Iso lesson presentation of the shape and structure of objects. §4 Elements of shaping

The functional approach is the basis for creating a system of methods in which they act as relatively separate ways and means to achieve didactic goals. Let's consider some of them.

Methods of organizing educational and cognitive activity.

For the transfer of educational information in teaching fine arts, a story, explanation, instruction, demonstration, independent observations of students, and exercises are used.

The use of verbal methods presupposes the observance of several indispensable conditions.

Good diction, accessible pace and clarity of speech are very important for the perception of educational material by students. Clearly pronounced terms, accompanied by pauses for their comprehension, descriptions given at such a pace that they are understood and remembered - all these are mandatory requirements for the use of verbal methods.

It is very important to understand that one must use the word skillfully. If schoolchildren have to carefully consider something (a poster or a frame of a filmstrip), then a mandatory pause is needed. You can draw their attention to any element, but the appropriate explanation should not accompany the consideration of what distracts attention, but follow it. By the way, experienced actors know this very well, sometimes words are more important than gestures, they try to ensure that all the viewer's attention is turned to speech. Thus, the connection of the word with the display must be thoughtful.

The success of a verbal presentation largely depends on its emotionality. When students see and understand how indifferent the teacher himself is, how he sincerely wants the material presented to be perceived by them, they respond to his efforts.

Consider the features of each of the verbal methods.

In the course of the story, students get acquainted with certain objects, phenomena or processes in the form of their verbal description. This method is more suitable for primary school age. The effectiveness of the application of the story depends mainly on how the words used by the teacher are understandable to the students.

In teaching fine arts, a variety is much more often used. story- an explanation, when reasoning and evidence are usually accompanied by an educational demonstration.

It is necessary to explain the peculiarities of using certain materials, the rules for constructing an image, etc. In high school, lectures are more often used, which usually serve to convey certain information from the field of history. visual arts, techniques and technologies for the use of materials. The lecture differs from the story in that it not only affects the imagination and feelings and stimulates concrete-figurative thinking, but also activates the ability to select and systematize the material presented. Its structure is more strict than that of the story, and the course is more subject to the requirements of logic.

Story, explanation and lecture are among the so-called monological teaching methods (“monos” - one), in which the performing, reproductive activity of the trainees dominates (observation, listening, memorizing, performing actions according to the model, etc.). In this case, as a rule, there is no “feedback”, i.e. information necessary for the teacher about the assimilation of knowledge, the formation of skills and abilities.

more perfect verbal method is conversation, during which the teacher, using the knowledge and experience that students have, with the help of questions and answers received, leads them to an understanding of new material, repeats and checks what has been passed. Conversation differs from previous methods in that it not only requires students to mentally follow "the teacher", but also forces them to think independently. It allows to activate the mental activity of schoolchildren to a greater extent and develop their attention and speech.

A conversation in a visual activity class is a conversation organized by a teacher, during which the teacher, using questions, explanations, clarifications, contributes to the formation of children's ideas about the depicted object or phenomenon and how to recreate it in drawing, modeling, appliqué. The specificity of the conversation method provides for maximum stimulation of children's activity. That is why the conversation has found wide distribution as a method of developing teaching of visual activity.

The conversation is usually used in the first part of the lesson, when the task is to form a visual representation, and at the end of the lesson, when it is important to help children see their work, feel their expressiveness and dignity, and understand weaknesses. The method of conversation depends on the content, type of lesson, specific didactic tasks.

In plot-thematic drawing, when children are taught to convey the plot, in the process of conversation, it is necessary to help students imagine the content of the image, composition, features of the transmission of movement, the color characteristic of the image, i.e. think over visual means to convey the plot. The teacher clarifies with the children some technical methods of work, the sequence of creating an image. Depending on the content of the image (according to a literary work, on topics from the surrounding reality, on free theme) the methodology of conversations has its own specifics. So, when drawing on the theme of a literary work, it is important to remember its main idea, idea; emotionally enliven the image (read lines from a poem, fairy tale), characterize the appearance of the characters; recall their relationship; clarify the composition, techniques and sequence of work.

Drawing (sculpting) on ​​the themes of the surrounding reality requires reviving the life situation, reproducing the content of events, the situation, clarifying expressive means: composition, details, ways of conveying movement, etc., clarifying the techniques and sequence of the image.

When drawing (sculpting) on ​​a free topic, preliminary work with children is necessary. In conversation, the teacher revives childish impressions. Then he invites some children to explain their intention: what they will draw (blind), how they will draw, so that it is clear to others where this or that part of the image will be placed. The teacher specifies some technical methods of work. Using the example of children's stories, the teacher teaches schoolchildren how to conceive an image.

In the classroom, where the content of the image is a separate subject, the conversation often accompanies the process of examining it (examination). In this case, during the conversation, it is necessary to cause an active meaningful perception of the subject by children, help them understand the features of its shape, structure, determine the originality of color, proportional relationships, etc. The nature, content of the teacher's questions should aim the children at establishing dependencies between the external appearance of the object and its functional purpose or features of living conditions (nutrition, movement, protection). The fulfillment of these tasks is not an end in itself, but a means of forming generalized ideas necessary for the development of independence, activity, and initiative of children in creating an image. The degree of mental, speech activity of schoolchildren in conversations of this kind is the higher, the richer the experience of children.

In the classes on design, application, arts and crafts, where the subject of examination and conversation is often a sample, they also provide greater degree mental, speech, emotional and, if possible, motor activity of children.

At the end of the lesson, you need to help the children feel the expressiveness of the images they created. Teaching the ability to see, feel the expressiveness of drawings, modeling is one of the important tasks facing the teacher. At the same time, the nature of the questions and comments of the adult should provide a certain emotional response to the children.

The content of the conversation is influenced by age characteristics, the degree of activity of children. Depending on the specific didactic tasks, the nature of the questions changes. In some cases, questions are aimed at describing the external features of the perceived object, in others - at recall and reproduction, at a conclusion. With the help of questions, the teacher clarifies the children's ideas about the subject, phenomenon, and ways of depicting it. Questions are used in general conversation and individual work with children during the lesson.

It should be borne in mind that the time spent during the conversation is greater and it requires better preparation on the part of the teacher. Requirements for questions are of a general pedagogical nature: brevity, logical clarity, accessibility and clarity of wording, emotionality. Do not ask vague questions that can be answered with more than one answer. Difficult questions should be broken down into several simpler ones. Each question asked should be logically related to the previous one and the whole topic as a whole. The most typical questions include:

activating the previous knowledge and practical experience in the memory of the trainees (“Tell me, in what sequence did you draw from life?”, “What is a “tonal scale”?”, Etc.);

facilitating the formation of concepts, establishing links between facts, phenomena and processes (“Name the types and causes of errors in depicting the perspective of prismatic bodies?”, etc.);

aimed at practical use knowledge in educational and creative activities (“What thickness of gouache paint provides easy brush control?”).

The problem statement of questions is especially effective in the conversation. Such a conversation, in contrast to reporting and reproducing, is called heuristic. It contributes to the activation of thinking, develops the independence and initiative of schoolchildren.

Among verbal methods training should be named such as:

Explanation - a verbal way of influencing the minds of children, helping them to understand and learn what and how they should do during classes and what they should get as a result. The explanation is given in a simple, accessible form simultaneously to the whole group of children or to individual children. Explanation is often combined with observation, showing how and how to do work.

Advice used in cases where the child finds it difficult to create an image. NP Sakulina rightly demanded not to hurry with advice. Children with a slow pace of work and who are able to find a solution to a given issue often do not need advice. In these cases, the advice does not contribute to the growth of independence and activity of children.

Reminder in the form of brief instructions - important methodical technique learning. It is usually used before the start of the imaging process. Most often we are talking about the sequence of work. This technique helps children start drawing (sculpting) in time, plan and organize activities.

promotion - a methodical technique, which, according to E.A. Flerina, N.P. Sakulina, should be more often used in working with children. This technique instills confidence in children, makes them want to do the job well, a sense of success. The feeling of success encourages activity, keeps children active, and the feeling of failure has the opposite effect. Of course, the older the children, the more objectively justified should be the experience of success.

art word widely used in art classes. The artistic word arouses interest in the topic, the content of the image, helps to draw attention to children's work. The unobtrusive use of a literary word during the lesson creates an emotional mood, enlivens the image.

Independent work with educational and additional literature is a teaching method based on the word, and is one of the most important means of both cognition and consolidation of knowledge. When teaching, an effective means of monitoring and evaluating the results of self-education is also working with a book. It is recommended to familiarize the children with the methods of working in library catalogs and with various kinds of auxiliary materials, i.e. reference books, encyclopedias, etc.

The fine arts lesson also provides for another type of verbal teaching method - m dialogue method. Here the teacher and the student are interlocutors. The teacher of art must become a master of the word in the same way as the teacher of literature. We are not preparing a craftsman, but a person who knows how and thinks. The student must learn to express his thought in practical work(drawing, painting, design, etc.), and in the word. By gradually training the translation of internal speech into external, backward to the interlocutor, the teacher must lead the child to free associative forms of thinking and expression both in visual language and in verbal speech. That is why the monologue method, the method of imparting knowledge, is intolerable. Understanding also requires its training of thought, checking it with words. Naive verbal images of children, naive associations are invaluable material for a teacher” (10, pp. 118-120).

When the dialogue method is included in the work, it must be remembered that the dialogue takes place in the form of questions and answers, and the question is asked to the whole class or to an individual student, but with an appeal to the whole class; this can be dialogue-thinking, when the teacher, as if reflecting, consciously gives students the opportunity to correct or supplement it.

“Pedagogically organized artistic perception of works of art should exclude passive, disinterested contemplation. A dialogue form of communication can activate the processes of perception, while it is impossible to “talk” to children, to impose someone else’s will, a third-party concept of a work of art. This can lead to distrust of one's own intuition, to rejection of personal impressions.

In the dialogue form of communication, two types of surveys can be distinguished - "real" and "inspiring".

The first leads the respondent to the answer that the teacher expects to hear, the second “turns on”, that is, it motivates the statement and the search for an answer from the outside. “Dialogue in art class is new style cooperation, a new style of thinking, a new style of relationships. In dialogue, children learn to defend their opinion and agree or disagree with the opinion of another person, learn the culture of support, learn to think” (10, pp. 43-44).

A special place among verbal teaching methods is occupied by briefing , which is understood as an explanation of the methods of action with their visual display, the prevention of possible errors, familiarization with the rules of work in the material. Allocate introductory, current and final instruction to students. The first type of briefing serves to prepare students for specific independent work, the second - to analyze its progress, and the third - to summarize.

In some cases (technological complexity of working methods, objects of labor), it is possible to provide students with written instructions on special handout cards.

Closely related to instruction demonstrations (as a special case of the observation method). So it is customary to call a set of actions of a teacher, which consists in showing students the objects themselves or their models, as well as in presenting them with certain phenomena or processes with an appropriate explanation of their essential features. When demonstrating (showing), students form a specific pattern of visual actions, which they imitate and with which they compare their actions.

§4 Elements of shaping. Simple and complex shapes

Simple-shaped objects basically have one geometric figure, and complex-shaped objects have several geometric shapes.

More complex objects are usually called combined, meaning that this object basically represents the sum geometric bodies. Such objects include, for example, a car of any kind, animals and many other objects of reality.

It is no coincidence that artists, emphasizing the geometric shape of objects, say so: “This object has a cubic shape, this one is cylindrical, and that one is spherical, etc.”

The geometric basis of the structure of the objects of the surrounding world does not mean at all that when drawing it is necessary to depict geometric shapes. The problem is as follows: behind the external outlines of the object, it is necessary to see its design, and then in the drawing to build the shape of the object in the form of simplified geometric bodies, figures or planes, complicating it to a complete realistic image.

Before proceeding to the depiction of a jug from nature, it is useful to analyze what geometric shapes it consists of. If you mentally dissect the shape of the jug, discarding the spout and handle, then you can imagine that the throat is a cylinder, and the main part of the vessel consists of a ball and two truncated cones (ill. 39).

39. Analysis of the structure of the shape of the jug

Let's make an analysis of the form of objects included in a simple still life (Fig. 40).

The arrows show the main directions of shaping. The green arrows show in which directions external forces “force” the surface to curve, and the red arrows represent forces within the object itself, which seem to push the shape apart.

In order to most accurately convey the volume of objects in the drawing, such an analysis should be mentally carried out.

A complex subject for the image is a horse. It is possible to imagine the features of its structure with the help of geometrization and generalization of the form. Compare the geometric design of the horse's shape and its realistic depiction.

40. Still life

"Cutting off" the form helps to better present the three-dimensional image, the perspective reduction of surfaces. The horse's head is a truncated pyramid, the body is a cylinder.

41 a. Geometric generalization of the shape of a horse (A. Laptev) b. Realistic image of a horse

42. The sequence of movement of a running horse (according to A. Laptev)

The drawings of the outstanding Japanese artist K. Hokusai represent a significant phenomenon in the world graphics. Many of them are examples for textbooks. Hokusai's compositions and drawings are built on the basis of plastic analysis and constructive analysis of form. He shows that all living forms are based on geometric figures. However, the analysis does not obscure the sensations of nature, the poetic perception of nature. The clarity of the wizard's method is evident from the comparison of schematic drawings and completed works.

43. K. HOKUSAI. Animals. From the album Quick Drawing Guide. 1812-1814

In addition to the design and general form objects, we see and convey in the drawing a contour (outline), that is, an external outline.

44. Apple transformations

It is interesting to note that it is possible to form new form not only by adding volume, as in modeling, but also by subtracting volume, as in sculpture. In this case, the external outlines of the object may change beyond recognition. See what metamorphoses have taken place with the apple (ill. 44). How its round shape has changed!

Please note that the contour of objects in the drawing must correspond to their structure and general shape.

A complex object, from the point of view of shaping, is a person. You can imagine that the head is a ball, the neck is a cylinder, rib cage- a barrel, arms and legs - also cylindrical, etc.

On the example of a generalized geometrized stump head (ill. 46), it can be seen that the head as a whole is built according to the principle of geometric volumes and its image consists of a combination of complicated geometric bodies. In such a geometrized-generalized form, the volumetric construction of the head and its details is very clearly and clearly deciphered.

In the future, when drawing a living head, it is necessary not to lose the feeling of those large planes that are so clearly visible in the “cutting”.

45. RUBENS. Schematic drawing of a human head

Geometric schemes also help in drawing a person. This funny drawing shows the transformation of a face into an ornament.

46. ​​A. DURER. Analytical drawing of the construction of a human head

47. Human skeleton

The shape and movement of the human body is largely determined by the skeleton. It also plays the role of a frame in the structure of the figure (ill. 47).

It is useful, when conveying the shape of a human body and any other object in a drawing, not only to take into account, but also to outline its frame, even in those cases when it is inside and can only be imagined.

With the help of such little men (ill. 48) it is easy to convey any movement. First, we draw, as it were, a wire skeleton, and then we turn it into a person, increasing the volume.

48. Wire men

49. Hockey players

50. Cheerful little men Such funny little men, drawn with the help of ovals, also help to convey a variety of movements.