Lesson plan on still life. Plan - outline of a painting lesson: Still life from objects of different materials (Imitation of oil painting techniques). Painting lesson

Marina Andreeva

Painting lesson

In front of the children there was a set containing a jug, a mushroom, an eggplant, a pepper and cherries. All this was placed on a green drapery without folds.

4th grade, age from 12 to 14 years.

Lesson objectives

1. Place objects correctly on the sheet.

2. Build the jug correctly.

3. Convey the color tone in accordance with nature.

4. Development of the eye.

5. Development of the skill of relating objects to each other to accurately convey sizes.

Theoretical part.

Some children in this group are studying for the first year, so for them, explaining the nuances and requirements of the work was especially important. For a more solid assimilation of the material, comparisons that were easy to understand were used.

For example, each object is located in its place and at a certain distance from other objects. For this explanation, the example of the orbits in which the planets are located in the solar system was used.

Practical part.

The children determined the position of the sheet and began placing objects on the sheet. To begin with, a plane was determined (the table on which the objects will be placed.

Each child has his own particular vision of still life. Some enlarge objects, others make them smaller. Some move up, some down, some to the right or left. To avoid this, children were advised to make a mini-sketch in the corner of the sheet.

Working with color.

For the work to be holistic, you need to work with color with all objects at once, and not separately. Therefore, you can divide the work with color into stages.

1. Determination of the main tone of each object.

2. Identification of dark areas, light areas, highlights, shadows on a plane, on objects.

3. Analysis of each object in order to consider reflexes and shades.

4. Final stage. Generalizing objects, working with details.

Bottom line

The children finish their work and together with the teacher discuss the points - what worked and what didn’t. It is important to praise everyone for the work done. It is especially important for those children who are studying for the first year to understand that everything is working out for them.

At the end of the lesson, it becomes clear that each child specifically succeeds more and less. What should you focus on in your next lesson?

Ready-made children's work.

Publications on the topic:

Purpose: To introduce children to the fact that vegetables also have juice and it has color. Show that if you drop juice on a cloth, it will become liquid when it dries.

Summary of the lesson “Into the forest to pick mushrooms and berries” for children 4–5 years old Summary of educational activities in the educational field “Cognitive development” (Acquaintance with the outside world) On the topic: “V.

Notes on getting to know the outside world “Into the forest for berries” for children of the younger group Summary of a gaming session in the cognitive domain. Getting to know your surroundings. Educator: Melnichek S.V. March 25, 2015 Topic: “Into the forest for.

Basket with vegetables Recently, in our village of Akhtyrsky, Krasnodar Territory, a holiday was held called “Childhood Address - Kuban”. Here.

The master class is intended for teachers and parents to work with children of senior preschool age. Purpose of the master class: manufacturing.

Familiarization with Petrykivka painting. Summary of GCD in the middle group “Twig with berries”“Twig with berries” Program objectives: 1. Introduce children to Petrikov painting. 2. Improve finger painting techniques and.

Project “Getting to Know Vegetables” Project type: educational. Project participants: children of the second junior group, teacher, parents. Implementation period:.

Outline of an open lesson on the topic

“The contrast of complementary colors. Decorative still life."

(Color science lesson in 1st grade art school).

Pascal Elena Vladimirovna

art school teacher

Lesson type: combined.

Lesson objectives.

1. Educational:

Reinforce the concept of “complementary colors”;

Provide theoretical knowledge about the interaction of complementary colors;

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

Learn to use a limited color scheme in a still life to harmonize the composition.

2. Developmental:

Development of a sense of color harmony;

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

The ability to apply theoretical knowledge acquired in class 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:

Developing accuracy and the ability to listen to a friend;

Fostering a sense of unity and friendship in the team.

Materials for the lesson (for the teacher).

1. Table on mixing complementary colors (tutorial).

2. Table “Main pairs of complementary colors.”

3. Reproductions of paintings by artists in contrasting complementary colors:

Andrey Rublev “Trinity”, Van Gogh “Sunflowers”, Henri Matisse “Dance”, Paul Cezanne “Mount Saint-Victor”.

4. Flannelgraph and still life elements to create a composition in color.

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

6. Reproductions of decorative still lifes: V. Lebedev “Still life with a palette and jug”, D. Shterenberg “Still life with a lamp and herring”, I. Mashkov “Fruit on a plate”, E. Abramova “decorative still life”.

Lesson materials for students.

1. Gouache, brushes, palette, jar.

2. Prepared still life drawing.

3. Exercise on mixtures of complementary colors, completed earlier.

Lesson plan.

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

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

3. The fairy tale “The Circular Flower and its Magic Garden” (5 min).

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

5. Explanation of a 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. Conversation about decorative still life, its means of expression and some stylization techniques (7 min).

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

9. Instructions on how to create 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. Results of the lesson. Reinforcing concepts (2 min).

During the classes.

1. Check readiness for the lesson, mark those absent, check materials and supplies, and still life drawing.

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

Remember what types of contrast we already know? (Color contrast, light and dark contrast, warm and cool color contrast).

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

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

The fairy tale is a lie, but there is a hint in it. A lesson to good fellows.

Fairy tale "The Flower of the Round and its Magic Garden."

In one very distant magical kingdom-state, one king had a magical garden where amazingly bright flowers grew. Similar to us humans. A gardener named Krugotsvet took care of the flowers. He loved his flowers very much, watered them, fed them, talked to them. The 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 flew from this garden every day to admire the yellow daffodils and red roses, blue cornflowers and orange marigolds, purple gillyflowers and burgundy dahlias. Butterflies always sang songs about the beauty and aroma of beautiful flowers and were glad that love and friendship always reigned here, the sun shines even brighter here and it is very pleasant to visit this garden.

But one day, not entirely sunny, a cold north wind blew and dropped prickly pieces of ice on the flowers in the garden. Suddenly, completely bad thoughts appeared in the pretty heads of our flowers that each of them was better than the other, more beautiful and brighter, therefore it was he who should occupy the most honorable place in the flowerbed, and all the other flowers should bow to him and give him honors and praises. At first these were just thoughts, then they began to be spoken in a whisper, and then it all grew into a loud scandal in the flowerbed. Peace and love left this magical garden, and then some of the flowers decided to leave their home forever, the Round Flowers, and went wherever they looked. The remaining flowers in the garden suddenly immediately faded, and they stopped producing fragrance. Butterflies stopped noticing them and stopped flying to this garden altogether. The magic garden has become dull and boring. And Krugotsvet decided to go look for the departed flowers, return them to the garden and make peace with the others, because it is impossible to live in a sad and dull garden where love does not live.

And the Krugotsvet went... How long, how short, does the Krugotsvet come to the dense forest, where it is dark and damp, scary and dull, in the forest there is a marshy swamp, gray and fetid. Krugotsvet sees that all his flowers are gone in the swamp. They got lost and got into trouble, and almost everyone here died. Krugotsvet built a special boat-basket from branches and saved all his pets. They set off on their way back.

Early on a sunny morning, they all returned together to their cozy garden. There was so much joy and fun! All the inhabitants of the garden danced, sang, hugged each other, and forgot all their previous offensive words and barbs. The flowers held hands and started a round dance. A yellow daffodil danced next to lush purple lilacs, a red-orange rose held the hand of a blue-green hyacinth, orange marigolds had fun next to blue bells and cornflowers. From being next to each other, all the flowers only became brighter and more elegant. Butterflies and 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 Circumferential Flower. Krugotsvet rejoiced that Friendship and Love had once again settled in his magical garden.

4. Conversation based on a fairy tale.

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

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

What colors enhance each other’s sound, making them 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 if there is no additional color, then our eye itself will certainly create it in our field of vision. The complementary colors form a seemingly strange pair. Despite the opposite, they need each other, and being close, they light each other up as much as possible. Likewise, people in society need each other, mutual support and help, and need love.

And we continue to talk about additional colors.

Let's draw conclusions.

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

2. Each color has only one unique 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 so that the eye becomes calm.

5. Contrast of complementary colors.

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 will find that they always contain all three primary colors: yellow, red and blue.

Name the color composition in each pair:

Yellow – purple = yellow – red + blue;

Blue – orange = blue – red + yellow;

Red - green = red - yellow + blue.

We have already said that there is an amazing and inexplicable fact that when we perceive one color or another, another additional color appears in our eyes at the same time. If there is really no additional color, then it is spontaneously created in our consciousness 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 feeling of balance is created in the eyes. The viewer gets a feeling of calm, strength, static if there are additional colors in the wall painting. In addition, each pair of additional 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 a contrast of warm and cold.

The contrast of complementary colors is shown in examples of children's works and reproductions.

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

In nature, there are also combinations, mixing of additional colors (stems and leaves of red roses, while the buds have not yet blossomed). Using mixtures of additional colors, you can get especially beautiful gray colors. The old masters achieved a very colorful gray by applying an additional color to the main color in stripes or covering the first color with a thin layer of additional color. Pointillists applied pure colors in tiny dots next to each other, and the appearance of a gray tone occurred in the eyes of the viewer. (Paul Cezanne “Mount Saint-Victor”).

6. Exercise on a flannelgraph.

1) Look at the red square for 20 seconds, then look away

onto an empty space and see the same square, but green.

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

Our eye itself finds an additional color so that there is harmony and calm.

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 concrete life, with a variety of sensations. In the 20th century, still lifes change, psychology appears in them. Sometimes the artist even 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 paint in art school? They are very emotional, colorful, bright, they do not convey almost the volume of objects, chiaroscuro. These still lifes may sometimes contain decorations in the form of ornaments. An underline is sometimes used here.

In the last lesson we already drew the composition of our still life. 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 excluded volume in our still life. And today we will learn how to create a decorative still life in color.

Firstly, so that the still life is not simply painted, we will take a limited amount of color. Today you were introduced to the contrast of complementary colors, so I suggest you use any pair of complementary colors and also 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 additional colors, perhaps muted with black or lightened with white, or perhaps a combination of both. You can choose many options here, using different mixtures of paints in their different ratios. Any decorative composition has elements with which you can create an expressive composition. This is a line, a spot, a stroke, a silhouette, a dot, a texture. As well as various combinations of them.

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

What kind of lines can there be according to 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, sometimes geometric, but today we will not use it.

How can you highlight the compositional center with color? (Take the contrast of complementary colors in its pure form).

How can you use color to cover the edges of a still life so that they don’t 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 place silhouettes of still life objects on a flannelgraph).

9. Now let’s start making the still life ourselves. Be sure to make color mixtures of a couple of additional colors in the lids, so that you can then take the color scheme and add other colors to it, gradually moving from the center to the edges.

At the end of the work, when everything is done with color, you can use a thin brush to apply a line in the still life. You can decorate objects with ornaments and highlight shadow areas 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, guiding him.

11. At the end of the lesson, the works are placed on easels and analyzed.

12. Lesson summary.

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 means of expression did we use in the still life?

Children answer the questions posed.

- You all coped well with the tasks assigned in class today. Thank you everyone!

GOU SPO Russian College of Traditional Culture of St. Petersburg

Lesson plan for the discipline “Painting”

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

Lesson topic: “Drawing a still life for painting”

Group 319 N

Teacher:

Saprykin V.G.

Lesson topic: “Drawing a still life for painting”

Lesson Objectives:

Educational:

Teach the basic principles of linear construction of objects;

Apply the acquired knowledge when making drawings for painting from life.

Developmental:

Develop analytical skills, logical and constructive thinking;

Promote the development of creative abilities and aesthetic perception of the world.

Development of fine motor skills.

Educational:

Learn to self-assess work performed;

Be able to find answers to 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 on drawing techniques.

Material support for the lesson:

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

Lesson type: practical lesson

Lesson structure:

1. Organizational moment - 5 minutes.

2. Introductory part (setting goals and objectives, a short 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 lesson) - 5 minutes.

During the classes:

GOU SPO Russian College of Traditional Culture

Routing

(Training lesson plan)

Academic discipline: “Painting”

Topic (section): “Still life from objects of simple shape.”

Number of hours per topic: 36 hours

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

Teacher: Saprykin V.G.

Solovyeva Oksana Valerievna

MAOU DOD "ODSHI No. 3" Bratsk

Fine Arts Teacher

Bratsk, Irkutsk region

Subject: painting. 4th grade, students age 14 -16 years.

Lesson topic:Still life of objects of different materials(Imitation of oil painting technique)

Time - 9 o'clock

The purpose of the lesson: Learning a new painting technique.

Lesson Objectives:

Harmonic solution of the composition.

A wealth of nuances.

Imitation of oil painting techniques.

Materials and equipment: Educational setting, blackboard, felt-tip pen, visual aids - stages of work, student work. Paper F A4 - tinted, pencil, eraser, watercolor, gouache, palette, water jar, brushes, magnets. PVA, sandpaper.

Student materials: tablet 35x54 covered with Whatman paper, PVA, sandpaper, pencil, eraser, watercolor, gouache, palette, water jar, brushes.

Lesson plan:

Checking readiness for the lesson. 1 min.

Preparing the tablet. 20 minutes.

Explanation of the stages of work. 15 minutes.

Completion of work: drawing 45 min, watercolor 100 min, gouache 200 min.

Checking completed work 24 min.

During the classes:

Checking readiness for the lesson.

Preparing the tablet. Sand the tablet with sandpaper to imitate the canvas (from top to bottom and from left to right). It is important to run the sandpaper over one area only once and from edge to edge, this is the only way to create the look of canvas. To prime the tablet, dilute a little brown gouache with water to a translucent tone, add PVA glue at a rate of 10 to 1 (10 diluted paint and 1 part PVA glue), and cover the tablet with a thin layer of this paint.

Explanation of the stages of work. The technique of oil painting differs from watercolor and gouache painting. The technique of oil painting is based on a certain human visual perception of objects in light and shadow. In the light, all objects seem dense, tangible and voluminous. In the shadows or twilight, objects lose their substance and appear slightly transparent; in the shadows, color nuances are also less visible. By observing these laws of perception, you can easily create paintings with deep space.

Making a preparatory drawing for painting. On the tablet we outline the contours of the still life objects, trying not to use an eraser. The preparatory drawing is performed in the following sequence: outline the total mass of the still life; divide into separate objects, taking into account the proportions of these objects and their relationships with each other; perform the construction of objects; outline the plane of the table and drapery. After the construction is completed, outline the falling shadows and the location of their own shadows. Check the preparatory drawing.

Underpainting: We start working with paints with watercolors - it imitates glaze (transparent) oil paints well, we paint shadows and penumbra in full force with all the richness of color shades, we paint over the light, as well as the penumbra. At this stage, the painting will look like it is in twilight - without light.

Body: We start painting gouache from the lightest places in the still life, gradually painting all the illuminated places. It is important not to paint over everything completely with gouache, but to leave small gaps between strokes (like a mosaic)

Performing work under the guidance of a teacher: drawing 45 min, watercolor 100 min, gouache 200 min.

Checking the work done with discussion 24 min.

Bibliography:

Ditmar K.V. I want to know and draw your world! Book for teachers. - M.: Enlightenment. 1993.

Sokolnikova N.M. Fine arts: Textbook for teachers. 5-8 grades: In 4 hours Part 2. Fundamentals of painting. - Obninsk: Title, 1996.

Both study and play. Fine arts./ M.V. Trofimova, T.T. Tarabarina. - Development Academy. - Yaroslavl. 1997.

Lomonosova M.T. Graphics and painting: Textbook. Benefit / M.T. Lomonosov.- M.6 Astrel Publishing House LLC: AST Publishing House LLC, 2003. - 202, (6) p.6 ill.

Tarasevich G., Aksenov Yu., Zakin R., Krieger F. Drawing and painting. - 1971.

Example of completed work.

Methodological development of the lesson

on the subject of painting

in preparatory class

2nd year of study

on the topic “Still life. Drawing

still life from life"

Completed by: Kukushkina E.N.

Teacher

Municipal Educational Institution of Children's Art School Nei

Kostroma region

year 2013

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

Target

Create a simple still life from life

Tasks :

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

Equipment:

For the teacher - a full-scale setting (still life against the background of a white sheet), a table “Still life (step-by-step work)”, sketches from life of vegetables and fruits (children’s work)

Visual range:

Lesson Plan

1. Organizing time
2. Introductory conversation
3. Students working on the assignment
4. Lesson summary

During the classes:

1. Organizing time

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

1. Introductory conversation.

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

If you see in the picture

Miracle vase on the table,

It contains a bouquet of beautiful

Snow-white chrysanthemums;

There are a lot of dishes,

Both glass and simple,

Maybe a cup or saucer

With gilded border.

And this also happens:

Game is drawn there.

In conclusion we put

Ripe peaches and plums.

And also in the picture maybe

Drawn to be a cake.

And so the picture

It will be called a still life.

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

Still life serves various functions. For example:

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

Thematic - depicts objects united by one theme (children's - includes toys, sports - attributes of sports, etc.

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

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

Puzzles:

Six porcelain friends

They stood in a circle on the tablecloth,

Wanted to in the evening

Treat us to some tea. (Cups)

My uniform shines brightly,

On the table I am the commander.

They know cups, a teapot;

I'm a big boss. (Samovar)

Two sisters: one big,

Semolina interferes with porridge.

Well, little sister

The tea is stirred loudly. (Spoon)

Just like a fist,

Red barrel,

You touch it – it’s smooth,

And if you take a bite, it’s sweet! (Apple)

Golden head

Big, heavy.

Golden head

She lay down to rest.

The head lay down

Only the neck is thin. (Pumpkin)

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

In the summer in the garden, fresh, green,

And in winter they are yellow and salty in the barrel.

Guess it, well done

What's our name? (Cucumbers)

There are balls hanging on a branch,

Turned blue from the heat. (Plum)

Let's look at the illustrations, reproductions and answer the questions:

What is still life?

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

What colors (warm or cool) predominate in them? Why?

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

Why do paints differ in lightness when depicting fruits: some are lighter, others are darker?

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

Reflection

To reinforce the material, I suggest the game “Make a Still Life”. From the proposed objects in front of you, I propose to make still lifes and give them names. (Both strong and weak children participate)

Physical education minute

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

She was probably bored all summer (head tilts, left and right)

Now autumn has come and the foliage has turned yellow, (stand up and draw tree branches)

The time has come to harvest. (stretch, pretend to pick fruit from trees)

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

She was surprised (spread her hands)

That there are so many fruits in the garden! (rise on your toes, show a large circle with your hands)

1. Students working on the assignment

Still life from life.

Today we have a still life of vegetables and fruits. This theme is “tasty” and it’s very pleasant to draw. Every fruit and vegetable has a basic shape, color that needs to be seen. They may be the same for different fruits and vegetables, but they have their own color and details.

Subsequenceperforming the work:

1. On preparatoryAt this stage, use a pencil to outline the contours of all objects using very light lines. It is advisable to draw without correction with an eraser, in any case, do not abuse it, because... The texture of the paper destroyed by the eraser darkens and dulls the color. Using the same thin lines we mark the boundaries of highlights and shadows of all still life objects and environments.

1. At the first stage Let's start working with paint with the general color characteristics of the still life; for this we will prepare a low-saturated mixture - a color scheme, which we will apply in a transparent layer to all parts of the drawing, excluding highlights.
2. At the second stage of painting, the three-dimensional shape of all objects is modeled and their illumination is conveyed. Using separate strokes we enhance 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 paints. Each stroke applied to depict shadows must be taken in relation to the color of the adjacent surfaces of other objects and other shadows in terms of hue, saturation and lightness.

1. At the third stage We continue to model volumetric form and space with more subtle shades of color. We compare every stroke placed on paper with a still life, alternately moving our eyes first to the image, then to nature. This allows you to see whether the color proportion that exists in nature is conveyed. The depiction of color shades in light, penumbra, shadow gradually leads to a subtle modeling of shape, to the depiction of space and illumination.

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

IV. Lesson summary

View and analyze completed work. Note the beautifully found combinations of colors in conveying the character of natural objects.

Analysis of common errors.

Cleaning workplaces.

References:

• B. M. Nemensky “Fine arts and artistic work” grades 1-4 Moscow “Enlightenment” 2008
• E. Rozhkova “Fine arts in elementary school” Moscow “Enlightenment” 1980

Self-analysis of the lesson

in preparatory class (2nd year of study)

"Still life. Drawing from life a still life of two

items"

Goal and tasks:

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

Developmental: develop techniques for working with paints.

Educational: to cultivate aesthetic sensitivity.

Equipment:

For the teacher - a full-scale setting (still life of two objects), a table “Still life (step-by-step work)”, sketches from life of vegetables and fruits (children’s work)

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

Visual range:

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

In accordance with the program, this topic is included in the section drawing from life. On the topic “Still life. Drawing a still life of vegetables and fruits from life" takes 2 hours.

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

I prepared for the lesson in a timely manner, prepared all the visual material that will be needed during the lesson. The content, thematic focus and technology were fully consistent with the level of development of the class.

I used my study time rationally. The lesson began with an organizational moment, which began with the students’ working spirit for the lesson.

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

I consolidated the new material in the form of the game “Make a Still Life”. Both strong and weaker children took part in this work. At this stage, the students’ knowledge that was acquired during the presentation of theoretical material was very clearly visible.

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

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

During independent work, the teacher provided individual assistance to students based on individual abilities. For better consistency in completing independent work, the educational table “Sequence of performing a still life in color” was used.

At the end of the lesson, I held an exhibition of students’ work, where the work was analyzed: what worked and what didn’t? I was clearly able to see how the students understood this topic. Student assessment.

The chosen forms of work are not accidental; they are exciting for children of this age and are of interest to them. I believe that the students’ perception of the goal was fully realized.