her appearance, only later, from fragments of phrases from corridor conversations, I realized that she was a student, she was sick, she missed classes, she came to draw a fragment of an architectural border with ionics (institutional debt). The intrigue was not that she, with the pallor of a nun, was silent and little sociable, but that she was a student and the daughter of some artist! My head was spinning, if I were the son of an artist, I would draw like a god. Okay, let's see what happens.

Three hours later, it became clear that she was painting not like a God, but like a goddess! For the first time I saw drawing not contours, but volumes. A large volume was indicated by a generalized tone strip. Gradually, it was broken up into smaller and smaller volumes. And this was not Vrubel's crystalline mosaic, she worked with wide strokes of her hand, creating not a contour, but groups of long parallel lines that laid down on the lower layers like silver glazing. Like the most impudent one, I stick my nose into the paper - I see chaos from groups of straight lines that crowded together or scattered into the expanse. I move away to a distance, I see a plaster cast imbued with light!

Few people dared to discuss the work of the girl, the only thing I could hear was the viscous creak of a rusty castle, - Yes. There's something about it. As I wanted then, like this, silently appear here, wipe everyone's nose, and just as silently leave.

In my drawing, everything was in place, everything was scrupulously drawn in the right key, there were no mistakes. Why did I suddenly feel like a deceived idiot. She painted as if sculpting the desired shape from a piece of clay: gaining the desired mass, slapping the piece with a flat wooden spatula from all sides, bringing the shape closer to nature. No nose, no ears, no strands of hair, and the blank is easily recognizable. It never occurs to her to start modeling from the tip of her nose, and add cheeks, eyes, ears to it. Yes, I myself understand the stupidity of this method. Why do we draw based on details? Yes, we would like to draw from a large form, but we did not know how to create it on flat paper, because we did not have the experience of drawing from representation.

Not a trace of light carelessness remained. I began to suffocate among the empty importance of self-satisfied dilettantes. If they are older than me, it does not mean that they know the truth. This is not how we learn, and I felt cheated, I started to lose ground. The teachers did their job, pointed out errors in the construction of the form, in chiaroscuro. They did a lot of things. Why didn't any of them go out of their way to knock us down the arrogance of the ignoramuses? And I began to remember small details that I did not attach importance to before.

Here the artist takes off from his place from some student, runs up to the spotlight with an outstretched fist and a passionate voice demands attention. Why is it so hard for you to understand? Here, see how the border of the shadow runs all over the hand clenched into a fist. Here, here it begins, then goes down the fingers and so on throughout the shape of the fist. Can you see that this border is darker than the shadow itself with reflections? Why is your shadow constantly torn, why don’t you accentuate the border of chiaroscuro, turning everything into a mess?

He is replaced by another artist. The good-natured crest with the overweight figure of Taras Bulba looks with disgust at our art, and quacks with annoyance. Push those mazulkas of yours for the time being, and louder - everyone fastens a piece of wallpaper to the easels with the clean side and takes the coal! We draw with a piece of coal, but not with its tip, but flat, like strokes flat brush. The task is simple, light and shadow! No mess, generalization of form, construction in exact proportions. Time, 15 minutes and change of positions.

And what do you think - the result is zero. And then he sits down on my creaky chair and smears coal on paper with all his immense paw! Something bugged me. I watch how he hits the paper with a rag - coal dust crumbles down. From the former blackness, only a cloudy shapeless spot remains. He asked a neighbor for a nag and, in a businesslike way, as at home, began to remove coal with it in the brightest places of the form. Do you understand anything, he yelled at the whole hall, I asked them to give me light and shade, and nothing more. And further, already in a friendly voice, - no snot here. Look here, now a few accents with charcoal on the border of light and shadow ... He created the accents not with transverse movements of the charcoal, but with fractional ones, from which the strokes were narrow and precise.
- Change of location! Fast, fast and work!
No one is working, everyone is hurrying to my easel. - Well, how? - And the devil knows how he does it, in five minutes he did something that I will never do at all.

Two episodes. They speak eloquently of the fact that teachers are not concerned about our hatching style or drawing technique. They are concerned about the transfer of fundamental knowledge to us, without which external techniques will remain only tinsel.

The height of an object is twice its width.

The artist looks at the student's drawing and tells him to check the ratio of the height of the figure to its width, it seems to me that you made a mistake in proportions. How to understand these words?

Here is the cube that we are drawing.

Stretching your hand with a pencil forward to the limit,
we mark the height of the cube to be drawn with our finger.

Without moving the mark finger on the outstretched hand, we turn the pencil horizontally and align it with the width of the cube being drawn. We remember visually on a pencil how much the width differs from the height (slightly shorter than the pencil segment).

We repeat the same measurements, but already in the figures with erroneous proportions.

It is clearly seen that in the first pair of drawings the cube is clearly narrower, while in the second it is much wider than the pencil segment.

Here is a drawing (photo, of course) with exact proportions.

As soon as students learn about this way of checking a drawing, they stop drawing and take endless measurements. The actual accuracy of such measurements is very low, but there are pluses. Students begin to better understand the meaning of the term "relationships of the parties."

ABOUT SELF CONTROL
(for those who are just starting to learn drawing from nature)

Using a pencil, you can check the relative position of parts, specify the angles of inclination of straight lines, and much more. I note that all of the above refers to that period of training, when the eye is not yet accustomed to seeing nature correctly, and errors in the training drawing are layered one on top of the other. Daily quick sketches from nature perfectly develop the eye and spatial vision of the artist. You will very soon be able to forget about mechanical controls, and draw without blunders. For now…

Extend your hand with a pencil and place it vertically, aligning it with the corner of the cube (look with one eye). Now look how far the silhouette of the head is from the vertical pencil. In nature, the displacement of the head to the left of the pencil is clearly visible, and in the figure the edge of the head is on the same vertical with the corner of the cube. The error was found on time, still at that stage of drawing, when the main masses of the form are being refined, and the matter has not reached the detailing.
You will not be limited to checking two points, in addition, it is not at all necessary to manipulate the pencil if you understand the principle of checking horizontally and vertically. We take one detail of nature and see what is far below this detail. If there is something else in the picture under the selected part, you have an error.

All verification methods are based on a simple comparison of two distant points. It is required to convey in the drawing their relative position exactly in accordance with nature. We constantly mentally compare what is higher and what is lower, what is to the right and what is to the left. The trick is not great, but for some reason it does not reach everyone.

Hold the pencil not vertically, but along the slope of the edge of the cube. Try, without changing the slope, move it to the opposite face. In this way, you can better see the difference in the direction of the edges, and more accurately convey it in the drawing. Constantly look for differences in directions. How does the right line differ in direction from the left, how does the skull line differ from the front line in direction? This is self-control in drawing.

Hold the pencil horizontally at the corner of the cube closest to you. Try to remember the angle between the receding edge of the base and the horizontal, figure out how much it differs from 45 degrees. Thus, we are trying to check the accuracy of the direction of the edge in the figure. Out of habit, it is very difficult to correctly draw the slope of a face, and a landmark in the form of a horizontal or vertical pencil it happens quite to the point. "Taking" exact angles the first time is a great art, it comes to those who make a lot of sketches from nature.

If not developed Creative skills inherent in a child from birth, if children are not given appropriate knowledge in time, if they are not equipped with the necessary skills, then in adolescence there will be a discord between what they want to express and what they can do. Disappointed in their abilities in artistic creativity, adolescents not only give up pencils and brushes, but for a long time, if not forever, cool down to art.

It is drawing from life that is the leading type of training in fine arts during the entire school course, since it serves as the main basic type of visual activity for mastering the knowledge of the elementary foundations of realistic drawing and visual literacy by students. In turn, the ability to draw, the ability to realize oneself and achieve a positive result are the main sources of motivation for visual activity, and their absence is the reason for refusing to fine arts.

The mastering of elementary literacy of fine arts by children in secondary school is a guarantee that over time they will be able to appreciate not only the depth of the content works of art, but also the complexity of their figurative and expressive means. Without literacy, it is not easy to teach to understand the language of fine arts. It is thanks to practical drawing that the qualities necessary for a person as a person and as a spectator develop.

This material is focused on the program of the scientific and pedagogical school of Academician V.S. Kuzin, developed within the framework of the concept "School of Drawing - Graphic Literacy". The value of his methodology lies in the fact that motivation is always based on the internal structure of experience, the highest logical levels that are formed and developed in practical activities. Based on my own pedagogical experience, I can say with confidence that the more a child knows how to draw objects and phenomena of the world around him, the more he has a desire to engage in visual activity, to self-affirmation through creativity.

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DEVELOPMENT OF A SYSTEM FOR TEACHING DRAWING FROM LIFE

A country where they would teach to draw
just like reading and writing, excelled
would soon all other countries in all
arts, sciences and crafts.

D. Diderot

Self-expression in drawing is one of the most ancient human needs.

The study of fine arts in the primary school is designed to form students artistic way knowledge of the world knowledge system and value orientations based on their own artistic and creative activity.

A lot of scientific and methodical literature is devoted to this issue.

One of the main goals of the modern educational standard for teaching fine arts ismastering the skills and abilities of artistic activity, images on a plane and in volume

Teaching the basics of visual literacy, the formation of practical skills in various types of artistic and creative activities

Systematic development of visual perception, sense of color, compositional culture, spatial thinking

All of the above is a conceptual approach to solving the problems of modern education in the field of fine arts,but the duality of existing programs interferes with the work of the teacher and the transfer of educational knowledge based on visual literacy.

Drawing from nature is the leading type of visual arts classes throughout the school course. This type of educational work serves as the most important means of studying nature and the surrounding reality. And above all, its aspects and phenomena such as shape, proportions, volume, color, material, illumination, position in space, perspective reduction of objects.

While drawing from nature, students develop the ability to analyze and compare, generalize the depicted objects and phenomena. Drawing from life, children learn to observe and convey the most typical features of phenomena and objects..

In fact, drawing is one of the most important subjects after the native language and more important than mathematics and other disciplines, because it involves mental, sensory-motor functions that develop, educate and train the brain and the mechanism of vision, necessary and important organs in any area of ​​human activity.

At present, being carried away in teaching fine arts by introducing plot and free topics, bypassing the development of the alphabet and grammar of fine arts, which have nothing to do with the principles of a comprehensive school, classes are based on introducing students to "self-expression", where a trend borrowed from Krylov's fable can be traced "Quartet", with characters possessing musical instruments, but having no idea about the elementary literacy of art.

As a teacher, I have to deal directly with this problem, so the choice of the topic of this work was not accidental, since today the problem of teaching drawing in general educational schools very relevant.

The purpose of this work: to identify the main aspects necessary in the development of a system for teaching drawing from life in the light of modern methods of teaching fine arts.

The history of the emergence of methods for teaching drawing.

I will allow myself a short digression into history, since in the study of this topic it is impossible not to rely on historical experience. The history of teaching methods, keeping the accumulated experience of previous generations, helps to solve modern problems correctly. A person has always strived, and to strive for communication and the ability to draw gave and gives him this opportunity. Even in ancient times, people began to develop their skills in drawing. . According to historical data, it is very important to note that the drawings were a kind of transmission of human thought. Through direct observation and imitation of the surrounding reality, primitive man acquired the necessary drawing skills.

Great importance was attached to drawing in Ancient Egypt. And it is there that the ability to draw becomes the subject of schooling. In ancient Egypt, uniform methods and a system of education appear. Drawing was taught not spontaneously from time to time, but according to already approved general canons and rules that were established and required the strictest observance of all norms.

Ancient Greek artists approached the problem of education and upbringing in a new way and significantly enriched teaching methods. They began to urge young masters to carefully study the reality around them, and most importantly, to find their beauty in it. Already in the 14th century BC, there were several well-known schools of drawing in Greece: Sicyon, Ephesus and Theban. In the future, the Sicyon school had a huge impact on the further development of fine arts and teaching methods in general. It was in this school that they tried to adhere to the scientific methods of teaching drawing and sought to bring the student as close as possible to nature. Education in this institution was based on natural science and strict observance of the laws of nature. Pamphilus, the head of the Sicyon school, believed that without knowledge it was impossible to achieve perfection in the field of art. Pamphilus considered drawing a general educational subject and introduced this discipline to all schools of Greece, it was in the Sicyon school of drawing that the method was first laid down. scientific understanding art, and at the same time the scientific method of teaching.

Based on this information, we found that just at this time
art teachers for the first time established a method of teaching drawing, based onlay drawing from nature.

During the Renaissance, artists sought to revive ancient art in order to understand the working methods of their creators. The point of view of the artists of that period was such that the basis of education shouldbe expected to draw from life. This idea can be found in many treatises. In particular, Cennino Cennini writes in his treatise:“Note that the most perfect guide that leads through the triumphal gates to art is drawing from nature. It is more important than all samples; always trust him with a warm heart, especially when you acquire some feeling in the drawing.

Valuable methodological provisions were put forward in the treatise "Three Books on Painting" by Leon Batista Alberti. This work is a significant work on the theory of Renaissance drawing. His treatise tells not so much about painting and colors, but about drawing and the basic principles of the correct construction of an image on a plane.

Alberti believed that the entire learning process must be builtin nature drawing: “And since nature has given us such a means as measurements, the knowledge of which is of no small benefit, so let diligent painters in their work borrow them from nature and, put all their skills and efforts to know them, let them keep in mind that that they borrowed from her.

Having studied the data historical sources, we can safely say that great importance in the process of learning to draw wasdrawing from nature.Great attention was paid to the method of drawing from nature, and all methods were justified from a scientific point of view.
This problem was not ignored by such famous and great artists as Leonardo da Vinci, a wonderful master
his business A. Dürer. Summing up the Renaissance, we can say that they left behind a huge legacy. Even now, their work is amazing with a deep knowledge of anatomy, perspective, the laws of perspective.

In the 17th century, the formation of a new pedagogical system takes place - academic . Especially much has been done by the academies in the field of methods of teaching drawing, painting, and composition. At that time, a clear and organized system of art education was being formed. It was believed that it was impossible to master drawing without serious scientific knowledge. The benefits of drawing are enormous, because while drawing, the student simultaneously learns the world. Jean Jacques Rousseau, a French encyclopedist, spoke in more detail about drawing as a general educational subject. He believed that for the knowledge of the surrounding reality, the sense organs are of great importance, which can be developed in a child by teaching himdrawing from nature.Accordingly, he argued that the child should not have any other teacher than nature itself, and other models than the objects themselves. In other words, Rousseau was of the opinion that a tree should be drawn from a tree, a house from a house, and not copied from an image on a sheet of paper. Thus, Rousseau looked at the method of teaching drawing much more seriously than his predecessors.

Later, by the end of the 19th century, school education specialists were divided into groups, some of which were supporters of geometric methods, while others were naturalists.

Analyzing the geometric method, we can see that although it has been introduced in all educational schools since 1888, on the whole, as a method, it has not justified itself. Many teachers misunderstood the learning process. Geometric figures began to be studied abstractly, without any connection with the objects of the real world. And all this led to the fact that the bulk of drawing teachers turned to the experience of supporters natural method.

Unlike the geometric method natural the teaching method was that the student had to draw objects immediately as he sees them, without any form simplifications. Consequently, this method of teaching drawing, in contrast to the geometric one, brings the child closer to life, to nature, to the reality around him.

In Russia, drawing first appeared as a general educational subject at the beginning of the 17th century. Referring to historical information, it was during this period that they began to look at drawing as one of the means that contributes to the development of figurative representation and skills, and therefore it can be applied in any profession.

Since the second half of the 19th century, not only outstanding artists-teachers, but also ordinary school teachers began to pay special attention to teaching methods. They understood that without special training it is impossible to successfully conduct pedagogical work. In 1872, drawing was again included in the range of subjects in real and city schools. And according to historical information, it was in this year that the “Free Sunday Drawing Classes for the People” were established.

In Russia, as well as Western Europe, copying, geometric and natural teaching methods and a teaching method based on drawing from nature are widely used.

In 1834, the first textbook on drawing by A.P. Sapozhnikov was published, an outstanding Russian teacher considered drawing as the most important general educational subject, giving the knowledge and skills necessary for a person in life. The value of A.P. Sapozhnikov’s drawing course lay in the fact that the teaching methodology proposed by the author oriented students towards active knowledge of the depicted objects, towards identifying the geometrically substantiated constructive structure of objects. their spatial location.
It should be noted that the ideas of Chistyakov are of great value for Russian art, whose views and scientific positions played an extremely important role in the development of methods for teaching realistic drawing, in establishing scientific foundations teaching visual literacy. Speaking about the methods of teaching drawing in schools, P.P. Chistyakov wrote:“The study of drawing, strictly speaking, must ... begin and end with nature ...”

After the October Revolution in Russia, the tasks of educating the younger generation changed dramatically. In artistic life, there was a tense ideological struggle between convinced supporters of realistic art and the so-called "bourgeois formalist trends", which rejected the serious school.

Among the specialists dealing with the problem of education,
there was no single concept. By the 40s soviet school drawing firmly takes the path of realistic art. In the 1950s and 1960s, a number of scientific research works appeared, which in many ways enriched the theory of teaching methods. In 1970, curricula new for that time were revised and approved, where the goals and objectives of teaching fine arts were formulated, and the content of the educational material was determined.

In the course of research and generalization of the best pedagogical experience, the main types of work in the visual arts were determined and received scientific justification: drawing from life, on themes, conversations about the fine arts. The programs and manuals emphasize the important role of drawing from life as a leading means of understanding reality.

Having studied various sources that relate to the history
the emergence and further development of methods for teaching drawing, you can
say that over the years the technique has undergone many
changes and to this day, the authors of various approaches are trying to contribute to our education. Undoubtedly, the history of teaching methods, keeping the accumulated experience of previous generations, helps to solve modern problems correctly.

Modern requirements for teaching drawing in a secondary school.

Program analysis.

Pedagogical program- holistic and built in the logic of the concept educational material, corresponding to the interests and age characteristics of children, specific teaching methods in accordance with the concept. Several programs can be written within one concept, but one program cannot have several concepts.

Pedagogical concept- theoretical substantiation of the goals and objectives of education in relation to the student, involves the development of: a communicative strategy - the type of educational communication, types of educational activities - what the student should do, psychological and pedagogical justification of the activities of the subjects included in the pedagogical process (teacher, student).

Based on the above, it is advisable to analyze two conceptually different programs.

If the program "Fine Arts" edited by V.S. Cousindeveloped on the basis of the concept "School of drawing - graphic literacy", then the program“Fine Arts and Artistic Work”, edited by B.M. Nemenskyon the basis of "Formation of the artistic culture of students as an integral part of the spiritual."

Accordingly, these programs differ in their goal-setting, tasks, and recognition of their position in relation to artistic creativity.

Thus, one of the main tasks of the program "Fine Arts" is to master the knowledge of the elementary foundations of realistic drawing by students, the formation of drawing skills from life, from memory, from imagination, familiarization with the features of work in the field of arts and crafts, modeling and appliqué. Creativity here acts as a drawing associated with the reflection of the surrounding world.

Program "Fine Arts and Artistic Work"determines the main task of developing students' ability to empathize, understand, and realize their experiences in the context of cultural history.

But on what basis will all these empathy be built, they cannot help to add up the image in art. Since a child for empathy must have certain psychological possibilities of analysis, comparison, synthesis, etc.), which must be accumulated and formed only on practical exercises for the development of visual literacy.Creativity is considered here as an expression of personality traits, laid down from birth.

If you do not develop these creative abilities, laid down from birth, if you do not give children the appropriate knowledge in time, do not equip them with the necessary skills, then in adolescence there will be a discord between what they want to express and what they can do. Disappointed in their abilities in artistic creativity, adolescents not only give up pencils and brushes, but for a long time, if not forever, cool down to art.

Mastering elementary literacy of fine arts by children in secondary school is a guarantee that over time they will be able to appreciate not only the depth of the content of works of art, but also the complexity of their visual and expressive means. Without literacy, it is not easy to teach to understand the language of fine arts. It is thanks to practical drawing that the qualities necessary for a person as a person and as a spectator develop..

In this I see the main contradiction between the requirements of modern education and the proposed educational school programs of such a concept in the field of fine arts.

Fine Arts Programwithin the framework of this concept has changed a lot during its existence. The authors of the current program "Fine Arts" are: Kuzin V.S. and etc.

The main objectives of the current program:

Mastering by students the knowledge of the elementary foundations of realistic drawing, the formation of drawing skills from nature, from memory, from imagination, familiarization with the features of work in the field of decorative, applied and folk art, modeling and appliqué;

The development of children's visual abilities, aesthetic perception, artistic taste, creative imagination, spatial thinking, aesthetic sense and understanding of beauty, fostering interest and love for art.

To the four types of training sessions that were available in the previously existing program: drawing from nature, decorative drawing, drawing on themes, conversations about art, now also added - illustration (composition), modeling, appliqué with design elements.

Drawing from nature(drawing and painting) also includes drawing from memory and from the representation of objects of reality with a pencil, as well as with watercolors and gouache paints, a pen and a brush. AT 1st grade children are taught to identify and name the colors in which the depicted objects are painted, and in grade 2 they are introduced to the concepts of cold and warm colors, as well as color tone. AT 3-4 grades teachers continue to develop students' ability to see harmonious color combinations. ... FROM 4 classes children begin to study the patterns of perspective, construction, chiaroscuro, they learn the skills of depicting three-dimensional objects that are in frontal and angular perspective. ... AT 5-9 grades students continue to study the simplest patterns of perspective, the constructive structure of objects, chiaroscuro, color science. They acquire the skills of depicting the volume of objects in frontal and angular perspective.

Only a systematic natural setting can help to fruitfully solve the problems of the program.Based on the analysis of the above programs, I believe that the program most meets these requirements"Fine Arts" edited by V.S. Cousin.

Didactic principles and methods.

At the lessons of fine arts, all the basic principles of teaching are carried out in interconnection:scientific, systematic, conscientiousness, accessibility, strength, clarity, connection between theory and practice.

Scientific

Of particular importance is the observance of the principle of scientific teaching in the lessons of drawing from life. Therefore, in these lessons, the laws of perspective, optics, and color science become the subject of special study. In addition, students comprehend the patterns of structure, spatial arrangement and other characteristics objects of reality - objects of the image.

The principle of scientificity as an active factor in the development of creative abilities lies, first of all, in the assimilation of a system of scientific knowledge that helps to correctly understand the patterns of the structure of nature forms and the phenomena of reality, and thereby master the method of realistic art.

Assimilation by students of one or another objective law of fine arts should be carried out through constant analysis, comparison of one object with another, an image object with a drawing, etc. therefore, along with the direct process of drawing, observation of nature acquires essential importance. At the same time, the teacher should direct the student's attention to the constructive structure, the perspective reduction of forms, the general spatial arrangement, the color of the object, emphasizing the most characteristic.

The principle of systematicity.

The process of assimilation of knowledge and skills determines the continuity between subsequent knowledge and previous ones, the connection of new material with the past, the consistent expansion and deepening of knowledge. The principle of systematicity and consistency is that the new educational material recalls previously perceived, clarifies and supplements it.

The principle of systematicity in teaching drawing requires a strict rule - do not move on to new educational material until the previous one has been learned and consolidated. The student must consolidate the individual sections of the educational drawing, since the previous section is an integral part of the next one.

Serious moment in pedagogical work- the connection between individual lessons, which makes it possible to build a single system from these lessons. Classes are fruitful only if the teacher, in the process of conducting lessons, consciously and systematically connects each lesson with a complex of classes in fine arts. The teacher should be interested not in conducting episodic lessons, but in systematic classes that are part of the entire course of study

Consciousness.

AT pedagogical science the principle of activity and consciousness is considered as one of the main ones. Therefore, in the matter of teaching drawing and artistic work, we will consider this principle as one of the main ones.

In the classroom of fine arts, where practical work is mainly carried out, it is impossible to achieve success in learning without the activity and consciousness of the student. Therefore, the teacher must constantly accustom students to independent and active educational work.

Conscious, active and independent work always leads to a better assimilation of the educational material and to a stronger consolidation of it. In addition, consciousness and activity are an excellent prerequisite for deepening and expanding the acquired knowledge, develop interest in the matter, and promote creative pursuits. The subject acquires cognitive significance for the child only when the teacher teaches him not to passively observe and copy, but to actively study nature, highlight the most characteristic, most important

Availability.

The principle of accessibility of education requires the teacher to clearly establish the degree of complexity and depth of coverage of educational material for each class, for each age of children.

To bring the complexity of the educational material in line with the age characteristics of children, it is necessary to know well what knowledge and skills can be available to children of a particular age, what they can learn and perform in the allotted time. Observing the principle of accessibility and feasibility of education, it is necessary to take into account the individual abilities of each student. There cannot be exactly the same students in the class: some learn the material quickly, others with great difficulty; one or another technique is easily given to some, others cannot master it for a long time. The teacher should put everyone in such conditions of work under which all would be able to achieve the greatest success.

The strength of the assimilation of knowledge.

An important condition for the implementation of this principle is an accurate presentation of the objectives of the lesson. At the beginning of the lesson, the teacher should form in the children a clear idea of ​​what result they should come to by the end of the lesson, what knowledge and skills they should gain during this time.

The strength of the assimilation of knowledge is closely related to the amount of information. It is successfully achieved through repetition, consolidation of systematic training exercises, laboratory work and compliance with safety regulations.

A great influence on the strength of the assimilation of knowledge and skills has an interest in learning, which increases with the correct selection of products, drawings, tasks of a creative nature, setting creative goals, and carrying out independent work.

visibility.

Visibility in teaching drawing from life is not considered as an auxiliary means of learning, but as a leading one. The principle of visibility should permeate the entire system of teaching fine arts

Drawing from life is a method visual learning and gives excellent results not only in teaching drawing, but also in the overall development of the child. Drawing from nature teaches one to think and purposefully observe, arouses interest in the analysis of nature and thereby prepares the student for further educational work. The process of cognition of objective reality largely depends on the degree of development of the visual apparatus. From the ability of a person to analyze and synthesize the visual impressions received. Drawing from life has great opportunities for developing this ability.

The principle of visibility requires such a presentation of the material (educational) in which the concepts and ideas of students become clearer and more specific. The main attention in teaching drawing from nature is drawn to the correct image of nature, to the correct transmission of perspective phenomena, features of chiaroscuro, and object designs. To facilitate these basic tasks, it is desirable to install special models (made of wire and cardboard) next to nature, so that the painter can clearly see and clearly understand this or that phenomenon, understand the design of the shape of the object, its characteristic features.

Methods.

In my work, I decided to rely on the classification of methods proposed by I.Ya. Lerner and M.N. Skatkin, which is distinguished by the degree of independence and creativity in the activities of students. They identified five teaching methods, and in each of the following, the degree of activity and independence in the activities of students increases.

1. Explanatory and illustrative teaching method(the teacher explains, clearly illustrates the educational material).

It is carried out as a lecture, story, conversation, demonstration of experiments, labor operations, excursion.

2. Reproductive method.

The teacher makes a task for students to reproduce their knowledge, methods of activity, solve problems, reproduce experiences and, thus, the student himself actively reproduces the educational material: answers questions, solves problems, etc. as a result, "knowledge-copies" are formed.

3. Method of problem presentation.

Using a variety of sources and means, the teacher, before presenting the material, poses a problem, formulates a cognitive task, and then, revealing the system of evidence, comparing points of view, different approaches, shows a way to solve the problem. Pupils, as it were, become witnesses and accomplices of scientific research.

4. Partial search, or heuristic, method.

It consists in organizing an active search for a solution to the cognitive tasks put forward in training (or independently formulated), either under the guidance of a teacher, or on the basis of heuristic programs and instructions. The process of thinking acquires a productive character, but at the same time it is gradually directed and controlled by the teacher or the students themselves on the basis of work on programs and teaching aids.

5. Research method.

After analyzing the material, setting problems and tasks, and a brief oral or written briefing, students independently study the literature, sources, conduct observations and measurements, and perform other search activities. Initiative, independence, creative search are manifested in research activities most complete. Methods of educational work directly develop into methods of scientific research.

In the learning process, the method acts as an ordered way of the interconnected activities of the teacher and students to achieve certain educational goals, as a way of organizing the educational and cognitive activities of students.

Explanatory-illustrative and reproductive methods are traditional teaching methods, the main essence of which is the process of transferring ready-made known knowledge to students.

Psychological and pedagogical aspects.

The most important task of teaching fine arts
in the modern school is the development of the student's personality through the formation of his complex inner world. There is a receipt of scientific knowledge about the objective world around (the goal of the absolute majority of school disciplines) and the development of aesthetic tastes, creative perception of this objective world. Intellectual and spiritual development is a complex, multifaceted process, and in it significant role play the lessons of the aesthetic cycle, including fine arts.

Visual arts at school are based on the artistic specificity of realistic art, which reflects reality in artistic images. This determines the content and methods of teaching the subject, which are based on the following principles: the unity of education and upbringing; connection of emotional and rational in learning; the systematic development of students' ability to perceive an artistic image in works of fine art and create it in independent artistic works in accordance with age-related developmental characteristics and practical experience.

When teaching drawing, the teacher should keep in mind
that the purpose of studying the form of an object is not only to get acquainted with its external form, but also to get acquainted with the concepts expressed by this form, which is extremely necessary for mastering other subjects: mathematics, physics, etc. In the educational process, the knowledge of nature is not a simple contemplation, but a transition from single and incomplete concepts about the subject to a complete and generalized idea about it.Drawing from life, the student carefully examines nature, tries to note its characteristic features, to understand the structure of the subject. When drawing from life, concepts, judgments and conclusions about the subject become more and more concrete and clear, because the nature that is before the eyes is accessible to vision,
touch, measure and compare. It should be noted that when learning to draw from nature, the child develops mental abilities. Based on this, in the classroom it is necessary to teach children to make a correct judgment about the shape of objects based on scientific data on the phenomena of perspective, the theory of shadows, color science, and anatomy.

Undoubtedly, the basis of the frontal organization pictorial space, for training course starting from the first grade, is the vision of visual connections in accordance with the nature of vision, determining the coordination of perception, thinking, analysis and expression - the main sensory-motor systems of the body on a mathematical basis.

Drawing from nature as a form of fine arts.

Determination of the sequence system for teaching drawing from life.

The basis of the correct organization of classes is the methodology
teaching, that is, a feature of the work of a teacher with students. In the book of N.N. Rostovtsev "Methods of teaching fine arts at school" the word methodology means, first of all, a set of effective methods of teaching and education.

From a set of techniques and teaching methods, united by a common direction, it is formededucation system, where

Teaching method - this is the way the teacher works with students, with the help of which the best assimilation of educational material is achieved;

tricks - these are the individual moments that make up the teaching method;

Fine art is characterizedclassification of methods according to the methods of activity of the teacher and students,since two interconnected processes come out more clearly in the teaching of these subjects: the practical independent activity of students and the leading role of the teacher.

Accordingly, the methods are divided into 2 groups:

1. Methods of independent work of students under the guidance of a teacher.
2. Methods of teaching, learning.

Teaching methods that are determined by the source of knowledge gainedincludes 3 main types:

verbal;

visual;

practical.

The formation of skills and abilities is associated with the practical activities of students. It follows from this that it is necessary to put the type of activity of students as the basis for the methods of forming skills.

By type of student activity(classification according to the type of cognitive activity by I.Ya. Lerner and M.N. Skatkin) methods are divided into:

1. reproductive;
2. partial search;
3. problematic;
4. research;

The system of teaching drawing from life should be based on the rules, laws, actions that students need to acquire for consistent further work. After all, only systematic full-scale work can help to fruitfully solve the problems of the program.

Systematic exercises in drawing from nature have a positive effect on the development of valuable observational skills, thus accumulating and enriching figurative representations of objects around us.

Field performances:

Field performances should not be random, students should be made to feel that the difficulties of the learning task increase from setting to setting. At each lesson, the teacher should set new tasks for the class. In order for students to be able to truthfully portray nature, the teacher must first of all teach them correctly the main features of the structure. In the educational drawing, observation and knowledge of nature playparamount role.The teacher tries to ensure that his students, starting to draw, understand the patterns of the structure of the object, its design, character, shape, proportions, etc., see them in nature. To do this, the teacher needs to teach schoolchildren to combine the processes of analysis and synthesis - the processes of dividing the whole into parts and recombining them into a single whole.

The analysis of field productions should be carried out with the maximum activity of students. The teacher should build the work process in such a way that all students carefully follow the course of the analysis, reflect, and be ready at any moment to answer the question posed by the teacher.

It should be noted that teaching drawing from nature involves familiarizing students with the theoretical provisions realistic image and their consolidation in the course of practical exercises. The number of theoretical knowledge that students should master in drawing lessons from nature should include:

Knowledge of the constructive structure of geometric bodies and the conscious application of this knowledge when depicting objects of a complex, combined shape;

Knowledge of linear and aerial perspective;

Knowledge of the basics of composition and color science;

Plein air:

Exercises that enrich the perception of nature, develop curiosity and enrich techniques, are associated with the transition from working indoors to painting outdoors, in nature, in the open air. Wildlife is very diverse and beautiful. New interesting activities will help develop the ability to determine the color relationships of objects on different spatial plans. Communication with nature in the open air teaches the inexhaustible harmony of colors.

From the above, we can conclude that it is simply necessary to organize plein-air classes for children, since it is more interesting to sketch a live branch with blossoming spring flowers in nature than to depict the most skillfully made dummy. And most importantly, the child develops observation, curiosity and thinking.

New interesting activities will help develop the ability to determine the color relationships of objects on different spatial plans. Communication with nature in the open air teaches the inexhaustible harmony of colors. One of the main compositional tasks is to determine from the very beginning large ratios of earth and sky on the plane of the etude. All elements of the landscape in the future will be built depending on the horizon line. The horizon, in turn, should not divide the picture plane into two equal parts. The study looks more interesting when it shows either more sky, or vice versa, more land. To convey depth in a landscape, you need to more specifically prescribe the shapes of objects or foreground objects. In the foreground, the own colors of objects appear more clearly, here they look more voluminous, richer, with contrasting chiaroscuro. When solving long-range plans, one must take into account the laws of aerial perspective. As they move away from the viewer, the shapes of objects lose volume and acquire a flattened, silhouette character, their saturation weakens - the colors become conditioned by the air environment and depend on the degree of distance from the viewer.

Based on the foregoing, there are three main
stage of the landscape.

1. At the very first stage, when we have already decided on the composition,
a detailed drawing is done with a pencil or brush in thin lines.
2. The next step will be laying the main tone of the sky, forest, earth and water. You should try to convey the main tonal and color relationships.
3. And the final stage will be the drawing of details, generalization and completion of work. Achievements of the coloristic unity of the landscape.

Graphic and pictorial tasks.

The sequence of graphic tasks (5-7 classes)

Drawing from life is the most important means of studying nature itself, the surrounding reality, and above all such aspects and phenomena of it as form, proportions, tone, volume, material.

In the 5th grade, at the lessons of drawing from nature, the knowledge and skills that schoolchildren have mastered in the lessons of fine arts are consolidated and developed. primary school. By the end of the school year, they should know the basic laws of linear and aerial perspective, chiaroscuro, color science, and be able to distinguish between drawing schemes.

During this time, students should master the following skills and abilities:

Draw from nature, as well as from memory and from imagination, distant objects and simple still lifes from several objects;

To convey in the drawing the volume and spatial position of objects based on their constructive structure and the laws of linear and aerial perspective;

Analyze the depicted objects, isolating the constructive structure, perspective reduction of forms, distribution of light and shade, local color, compare the drawing with the depicted object; depict a human figure from nature, from memory, from imagination, conveying in the drawing the structure, volume, proportions;

In the 6th grade, students should learn to independently apply in the process of drawing from life the patterns of the constructive structure of the depicted objects, the laws of linear and aerial perspective, chiaroscuro, patterns of spatial relations of objects, composition;

Analyze the form, construction, tonal relationships, compare the drawing with nature, perform the drawing from the general to the particular and from particulars back to the general.

By the end of grade 7 in the drawing from life section, students should know the theoretical foundations of perspective, color science, and composition:

Accurately convey proportions, spatial position. Tonal relations, perspective reductions in the form of depicted objects.

To activate creative activity, it is necessary to require each child to draw consciously, to prevent mechanical copying of nature; creatively use scientific knowledge from the field of perspective, shadow theory; it is rational to use the drawing material and the possibilities of its tone and texture range. With a creative perception of nature, the teacher should help the child see the main thing, orient him to sensory, figurative perception.

The sequence of picturesque tasks (5-7 cells)

The task of teaching painting in a secondary school includes depicting individual objects from life, simple still lifes, interiors and landscapes, students should be introduced to the basic principles of color science, taught how to use color and tone correctly to convey their visual impressions from nature (warm, cold tone), convey the play of light and color on objects without departing from the visual authenticity of the depicted.

In grade 5, three-dimensional objects (fruits, dishes) are painted in watercolor - first, as in previous classes, on a white background, and at the end of the year - on a light colored one.

In grades 6-7, in drawing from life in watercolor, the main emphasis is on the correct transfer of color ratios in a group of objects and on the transfer of volume. In these classes, students use wet work techniques, master the ability to work with watercolors based on the use of color re-laying techniques, color merging.

So, building a system for presenting educational material according to the laws of color science (given that the necessary knowledge is learned in elementary school), in the fifth grade, children need to be introduced to the laws of color contrast: on a dark background, a light field seems even lighter, and on a light one, on the contrary, a dark field in surrounded by a light background seems even darker. [app., fig. 1] It can also be explained here that color contrast has a lot in common with complementary colors, but this only applies to blue and orange, yellow and purple. The main part of the spectrum of colors no longer has a simultaneous law of contrast. So, for example, orange is contrasting with yellow-green, but blue-blue will already be contrasting with orange.

In the sixth grade, students are introduced to a wider palette of artistic colors and learn to distinguish between these colors.

In the seventh grade, students should be introduced to the laws of tone and color relations, the laws of color and the rules for using these laws in practice. For example, when working from nature in a room, the illuminated surfaces of objects will always have a cold tint, and the shadow ones will always have a warm tint. On the open air, on the contrary, illuminated surfaces, especially those illuminated by the rays of the sun, will have a warm tint, and shadow ones will have a cold one. Shadows falling from objects also obey this law: in the room they seem to be of a warm tone, in the open air they are cold.

The role of visual aids in art lessons.

The art teacher constantly has to use visual aids. Whether it is drawing from life, decorative or thematic drawing, conversations about art, he will always need natural material.

Drawing from life is in itself a method of visual learning. The process of drawing from life begins with a sensual, visual perception of the depicted object with live emotional observation. Therefore, it is necessary to ensure that the actual production itself draws the attention of the painter to the main thing. For example, when drawing geometric bodies from life, children cannot imagine how the invisible surfaces of an object are located in space. Especially often one has to resort to visualization when teaching the elementary foundations of fine arts, drawing and painting.

The correct use of visualization in the lessons of fine arts contributes to the formation of clear spatial meaningful concepts, develops thinking and imagination, helps, based on the consideration and analysis of specific phenomena, to come to a generalization, which is then applied in practice.

The process of drawing from nature begins with a sensual, visual perception of the depicted object, with live emotional observation. Therefore, it is necessary to ensure that the actual production itself draws the attention of the painter to the main thing.

The staging of nature consists not only in placing it well and beautifully in front of those who paint, but also in helping to reveal the basic laws of realistic drawing and painting. At school, nature is often established taking into account only the compositional, aesthetic content. This is not enough. Of course, a beautiful production is of great importance, as this increases interest in it. But it is even more important that nature clearly reveals the characteristic features of the structure of the form, shows itself. This activates the student's attention, helps him to independently come to conclusions.

The teacher thinks over at what height and in what turn to set the nature, looks at how it looks with top, side and direct lighting: does the form fall apart, does the light help highlight the main thing and soften the secondary. Even minor changes in lighting dramatically change the plastic expressiveness of the form, and at the same time, educational tasks, in one case fitting them, in the other complicating them. The teacher should carefully monitor these moments when staging nature and lighting it.

Of great importance in these lessons is the correct selection of appropriate equipment and models. The teacher must skillfully select the objects of the image, arrange them in such a way that they help students to see and understand the patterns of the structure of the form and learn the basic rules for constructing an image on a plane.

The psychological foundations of visualization lie in the fact that sensations play a decisive role in human consciousness, that is, if a person has not seen, heard, or felt, he does not have the necessary data for judgment. The more sense organs are involved in perception, the deeper and more accurate the knowledge of an object in a person.

For example, when drawing geometric bodies from life, children cannot imagine how the invisible surfaces of an object are located in space. Especially often one has to resort to visualization when teaching the elementary foundations of fine arts, drawing and painting.

The role of the teacher showing the performance of the work.

The role of pedagogical drawing is great. It has a teaching value and is carried out by the teacher directly at the time, simultaneously with the explanation of the educational material. With the help of pedagogical drawing, the teacher clearly shows the progress of the image, explains the methods of work, notes mistakes, etc. Pedagogical drawing serves as an important means of activating the attention, thinking, memory of children, and a means of fostering interest in drawing. In the lessons of fine arts, the use of pedagogical drawing should be closely combined with the display of other visual aids.

As a rule, the drawing on the blackboard, showing the sequence of drawing, is erased immediately after the teacher explains, so that students do not copy the drawing, and the process of drawing from life does not turn into passive copying.

The most important quality of pedagogical drawing is speed, expressiveness, conciseness of the image. Students should see that the teacher knows everything and at the same time knows how to draw well.

Showing on the board the sequence of drawing, we go, as already mentioned, from a schematic to a more detailed depiction of an object. A student cannot do without a well-known schematization at the initial stage of constructing a drawing. This, for example, the inclusion of a maple leaf in a polygonal geometric figure, butterflies - in a trapezoid, drawing horizontal and vertical center lines, etc. All these auxiliary construction lines make it possible to start and work on the image correctly.

There is no need to bring the drawing to small details. Its purpose is to help children cope with the most difficult tasks for them, to show them the right way to build the main (large) form of the subject.

Conclusion.
The purpose of this work was based on the study of the literature on the topic"Development of a system for teaching drawing from life",analyze the compliance of the concept of existing educational programs in fine arts with the requirements of the modern educational standard and, based on the identified contradictions, determine the sequence of the system for teaching drawing from nature.

Almost all the programs offered are based on the development of the sensory sphere.However, in order to learn how to draw, you need to master the visual culture, the ability to see the objective and subjective world in environment, to think logically, to control the mind, feelings and emotions, not somewhere in the margins of the brain structure, but in the environment. Instead of the sensual manifestation of students in the visual process, systematic, analytical and frontal programmed forms of pedagogical and psychological influence on the senses in the organization of perception, thinking and expression, knowledge of shaping, composition, combinatorics, color science, manifestation of individuality in creativity are needed.

This is evidenced by the rich historical experience in the development of methods for teaching the fine arts, on which modern progressive teachers rely. Visual activity is a specific, figurative knowledge of reality, and it is through drawing from nature that this knowledge occurs,EXACTLY DRAWING FROM LIFE SHOULD BE BASED ON TEACHING DRAWING IN GENERAL.These views were defended and scientifically substantiated the best masters and didactics Leonardo da Vinci, Michelangelo, A. Dürer, Cennino-Cennini, Alberti, Pestalozzi, Jan Amos Kamensky, Chistyakov, Sapozhnikov, Kardovsky. In my opinion, the list is authoritative enough to raise doubts about the above.

The entire learning process should be based on drawing from nature in a strict sequence system. Starting from a point and gradually introducing those means that contribute to the depiction of an object on a plane, but often in general education schools there is a formal approach to teaching drawing, especially in elementary school. Students sometimes do not have the necessary baggage of knowledge come to the middle link. Solving this problem, the teacher must build his system of teaching drawing on the basis of the concepts and skills that have been formed at the moment. At the same time, the program material is studied, the learning issues remain the same, but the tasks are specially developed and reduced to simple forms.

In the lessons of drawing from nature, the student should not dissemble, invent, compose. He must respond with his experiences to what excites him in this nature, but express it competently in his drawing. Developing spatial figurative thinking while working from nature should make the child see and perceive in a new way the world, in a new way to display it in your drawings.

Drawing at school should be as important an educational subject as others, since, drawing from life, the child does not just observe the subject, but analyzes, studies it, the words of P.P. Chistyakov are infinitely true here:“Drawing as the study of a living form is one of the aspects of knowledge in general; it requires the same activity of the mind as the sciences recognized as necessary for elementary education.

It is no coincidence that in an industrialized country like Japan, art lessons in the upper grades are given over six hours a week, not to mention the younger ones, where even more hours are allotted. This is an indicator of achievements that amaze the world in various fields of science, technology and art, considering art as a more universal system for the formation of a harmonious personality that meets the interests of society and the state in art education and upbringing.

Unfortunately, the teaching of fine arts in Russian schools cannot be put on this level, but there is no doubt that we should strive to improve the quality of teaching drawing, and, in my opinion, we should take the improvement of the literacy of fine language through the development of a system for teaching drawing with nature.

Bibliography.

1. Alberti L.B. "Ten Books on Architecture". T 2.

2. Alberti L.B. "Three Books on Painting".

3. Bakushinsky A.V. Artistic creativity and education. M., 1925.

4. Trouble G.V. "Painting", M., 1966.

5. Durer A. "Diaries, letters, treatises." M., 1957, t 2.

6.Kirtser Yu.M. "Drawing and Painting". M., " graduate School» 1992

7. Milyukov A.A. organization of natural productions at the lessons of fine arts at school. - M., 1978

8. Kuzin V.S. "Fundamentals of teaching fine arts at school", M., "Enlightenment", 1977.

9. Kuzin V.S. “Methodology of fine arts in elementary school”,

ten . Leonardo da Vinci's Book of Painting. M., 1934.

11. Rostovtsev N.N. "Methods of teaching fine arts at school". M., 1980.

12. Rostovtsev N.N. "Academic drawing", M., "Enlightenment", 1995.

13. Sokolnikova N. M. "Fundamentals of Painting", fine arts part 2, Obninsk, "Title", 1996

14. Cennino Cennini Treatise on Painting. M., 1933.

15. Chistyakov P.P. “Letters. Notebooks. Memories". M., 1953.

16. "Fine art at school", scientific and methodological journal, No. 6, 2008.

17 Methodical letter.

18. Nikanorova N.P. "Visual aids and equipment for fine arts", M., "Enlightenment", 1975.

19. Program and methodological materials: Visual arts. 5-9 cells /Comp. V.S. Kuzin, I.V. Kornut.- 3rd ed., Rev.- M.: Bustard, 2001

20. Alekhin A.D. Art. Painter. Teacher. School. M., "Enlightenment", 1984.

If you do not develop the creative abilities inherent in the child from birth, if you do not give the children the appropriate knowledge in time, do not equip them with the necessary skills, then in adolescence there will be a discord between what they want to express and what they can do. Disappointed in their abilities in artistic creativity, adolescents not only give up pencils and brushes, but for a long time, if not forever, cool down to art.

It is drawing from nature that is the leading type of visual arts class throughout the entire school year, since it serves as the main basic type of visual activity for mastering the knowledge of the elementary foundations of realistic drawing and visual literacy by students. In turn, the ability to draw, the ability to realize oneself and achieve a positive result are the main sources of motivation for visual activity, and their absence is the reason for the rejection of fine art.

Mastering elementary literacy of fine arts by children in secondary school is a guarantee that over time they will be able to appreciate not only the depth of the content of works of art, but also the complexity of their visual and expressive means. Without literacy, it is not easy to teach to understand the language of fine arts. It is thanks to practical drawing that the qualities necessary for a person as a person and as a spectator develop.

This material is focused on the program of the scientific and pedagogical school of Academician V.S. Kuzin, developed within the framework of the concept "School of Drawing - Graphic Literacy". The value of his methodology lies in the fact that motivation is always based on the internal structure of experience, the highest logical levels that are formed and developed in practical activities. Based on my own pedagogical experience, I can say with confidence that the more a child knows how to draw objects and phenomena of the world around him, the more he has a desire to engage in visual activity, to self-affirmation through creativity.

…. he will help teachers of fine arts in organizing classes in drawing from nature.

Introduction

2. General information about perspective

Conclusion

Bibliography

Introduction

Classes in visual activity, in addition to performing educational tasks, are an important means of comprehensive development of children. Learning to draw, sculpt, apply, design contributes to the mental, moral, aesthetic and physical education of preschoolers.

Visual activity is closely connected with the knowledge of the surrounding life. Initially, this is a direct acquaintance with the properties of materials (paper, pencils, paints, clay, etc.), knowledge of the connection between actions and the result obtained. In the future, the child continues to acquire knowledge about the surrounding objects, about materials and equipment, however, his interest in the material will be due to the desire to convey in a pictorial form his thoughts, impressions of the world around him.

In the process of visual activity, children's visual representations of surrounding objects are refined and deepened. A child's drawing sometimes speaks of a child's misconception of an object, but it is not always possible to judge the correctness of children's ideas from a drawing or modeling. The idea of ​​the child is wider and richer than his visual abilities, since the development of ideas is ahead of the development of visual skills and abilities. At preschool age, in addition to visual-effective forms of thinking, directly related to the process of practical work, a higher level of development of thinking is also possible - visual-figurative.

Visual activity is of great importance in solving the problems of aesthetic education, since by its nature it is an artistic activity.

Target control work- consider the methodology for conducting a lesson in drawing from life and give general information about the perspective.

1. Methodology for conducting a lesson in drawing from nature

The most important task of teaching fine arts in a modern preschool educational institution is the development of the child's personality through the formation of his complex inner world. There is a receipt of scientific knowledge about the objective world around and the development of aesthetic tastes, creative perception of this objective world. Intellectual and spiritual development is a complex, multifaceted process, and aesthetic cycle classes, including fine arts, play a significant role in it.

Fine art lessons not only develop the level of knowledge, but also form the mental world of the individual, they also help to include subjective aesthetic values ​​in the emerging socially significant values, and this is the main task of student-centered learning.

Drawing from life is a method of visual education and gives excellent results not only in teaching drawing, but also in the overall development of the child. Drawing from nature teaches to think and purposefully observe, arouses interest in the analysis of nature and thereby prepares the child for further educational work.

Studies of the visual activity of children of primary preschool age have shown that a child already in the second year of life (of course, subject to training) can correctly hold a pencil, a brush; the movements produced when drawing coincide with the general rhythm of movements that develop intensively at this age. However, they are still largely involuntary and the drawing of lines is not controlled by vision.

With a child of the second year of life, it is already possible special education image skills, as he seeks to reproduce the actions of the educator, accompanied by explanations.

Research by T.G. Kazakova and N.Ya. Shibanova in the field of teaching drawing to children of primary preschool age showed that from the very beginning of learning to draw, one should go from the image of the object, and not from mastering the skill. The figurative beginning should be leading for the child in the entire process of drawing.

The development of visual skills begins with drawing straight, vertical and horizontal lines, first when drawing the drawing started by the teacher (threads for balls, stems for flowers, etc.). The drawn part of the object determines the direction of the line, the length of which can be different. Then the children are invited to independently draw lines in the indicated directions based on the perception of various objects.

Children of the fourth year of life already understand the meaning of drawing, although they still cannot more or less correctly depict the object. They give random names to their independent drawings, which represent a formless combination of lines, caused by associations with some sign. The teacher should encourage children to try to find the similarity of the drawing with the subject and at the same time teach the correct image of various forms.

At this age, the following tasks of teaching visual skills and abilities come to the fore:

· to teach the image of a variety of rectilinear and circular shapes of simple objects, conveying their main features (color, shape);

develop a sense of color - the ability to distinguish and name primary colors;

develop compositional skills - place an image in the middle of a sheet of paper;

Improve technical skills.

In the first younger group, children learn to draw vertical and horizontal lines without requiring the clarity of their direction. Therefore, the first task here is to learn how to draw straight and rounded lines, but without relying on the drawing of the educator. The solution to this problem is connected with the development of hand movements.

The program provides for training in drawing a variety of lines: from left to right, from top to bottom, crossed, etc. The system for developing hand movements in drawing a variety of lines was developed by the famous teacher E. A. Flerina and firmly entered the training program for a younger preschooler.

In this group, the tasks of mastering technical skills are further developed.

A difficult task for children of the second younger group is to convey a combination of several forms, which can be homogeneous (a snowman from two or three circles) or consisting of two different forms (a sun from several straight stripes and a circle).

By the end of the year, children of the second younger group can depict objects, conveying several signs, not only on the instructions of the teacher, but also at their own choice.

The objectives of this group are as follows:

to teach the image of objects of round and rectangular shapes, the transfer of their structure, main parts and details;

To teach the use of color as an artistic means of expression;

develop compositional skills in the location of the subject in the center of the sheet;

Improve technical skills in painting over the drawing with pencils and paints.

In the first quarter, where the proposed theme of the drawings is familiar to children (drawing a ball, an apple, a flag), the complication of the program material is expressed in a more accurate transfer of the shape (oval or circle) and accurate coloring of the image. The solution of these problems requires a more developed ability to compare and highlight the features of forms that have rounded outlines, but differ from each other in length and width.

New in teaching children the image of objects is the transfer of the structure with rhythmically arranged parts (top - bottom, on the one hand - on the other side), as well as some proportional ratios of parts. This makes it possible to analyze and compare individual parts with each other. For example, in the second quarter, children draw a snowman, whose shape consists of circles of different sizes, and a Christmas tree with rhythmically arranged branches.

For the first time in this group, drawing of such an object as difficult to depict as a person is introduced. The image of a person is preceded by drawing simpler forms - a snowman, a tumbler, nesting dolls, dolls, where the proportions and shapes of the parts can be somewhat violated.

Children's education senior group is aimed at improving visual skills and developing the ability to create expressive images using various means of image.

The learning objectives are as follows:

to teach the correct transfer of the form of the object, its features, the relative size and position of the parts;

Teach the transfer of simple movements in the drawing;

develop and improve the sense of color;

develop technical skills in working with a pencil (hatching methods) and paints (brush techniques);

Teach techniques for drawing with colored crayons, charcoal, sanguine, watercolors.

The complication of training tasks is justified further development children. Their experience is greatly expanded; they acquire a lot of new knowledge through observation of life around them, reading fiction, adult stories, etc. It becomes possible for them to draw on topics not related to direct perceptions (fairy tale characters), depict objects that they have not seen (for example, animals from hot countries, etc.).

At this age, children learn to find and convey in the drawing the similarities and differences of homogeneous objects. So, in the first quarter, they draw fruits, vegetables, flowers from nature, conveying their characteristic features (for example, 2 apples of different varieties, differing in shape and color, beets and turnips, which have a rounded shape common to vegetables).

To convey the characteristic coloring of objects in the older group, the set of colors with which children work increases. In this group, preschoolers get acquainted with the main colors of the spectrum and learn how to use their beautiful combinations in the drawing. In addition to colored pencils, the children of the older group use a simple pencil for preliminary drawing of the main parts of the subject. An older preschooler can understand and convey in the drawing changes in the position of some parts of the human body: raised arms, legs bent at the knees (the topics “Children are engaged in physical education”, “Parsley is dancing”, etc.). The expressiveness of the image in these themes is achieved by depicting some characteristic details (the clothes of Petrushka, Little Red Riding Hood, Santa Claus) or facial features (Pinocchio's long nose, Santa Claus's beard, etc.).

The ability to create an expressive image is associated with the development of the ability to notice the characteristic features of objects (for example, when drawing from life branches with buds, leaves, snowdrops, and in the summer, mushrooms of various types, berries, flowers, butterflies). If in the middle group for drawing from nature objects with a symmetrical arrangement of parts are selected, then in the older group a more complex nature is used, sometimes without symmetry.

In the preparatory group, the training of preschoolers in visual skills and abilities is completed. Children should come to school with the initial skills in drawing objects from life and from memory, the ability to see in the surrounding life a variety of shapes, colors, and the position of objects in space.

The tasks of training in the preparatory group are the following:

to teach the image of the structure, size, proportions, characteristic features objects from nature and according to representation;
to teach to convey the richness of forms and colors, to create expressive images;

develop compositional skills (the location of an object on a sheet depending on the nature of the shape and size of the object);
develop a sense of color (the ability to convey different shades of the same color);

develop technical skills (the ability to mix paints to obtain different colors and their shades;

Apply strokes with a pencil or brush strokes according to the shape of the object.

Children of six years old have a fairly well developed analytical thinking. They can distinguish both common features inherent in objects of the same type, and individual characteristics distinguishing one object from another.

This task is carried out starting from the first quarter, for example, in the image of various trees. Each tree has a vertically directed trunk, thick and thin branches, on which leaves form a crown. These signs are also transmitted by children of the older group. In the preparatory group, they are taught to see and draw trees of different species, where all these common features are somewhat peculiar: in a Christmas tree, the trunk gradually narrows upwards and ends with a thin sharp top, while in deciduous trees it also narrows, but branches out at the top and ends with many small branches; in a birch, thick branches go up, and thin long ones hang down, and in a linden, thin branches are parallel to the ground. There are trees bent, with forked trunks, young and old. The ability to see this diversity and convey it in a drawing develops in children the ability to create expressive images of nature. The same diversity in the transfer of the features of the subject is fixed in the themes of the image of vegetables, fruits, etc. For this, children in the first quarter get acquainted with obtaining shades of color and composing new colors.

The ability to convey the characteristic features of the structure and shape of objects preschoolers master when drawing from nature a variety of objects, initially simple in shape and structure: branches of a Christmas tree and pine, fish, birds, dolls. Based on the existing ideas about real objects, children draw fairy-tale characters: the Firebird, the Humpbacked Horse, Morozko, Baba Yaga, etc. Drawing fairy-tale characters contributes to the development of creative imagination.

The expressiveness of the picture largely depends on the selected vertical or horizontal position of the sheet of paper. In order to successfully cope with this choice, the child must very carefully analyze the object in various turns, note the features of its structure.

In the preparatory group, children begin to draw with a preliminary sketch, in which the main parts are outlined first, and then the details are refined. The use of a sketch makes the child carefully analyze nature, highlight the main thing in it, coordinate the details, and plan their work. Images of various objects are fixed and improved in plot drawing.

Examples of drawing classes in the preparatory group:

Drawing from nature. "Indoor plant"

Software content. To teach children to convey the characteristic features of a plant (the structure and direction of the stem, leaves), the shape of a flower pot. Learn to see tonal relationships (light and dark places) and convey them in the drawing, strengthening or weakening the pressure on the pencil. Develop small hand movements (when depicting small parts of a plant). To form the ability to regulate the drawing movement by force. Strengthen the ability to place the image well on the sheet.

The methodology of the lesson. Examine the plant, actively including children, calling them to show at the board the direction of the stems, the shape of the pot. Ask the children if all parts of the plant are the same in color, offer to mark where it is lighter, where it is darker; ask how this can be conveyed in a drawing with one simple pencil. If the children do not answer, show how different pressure on the pencil conveys a different tone (lighter, darker). During the analysis, note those drawings where the nature of the plant and tone relationships are correctly conveyed, the image is well located on the sheet.
Materials for the lesson. Indoor plant (such as asparagus, tradescantia).

The connection of the lesson with other aspects of educational work. Examination of indoor plants (different), comparison, clarification of characteristic features. Plant care.

Drawing from life a ceramic figure of an animal

Software content. Learn to draw a ceramic figurine, conveying the smoothness of shapes and lines. Develop fluidity, ease of movement, visual control. Teach continuous contour drawing, accurate painting.

The methodology of the lesson. Examination of the figurine with the inclusion of hand movement along the contour. Show the drawing technique on the board, emphasize the unity, continuity, ease of movement and the need for visual control over the movement of the hand (“Watch carefully how you draw”). Ask about the rules for painting over a picture. In the process of drawing, together with the child, analyze failures, include re-circling the figure along the contour, accompanying it with words explaining the direction of movement.
Materials for the lesson. Simple graphite pencil, colored pencils or paints. A sheet of white paper the size of 1/2 of a writing sheet.

The basis for developing an experimental program is the formative phase of this study. In further research, we intend to consider modern approaches to the integrated solution of the development of fine arts in children of senior preschool age. 1.3 Modern approaches to the integrated solution of the development of fine arts in children of senior preschool ...

The phenomenon, placed in front of the child by himself or by the teacher, activates his ideas, makes them comprehend them in a new way. 2. Observation of nature - important method teaching preschool children the basics of a realistic depiction of objects. Drawing helps to enrich the perception, ideas, and memory of children with new images, which, when depicted, are refined and enriched. ...

We draw from nature

essay

teacher

MBU DO "Vilovatovskaya

children's art school"

Talantsev A.A.

With. Vilovatovo

2015

Content

Chapter 1. Development and education of schoolchildren in the process of drawing from life ....... 3

Chapter 2. Aesthetic education in the process of drawing……………………….… 6

Chapter 3

Chapter 4. Development of attention, observation, visual memory………….….9

Chapter 5. Organization of training sessions…………………………………………….13

List of used literature………………………………………………..15

Chapter 1. Development and education of schoolchildren in the process of drawing from nature

Drawing from life is a method of visual education and gives excellent results not only in teaching drawing, but also in the overall development of the child. Drawing from nature teaches to think and purposefully conduct observations, arouses interest in the analysis of nature and thereby prepares the student for further educational work.

When teaching drawing, the teacher should keep in mind that the purpose of studying the shape of an object is not only to get acquainted with its external form, but also to get acquainted with the concepts expressed by this form, which is extremely necessary for mastering other subjects: mathematics, physics, etc.

The process of cognition of objective reality largely depends on the degree of development of the visual apparatus, on the ability of a person to analyze and synthesize the resulting visual impressions. Drawing from life has great opportunities for developing this ability.

No matter how small the task set by the teacher for the child in the drawing lesson, its solution is impossible without a significant activation of his mental activity. In an educational drawing, the process of cognition of nature is not a simple contemplation, but a transition from single and incomplete concepts of an object to a complete and generalized idea of ​​it. Drawing from life, the student carefully examines nature, tries to note its characteristic features, to understand the structure of the subject. When drawing from life, concepts, judgments and conclusions about the subject become more and more concrete and clear, because the nature that is before the eyes is accessible to sight, touch, measurement and comparison.

For example, a student, drawing a plaster ornament, sees a dark spot on the convex shape of the object - it seems to him that there is a depression there. However, approaching the object and touching the shape with his finger, he is convinced that there is not a depression, but a bulge. Therefore, in the primary grades, it is advisable to build visual arts classes in two directions - the study of form by sight (drawing from nature) and by touch (sculpting). This method of studying form gives excellent results, and we know that many artists have used it often. So, I. E. Repin, in his memoirs about Kramskoy, wrote that, while working on the image of Christ, Kramskoy, wanting to more clearly imagine the expressiveness of the plasticity of the shape of the head, was forced to sculpt it from clay: “He took off the wet covers on the machine, and I saw the same dejected head of Christ, molded from gray clay ... I have never seen a sculpture just molded and did not imagine that gray clay could be molded so wonderfully. To achieve easier relief and light and shade. "

Another example: when drawing a geometric body in perspective, it seems to the student that the height and width of the object are the same. However, having measured them, he is convinced that the size of the sides is different. Or such an example. Children in the first grade, drawing from life a poplar leaf, often fail to capture the nature of the form; when they are shown a leaf of birch, lilac, linden for comparison, they quickly begin to notice the characteristic features of the shape of a poplar leaf.

No subject provides such active attention of students to the subject, to the analysis of its structure, as drawing from life. It is no coincidence that the great Italian artist Michelangelo Buonarroti said: "Drawing, which is otherwise called the art of sketching, is the highest point of painting, sculpture, and architecture; drawing is the source and root of all science."

Taking as a basis that teaching drawing from nature at school leads to the development mental ability, it is necessary in the classroom to teach children to make correct judgments about the shape of objects on the basis of scientific data on the phenomena of perspective, the theory of shadows, color science, and anatomy. It is easy to teach children to carefully consider and analyze the shape of objects. Children often amaze us with their attentive attitude to the smallest details of nature. They draw the smallest details and details of the subject with special love and accuracy. This gives us the opportunity to easily transfer the child's attention to the most characteristic features of the structure of the shape of an object, to teach him to correctly see, understand and depict the shape of an object.

Even the great Italian artists pointed out that drawing from life is the best method of learning. In all treatises on the visual arts, drawing from nature is put forward in the first place. This provision is true not only for vocational training, but also for elementary teaching of drawing in a general education school. Jean-Jacques Rousseau wrote: “It is extremely useful for children to draw not for art itself, but for acquiring a true eye and a flexible hand. But children should draw not from models, but directly from originals, from nature. It is important not so much to acquire the ability to draw according laws and requirements of this art, as the acquisition of a more accurate eye, a faithful hand, real attitudes to the size and type of various objects, a faster understanding of the actions of perspective.

Drawing from life, and especially perspective drawing, is of great importance for the development of spatial thinking and imagination. Already when you get acquainted with the elementary rules of perspective, the most complex process of spatial thinking takes place. The difficulty of conveying the three-dimensionality of a three-dimensional object when depicted on the plane of a sheet of paper makes the student develop spatial thinking and imagination. Any graphic expression of thought is based on the ability to visually represent the depicted objects. The draftsman needs to clearly imagine the design of the object, the relationship of its parts, the nature of the form, the position of the object in space.

By developing in students the ability for clear figurative representations, drawing from nature also affects the development of memory. role in human life figurative memory huge. But the influence of drawing from life is not limited to figurative memory, it also affects other types of memory: motor, emotional and verbal-logical.

On the basis of clear ideas about objects, figurative memory, the student develops the ability of imagination.

While drawing from nature, abstract thinking also develops. It is impossible to give a constructive analysis of the form of an object without resorting to abstract thinking, and in drawing you constantly have to deal with constructive analysis. Moreover, it should be noted that drawing from life, like no other form of studying the shape of an object, makes it possible to develop all aspects of the process of abstract thinking.

Thus, we see that learning to draw contributes to the overall development of a person.

Drawing from life in a general education school provides not only for the depiction of objects by means of black and white drawing (pencil drawing), but also for teaching the elements of painting.

The task of teaching painting includes the image from nature of individual objects, simple still lifes, interiors and landscapes. Getting acquainted with the elements of painting, students master the techniques of working with colored pencils, watercolors and gouache paints. In the first grades, students paint natural objects (leaves, insects, etc.) in watercolor, not yet using a mixture of colors. From the third grade, they learn to select a color similar to nature by mixing paints, and also get acquainted with the use of colored color pads. In the fourth grade, schoolchildren paint three-dimensional objects (fruits, dishes) in watercolor - first, as in previous classes, on a white background, and at the end of the year - on a light colored one. In the fifth and sixth grades, in drawing from life in watercolor, the main emphasis is on the correct transfer of color ratios in a group of objects and on the transfer of volume. In these classes, students use the techniques of working in a wet way, master the ability to work with watercolors based on the use of techniques for re-laying colors, merging colors.

When teaching painting, the teacher should keep in mind that children perceive everything around them with a joyful feeling. However, childhood impressions, no matter how direct they may be, gradually turn into thoughts. The task of the teacher is not to kill this inspired impulse in the child, but methodically skillfully lead to the correct ideas about the world. Therefore, students should be introduced to the basic principles of color science, taught to use color and tone correctly to convey their visual impressions of nature (warm, cold tone), to convey the play of light and color on objects, without deviating from the visual authenticity of the depicted.

Drawing from life is an excellent means of aesthetic education of children. Drawing from nature a landscape, a tree, a flower, studying the nature of the form of these objects, the child shows interest in the beauties of nature, in the richness and variety of its forms and colors. He sees the proportional relationship of parts and the whole, catches the rhythm and
harmony of nature forms, color shades. Developing in children observation, flair, we thereby solve the problems of aesthetic education.

Chapter 2. Aesthetic education in the process of drawing

Aesthetic education contains at its core laws and rules based on the principles of realistic art.

In the lessons of drawing from nature, students, studying the constructive structure of image objects, their spatial position, proportions, shape, color, distribution of light and shade, etc., simultaneously comprehend the laws of beauty, tangible in form, proportions, color and expressed in smoothness, grace lines and outlines.

For successful aesthetic education, the development of the artistic taste of students by means of drawing from nature, teaching children the laws of composition, a sense of proportionality, perspective, a sense of the relationship of the objective world, and the laws of color science is of great importance.

Moreover, it must be borne in mind that teaching the rules of drawing from life should not go along the line of memorizing them. Visual literacy should be presented to students not in the form of some separate abstract schemes and rules, but as the sum of knowledge necessary for a realistic depiction of objects.

The teaching methodology should be aimed at the formation of the student's artistic and creative activity. In the process of teaching, you can use such a well-known method as the method of comparisons, comparisons. In the lesson, it is desirable to demonstrate not one subject, but variants of subjects, taking into account the purpose and objectives of the lesson.

Teaching children a truthful, realistic image of the world around them, familiarizing them with correct, clear concepts about natural objects is impossible without familiarity with the laws of color phenomena.

Observing the patterns of the structure of the shape of objects, their proportions, the position of objects in space, students learn the harmony of color and tone, learn to distinguish beautiful forms, they develop an artistic taste, and there is an interest in the beauty of the surrounding life and nature. The student's eye is improved, which makes it possible to notice different color shades on objects. The child begins to see with different eyes what surrounds him every day. The beauty of the surrounding life firmly enters the consciousness and leaves a deep imprint in the soul.

Particularly valuable in this regard are the lessons in which the student works in the open air.

The teacher must teach the child to see everything that is valuable that surrounds him, that can enrich his inner world, open his eyes to the beauty of nature. The pleasure experienced from aesthetic impressions and experiences gradually grows into a need to see and create beauty.

Excursions play an important role in the development of aesthetic taste. Wildlife is always a wonderful source of inspiration for children.

Turning to the sensory perception of children, the teacher should give them the necessary information about the harmony of color in nature, the structure of a flower, and the design of leaves.

Observing the surrounding reality, contemplating objects, phenomena, nature, comprehending and analyzing what they see from an aesthetic point of view, students strive to capture this in their drawings, but, not having sufficient drawing skills, they find themselves in great difficulty. The teacher is faced with the task of acquainting children with the principles and methods of realistic depiction of objects.

So, despite the variety of color shades observed by students in nature, where one color, complementing another, creates complete color harmony, in the works of students one could note rough color combinations when drawing from life. It often happens that students do not distinguish the tonality of color, do not see color shades. For example, when drawing from nature an enameled green mug, instead of warm green, they take a bright green (cold) color. This suggests that students have not yet learned to correctly see the color in nature, the harmony of colors, in their work they use random, sometimes rough color combinations. This is where the qualified help of the teacher becomes necessary.

Chapter 3

In order to consciously perceive one or another object, the student must mentally imagine all the qualities and features of the object known to him.

Without a sufficient stock of knowledge, students cannot have a complete understanding of this subject. This can eventually lead to illiterate drawings.

Only when the students are given the task of carefully considering the shape of the object, comparing it with previously seen ones, finding similarities and differences, when the necessary information about the object is provided, the children's ideas expand, which ultimately leads to the emergence of a conscious image of the perceived object.

From the very beginning, certain goals and tasks are set for students, which gradually become more complicated from lesson to lesson, some general information about drawing from nature is reported.

Gradually and systematically mastering a large amount of knowledge, skills and abilities in the field of drawing from nature, students successfully master more complex educational material. A solid assimilation of knowledge, skills and abilities at the first stage of learning to draw from life is very important for the conscious development of further educational material by students.

Conscious learning to draw from nature presupposes a clear and precise assimilation of each position, each concept. From the first lesson in drawing from nature, it is necessary to ensure that students realize the purpose for which they should consider and study nature. Only in this case will children feel the real need to see the object in order to draw it. If students do not learn this from grade 1, they will not fully use nature to improve their drawings in the future.

At the very first lesson of drawing from nature, children must be told that the object that is placed in front of them for drawing is nature. The attention of children should also be drawn to the fact that they should draw exactly this object in front of them with all its features, and not some other similar to it in quality, form or having the same meaning with it. Children must understand that in order to complete this task, one must look at nature all the time.

But in order to draw an object correctly, it is not enough just to look at it. it is necessary for the student to learn to look at it.

One can learn to see an object through not just observation, but meaningful observation, which helps to highlight the main, most important thing in an object, to establish its similarity and difference with other objects.

The teacher's task is to direct the child's attention to comprehending the design of the form of the entire object as a whole, to ensure that the student clearly imagines the functional purpose of this object, the expediency of the structure of its shape, color.

Students who begin to draw find it difficult to see and study the forms of an object at the same time. They don't know how to compare a model with a drawing. Therefore, we must try, as early as possible, to accustom them to consciously understand the design of the form of the objects depicted, as well as to be critical of their drawings.

In order for the entire process of drawing at each lesson to take place at the level of a conscious attitude to work, it is necessary that students,firstly , clearly understood the purpose and objectives of this lesson, i.e., the meaning of the teacher's requirements. Therefore, at the very beginning, the teacher should communicate the purpose of this lesson.

Secondly , it is necessary that students have a good idea of ​​the purpose of this subject (where, in what cases and for what purpose it is used).

Thirdly , the lesson should create the necessary conditions for the correct conscious perception by students of the design, shape, color, tone of nature.

Fourth , it is necessary to focus the attention of students on a purposeful, consistent observation of nature in the study of its color, tone, shape and changes in this form under the influence of perspective phenomena.

Fifth , when performing a drawing, students should clearly distinguish between the individual stages of their work. It is necessary that they understand why exactly in this order it is necessary to draw a drawing (from general to particular), why auxiliary lines are used when constructing a drawing.

Students more consciously master the techniques and methods of depicting various parts of objects in the event that a living, specific drawing "passes" in front of them.

Finished drawings of older students are well perceived by children. They stimulate in children the desire to consciously perform their work.

The main role in the visual process is assigned to the teacher. He must educate and maintain a conscious attitude to work among students, and not only when explaining the goals and objectives in the lesson of drawing from life, not only while examining nature, but also at important moments when children directly depict natural productions.

Chapter 4. Development of attention, observation, visual memory

Attention is an important condition for the success of cognition of the surrounding reality, since it ensures the completeness and depth of visual perception, the activity of thinking, the concentration of volitional efforts on the study of an object or phenomenon.

From the very first lessons of drawing from nature, it is necessary to educate children's attention; without this, it is impossible to carry out the educational process in any lesson.

Distinguish between involuntary and voluntary attention. Involuntary attention is the focus of consciousness on an object or phenomenon due to their characteristics.

Given this feature of attention, the teacher should think carefully about the methodology for demonstrating various educational and visual aids, as well as setting as nature those objects that students will depict from nature.

Arbitrary attention is an organized focus of consciousness on an object or phenomenon.

Students entering grade 1 are still distinguished by relaxed attention, they do not know how to concentrate, they are often distracted, they are absent-minded, and therefore they perform any task with difficulty. Distractedness entails unwillingness to work. This can turn into a habit, and then it is already difficult to fight the rooted evil. From the very beginning, students must be taught to be attentive. First of all, it is necessary to ensure that the children sit correctly, carefully look at nature and listen to the teacher's explanations. We need to approach this issue very seriously and creatively.

Overwork has the most negative effect on the lesson. Continuous long work tires students, and, consequently, relaxes attention. This is where children need to be helped. For example, do a little workout.

Short breaks in work are absolutely necessary, since after rest the children will be more productive in drawing, their attention will be entirely directed to educational activities.

Organized attention plays an important role in the development of students' aesthetic taste. At the same time, it is desirable to ensure that the students themselves tell what attracts their attention to nature, what causes them certain feelings. Only then will the students' emotional attitude to things and phenomena be reflected in the works. Drawings from life will expressively convey color, shape, design and other features of nature.

The external factors that affect the manifestation of attention include the usual working conditions, a clearly organized order in the lesson.

Insufficient preparation of the teacher for the lesson prevents students from consciously doing this or that work. Their attention is scattered.

Interest has a significant influence on the stability of attention. If the process of work in the lesson interests the student more and more, captures him entirely, it can be said with confidence that his attention will be stable for a long time.

As a rule, students cannot maintain their attention on their own during work. The task of the teacher is to activate the attention of students on the right object at a certain time.

The spirit of competition plays an important role in the development of sustained attention in younger students. Children of this age have a very strong competitive moment.

You can specify the main ways of educating attention:

1. From the very first lesson of drawing from life, teach children to correctly see the surrounding objects and phenomena of reality. From an early age to acquaint them with the diverse richness of the surrounding objective world.

2. At each drawing lesson from life, arouse the interest of children, take into account their emotional world.

3. Constantly diversify the types of educational work, alternating drawing with looking at nature, answering questions, comparing nature with other subjects, and analyzing children's drawings.

4. Call the activity of the whole class while working on the drawing.

5. A special role is played by the exactingness of the teacher to the finished drawings, to the students' answers to questions.

6. A necessary prerequisite for the development of attention is the formation in students of a conscious attitude to work.

One of the most important conditions for successful teaching of fine arts is the development of a student's observation skills.

Already from the 1st grade, children need to be taught to look at nature correctly, to see it correctly.

Often poor quality drawings are obtained precisely because children have a very vague idea of ​​the subject they are drawing.

In order for students to see the object correctly, it is necessary to help them understand the structural features of the object: its proportions, design, and the nature of this form. If the children are well versed in all the features of the subject, they will be able to depict it correctly enough.

For the effectiveness of observation, certain organizational conditions are important, primarily a specific orientation towards specially organized observation.

Observation of nature involves both the formulation of a general task, which the teacher points out to students at the beginning of the lesson, and more specific tasks that are solved in the course of work.

The specificity of drawing from nature requires careful consideration of the alleged objects of the image, constant observation of objects and phenomena of reality, and the accumulation of various impressions. To do this, it is necessary to teach children to systematically observe, to notice many signs and features of objects and phenomena that are inconspicuous at first glance. The development of observation is one of the main tasks envisaged by the fine arts program.

The basis of observation is visual perception. However, sometimes it alone does not give an accurate idea of ​​the subject. The most effective is such an observation, which is based on the interaction of various analyzers (feeling, breaking, testing for hardness, determining taste, smell). All this is necessary condition to form a clear, clear, deep understanding of the subject. That is why children can be allowed to take objects in their hands, bring them to their eyes, comparing them with other objects.

In this case, the drawings of students will be even more competent and expressive.

One of the means of developing observation in children is to compare their drawing with nature and, on this basis, to identify what is unnoticed, incorrectly defined.

Developing children's observation skills, the teacher teaches students to correctly perceive the surrounding objective world, develop the correct concepts about objects, and consciously work in the classroom, thinking through each stroke.

The fine arts program sets the task of developing visual memory, visual representations of students.

An important means of developing visual memory is special drawing from memory and from imagination.

Drawing from memory, from imagination, is a difficult type of educational drawing, since the student, on the basis of his stock of knowledge about objects and phenomena, accumulated as a result of active observation and careful study, must imagine this or that object or phenomenon and depict it on paper .

This type of drawing opens up a wide scope for the manifestation and development of children's creative imagination, fantasy.

Developed imagination is of great importance in human life. Imagination is the ability to be creative, to create new images by combining previously seen or created by one's own imagination. Gaining life impressions, a person with a developed figurative thinking and rich imagination will be of great benefit.

Drawing by representation is the reproduction on paper of an object in an arbitrary spatial position.

A huge role in the successful teaching of drawing by representation is played by preliminary, systematic exercises in drawing from life. It is necessary to carefully study objects with students, followed by their depiction directly from nature. Only in this case, students will be able to reproduce a dynamic image in order to draw an object in any given rotation or position.

Chapter 5. Organization of training sessions

At the very first lesson, students need to name a list of tools and supplies needed for drawing from nature classes.

Students should have separate sheets of paper, simple pencils, an eraser, a pencil sharpener, paints, brushes, a jar of water, a palette, a soft rag.

In the lessons of drawing from life, students often use watercolors. The most important property watercolor painting - the transparency of colors through which the tone and texture of the base shine through, the purity of color, the softness of the thinnest paint layer.

The fine arts program also includes work with gouache paints.

Gouache is a paint in which an aqueous solution of some kind of glue with a small addition of emollients and preservatives is usually used as a binder.

Students should be taught how to handle paints.

The student's workplace should not be cluttered with foreign objects: only those tools and accessories that are needed at this stage are laid out on the table.

A clear organization of the work of students throughout the lesson helps students "not to get discouraged", does not scatter their attention.

From the first lessons, the teacher needs to pay the most serious attention to the correct working posture of students.

Very important in the organization educational process has teacher preparation for the lesson.

The widespread use of visual aids in the lessons of drawing from life, the use of a variety of methods of work, the need to enhance the cognitive and creative abilities of students oblige the teacher to prepare in advance the appropriate equipment for the lesson.

It is very important to think through all the smallest details in the setting of nature, only then can we expect good results from students.

Nature selection is an important task. Nature not only allows children to learn the rules of drawing, but also develops their aesthetic taste.

The task of the teacher in setting up the model and choosing it is to give students the maximum opportunity to visually see the phenomena of chiaroscuro. Only in this way can competent and expressive drawings be achieved.

The ability of the teacher to choose the correct turn of the model in relation to the drawing is important in the lesson.

Depending on the purpose of the lesson, it is necessary to select the nature of the appropriate color and shape. For a linear drawing with charcoal, pencil, felt-tip pen, it is better to select nature with an expressive contour outline. For drawing with paints, the nature of simple-shaped objects of an open, bright color is taken. You can use a bright colorful background for greater expressiveness of a colorless nature.

An important point in the clear organization of the educational process is the timely provision of the lesson with visual materials.

List of used literature

Bychkov V.V. Aesthetics. – M.; 2003.

Vizer V. Picturesque writing. Fundamentals of the art of the image. - St. Petersburg; Peter, 2006.

Vinogradova G. Drawing lessons from life. – M.; 1980.

Volkov N.N. Color in painting. – M.; 1984.

Kandinsky V.V. On the spiritual in art. – M.; 2004.

Nemtsov G.M. Art is a school of personality formation. – M.; 2004.

Pogodina S.V. Theory and methodology for the development of children's fine arts. – M.; 2013.

Rostovtsev N.N. Academic drawing. – M.; 1995.

For a beginner artist, it is extremely important to draw from nature. This is necessary in order to train not just the hand and eye, but also one's own vision of objects. What distinguishes a good artist from an ordinary person is observation. And what, if not drawing from nature, can develop it?

The purpose of this lesson is to formulate the steps of drawing from life in order to reduce the fear and confusion that beginner artists often experience in front of nature.

I deliberately do not post a separate photo of my object, so that you would not be tempted to make a drawing from the photo. Choose your object.

1) Object selection

The main criterion for choosing an object is that you should like the object! If the object is too boring and does not evoke any emotions in you, then drawing will turn into flour.

If you are a beginner artist (otherwise you would not be interested in this article), then you should not choose an object with a lot of small details. However, absolute rigor can frighten a beginner with the requirement of geometrically correct lines.

In my opinion, the ideal object to start drawing from nature is a soft toy. Soft toys are usually quite cute, they have a mood. Their form is usually simple, but at the same time not so strict - even a not very confident line of a novice artist can show this form quite convincingly.

Of course, after reading the previous paragraph, you understood that I LOVE SOFT TOYS. If you do NOT like them, then do not force yourself - draw what is close to you.

2) Location in the sheet

At the initial stage, to isolate the area that you will draw from the space, a frame from your fingers can help you, as well as the “pencil” measurements described in the basic drawing lesson for beginners (). Measurements are taken to determine the overall proportions.

The easiest way to position an object on a sheet is to outline its dimensions with an oval and start drawing inside this oval.

For a better layout on the sheet, it is useful to make 9 different layouts, placing them in small rectangles proportional to your paper size. It is very important that the rectangles are small and located on one sheet. As S. Yesenin wrote, “You can’t see a face face to face, you can see a big one at a distance.” The small scale of the layouts creates the feeling that we are looking at them from afar, and when placed on the same sheet, they become extremely convenient for comparison.

Here are 9 layouts ready. (Sometimes more options are sorted out to find the best option.) Choose the best option and transfer it to the sheet where our drawing will be located directly.

3) Detection of the main color/tone spots in the object

Whether you realize it or not yet, a person sees everything in spots. All alleged lines are either special cases of spots or boundaries between different spots.

To observe the object of drawing, it is often advised to close one eye - this makes the image in front of us flat. For better detection of spots, it is worth squinting the eye that remains open. The image will turn out to be blurry, extra details will be “lost”, and this is exactly what we need at this stage.

4) Show spots on paper

If all the previous points were the same for drawing with any material. Now the order in which spots, lines and details are displayed on the sheet depends on the technique. I will not climb into the wilds of academic drawing. Let's take soft pastel as an example, which I love for the possibility of shading.

So, we mark the main color spots with pastel crayons and shade them.

5) Add shadows, midtones, details and accents

It is important to place accents in any object. In toys, this is usually the muzzle. Some vases may have an accent on the area with the deepest shadow. If there are no accents, then the viewer's eye has nothing to catch on to your picture, and it becomes boring for him.

If you drew with soft pastels, do not forget to secure the drawing. For this, ordinary hairspray is suitable.

The main advice that I would like to give to novice artists: go for it and you will succeed!!!

This article was written by me based on the knowledge gained in the classes of drawing and painting by Olga Rubtsova

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