Drawing a simple still life lesson summary. Plan - outline of a lesson in painting: Still life from objects of different materials (Imitation of oil painting technique)

Plan - summary of the lesson on the topic

"Still life in contrasting colors."

Class type - drawing from nature.

Goal and tasks :

Target: deepening students' understanding of color in painting, the richness of its expressive possibilities.
Tasks:

Tutorial: learning the ability to express your moods and feelings in a still life with the help of color and the rhythm of color spots.

Developing: development of creative imagination.

Nurturing: education of artistic taste, aesthetic color sensation and sophistication of color shades.

Lesson type : combined.

Materials and equipment:

For the teacher:
1. Reproductions of paintings by artists. "Overseas guests", av. Roerich; "Girl with a jug", av. Arkhipov.
2. Tables and diagrams on the topic “Color contrast”;
3. Tables I, I(a), II, II(a), “Sequence of work in color”

For students:
Watercolor paints; brushes; water; palette; paper (A3 format).

Lesson plan:

Workplace organization (2 min);

Discussion of the topic of the lesson (3 min);

Examination of tables and illustrations; familiarization with the full-scale production, discussion of the progress of work (7 min);

Independent work- performance by students of drawings (30 min);

Summing up, cleaning the workplace (3 min).

Lesson progress:

Organizing time

Hello guys! Today we have a painting lesson on the topic: “Still life of vegetables and
fruits”, with draperies contrasting in color and lightness. Repetition of the material covered

What is "Painting"? Who's to say guys? We know several definitions of painting.” One of them reads: “Painting - this is the kind visual arts in which color plays a major role. And another definition -Painting ” means to write life, to write vividly, i.e. fully and convincingly convey reality
- Guys, let's name the genres of painting known to us:
- This is a portrait, still life, landscape, animalistic genre, mythological genre.
- Okay guys, right. Today in the lesson we will perform a still life in color. Who can say what a still life is? And still lifes of which artists do you know?
“Still life” in French means “dead nature”, i.e. "still life" is a production of inanimate objects, household items, household items. Translated from German, “still life” means “quiet life”.
And now let's turn again to our still life, ".
- Guys, what kind of work famous artists you know made on this theme?

We consider reproductions of paintings by artists.

Okay guys. Enough. I would like to note that not every group of objects can be called a still life. The setting of a creative still life must be strictly thought out in accordance with the educational task and the ideological concept.
For example, the task of our productions is to identify the diversity of forms and materials, the differences
colors and tones. To do this, we used the laws of contrast.
Contrast comparison of large with small (scale contrast), light with dark (light contrast), rough surface with glossy (textural contrast) and, finally, color contrasts (red - green, yellow - purple, blue - orange).
Guys, you and I once again made sure that the artist, creating a unique world with pictorial means, makes us experience, be surprised and rejoice. Not by chancecolor is the basis of painting: First of all, color can be perceived in different ways and convey the beauty of the surrounding world;
Secondly , color can express feelings, mood and emotional state.
Thirdly, color can be used to think and design the shape of an object, convey texture and volume.

preparatory moment

Task of the lesson:

So, today in the lesson we will perform the construction and color image of a still life. Before starting practical work in color, we will analyze the natural setting and repeat everything related to “color contrast”.
- So guys, we know that all colors can be divided into two main groups:
1. Chromatic (color), which includes all the colors of the solar spectrum.
What are called chromatic colors?
- All colors of the solar spectrum.
2. Achromatic (not color), which includes colors: black, white and all shades of gray.
What are called achromatic colors?
- The colors are black, white and grey.
- Guys, how do our still lifes differ from the previous ones?
- Our still lifes are distinguished by color contrasts.
- Guys, please give me the definition of “contrasting colors” and name the groups of contrasting combinations.

Showing the color wheel:
- "Contrasting colors" are colors that complement each other and color wheel are opposed to each other. For example: red-green, yellow-violet, blue-orange.

Phenomenon"color contrast" is that the color changes under the influence of other colors surrounding it. For example: a red tomato will look redder against a background of green parsley.
What types of color contrasts do you know?
- There are two types of color contrast - lightness and chromatic (color). I show the table for light contrast:

Compare identical gray squares on black and white backgrounds. They will seem different to you.

An example of lightness contrast.

I show a table for chromatic or color contrast:

We perceive the color of objects depending on the surrounding background. A white tablecloth will appear blue if orange oranges are placed on it, and pink if green apples are placed on it. This is because the background color takes on a tint of a complementary color to the color of the objects. The gray background next to the red object seems cold, and next to the blue and green - warm.

Example of color contrast

Chromatic - called a change in hue or color saturation under the influence of neighboring chromatic colors. The lighter the tonal relationship, the stronger the contrast.
a) if the chromatic color is on the background of its complementary color, then it retains its color tone and becomes more saturated. For example, yellow appears brighter on purple than on any other chromatic color.
b) if a gray figure is surrounded by a chromatic background, then its color acquires shades
complementary color to the background color. For example, a gray background on a green background becomes pink
hue, and vice versa - on red it turns green.
Any subject in a still life has a color characteristic and has a certain
lightness, i.e. tone.
When performing work in color, we should also strive to convey:
- the volume of still life objects;
- texture of objects (their materiality);
- planning still life (front, middle and distant plans).

Explanation of new material
Today in class you will complete a still life painting. As you remember, work on a still life begins with a decision: what this still life will tell about, what items it will consist of, what moods it will inspire.

The layout of items must be carefully thought out. Next, a drawing is made, which not only reflects the shape of the objects being drawn, but also shows the direction of light and shade, dark and light places, and only after that the painter works with paints.

Subsequence work execution:

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

On thefirst stage Let's start painting with the general color characteristics of the still life,

On thesecond stage painting, the three-dimensional form of all objects is modeled and their illumination is transmitted. With separate strokes, we increase the color saturation of the illuminated sides. The color of the shadows is solid and is influenced by the environment. They are laid with transparent, but darker colors. Each stroke laid down for the image of shadows should be taken relative to the color of the surfaces of other objects and other shadows adjacent to it in terms of hue, saturation and lightness.

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

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

Guys, before starting practical work, let's clarify the task of our lesson with you - this is an image of a still life, figurative and color performance of a still life.

Independent work.

Lesson results.

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

Work analysis.

Workplace cleaning.

Conclusion. Guidelines.

For better assimilation of specific knowledge and skills in order to educate students in good artistic taste, further improve their aesthetic education it is important to conduct conversations as often as possible (both as separate lessons and as an introductory part to the explanation of practical work), the purpose of which would be to introduce students to the works of the best masters of painting and drawing, to get acquainted with their creative method. Healthyalso conduct an analysis of the works of the students themselves, organize exhibitions of the best works.

Still life reveals to students the infinite diversity of nature. The children can and should, with the help of a drawing teacher, learn those properties, i.e. features of things that might go unnoticed. Unfortunately, many teachers and interns, when explaining a natural production, often confine themselves to explaining how to correctly depict the construction of the spatial position of objects, perspective contraction of the form, and little attention is paid to the features of “seeing” in nature beauty, grace, gracefulness of form, lines, harmonious a color scheme. And if the object that the student is supposed to draw does not have an emotional impact on him, then he is passive in the process of depicting this object, which undoubtedly affects the quality of his pictorial activity.

A very important factor is that the knowledge, abilities, and skills that a student receives in drawing from life classes are expanded, deepened, and fixed in the classes of other types of classes in fine arts, and vice versa.

Thisthe thesis can be used as a visual aid in the lessons of drawing from nature, in a conversation on fine arts, introducing students to various genres of painting, and as methodological development on the subject of still life.

Target: Acquaintance with the technique of multi-layer glazing watercolor. Writing a contrasting still life consisting of 4 items and 3 draperies.

Tasks:

Tutorials:

Three main watercolor techniques execution - in a raw way, ala prima, glazing;

acquaintance with the work of artists;

making a preliminary sketch of a still life in pencil;

sequence in the work of watercolor on a still life.

Developing:

development of creative abilities, artistic taste, sense of color and harmony;

development of figurative thinking, memory, attention, perception of the studied material;

Educational:

creation of a creative and professionally competent watercolor sketch in this technique;

fostering respect for the professional activities of the artist;

the formation of interest in the study of art history.

Used materials and tools:

watercolor paper;

a simple pencil and eraser;

didactic and visual material: illustrations, reproductions of paintings by artists, as well as the work of a teacher;

Educational setting-still life

Lesson Plan

1. Organizational part -1-2 min.

2. Presentation of new material - 10-12 min.

3. Instructions for work - 2-3 minutes.

4. Practical work of students - 25-27 minutes.

5. Completion of the lesson, analysis - 3-4 minutes

6. homework

Lesson progress

1. Introduction to the topic.

Preparation for the lesson, organization of the workplace. Safety precautions with materials tools.

2. Stages of work on a still life.

Initial sketch in pencil. Transferring a drawing from a sketch to the main format (A-2). The drawing begins with the compositional placement of objects on the sheet. Taking into account the perspective reductions, the construction of objects begins. The basis of all objects in this still life is a circle, but according to the laws of perspective, an ellipse is obtained from this position. To build an ellipse, draw axes, make serifs on them. We connect with a smooth line.Ellipses change: the higher the ellipse, the narrower it is, the lower, the wider.
Invisible lines - construction lines should be paler and thinner, and visible darker and clearer.Clarify the proportions of all objects in relation to each other. Proportion is a certain ratio of parts of an object to each other, their proportionality. It is necessary to constantly compare proportional relations, to endorse.Odefine the boundaries of their own and falling shadows.

Let's start with the proportions, we will measure them with the smallest object - a glass. In the height of a wooden vase, a glass fits 2.5 times. The width of the widest part of the wooden vase fits in the soma vase 2 times. The width of the upper part of the vase is equal to the height of the glass, the bottom is slightly wider. We also set the proportions of the cast iron with a glass. The glass in the height of the cast iron fits 1.5 times, the width is slightly greater than the height, it can be inscribed in a rectangle close to a square. The bottom of the pot is equal to the width of the neck of the vase. In the upper part of the cast iron fits 1.5 cup heights.

When the drawing is properly built and finished, paint is applied. Watercolor - water paints, from the French word aguarell and comes from the Latin word agua - water. The main property of watercolor is the transparency of the coloring layer. Therefore, the pencil drawing of the outline of the object should not be very black, the lines should be soft, otherwise the pencil will be visible through the paint.White is not used in watercolor, they deprive the paint of transparency and purity of color. Lighter tones are obtained by diluting a saturated tone with water. To make the paint better fit on the paper, before starting to paint with paint, the entire sheet is washed with water. When applying color in watercolor, two methods are used: glazing and alla prima.

Glazing is the application of one transparent layer of paint to another, while the first layer is dried. This method is sometimes referred to as "dry painting" and preserves the transparency of the watercolor.

Alla-prima - all colors are taken immediately of the desired strength, each color detail begins and ends in one step. In this way, or "wet work", you can achieve brightness and colorfulness.

Filling with local colors begins. The gradual overlay of color on objects from light to dark.

Our fill begins with the darkest object, a black cast iron. It doesn't have to be pure black. We mix the gray color with a blue-violet hue and start filling. We write the darkest areas more densely, the lighter ones with more diluted paint, leaving room for highlights and reflexes. We cover them with very diluted paint. Highlights should not be white, they have their own tone. Since we have a green drapery, the cast iron reflects a red tint. We add a little red paint, it should be delicate. Light is reflected from the pink drapery and falls on the cast iron, forming a gentle reflex in the lower part. Parallel to this, we write all the subjects together. You can not write out each item separately, all work must be carried out as a whole. It is necessary to get rid of white spots on the sheet, they interfere with perceiving the picture as a whole. We fill objects with local colors, we take the paint not tightly, so that at the first stage of registration we do not darken light objects. The lightest in our still life is a one-time reflective drapery. The darkest will be the cast iron, the glass will be close in tone to it, but still it is lighter. Next in tone are green drapery and a wooden vase. Fill the green drapery with green-yellow color. We fill the light green drapery with gray-green color with the addition of various shades of green, yellow, purple, brown. Fill the glass with red brown. Since it is varnished and gives a lot of highlights and reflections, all this needs to be conveyed in our picture. We outline the reflex from the pink drapery on the left side, on the right side we outline the highlights. We fill the rim and the inside of the glass with golden ocher. The wooden vase is filled with light brown color, in the light with the addition of ocher. In the shadows, add a greenish tint and take the color more densely. Since this is a wooden object, there will be no strongly pronounced highlights here, they will be more muted and diffused. You need to try to convey the texture of the tree and the fact that the vase is made up of planks, you need to delicately show the edges of the tree.

We begin to apply various shades visible in nature. We perform this chiaroscuro and volume. Work is underway on the background and reflexes.

We begin work with light-tonal relationships: light, shadow, penumbra, reflex. Writing shadows on objects and from objects. Uniting shadows. Registration of the foreground and background. objects in the foreground should be written clearly and in detail. We have a glass in the foreground, we outline painting, leaves, curls on it, given that they are on the glass, it is voluminous, therefore some leaves will fall into the light, and some will be in the shade. On the draperies that are closest to us, we prescribe the folds that form at the fracture of the edge of the table. Subjects in the background should be written softer. The contours should not be too clear, they should go deep, be softer. Otherwise, they will come to the fore, so we must convey the planned work.

Our composition can be divided into 3 plans. The first plan is the edge of the table, pink drapery, a glass. The second plan is a cast iron and a vase. The third plan is draperies in the background.

It is necessary to show that all objects are located moving away from each other. In the foreground, objects, shadows, reflections will be bright, the farther objects are from us, they will be softer and more delicate. The back draperies should look airy, the folds flowing, the shadows not very bright.

Working on details. Summarizing. Refinement of details and generalization of the composition as a whole. Softening hard lines.

Examples of still lifes made by the teacher.

Contrasting still life in warm colors.

Still life in cold colors.

Contrasting still life.

Still life in warm colors.

Contrasting still life in warm colors.

1. The drawing begins with the compositional placement of the subject on the sheet. The image is outlined with light lines. Taking into account the angle, proportions and perspectives, the main constructive points are found and determined. Taking into account the perspective cuts along the constructive points, the general shape of the construction of the parts of the face is outlined.

2. Clarify proportions and perspective construction. Defines the boundaries of own and falling shadows.

3. With the help of light-tonal relations reveal volumetric forms. They convey spatiality, those forms that are closer to the drawing are highlighted with more contrast.

4. Full tonal elaboration of forms. Work with light-tonal relationships: light, shadow, penumbra, reflex. Summarizing. Checking and summarizing the drawing (whole)

GOU SPO Russian College of Traditional Culture of St. Petersburg

Outline of the lesson in the discipline "Painting"

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

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

Group 319 H

Teacher:

Saprykin V.G.

Lesson topic: "Still life drawing for painting"

Lesson Objectives:

Educational:

Teach the basic principles of linear construction of objects;

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

Developing:

Develop analytical skills, logical and constructive thinking;

To promote the development of creative abilities, aesthetic attitude.

The development of fine motor skills.

Educational:

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

Be able to find answers to the questions asked;

Instill a taste for graphics.

Lesson objectives:

Apply knowledge of perspective when drawing;

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

Didactic teaching aids:

Material according to the method of drawing.

Material support for the lesson:

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

Lesson type: practical lesson

Lesson structure:

1. Organizational moment - 5 minutes.

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

3. Individual work with students - 10 minutes.

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

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

During the classes:

Lesson stage	Techniques, methods	What students do	What does the teacher do
Organizational 1. Check for the presence of students. 2. Check the readiness of students for the lesson.	Verbal Self-organization and self-government of students	Welcome the teacher. The leader of the group reports on the absent. Prepare the workplace.	Greets students. Checks on attendees. Assign attendants. Determines readiness for the lesson.
Knowledge update 1. Report the topic of the lesson. 2. Communicate learning goals and objectives. 3. Brief survey on the work performed.	Informational (story, conversation) Reproduction of students' knowledge	Familiarize yourself with the lesson plan. Included in the working rhythm of the lesson. Answer questions, complement each other's answers.	Announces the topic of the lesson. Talks about goals and objectives. Describes the meaning of this work. Ask questions about the material covered.
Individual work with students	Practical and visual explanation Comments and verbal explanation	They answer questions. Monitor the correction of errors.	Corrects the mistakes made by the student during the assignment, talks about them. Explains how to avoid these errors.
Practical (independent) work	Acquisition of knowledge, skills and abilities.	Perform a still life drawing for painting. Carry out self-control.	Checks self-monitoring.
Anchoring Summarizing	Comparative analysis Explanation of results	Showcase work. Comment on the result.	Checks the quality of the completed task. Analyzes the most significant errors and shortcomings in the work.

GOU SPO Russian College of Traditional Culture

Routing

(Plan of the training session)

Academic discipline: "Painting"

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

Number of hours per topic: 36 hours

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

Lecturer: Saprykin V.G.

1. Topic plan:

2. Layout in a sheet.

3.Search for the nature of objects.

4. Decision of pictorial relations.

5. Work on the details.

6. Completion.

Didactic goals:

Ensure students understand

Rules and principles of construction, compositional laws of the image of objects in the format,

Painting skills.

sense of color and color.

Means of education:

Visual material (books, drawings);

Material on the methodology of painting.

Ways of activity:

1. Drawing and pictorial solution of a still life.

2. Study and analysis of visual material

3. Do it yourself simple study of still life.

Forms of study

Classes 21-24,25-28,29-32,33-36,37-40,41-44,45-48,49-52 - practical work

Lesson 53-56 - combined.

Material summarization system

Execution of a picturesque decision of a still life.

Literature

1. Aksenov K.N. Picture. (To help the designer). - M., Panorama, 1990.

2. Kirtser Yu.M., Drawing and painting: Textbook. - 2nd ed., Revised. and additional - M .: Vyssh. school, 1997.

3. Lee N.G. Picture. Fundamentals of academic drawing: Textbook. - M., Eksmo, 2010.

Types of control

1. Current

2. Themed

Forms of control

1. Individual

2. Frontal

Control methods

2. Practical

3. Independent

Verified by an expert

Select a document from the archive to view:

Lesson outline Painting 1.docx

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materials

Subject: "Painting"

First year of study. Introductory Lesson #1. 3h.

Subject: Fundamentals of painting

Target:

Tasks : Teach the basics of painting. Get to know different painting materials and their expressive and visual capabilities to teach the technique of drawing with gouache, watercolor, with painting techniques (in wet, dry brush, etc.).Develop brush skills when performing a pictorial drawing;

Equipment and materials

During the classes

1. Organizing moment . Greetings, checking readiness for the lesson.

Setting goals and objectives for the lesson. Introduction to the subject, purpose and objectives of the course of study. Workplace organization.

2. The main part. Explanation on the topic of the lesson. Analysis of pictures. Demonstration of demonstration and visual schemes. Acquaintance with brushes, paints, paper, basic techniques. Acquaintance with paints (watercolor, gouache, pastel, oil paints etc.) and their properties (tone, saturation). Achromatic and chromatic colors in painting.

3. Practical work. Apple in achromatic scale. Sketching and coloring. Independent activity: color science exercises to perform an ornament with achromatic and chromatic colors.

4. Lesson summary

Selected document to view Lesson outline Painting 10.docx

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Subject: "Painting"

First year of study Lesson No. 10.3 h.

Subject: Deciduous tree outline painting

Target: Creating conditions for art education, the acquisition by students of knowledge, skills and abilities in the field of fine arts.

Tasks To form the ability to plan activities, to exercise independent control of their learning activities give an objective assessment of their work

Equipment and materials : sheets of paper, brushes, paints, water, natural object, color schemes, presentation with samples of paintings by artists, reproductions.

During the classes

1. Organizing moment

2. The main part. Explanation on the topic of the lesson. Demonstration of demonstration and visual schemes. Painting outline of a deciduous tree. To acquaint with the proportions and individual characteristics of the painting of the autumn tree, the color palette when depicting autumn. The study of the main characteristics of the color spot. Acquaintance with the concept of "natural color of the object."

3. Practical work. Painting outline of a deciduous tree. making a sketch, color study Independent work: observation in nature and on illustrations of trees, study of a tree

4. Lesson summary . Exhibition and discussion of works. answers to the questions: What did you study, what did you remember and like, what difficulties did you encounter?

Selected document to view Lesson plan Painting 11.docx

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Subject: "Painting"

First year of study Lesson No. 11.3 hours.

Subject: Painting sketches of the autumn landscape

Target: Creation of conditions for art education, the acquisition by students of knowledge, skills and abilities in the field of fine arts.

Tasks : Learning the basics of building a picturesque composition. To introduce the basics of color science in painting. Develop a sense of color and the ability to mix paints, get complex shades of primary colors.Develop brush skills when performing a pictorial drawing.To form the ability to plan activities, to independently control their educational activities, to give an objective assessment of their work

Equipment and materials : sheets of paper, brushes, paints, water, natural object, color schemes, presentation with samples of paintings by artists, reproductions.

During the classes

1. Organizing moment . Greetings, checking readiness for the lesson. Setting goals and objectives for the lesson. Workplace organization.

2. The main part. Explanation on the topic of the lesson. Demonstration of demonstration and visual schemes. Painting sketches of the autumn landscape. Introduction to aerial perspective. Building a scale of related colors. Using color stretching to convey aerial perspective. Implementation of a scale of related colors with many shades, adding achromatic colors. The study of the properties of the yellow-red gamut. Contrasts of tone, color, color saturation.

3. Practical work. Painting sketches of an autumn landscape, a sketch, a color study. Independent work: performing color stretching, compositional search

4. Lesson summary . Exhibition and discussion of works. answers to the questions: What did you study, what did you remember and like, what difficulties did you encounter?

Selected document to view Lesson outline Painting 12.docx

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Subject: "Painting"

First year of study Lesson No. 12.3 hours.

Subject: Two-piece staging painting on a neutral background.

Target: Creation of conditions for art education, the acquisition by students of knowledge, skills and abilities in the field of fine arts.

Equipment and materials : sheets of paper, brushes, paints, water, natural object, color schemes, presentation with samples of paintings by artists, reproductions.

During the classes

1. Organizing moment . Greetings, checking readiness for the lesson. Setting goals and objectives for the lesson. Workplace organization.

2. The main part. Explanation on the topic of the lesson. Demonstration of demonstration and visual schemes. Two-piece staging painting on a neutral background. To teach the basics of pictorial literacy: the laws of tone and color relationships, the laws of subordination and contrast, the whole and the detail

3. Practical work. Two-piece staging painting on a neutral background. Independent work: performing color stretching, compositional search

4. Lesson summary . Exhibition and discussion of works. answers to the questions: What did you study, what did you remember and like, what difficulties did you encounter?

Selected document to view Lesson outline Painting 13.docx

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Subject: "Painting"

First year of study Lesson No. 13.3 h.

Subject: Painting sketches of various animals.

Target: Creation of conditions for art education, the acquisition by students of knowledge, skills and abilities in the field of fine arts.

Equipment and materials : sheets of paper, brushes, paints, water, natural object, color schemes, presentation with samples of paintings by artists, reproductions.

During the classes

1. Organizing moment . Greetings, checking readiness for the lesson. Setting goals and objectives for the lesson. Workplace organization.

2. The main part. Explanation on the topic of the lesson. Demonstration of demonstration and visual schemes. Painting sketches of various animals. To acquaint with the proportions and features of the image of animals, birds in color. Color spot and color silhouette.

3. Practical work. Painting sketches of various animals: making color sketches, compositional search Independent work: observation in nature and on illustrations of animals, sketch

4. Lesson summary . Exhibition and discussion of works. answers to the questions: What did you study, what did you remember and like, what difficulties did you encounter?

Selected document to view Lesson plan Painting 14.docx

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Subject: "Painting"

First year of study Lesson No. 14.3 hours.

Subject: Painting staging of three objects similar in color.

Target: Creation of conditions for art education, the acquisition by students of knowledge, skills and abilities in the field of fine arts.

Equipment and materials : sheets of paper, brushes, paints, water, natural object, color schemes, presentation with samples of paintings by artists, reproductions.

During the classes

1. Organizing moment . Greetings, checking readiness for the lesson. Setting goals and objectives for the lesson. Workplace organization.

2. The main part. Explanation on the topic of the lesson. Demonstration of demonstration and visual schemes. Painting staging of three objects similar in color. To acquaint with the proportions and features of the image of the setting of three objects similar in color on a neutral background. Painting a still life in the technique of a fractional stroke.

3. Practical work. Painting staging of three objects similar in color: making color sketches, compositional search Independent work: still life study

4. Lesson summary . Exhibition and discussion of works. answers to the questions: What did you study, what did you remember and like, what difficulties did you encounter?

Selected document to view Lesson outline Painting 15.docx

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Subject: "Painting"

First year of study Lesson No. 15.3 hours.

Subject: Self-portrait in color.

Target: Creation of conditions for art education, the acquisition by students of knowledge, skills and abilities in the field of fine arts.

Equipment and materials : sheets of paper, brushes, paints, water, natural object, color schemes, presentation with samples of paintings by artists, reproductions.

During the classes

1. Organizing moment . Greetings, checking readiness for the lesson. Setting goals and objectives for the lesson. Workplace organization.

2. The main part. Explanation on the topic of the lesson. Demonstration of demonstration and visual schemes. Self-portrait in color. Introduction to the basic proportions of the human face. Strengthen the ability to mix

3. Practical work. Self-portrait in color: making color sketches, compositional search Independent work: mixing colors, color stretching to convey volume.

4. Lesson summary . Exhibition and discussion of works. answers to the questions: What did you study, what did you remember and like, what difficulties did you encounter?

Selected document to view Lesson outline Painting 16.docx

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Subject: "Painting"

First year of study Lesson No. 16.3 h.

Subject: Coniferous tree sketch painting.

Target: Creation of conditions for art education, the acquisition by students of knowledge, skills and abilities in the field of fine arts.

Equipment and materials : sheets of paper, brushes, paints, water, natural object, color schemes, presentation with samples of paintings by artists, reproductions.

During the classes

1. Organizing moment . Greetings, checking readiness for the lesson. Setting goals and objectives for the lesson. Workplace organization.

2. The main part. Explanation on the topic of the lesson. Demonstration of demonstration and visual schemes. Coniferous tree sketch painting. To consolidate the ability to use harmonious colors and shades in the work.

3. Practical work. Painting sketches of a coniferous tree: making color sketches, compositional search. Independent work: observation in nature and on illustrations of trees, a study of spruce.

4. Lesson summary . Exhibition and discussion of works. answers to the questions: What did you study, what did you remember and like, what difficulties did you encounter?

Selected document to view Lesson outline Painting 17.docx

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Subject: "Painting"

First year of study Lesson No. 17.3 hours.

Subject:

Target: Creation of conditions for art education, the acquisition by students of knowledge, skills and abilities in the field of fine arts.

Equipment and materials : sheets of paper, brushes, paints, water, natural object, color schemes, presentation with samples of paintings by artists, reproductions.

During the classes

1. Organizing moment . Greetings, checking readiness for the lesson. Setting goals and objectives for the lesson. Workplace organization.

2. The main part.

3. Practical work.

4. Lesson summary . Exhibition and discussion of works. answers to the questions: What did you study, what did you remember and like, what difficulties did you encounter?

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Subject: "Painting"

First year of study Lesson No. 18.3 hours.

Subject: Still life painting of two objects in cold colors.

Target: Creation of conditions for art education, the acquisition by students of knowledge, skills and abilities in the field of fine arts.

Equipment and materials : sheets of paper, brushes, paints, water, natural object, color schemes, presentation with samples of paintings by artists, reproductions.

During the classes

1. Organizing moment . Greetings, checking readiness for the lesson. Setting goals and objectives for the lesson. Workplace organization.

2. The main part. Explanation on the topic of the lesson. Demonstration of demonstration and visual schemes. Still life painting of two objects in cold colors. Give the concept of "cold colors." Tonal contrast, enhancement characteristic features objects, revealing the form. Independent work: still life of household utensils

3. Practical work. Still life painting of two objects in cold colors: making color sketches, compositional search. Independent work: still life of household utensils

4. Lesson summary . Exhibition and discussion of works. answers to the questions: What did you study, what did you remember and like, what difficulties did you encounter?

Selected document to view Lesson outline Painting 19.docx

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Subject: "Painting"

First year of study Lesson No. 19.3 hours.

Subject: Painting from nature of bouquets of flowers in related colors.

Target: Creation of conditions for art education, the acquisition by students of knowledge, skills and abilities in the field of fine arts.

Equipment and materials : sheets of paper, brushes, paints, water, natural object, color schemes, presentation with samples of paintings by artists, reproductions.

During the classes

1. Organizing moment . Greetings, checking readiness for the lesson. Setting goals and objectives for the lesson. Workplace organization.

2. The main part. Explanation on the topic of the lesson. Demonstration of demonstration and visual schemes. Painting from nature of bouquets of flowers in related colors. Implementation of a scale of related colors with many shades, adding achromatic colors. The study of the properties of the yellow-red gamut. Contrasts of tone, color, color saturation.3. Practical work. Painting from nature of bouquets of flowers in related colors: making color sketches, compositional search. Independent work: still life of household utensils, color mixing exercises, color stretching, flower studies

4. Lesson summary . Exhibition and discussion of works. answers to the questions: What did you study, what did you remember and like, what difficulties did you encounter?

Selected document to view Lesson outline Painting 2.docx

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Subject: "Painting"

First year of study Lesson №2,3h.

Subject: Basics of color science

Target: Creation of conditions for art education, the acquisition by students of knowledge, skills and abilities in the field of fine arts.

Tasks : To introduce the basics of color science in painting. Develop a sense of color and the ability to mix paints, get complex shades of primary colors.Develop brush skills when performing a pictorial drawing.To form the ability to plan activities, to independently control their educational activities, to give an objective assessment of their work

Equipment and materials : sheets of paper, brushes, paints, water, natural object, color schemes, presentation with samples of paintings by artists, reproductions.

During the classes

1. Organizing moment . Greetings, checking readiness for the lesson. Setting goals and objectives for the lesson. Workplace organization.

2. The main part. Explanation on the topic of the lesson. Analysis of pictures. Demonstration of demonstration and visual schemes. Color composition of the pattern. Acquaintance with the basics of color science, the rules for constructing the color composition of a pattern.

3. Practical work. The image of the ornament in the strip, square and circle. Independent activity: color science exercises to perform an ornament with primary and secondary colors. Sketching and coloring

4. Lesson summary . Exhibition and discussion of works. answers to the questions: What did you study, what did you remember and like, what difficulties did you encounter?

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Subject: "Painting"

First year of study Lesson No. 20.3 hours.

Subject: Still life painting of two household items in warm colors.

Target: Creation of conditions for art education, the acquisition by students of knowledge, skills and abilities in the field of fine arts.

Equipment and materials : sheets of paper, brushes, paints, water, natural object, color schemes, presentation with samples of paintings by artists, reproductions.

During the classes

1. Organizing moment . Greetings, checking readiness for the lesson. Setting goals and objectives for the lesson. Workplace organization.

2. The main part. Explanation on the topic of the lesson. Demonstration of demonstration and visual schemes. Still life painting of two household items in warm colors. To acquaint with the subtlety of color transitions by lightening colors. To develop the ability to soften the sound of the palette, to find different shades of the same color. Give the concept of "Warm colors" color harmony.

3. Practical work. Still life painting of two household items in warm colors: making color sketches, compositional search. Independent work: color stretching exercises, ornament in warm colors

4. Lesson summary . Exhibition and discussion of works. answers to the questions: What did you study, what did you remember and like, what difficulties did you encounter?

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Subject: "Painting"

First year of study Lesson No. 21.3 h.

Subject: Painting from nature of educational still lifes from two objects of contrasting color on a neutral background.

Target: Creation of conditions for art education, the acquisition by students of knowledge, skills and abilities in the field of fine arts.

Equipment and materials : sheets of paper, brushes, paints, water, natural object, color schemes, presentation with samples of paintings by artists, reproductions.

During the classes

1. Organizing moment . Greetings, checking readiness for the lesson. Setting goals and objectives for the lesson. Workplace organization.

2. The main part. Explanation on the topic of the lesson. Demonstration of demonstration and visual schemes. Painting from nature of educational still lifes from two objects of contrasting color on a neutral background. Describe the concept of color contrast. Develop the ability to use contrasting colors in painting.

3. Practical work. Painting from nature of educational still lifes from two objects of contrasting color on a neutral background: making color sketches, compositional search. Independent work: compositional search for a color solution for a still life, sketches of objects

4. Lesson summary . Exhibition and discussion of works. answers to the questions: What did you study, what did you remember and like, what difficulties did you encounter?

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Subject: "Painting"

First year of study Lesson No. 22.3 h.

Subject: Creative activity.

Target: Creation of conditions for art education, the acquisition by students of knowledge, skills and abilities in the field of fine arts.

Equipment and materials : sheets of paper, brushes, paints, water, natural object, color schemes, presentation with samples of paintings by artists, reproductions.

During the classes

1. Organizing moment . Greetings, checking readiness for the lesson. Setting goals and objectives for the lesson. Workplace organization.

2. The main part. Explanation on the topic of the lesson. Demonstration of demonstration and visual schemes. Creative activity. Independent work: preparation for competitions, exhibitions (materials and topics for students to choose from)

3. Practical work. Independent work: compositional search for a color solution for a still life, sketches of objects, landscapes.

4. Lesson summary . Exhibition and discussion of works. answers to the questions: What did you study, what did you remember and like, what difficulties did you encounter?

Selected document to view Lesson plan Painting 3.docx

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Subject: "Painting"

First year of study Lesson No. 3.3 hours.

Subject: Basics of color science

Target: Creation of conditions for art education, the acquisition by students of knowledge, skills and abilities in the field of fine arts.

Tasks : Teaching the basics of color science, the rules for constructing a color composition of a pattern. Acquaintance with rhythm, the image of a symmetrical and asymmetric ornament. To introduce the basics of color science in painting. Develop a sense of color and the ability to mix paints, get complex shades of primary colors.Develop brush skills when performing a pictorial drawing. To form the ability to plan activities, to independently control their educational activities, to give an objective assessment of their work

Equipment and materials : sheets of paper, brushes, paints, water, natural object, color schemes, presentation with samples of paintings by artists, reproductions.

During the classes

1. Organizing moment . Greetings, checking readiness for the lesson. Setting goals and objectives for the lesson. Workplace organization.

2. The main part. Explanation on the topic of the lesson. Demonstration of demonstration and visual schemes. Definition of concepts: color, color properties, color wheel, warm and cold colors. Color composition of the pattern. Teaching the basics of color science, the rules for constructing a color composition of a pattern. Acquaintance with rhythm, the image of a symmetrical and asymmetric ornament.3. Practical work. Sketching and coloring. Performing ornamental compositions in a scale located in one of the quarters of the color wheel. Independent work: exercises in mixing colors.

4. Lesson summary . Exhibition and discussion of works. answers to the questions: What did you study, what did you remember and like, what difficulties did you encounter?

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Subject: "Painting"

First year of study Lesson No. 4.3 h.

Subject: leaf painting

Target: Creation of conditions for art education, the acquisition by students of knowledge, skills and abilities in the field of fine arts.

Tasks : Learning the basics of building a color composition. Acquaintance with rhythm, the image of a symmetrical and asymmetric ornament. To introduce the basics of color science in painting. Develop a sense of color and the ability to mix paints, get complex shades of primary colors.Develop brush skills when performing a pictorial drawing. To form the ability to plan activities, to independently control their educational activities, to give an objective assessment of their work

Equipment and materials : sheets of paper, brushes, paints, water, natural object, color schemes, presentation with samples of paintings by artists, reproductions.

During the classes

1. Organizing moment . Greetings, checking readiness for the lesson. Setting goals and objectives for the lesson. Workplace organization.

2. The main part. Explanation on the topic of the lesson. Demonstration of demonstration and visual schemes. Fundamentals of color science. Acquaintance with the basics of color science. Means of pictorial representation on the plane. Paints. Color shift.

3. Practical work. Leaf painting. Sketching and coloring. Performing exercises on the composition of colorful mixtures by mixing paints that have shades yellow color with the addition of achromatic colors. Performance of the composition in yellow color tone. Independent work: sketches of autumn leaves.

4. Lesson summary . Exhibition and discussion of works. answers to the questions: What did you study, what did you remember and like, what difficulties did you encounter?

Outline plan open lesson on this topic

“Complementary color contrast. Decorative still life.

(A lesson in color science in the 1st grade of an art school).

Pascal Elena Vladimirovna

art school teacher

Lesson type: combined.

Lesson goals.

1. Educational:

To fix the concept of "complementary colors";

To give theoretical knowledge about the interaction of complementary colors;

Introduce the concept of decorative still life and some stylization techniques;

Learn to use a limited range of colors in a still life to harmonize the composition.

2. Developing:

Development of a sense of color harmony;

Promoting the development of attention, the ability to listen to the teacher;

The ability to apply the theoretical knowledge gained in the lesson in independent work on a still life;

The ability to obtain a large number of shades of color by mixing paints in a limited color palette.

3. Educators:

Education of accuracy, the ability to listen to a friend;

Raising a sense of unity, friendship in the team.

Materials for the lesson (for the teacher).

1. Table for mixing additional colors (methodological guide).

2. Table "Basic pairs of complementary colors."

3. Reproductions of paintings by artists for the contrast of complementary colors:

Andrei Rublev "Trinity", Van Gogh "Sunflowers", Henri Matisse "Dance", Paul Cezanne "Mount Saint-Victor".

4. Flannelgraph and still life elements for composition in color.

5. Children's work (decorative still life), student work.

6. Reproductions of decorative still lifes: V. Lebedev "Still life with a palette and a jug", D. Shterenberg "Still life with a lamp and herring", I. Mashkov "Fruits on a platter", E. Abramova "decorative still life".

Materials for the lesson for students.

1. Gouache, brushes, palette, jar.

2. Prepared still life drawing.

3. Exercise on a mixture of complementary colors, performed earlier.

Lesson plan.

1. Organizing moment, checking readiness for the lesson (2 min).

2. Announcement of the topic and objectives of the lesson (2 min).

3. Fairy tale "Roundflower and its magical garden" (5 min).

4. A conversation about a fairy tale. Repetition of the concept of complementary colors, their location in the color wheel and mutual influence (5 min).

5. Explanation new topic about the contrast of complementary colors, showing illustrations on the topic (10 min).

6. Exercise on the property of complementary colors, conclusions from the exercise (5 min).

7. A conversation about decorative still life, its expressive means and some stylization techniques (7 min).

8. Exercise on the compositional arrangement of color in a still life (3 min).

9. Briefing on the implementation of a still life in color (5 min).

10. Independent work: decorative still life in color (28 min).

11. Exhibition of works and their comparative analysis (5 min).

12. The results of the lesson. Consolidation of concepts (2 min).

During the classes.

1. Check the readiness for the lesson, mark the missing, check the materials and accessories, still life drawing.

2. Today in the lesson we will remember about additional colors and their properties, we will learn about another type of contrast - the contrast of additional colors.

Remember what types of contrast we already know? (Contrast of color, contrast of light and dark, contrast of warm and cold colors).

Today we will make a still life in color, the drawing of which we completed in the last lesson, we will perform a few more exercises.

And now I will tell you a fairy tale about the Roundflower and his magical garden.

The tale is a lie, but there is a hint in it. Good fellows lesson.

Fairy tale "Roundflower and its magic garden".

In one very distant magical kingdom-state, a king had a magical garden where amazingly bright flowers. Similar to us humans. The flowers were looked after by a gardener named Krugotsvet. He loved his flowers very much, watered them, fed them, talked to them. Flowers lived in peace and friendship, supported each other, and from this, each flower became even brighter and more elegant in its colorful outfit. Butterflies came every day from this garden to admire the yellow daffodils and red roses, blue cornflowers and orange marigolds, purple levkoy and burgundy dahlias. Butterflies always sang songs about the beauty and aroma of beautiful flowers and rejoiced that love and friendship always reign here, the sun shines even brighter here and it is very pleasant to visit this garden.

But one day, not quite sunny, a cold north wind blew and dropped prickly pieces of ice on the flowers in the garden. Quite bad thoughts suddenly appeared in the pretty heads of our flowers that each of them is better than the other, more beautiful and brighter, therefore it is he who should occupy the most honorable place in the flower bed, and all other flowers should bow to him and give him honors and praises. At first it was only thoughts, then they began to be whispered, and then it all turned into loud scandal on the flower bed. Peace and love left this magical garden, and then some of the flowers decided to leave their native home, Krugotsveta and went where the eyes look. The flowers left in the garden suddenly faded immediately, they stopped emitting fragrance. Butterflies stopped noticing them and generally stopped flying into this garden. The magical garden has become dull and boring. And Krugotsvet decided to go look for the departed flowers, return them to the garden and reconcile with the rest, because it is impossible to live in a sad and dull garden where love does not live.

And the Roundflower went ... How long, shortly, does the Roundflower come to the dense forest, where it is dark and damp, scary and depressing, in the forest the swamp is swampy, gray and fetid. Krugotsvet sees that in that swamp all his flowers are gone. They got lost and got into trouble, almost everyone here died. Roundbloom built a special boat-basket from branches and saved all his pets. They set off on the return journey.

In the early sunny morning they all returned together to their cozy garden. How much joy and fun it was! All the inhabitants of the garden danced, sang, hugged each other, forgot all the old offensive words, barbs. Flowers joined hands and started a round dance. A yellow daffodil danced next to a lush purple lilac, a red-orange rose held a blue-green hyacinth by the hand, orange marigolds were having fun next to blue bells and cornflowers. From the neighborhood with each other, all the flowers have become only brighter and more elegant. Butterflies with bees also circled in this beautiful friendly round dance, as before singing the brightness and aroma of all the flowers in the flowerbed near the Roundflower. Krugotsvet rejoiced that Friendship and Love again settled in his magical garden.

4. A conversation about a fairy tale.

Guys, what do you think, who is Krugotsvet? (this is the color wheel).

What are the flowers from the magic garden? (colors from the color wheel).

What colors enhance the sound of each other, make it brighter and more expressive? (additional colors).

Children, could the flowers still live when some of them left?

It turns out that complementary colors almost cannot exist without each other if there is one color in the picture. But there is no additional color, then our eye itself will surely create it in our field of vision. Complementary colors form a strange, it would seem, pair. Despite the opposite, they need each other, and being close, they ignite each other as much as possible. So people in society need each other, mutual support and help, they need love.

And we continue to talk about complementary colors.

Let's draw conclusions.

1. Complementary colors next to each other make each other brighter.

2. Each color has only one complementary color and they are located in the color wheel opposite each other (in diameter).

3. If you mix two complementary colors in equal proportions. Then they give a neutral gray color.

4. Complementary colors cannot live without each other. If there is no additional color nearby, then this additional color appears in our field of vision to calm the eye.

5. Complementary color contrast.

Let's name the main pairs of complementary colors using the color wheel:

Yellow - purple;

Yellow-orange - blue-violet;

Orange - blue;

Red-orange - blue-green;

Red Green;

Red-violet - yellow-green.

(These couples are called children).

If we analyze these pairs, we find that all three primary colors are always present in them: yellow, red and blue.

Name the composition of the color in each pair:

Yellow - purple = yellow - red + blue;

Blue - orange \u003d blue - red + yellow;

Red - green = red - yellow + blue.

We have already said that there is an amazing and inexplicable fact the appearance in our eyes when perceiving one or another color at the same time and another, balancing its complementary color. If there is really no additional color, then it is spontaneously created in our minds so that there is balance and harmony. It was found that the basis of harmony in design work is the law of complementary colors, because when it is observed, a sense of balance is created in the eyes. The viewer gets a feeling of calmness, strength, statics, if in wall painting There are additional colors. In addition, each pair of complementary colors has other features. Yellow-violet is not only a contrast of complementary colors, but also a contrast of light and dark. Red-orange and blue-green are also the contrast of warm and cold.

The contrast of additional colors is shown on examples of children's works and reproductions.

In previous lessons, we did an exercise on mixing complementary colors. A neutral gray color forms in the center. In many paintings, complementary colors are used not only as contrasts, but also form the basis of mixtures that serve to tonal alignment of the entire work.

In nature, there are also combinations, mixing additional colors (stems and leaves of red roses, while the buds have not yet blossomed). With the help of mixtures of additional colors, you can get especially beautiful gray colors. The old masters achieved a very colorful gray, due to the fact that a complementary color was superimposed on the main color in stripes or the first color was covered with a thin layer of an additional color. Pointillists applied pure colors with tiny dots next to each other, and the appearance of a gray tone occurred already in the eyes of the viewer. (Paul Cezanne "Mount Saint-Victor").

6. Exercise on the flannelograph.

1) We look at the red square for 20 seconds, then we look

on empty space and see the same square, but green.

2) We look at the green square for 20 seconds, we look, we see a red square on an empty field.

Our eye itself finds an additional color, so that there is harmony, tranquility.

Still life (inanimate nature) is a genre of fine art dedicated to the depiction of inanimate objects. (The question about still life is asked to children, since they are already familiar with the definition of still life).

In realistic still lifes, artists depict a specific life, with a variety of sensations. In the 20th century, still lifes change, psychology appears in them. Sometimes the artist generally goes into his own world, into the world of ideas.

Let's look at the still lifes presented on the board.

How do they differ from the still lifes that we write in art school? They are very emotional, colorful, bright, almost the volume of objects, chiaroscuro is not conveyed in them. In these still lifes, sometimes there may be decorations in the form of ornaments. An underline is sometimes used here.

We have already drawn the composition of our still life in the last lesson. We saw that in a decorative still life, objects can be located on the same line, there are no ovals in them. They are flat, i.e. we have eliminated volume in our still life. And today we will learn how to make a decorative still life in color.

First, so that the still life is not just painted, we will take a limited amount of color. You've been introduced to complementary color contrast today, so I suggest you use any pair of complementary colors plus black and white. It is good to use contrast in the compositional center, and at the edges of the still life we use complex mixtures of complementary colors, perhaps muted with black or clarified with white, and possibly a combination of both. There are many options here, using different mixtures of paints in their different ratios. In any decorative composition there are elements with which you can create an expressive composition. This is a line, spot, stroke, silhouette, point, texture. As well as various combinations.

In today's still life composition, we use only two expressive means - a spot and a line. We already know these elements.

What lines can be in the nature of the outline? (Thin, wide, straight, wavy, zigzag).

What is a stain? A spot is a part, an area highlighted with one local color. The stain can also be enriched with nuances. The shape of the spot can be arbitrary, it can be geometric, but we will not use it today.

How can you color composition center? (Take in its purest form the contrast of complementary colors).

How can you write off the edges of a still life with color so that they do not stand out? (Take mixtures of complementary colors up to gray).

8. Let's do a quick exercise on placing color in a still life. (Children on the flannelograph have silhouettes of still life objects).

9. And now let's start doing the still life on our own. Be sure to make color mixtures of a couple of additional colors in the caps, so that later you can take color and add other colors to it, gradually moving from the center to the edges.

At the end of the work, when everything is done in color, you can apply a line in a still life with a thin brush. You can decorate objects with ornaments and emphasize shady places with a black line. Only the line should not be the same in thickness and character.

10. Independent work of students on a decorative still life. The teacher works individually with each student, directing him.

11. At the end of the lesson, the works are put on easels, their analysis is carried out.

12. The results of the lesson.

In class today, we learned about the contrast of complementary colors.

- How do complementary colors behave when they are nearby?

What shades of color are obtained by mixing complementary colors?

- What does our eye require if there is no additional color next to some color spot?

- What kind means of expression we used in still life?

The children answer the questions.

- You all did a good job today with the tasks in the lesson. Thanks everyone!