Painting lesson outline on the topic. Lesson plan for painting on the topic "Still life from objects of various materials." Grade 6 Lesson plan for still life
Type of educational institution: Tauride school-gymnasium No. 20 Age of children and their number: 6th grade (1213 years old), 29 people Time: 45 minutes Topic: Still life as a genre of fine art Purpose: To expand students' knowledge about the genre of still life, about the features of its compositional solution . Make a still life from nature.
Objectives: educational: to learn the concept of still life; teach how to make still lifes; to teach drawing from life, depicting objects in color with the transfer of the constructive structure of objects, their proportions. developing: to develop creative potential; broaden the horizons of students; to activate the observation of children; develop their eye; creative thinking. educational: to cultivate aesthetic taste, attentiveness, observation.
Type of lesson: mastering new knowledge Equipment for the teacher: Graphic series: reproductions of paintings, drawings - examples of the compositional arrangement of objects in a still life, a sequence diagram for drawing a still life. Musical series: P. I. Tchaikovsky - The Seasons. Autumn. Equipment for students: paper (format A 4), pencil, eraser, watercolor paints, brush, palette, jar of water, rag Computer technology: video "How to draw a still life step by step", slide presentation with the works of artists
Key words: still life - translated from French as "dead nature", that is, the image of inanimate objects. sketch - A preliminary sketch of a drawing, picture, or part of it. composition - a system of rules and techniques for arranging parts of a picture into a single whole, the ability to accurately place an image on a sheet. the compositional center is what is the main thing in the composition, it should be accentuated. contrast is a sharp difference in objects according to certain properties (size, shape, color, chiaroscuro, etc.), a pronounced opposite: long - short, thick - thin, large - small.
Course of the lesson I. Organizational moment 1. Greeting. Teacher: Hello guys! I would like to start today's lesson with wonderful lines calling for perseverance, hard work, joy of life, and creativity. Let them become your motto: If you can't - find out, If you don't know - find out, Do not be afraid of the steep path, Try, seek, accomplish, achieve, So that your life becomes a song. L. Tatyanicheva
II. Knowledge update. Method - conversation It is carried out in a playful way, questions are put in a box, and students take them out and answer them. Teacher: Guys, do you remember what we talked about in the previous lesson? ? Now I will play a game - verification of knowledge. - What are the main means of expression in the visual arts? (graphics, painting, composition). What types of drawing do you know? (sketch, sketch, sketch, study). - What is composition? (a system of rules and techniques for arranging parts of a picture into a single whole, the ability to accurately place an image on a sheet). - What are the main means of composition do you know? (compositional center, contrast, rhythm, color, background or environment or space). - What is a composition center? (the main thing in the image is highlighted by color, size, lighting, but it may not always be in the center of the picture - it depends on the location of the subject and the point of view). - What genres of painting do you know? (portrait, landscape, still life, animalistic, domestic, historical, fairytale-epic, battle).
III. Motivational and target setting for the lesson. The method is practical. I formulate the task in the "still life" technique Teacher: - Look at these reproductions of paintings. Artists simply depict ordinary household items, flowers, vegetables, fruits. - What genre of painting can these paintings be attributed to? (still life). - Try to name each picture.
M. A. Vrubel "Rose"
Teacher: Listen to the poem - a riddle. If you see in the picture a Cup of coffee on the table, Or a fruit drink in a large decanter, Or a rose in crystal, Or a bronze vase, Or a pear, or a cake, Or all items at once Know what it is ... (still life). Today at the lesson you will get acquainted with one of the most beautiful genres of fine art - still life, learn about the features of its compositional solution. You have to draw a still life from nature.
IV. Formation of new knowledge. 1. From the history of still life. Teacher: "Still life" - from the French "dead nature" - a genre of fine art, an image of various household items, things, food (vegetables, fruits, bread, etc.), flowers and other things. In Dutch and German, the essence of still life is expressed as the quiet life of things, full of their inner events, a life that we so rarely notice. This genre originated about 400 years ago in Holland and Spain. The task of the artist in the field of still life is not only to convey things in themselves, but also to express the attitude of a person of a given era towards them, and through them to the world around them. That is why the Dutch still life of the 17th century was a reflection of the Dutch way of life (Peter Klas and Willem Klas Heda "Ham and Silverware", "Breakfast with Ham").
Willem Claesz Heda "Ham and silverware."
A still life can also simply please the eye with a play of colors, give peace of mind. A still life by Henri Matisse "Red Fish" hangs in the Museum of Fine Arts in Moscow. Red fish swim in the aquarium and that's it. But this composition awakens in us a sense of joy.
In Russian art, still life appeared in the 18th century, and the heyday was the end of the 19th and the beginning of the 20th century. These are, first of all, the works of Grabar and Korovin. Grabar Igor Emmanuilovich
Bright still lifes were created by the artists Mashkov and Kuprin and others. You see one of Mashkov's still lifes “Moscow Food. Bread". The years of war, famine, devastation are left behind. It can be seen that rolls, rolls, bagels, cakes bring joy to a person. It seems that Mashkov saw not only the finished products, but also heard the swelling dough puffing and the bread crust bursting in the oven.
V. Consolidation of the studied material. Collective form; method is practical. - And what can you say, looking at this still life? What feelings does it evoke in you? (appetite products - from the roughness of bread forms, from the play of color from brown, rusty red, yellow to delicate ash, blue-gray and pink).
2. The sequence and rules for working on a still life. Stages of drawing (explanation of the teacher) Teacher: 1. At the preparatory stage, with a pencil, 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.
2. At the first stage of working with paint, let's start with the general color characteristics of the still life, for this we will prepare a low-saturated mixture - color, which we will apply with a transparent layer to all parts of the picture, excluding glare.
3. At the second stage of painting, the volumetric form of all objects is modeled and their illumination is transmitted. With separate strokes, we increase the color saturation of the illuminated sides. The color of the shadows is solid and is influenced by the environment. They are laid with transparent, but darker colors. Each stroke laid down for the image of shadows 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.
4. At the third stage of 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.
5. At the last stage, we generalize all the colors, if necessary, select some parts with a more saturated color, and extinguish them that are excessively bright, breaking out of the general color gamut. The drawing is complete.
Physical education minute (Didactic game "Mood") Teacher: Each person has different moods, which can be observed by facial expressions, facial expressions, eyes, general appearance. I suggest you play mood. (The teacher names the situations and asks the children to show what feelings they will experience in certain cases) - Mom does not let you go for a walk; - Dad gave you a big, beautiful toy; - The older brother does not give the ball; - Suddenly a dog ran out into the road; - You caught a big fish, etc.
VI. Practical part. Checking student readiness. (With the permission of the teacher, students perform a drawing - a still life from nature.)
VII. The results of the lesson and the reflection of educational activities. What did you learn about still life today? Do you remember what our goal was in the lesson? - Did you like working on a still life? - What was the most difficult and most interesting part of the lesson? Exhibition of student work. Evaluation of work. VIII. Homework: Draw an autumn still life The final word of the teacher. Teacher: After looking at your work, I can say that you have learned how to beautifully and expressively arrange objects on a sheet of paper, choose the right color for coloring and carefully write out small details. As you know, drawings look attractive if they are done carefully, with artistic taste, diligently. Our lesson has come to an end, you all did a good job, thank you all for your work. Goodbye.
Methodical work. Outline of an open lesson on the topic:
"Decorative still life using lines and spots" in the 2nd grade of the art department of the Children's Art School
The purpose of the lesson: organization of the color space. Balance and harmony of color. Find and compose a dynamic composition.Lesson type: combined.
Number of hours: 6 hours.
Lesson duration: 45 minutes.
Lesson objective: performing a composition of a decorative still life using a line and a spot on an A3 sheet, using visual means of the students' choice.
Equipment:
For the teacher: the work of students of previous years, teaching aids, didactic materials.
For students: A3 sheet, watercolor and gouache paints, brushes, pencil, eraser, palette.
Lesson plan:
1 part. 13 minutes. Organizational moment, communication of educational material.
Joint goal-setting with students, aimed at collecting the necessary and possible visual and informational material for subsequent work on a decorative still life. Separate in the minds of students the topic and purpose of the lesson.
Use illustration cards, technological cards, presentation about artists working in decorative technique, questions to students.
2 part. 7 minutes.
Selection of colors for a decorative still life.
3 part. 20 minutes.
Independent work (sketches of a decorative still life, the basis of which is a line and a spot), work in gouache on A3 format.
4 part. 3 minutes.
Evaluative-reflexive activity with the help of signals: red - "5", blue - "4", green - "3".
Homework. 2 minutes.
Perform an exercise on the characteristics of the color "warm - cold", "dark - light" for a decorative still life with gouache on A3 format.
Lesson progress
Organizing time: checking the readiness of students for the lesson, the availability of the necessary materials and equipment (A3 paper, pencil, eraser, gouache, brushes, palette).Explanation of new material.
The theme of our lesson is a decorative still life using lines and spots. Today we will recall the concept of “decorativeness”, consider how famous artists solved the issues of decorative stylization in still life using the example of reproductions and presentations. Let's talk about the ways of decorative styling in still life. Then you will have practical work to consolidate the topic of our lesson. Our goal is color balance and harmony in work. Before talking about a new topic, I will remind you that you first need to draw up a sketch for future work. It is necessary to make colors, the colors in which the future work will be. Of course, you know that stylization is a decorative generalization of the depicted objects with the help of a number of conditional methods of changing the shape, volumetric and color relationships. In order for stylization to take place in a decorative still life, it must be built in a single plan, where all the depicted objects, like all visual means, must work to affirm one compositional principle, one idea. Stylization can follow the path of extreme simplification and bringing to subject symbols, or maybe vice versa due to the complication of the form and filling the image with decorative elements. You can build a still life on the viscous plastic silhouettes, or take chopped rectangular shapes with dynamic lines and contrasting color combinations as a basis. It is necessary that each still life is understandable, has its own peculiarity.
Ways of transforming the form (on the example of a bottle). Display of reproductions.
1. Round or stretch the shape.
2. Change the ratio of proportions both within the object and between objects.
3. You can increase or decrease the number of items, introduce additional objects, draperies.
4. The ratio of color spots.
So let's repeat:
1. What is "decorative"?
2. How do you understand the expression "stylization of the subject"?
3. What are the ways of expressiveness of the subject?
4. What does the balance of color spots mean?
Now let's see a presentation on the topic: "Decorative still life in the work of artists." Presentation display.
So, let's fix with you which artists you remember from the presentation (showing cards with reproductions of artists).
Now you need to make a color scheme for future work on a separate sheet.
Now I suggest you do some practical work on A3 format. It is necessary to sketch a decorative stylized still life from nature. It can be done in the style of famous artists from the wound we examined. It is necessary to correctly arrange objects in the composition. To achieve balance, you can use the division of the plane into parts. Color solution - in contrasting complementary colors, correctly distribute color accents.
Independent work. 20 minutes.
Estimated-reflexive activity. 3 minutes.
Homework. 2 minutes. Do a color exercise on your own.
Literature
1. N.P. Beschastnov, V.Ya. Kulakov and others. "Painting" - M: Vlados, 2003.
2. Alekseev S.O. "About color" - M, 1974
3. Anufriev V.G., Anufrieva L.G., Kislyakovskaya T.N. etc. "Drawing, painting, easel composition, basics of graphic design".
4. Trouble G.V. "Painting" - M: Enlightenment, 1986
5. Volkov N.N. "Composition in painting" - M: 1977.
6. Volkov N.N. "Color in painting" - M: Art, 1985
7. Kuzin V.S. "Fine Arts", Grade 2 - M: Bustard
8. Manin V.S. "Masterpieces of Russian painting" - M: White City, 2003.
9. Yashukhin A.P. "Painting" - M: Enlightenment, 1985
Development of a painting lesson. Topic: "Drawing a still life from nature"
Painting lesson on the topic: "Drawing a still life from nature" Grade 4
Type of occupation: image on the plane.
Lesson type: combined.
Purpose: to teach how to constructively draw objects of a simple form from nature.
Tasks:
To consolidate knowledge about the layout, proportions.
Contribute to the education of aesthetic responsiveness.
Develop drawing skills, attention, accuracy, observation, thinking, visual memory.
Visual aids: educational table "Step-by-step implementation of a still life", reproductions of paintings (still lifes) by artists P. Klas, V. Heda, J..B. Chardin.
Equipment for the teacher: epi-projector; 2 draperies, vase (jug), apple.
Equipment for students: album (A4 format), pencil, eraser.
References:
Sekacheva A. V., Chuikina A. M., Pimenova L. G. Drawing and painting: a textbook for middle school. specialist. textbook establishments. - M .: Light and food industry, 1983.
Sergeev A. Educational still life. – M.: Art, 1955.
History of foreign art. Ed. Kuzmina M. T., Maltseva N. L. - M .: Depict. art, 1983.
Lesson plan:
1. Organizational moment - 1 min.
2. Conversation - 3 min.
3. Explanation - 8 min.
4. Independent work of students - 28 min.
5. Analysis of work, evaluation - 4 min.
6. Cleaning the workplace - 1 min.
Chalkboard use:
1. The title of the topic.
2. Reproductions of paintings by artists.
3. Pedagogical drawing.
4. Training table "Step-by-step implementation of a still life from nature."
During the classes:
1. Organizational moment:
establish discipline, check readiness for the lesson.
2. Conversation.
The topic of the lesson is "Drawing a still life from nature", stage 1 - construction.
What is still life?
Still life is a genre of fine art. From the French "dead nature", the image of the world of things, everyday items, tools, fruits, flowers. The genre of still life was especially widespread in Dutch painting of the 17th century (Peter Klas, Willem Kalf, Willem Heda).
Look out for reproductions of paintings by Willem Head and 18th-century French artist Jean-Baptiste Chardin. What is the difference between their still lifes?
The favorite motif of the works of the Dutch was the so-called breakfast - an image of a set table, on which a dish with a pie or a ham, bread or a ruddy roll, a metal jug, a glass goblet, plates, knives are placed. In turn, Jean-Baptiste Chardin is known as a master of paintings on everyday topics: the world of domestic, habitable things, baskets, krinks, vats, and beaten game appeared on his canvases.
3. Explanation.
Let's take a closer look at the still life. What items does it consist of?
Pitcher, apple, 2 draperies.
What needs to be done before you start painting a still life?
First you need to determine how to position the sheet: horizontally or vertically.
How do we arrange the sheet in our case?
Having measured the width and height by sighting, we understand that the sheet must be placed vertically (the height of the still life is greater than the width). Let's draw a line of intersection of the planes.
What is composition?
Composition - the arrangement on the surface of the paper of the depicted object.
Determine the placement of the still life on the sheet. Objects should not be small, but not very large. You can not draw more than natural size.
When building a still life, pay attention to the table "Step-by-step implementation of a still life."
Building a jug.
Let's build an axis of symmetry.
What is a proportion?
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.
What is the ratio of the pitcher's height to its width?
The height of the jug is 1.5 times the width. We make notches.
The jug is divided into a neck and a body.
What shape does the neck resemble, and what does the body resemble?
The neck is shaped like a rectangle, the body is a circle.
To find the edge separating the neck and body, you need to find out how many times the height of the neck fits into the height of the entire jug?
The height of the neck is placed in the height of the entire jug 4 times.
What is the height of the widest part of the pitcher?
2.5 times is placed in the height of the jug.
Now we find the width of the neck and base. Let's build the base of the jug. The base is a circle, but according to the laws of perspective, an ellipse is obtained from this position.
How to build an ellipse? (Summon to the board who wishes).
To build an ellipse, draw axes, make serifs on them. We connect with a smooth line.
By the same principle, we build ellipses on the neck of the widest part of the jug.
Will the ellipses be the same in any part of the jar, or do they change?
Ellipses change: the higher the ellipse, the narrower it is, the lower, the wider.
Now you can draw the outline of the jug. Invisible lines should be paler and thinner, while visible lines should be darker and clearer.
The jug is ready.
Drawing an apple.
What shape does an apple resemble?
The apple looks like a circle.
How many times does an apple fit the height of the jug?
An apple is placed 3 times in a jug.
The apple is a little closer to us than the jug. Let's draw a circle first, then convert it to an apple.
Let's outline the draperies. Construction lines can be erased.
Still life built.
4. Independent work of students:
Individual and collective work with students.
5. Analysis of work, evaluation:
Collective analysis of work.
Homework: bring brushes, watercolors, an album.
Still life drawing, still life drawing lessons, still life drawing step by step, still life drawing in watercolor, gouache.
Drawing step by step: still life drawing lessons.
We make a pencil sketch of a still life on paper.
After transferring the pencil sketch to paper, with a medium round brush, apply a thin layer of a mixture of cobalt violet and kraplak to the background. Tilt the paper slightly so that long strokes drawn from left to right blend into each other. Then apply thin strokes of the same tone in the holes of the lace pattern. After the paint has dried, mark the shadows of the folds of the lace doily with a mixture of diluted cobalt blue and burnt umber.
To get the base color of the tulips, apply the paint with a gradual transition of tones - starting from medium cadmium yellow and gradually adding more and more speckle, and finally, make strokes of clean kraplak around the edges. (As you do this, rotate and tilt the paper to blend the strokes.) Then apply a thin, even coat of green PC to the leaves. After that, apply masking liquid to the illuminated areas of the jug, cup. Once dry, tilt the paper slightly again and tint the left side of the cup and jar with a thin coat of pure cobalt. Then continue to wash on the jug with a gradual transition of tones, adding a very light (almost transparent) speck.
Proceed to the background by applying a thin glazing coat of dilute cobalt violet. Wash the shadows on the cup and saucer with cobalt blue mixed with burnt umber. After the Cadmium Yellow Medium paint has dried, run around the rim of the cup and, while the paint is still wet, add a little natural sienna to the darker areas. Then apply a glazing coat to the tulip leaves with a mixture of PC blue, cadmium yellow medium and natural sienna. On the shaded stems, apply viridian green, then with a damp brush, remove some of this paint and transfer it to the lighter parts of the stems.
At this stage, apply the darker tones: a glazing layer of cobalt violet mixed with burnt umber on the background and on the shadow areas of the jug, cup and saucer. Then intensify the shadows on the jug using a lighter mix of cobalt violet and a dash of burnt umber. Then apply a very thin layer of cobalt blue glazing over the highlights on the jug. Darken part of the tulip petals with cadmium yellow medium, and apply kraplak to the other part.
At this point, apply a final glazing coat to the background, using a dark mixture of cobalt violet and burnt umber, so that the center of the composition really comes to the fore. When everything dries, enhance the shadows in the foreground and background with a glaze.
When writing still lifes, the most remarkable thing is that you can completely change their composition at your discretion. You can choose the objects you would like to include in the composition, change the lighting, choose the place for each object in such a way as to make the most winning composition. When arranging objects, remember that with a correctly composed composition, the viewer's gaze is directed to its semantic center - the focus of the image.
The image of everyday objects is widespread in the visual arts. In many historical paintings and portraits, household items are important details, emphasizing, and sometimes even revealing a specific historical era, a historical event. They help to understand the depicted plot. Of particular importance are household items in paintings of everyday genre and in still lifes.
Drawing everyday objects is especially valuable in that it provides ample opportunities for studying the characteristic shape, structure, spatial position, coloring of surrounding objects, and the distribution of light and shade on their surface. That is why learning to draw usually begins with the image of various household items, and in a certain sequence: from the simplest form to a more complex (combined) one.
Drawing a still life with drapery is more difficult than depicting individual objects. And the point here is not only in the number of subjects, but also in the combination of educational tasks that have to be solved.
The complication of tasks in the drawing of a still life is also associated with the introduction of drapery - an important connecting element of the production. Drapery not only serves as a background, but also makes it possible to expressively show each of the objects separately and their harmonious unity in space.
This requires knowledge of the principles of a linear-constructive image of the form, the theory of linear and aerial perspectives, possession of drawing techniques.
04/18/2013 academic year
Open painting lesson
in 1 "b" class
teacher Ershova I.M.
Lesson topic : "Step-by-step construction of a still life"
"Still life with a simple object and vegetables in cold colors"
Goals: consolidate knowledge about the genre of fine art "still life";
Develop figurative imagination, compositional thinking.
Tasks:
Educational : correctly compose the image in the sheet; put objects
on a plane, build them taking into account proportions and perspective cuts.
Developing: development of attention, visual memory, eye, feeling
proportions, color perception, artistic taste.
Nurturers: fostering love for the environment,
purposefulness, perseverance, accuracy, ability to see
feel beauty.
Lesson type: combined
Teaching methods:explanatory-illustrative, reproductive
Equipment and materials:
for the teacher: household items (jugs, cups, bowls, etc.), chalk, blackboard
Cool;
for students: A3 paper, graphite pencils of different hardness, eraser,
Brushes, watercolor, palette, water container;
Visual range:
works of students from natural fund;
artist reproductions:
K. Korovin “Still life. Flowers and fruits.
W. Van Gogh "Sunflowers"
I. Mashkov "Fruits on a saucer"
K. Petrov-Vodkin "Still life with apples"
P. Konchalovsky "Tray and vegetables"
Z. Serebryakova "Basket with zucchini"
Lesson progress:
1 lesson
I Organizational part.
Checking readiness for the lesson 3 min.
II main part.
Topic message. 2 minutes.
opening talk 5 minutes.
The teacher offers to guess the riddle, the children answer in unison.
If you see in the picture
Miracle vase on the table
It contains a bouquet of beautiful
snow-white chrysanthemums
Worth a lot of dishes
And glassy and simple
Maybe a cup or saucer
With gilded border.
And also, it happens
The game is drawn there.
Finally, let's put
Ripe peaches and plums
And also in the picture
Painted to be a cake
And so the picture is called - still life.
The word "still life" means "dead nature", "inanimate nature". It came to us from the French language.
Translated from Dutch, German and English, the name of this genre means "quiet life", "still life".
As an independent genre, still life was formed in the 17th century. in Holland.
Artists who worked in this genre were called "Little Dutch". Their distinguishing feature is the amazing materiality of objects in still lifes, the thoroughness of the transfer of details.
A still life does not usually need the same canvas sizes as a historical painting or an epic landscape. This is a more "modest" genre. But at the same time, one should not perceive a still life in the fine arts as an image of a random set of objects. Most often, the artist "sets" nature, that is, based on a conceived idea, he consciously selects suitable objects. In addition, the artist's intention involves certain combinations of shapes and colors of objects, lighting, location in space. The composition of a still life is born initially in the head of the author, although many things can push the artist to the figurative-plastic idea: life observations, memories, a book read, poetry, music.
Sometimes it is more difficult to put a still life than to paint it. The artist introduces his own order into the arrangement of objects. Such, when nothing can be removed, added or rearranged without violating the unity of the composition.
The teacher reminds about the rules of construction, compositional solution, step-by-step implementation of painting techniques for drawing a simple still life of 2-3 fruits and vegetables, made in the previous lesson. Further, he offers to get acquainted with the still life of a more complex composition. In a dialogue with children, the teacher discusses the artistic features of the reproductions of still lifes by famous artists posted on the board.
Problem questions (knowledge test): 10 min.
- What types of still life do you know?
- Find the distinctive features of the presented still lifes and comment.
- What colors (warm or cold) prevail in still lifes and why?
- What do still life objects have in common?
- How do artists convey the volume of vegetables and fruits on a flat surface of paintings? Why are lighter strokes on all fruits and objects located on one side, and dark ones on the other? (children's answers)
- What role does sunlight play in a still life?Sunlight, illuminating objects, makes them light on one side (light), on the other - dark (shadow). Light and shadow help convey the three-dimensional image of objects, their reality.
- Which still life prints do you like best and why?
The teacher explains different compositional schemes for constructing still lifes. To consolidate knowledge, the teacher asks the children to read the diagrams presented and answer the following questions:
1 What do the vertical and horizontal lines in the image of objects (axial lines) indicate?
2 Determine which objects in still lifes are closer, which are farther? Explain why?
3 What is composition? (This is a combination of parts of an educational drawing, a work of art for the most vivid expression of their content. This is the correct arrangement of objects on a sheet of paper).
Objects should be harmoniously combined with each other, touch, making up a single whole, but not block each other(reasonable contrast of large and small, white and dark, wide and narrow, shiny and matte, spherical and planar objects enhance expressiveness, eliminate monotony, enliven the atmosphere);
This regularity in the construction of a still life is called its composition.
Any composition should have a compositional center. Usually such a compositional center is the largest object depicted in the picture. It is better to place it in the background and be sure to highlight it with color.(in the whole group there should be a main object, which, in terms of its semantic meaning, top, shape, color, would be the main, central one.)
Game workout. 10 min.
Students are divided into 2-3 groups of 3-4 people. They are invited to compose a composition of the proposed still life from geometric shapes and stick it on a sheet of paper. The teacher attaches finished compositions to the board for analysis of work, recommendations for eliminating errors.
ІІІ Independent work. 13-15 min.
With short segments-strokes, students outline the general location of the still life with a pencil on a sheet, taking into account the previous recommendations, the contours of all objects, observing the proportions and arrangement of objects in the still life, outline the boundaries of highlights, shadows, all objects and the environment.
IV Summary of the lesson: 2 min.
Answers on questions:
In what genre of painting did we work today?
Lesson progress:
2 lesson
I Organizational part.
Checking readiness for the lesson 2 minutes.
II main part.
opening talk 5 minutes.
The teacher offers to view several educational works in different performance techniques. Pay special attention to the work done in watercolor technique.
What techniques are used in the work?
What is the difference between gouache and watercolor?
ІІІ Independent work. 25 min.
Students clarify the details in the pencil drawing. Move on to watercolor. Moisten a sheet of paper with water so that the paint does not roll down in further work. In the process of work, the teacher helps students who experience difficulties in work.
IV Summary of the lesson: 13 min
Viewing drawings, analyzing their merits.
Choose the drawings that expressed the greatest resemblance to nature;
Evaluation of drawings;
Workplace cleaning.
LESSON PLAN IN PAINTING
Lesson topic: "Still life from objects of various materials"
Lecturer of special disciplines: Tyurenkova Olga Alekseevna
Place of work: MBOU DOD "Bryansk Children's Art School"
Item: Painting
Class: 6
Topic and lesson number: "Still life of objects of various materials." Lesson 2
Number of hours per topic: 12 noon
Lesson duration: 40 min
Goals:
A)educational:
to consolidate knowledge about the genre of painting "still life";
to teach the techniques for performing phased work on a still life from nature with large color-tone relationships in accordance with the rules and laws of conveying the form, volume, materiality of objects in painting;
b)developing:
development of students' creative imagination;
development of figurative thinking;
development of mental abilities;
development of brush skills;
development of fine motor skills;
V)educational:
to cultivate interest in the world around us, in the subject of "painting";
to cultivate a culture of work, attention, perseverance, to teach self-assessment of the work performed.
Lesson objectives: perform the initial stage of the color scheme of the still life, according to the phased work on the still life; to convey the color-tone relationships of large spots, the shadows of “own” objects and the shadows from objects in a still life using mixed media in watercolor.
Class type: combined:
a) explanatory and illustrative (conversation);
b) practical (work of students).
Materials and equipment:
for the teacher:
Methodical manual “Steps of work on a still life in the watercolor technique” (4 sheets).
Creative works of students in grades 5-6 of the Bryansk children's art school on the topic "Still life from objects of various materials."
Reproductions of paintings by artists on the theme "Still Life".
for students:
watercolor paints;
preparatory drawing on AZ paper;
brushes No. 7, 5, 3;
paper palette;
buttons;
jars of water.
Lesson structure:
Organizational moment - 3 min.
Presentation of educational material - a conversation, a survey on the topic of the lesson, the study of the phased work on a still life - 12 min.
Independent work - 20 min.
Analysis of work - summing up the lesson - 4 min.
Completion of work - 1 min.
STUDY OF LESSON #2
Organizing time
Checking the presence of students. Preparing workplaces for the task, placing easels around the natural setting, fixing sketches, placing tools, paints, palettes, brushes, jars of water.
Statement of the task of the lesson
Presentation of educational material - a survey on the previous lesson, a conversation, the study of the phased implementation of a still life in color according to the table.
Purpose: to consolidate the knowledge gained in the previous lesson, to teach children how to start the color scheme of a still life.
Questions to students (during the conversation).
What is painting?
"Painting is a type of fine art in which color plays a major role."
Name the genres of painting known to us.
"Portrait, still life, landscape, animalistic genre, mythological genre."
What is still life?
“Still life - dead nature (French). That is, a production of inanimate objects, household items, household items.
We consider reproductions of still lifes by artists.
What do we see in these reproductions? etc.
Now consider our still life. We give the color and tone characteristics of still life objects. We give a description of the texture of the objects that make up the still life.
We once again made sure that color is the basis of painting:
firstly, 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.
Today in the lesson we will perform the beginning of the color solution. The students completed the first stage of the still life - graphic construction. Preliminary sketches were made - search for a composition of still life objects in sheet format. A preliminary sketch of the color scheme of the still life has been made.
The principle of working on a still life in watercolor is from dark to light. We are considering a methodological guide - "performing a still life in color."
Stage two. The work will be done in the following order.
First, we mentally arrange the objects according to their color tone - from the most saturated in color and lightness of the object in the still life to the lightest:
a) we determine the most saturated object by color and tone in a still life. It's green drapery, blue drapery;
b) then we move on to objects that are less saturated in color and lightness (medium tonality). This is a light blue drapery, teapot, apple, lemon;
c) determine the lightest object in the still life - a white ceramic cup.
We work according to the following scheme:
Own shadow on the subject.
Drop shadow from an object on a plane.
Reflex on the subject + touch with the background.
Penumbra on the subject.
Light on the subject + touch with the background.
We analyze the sequence of work in color.
So, first we write green and blue draperies from the shadow side. Then we write folds from the shadow side on a light blue drapery. Then we consider an apple and a teapot. These items are different in texture and significance. We begin to write our own shadows on the teapot. The teapot is metal, has a shiny surface. There are dark places on it - rust. The apple is in the foreground. We write our own shadow on the apple. Then we write our own shadow on the lemon. Then we show shadow relationships on the lightest subject of the still life - a cup.
It should be noted that each time when starting to image the shadow part of each subsequent object in color, it is necessary to compare it with the shadow part of the previous one.
Then, in the same sequence, we compare the falling shadows, then the reflections on the objects, then the penumbra on the objects and, finally, the illuminated parts of the still life objects.
In work, we go from the darkest and most saturated shadows (own and falling) of still life objects, taking into account the environment, to lighter ones, while not forgetting that under artificial lighting, own and falling shadows have a cold tint.
Thus, your attention should be paid to reveal the difference in tone and shades of color, taking into account the fact that the closer the objects are to us, the more contrast they are in color and tone; the further, the more their color and shape soften, the saturation and contrast of color are lost.
Do not forget that strokes are applied according to the shape of objects. All household items are the simplest combinations of geometric bodies. Let's turn to the manual - the work of students. Let's consider them. If the object reminds us of the shape of a ball, then the strokes are placed in a circle (in the shape of an oval), if a cylindrical or conical surface, then vertically or horizontally (at an angle), etc.
Independent work of students - 20 minutes, during which students complete the first stage of the color solution of a still life in mixed media in watercolor. During the lesson, individual and frontal work is carried out with students.
Summing up the lesson - exhibition of works. The most well-executed work is highlighted. An analysis of the work is carried out, individual (typical) errors are analyzed.
Grades are given for the lesson.
Completion of the lesson
At the end of the lesson, cleaning of workplaces is carried out.
