Plan of notes on painting still life ultrasonic scanner. Plan summary on the topic "Still life in contrasting colors."

Solovyeva Oksana Valerievna

MAOU DOD "ODSHI No. 3" Bratsk

Teacher fine arts

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

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 min.

Explanation of the stages of work. 15 min.

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

Checking completed work 24 min.

Lesson progress:

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 total weight 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) paints well. oil paints, 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)

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

Checking the work done with discussion 24 min.

References:

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.

Development of a painting lesson. Topic: "Drawing a still life from life"

Painting lesson on the topic: "Drawing a still life from life" 4th grade

Type of activity: image on a plane.

Lesson type: combined.

Goal: to teach how to correctly constructively draw objects of simple shape from life.

Tasks:
Consolidate knowledge about layout and proportions.
Contribute to the development of aesthetic responsiveness.
Develop drawing skills, attention, accuracy, observation, thinking, visual memory.

Visual aids: educational table “Step-by-step execution of a still life”, reproductions of paintings (still lifes) by artists P. Klas, V. Head, J..B. Chardin.

Equipment for the teacher: epiprojector; 2 draperies, vase (jug), apple.

Equipment for students: album (A4 format), pencil, eraser.

Used literature:
Sekacheva A.V., Chuikina A.M., Pimenova L.G. Drawing and painting: a textbook for secondary students. specialist. textbook establishments. – M.: Light and food industry, 1983.
Sergeev A. Educational still life. – M.: Art, 1955.
Story foreign art. Ed. Kuzmina M. T., Maltseva N. L. - M.: Illustrate. 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.

Using the chalkboard:

1. Topic title.
2. Reproductions of paintings by artists.
3. Pedagogical drawing.
4. Educational table “Step-by-step execution of a still life from life.”

Lesson progress:

1. Organizational point:
establish discipline, check readiness for the lesson.

2. Conversation.
The topic of the lesson is “Drawing a still life from life”, stage 1 – construction.
What is still life?
Still life is a genre of fine art. From the French “dead nature”, an image of the world of things, everyday objects, tools, fruits, flowers. Especially widespread the still life genre received Dutch painting 17th century (Peter Claes, Willem Kalf, Willem Heda).
Look out for reproductions of paintings by Willem Heed and 18th century French artist Jean Baptiste Chardin. What is the difference between their still lifes?
A favorite motif in the work of the Dutch was the so-called breakfast - an image of a set table on which a dish with a pie or ham, bread or a golden loaf, a metal jug, a glass goblet, plates, and knives are placed. In turn, Jean Baptiste Chardin is known as a master of paintings on everyday themes: the world of domestic, human-lived things; baskets, krinks, vats, and killed game appeared on his canvases.

3. Explanation.

Let's look carefully at the still life. What items does it consist of?
Jug, apple, 2 draperies.
What should you do 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 using the sighting method, we understand that the sheet must be positioned 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 is the arrangement of the depicted object on the surface of the paper.
Let's determine the placement of the still life on the sheet. Items should not be small, but not very large either. You cannot draw larger than life size.

When constructing a still life, pay attention to the table “Step-by-step execution of a still life.”
Construction of a jug.
Let's construct an axis of symmetry.
What is proportion?
Proportion is a certain relationship between the parts of an object, their proportionality. It is necessary to constantly compare proportional relationships and visualize.
What is the ratio of the height of the jug to its width?
The height of the jug is 1.5 times the width. We make serifs.
The jug is divided into a neck and a body.
Which shape does the neck resemble, and which does the body?
The neck is shaped like a rectangle, the body is like a circle.
To find the line 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 fits the height of the entire jug 4 times.
At what height is the widest part of the jug?
2.5 times 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, from this position an ellipse is obtained.
How to build an ellipse? (Call anyone to come to the board).
To construct an ellipse, draw axes and make notches on them. Connect with a smooth line.
Using the same principle, we build ellipses on the neck of the widest part of the jug.
Will the ellipses be the same in every part of the jug or do they change?
Ellipses change: the higher the ellipse, the narrower it is; the lower, the wider it is.
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 resembles a circle.
How many times does an apple fit into the height of the jug?
The apple is placed in the jug 3 times.
The apple is a little closer to us than the jug. Let's first draw a circle, then transform it into an apple.

Let's outline the draperies. Construction lines can be erased.
The still life is 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, album.

Still life drawing, still life drawing lessons, step by step drawing still life, drawing a still life with watercolors, 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 onto the paper, use a medium round brush to paint the background with a thin layer of a mixture of Cobalt Violet and Speckle. Tilt the paper slightly so that long strokes 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, outline the shadows of the folds of the lace napkin with a mixture of diluted cobalt blue and burnt umber.

To obtain the main color of the tulips, apply paint with a gradual transition of tones - starting with cadmium yellow medium and gradually adding more and more speckle, and finally make strokes of pure speckle along the edges. (As you do this, rotate and tilt the paper to blend the strokes). Then apply a thin, even layer of green FC to the leaves. After this, apply masking liquid to the illuminated areas of the jug and cup. When the mixture has dried, tilt the paper again slightly and tint the left side of the cup and jug with a thin layer of pure cobalt. Then continue the wash on the jug with a gradual transition of tones, adding a very light (almost transparent) kraplak.

Proceed to the background with a thin glaze coat of diluted Cobalt Violet. Wash the shadows on the cup and saucer with cobal blue mixed with burnt umber. After the Cadmium Yellow medium paint has dried, run along the rim of the cup and, while the paint is still wet, add a little natural sienna to the darker areas. Then apply a glaze layer to the tulip leaves with a mixture of blue FC, cadmium yellow medium and natural sienna. Apply viridon green to the shaded stems, then use a damp brush to remove some of this paint and transfer it to the lighter areas of the stems.

At this stage, apply darker tones: a glaze layer of cobalt violet mixed with burnt umber, on the background and on the shadow areas of the jug, cup and saucer. Next, enhance the shadows on the pitcher using a lighter mixture of Cobalt Violet and a touch of Burnt Umber. After this, apply a very thin glaze layer of Cobalt Blue over the highlights on the jug. Darken some of the tulip petals with cadmium yellow medium, and apply kraplak to the other part.

At this point, apply a final glaze layer 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 is dry, enhance the shadows in the foreground and background with glaze.

The great thing about painting still lifes is that you can completely change their composition at your discretion. You can choose the items you would like to include in the composition, change the lighting, choose a place for each item in such a way as to create the most advantageous 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 depiction of everyday objects is widespread in the fine arts. In many historical paintings In portraits, everyday objects are important details that emphasize and sometimes reveal a specific historical era, historical event. They help to understand the plot being depicted. Everyday objects acquire particular importance in paintings of the everyday genre and in still lifes.

Drawing everyday objects is especially valuable because it provides ample opportunities for studying the characteristic shape, structure, spatial position, color of surrounding objects, and the distribution of light and shade on their surface. That is why learning to draw usually begins with the depiction of various everyday objects, and in a certain sequence: from the simplest form to a more complex (combined) one.

Drawing a still life with drapery is more complex 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 still life drawing 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 linear-constructive representation of a form, the theory of linear and aerial perspectives, and mastery of drawing techniques.

Sections: MHC and ISO

Target:
A) Educational: consolidate knowledge about “color contrast”; repeat new methods of textured watercolor; learn to carry out the initial color scheme of a still life according to given schemes.
b) Developmental: Development of students' creative imagination, development of thinking abilities, ability to prove their point of view.
V) Educating: to cultivate interest in the world around us, in the subject of “painting”.
foster a work culture.

Type of classes: Combined.

Lesson objective: Complete the initial stage color scheme still life.

Materials and equipment:

For the teacher:
1. Reproductions of paintings by artists. “Overseas Guests”, av. Roerich; "Girl with a Jug", av. Arkhipov.
2. Student creative work II's courses at the Leninogorsk Pedagogical College;
3. Student photos creative works I-II courses of the Kazan Art School;
4. Tables and diagrams on the topic “Color contrast”;
5. Works by teacher G.V. Zhukova, showing the initial stage of still life in color.
6.Tables I, I(a), II, II(a), “Sequence of work in color”
7. Exercises for second-year students, performed using the “textured watercolor” technique

For students:
Watercolor paints; brushes; water; palette; masking fluid; plastic bags; preparatory drawing (A3 format).

Lesson structure:
1.Organizational moment (1 min)
2.Repetition (12min)
3. Explanation (8 min)
4.Independent work (20 min)
5.Job analysis (3min)
6.End of lesson (1 min).

Source of information:
1. “Basics of Watercolor Technique” edited by Greg Albert and Rachel Woolof;
2. “Fundamentals of painting”, av. N.M. Sokolnikova;
3. “Complete course of drawing and painting”, av. Hazel Garrison;
4. “Watercolor. Master class”, edited by Tatyana Minedzhyan.
5. “Drawing a still life with drapery”, av. A.F. Konev, I.B. Malanov.
6. “Painting lessons for schoolchildren aged 10-14 years”, av. M. Mikheyshina.

Lesson progress:

Organizational point:

Hello guys! Today we have a painting lesson on the topic: “Still life of vegetables and
fruits”, with draperies contrasting with them in color and lightness. I would like to start our lesson with a beautiful statement about painting: “Painting is life itself. In it, nature appears before the soul without intermediaries, without covers, without conventions. Poetry is intangible.
Music is not tangible. The sculpture is conventional. But painting, especially in landscape, is something real. Poets, musicians, sculptors, I do not want to implore your glory. Your lot is also wonderful. But let everyone be given justice.”
Author Eugene Delacroix

Repetition of covered material

What is “Painting”? Who's to say, guys? We know several definitions of painting.” One of them reads: “ Painting“This is a type of fine art in which color plays a major role.” And one more definition - “ Painting” means to write life, to write vividly, i.e. convey reality fully and convincingly
- Guys, let's name the genres of painting known to us:
- This is a portrait, still life, landscape, animalistic genre, mythological genre.
- Okay guys, that's right. Today in the lesson we will do a still life in color. Who can tell what a still life is? And what kind of still life artists do you know?
“Still life” translated from French means “dead nature”, i.e. “Still life” is a production of inanimate objects, household items, and household items. Translated from German, “still life” means “quiet life”.
Now let's turn again to our still life, it is staged
on the topic “Color Contrast”.
- Guys, what kind of work? famous artists do you know any work done on this topic?

We look at reproductions of paintings by artists.

Okay guys. Enough. I would like to note that not every group of objects can be called a still life. The setting of a creative still life must be strictly thought out in accordance with the educational task and ideological plan.
For example, the task of our productions is to reveal the diversity of forms and materials, the differences
colors and tones. To do this, we used the laws of contrast.
Contrasting comparison of large with small (scale contrast), light with dark (light contrast), rough surface with glossy (textured contrast) and, finally, color contrasts (red - green, yellow - purple, blue - orange).
Guys, we are once again convinced that the artist, creating a unique world through picturesque means, makes us worry, be surprised and rejoice. Not by chance 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, With color you can think and construct the shape of an object, convey texture and volume.

Lesson objective:

So, today in the lesson we will perform the beginning of the color scheme - the layout of objects
by lightness and color contrasts. Before we begin practical work in color, we will analyze the full-scale production and repeat everything related to “color contrast.”
- So, guys, we know that all colors can be divided into two main groups:
1. Chromatic(color), which includes all the colors of the solar spectrum.
- What are called chromatic colors?
- All colors of the solar spectrum.
2. Achromatic (non-colored), which includes the colors: black, white and all shades of gray.
- What are called achromatic colors?
- The colors are black, white and grey.
- Guys, how do our still lifes differ from the previous ones?
- Our still lifes are distinguished by color contrasts.
- Guys, please give me the definition of “contrasting colors” and name the groups of contrasting combinations.

Showing the color wheel:
- “Contrasting colors”- These are colors that complement each other and are opposite each other on the color wheel. For example: red-green, yellow-violet, blue-orange.
- Phenomenon “color contrast” is that color changes under the influence of other colors surrounding it. For example: a red tomato will look redder against green parsley.
- What types of color contrasts do you know?
- There are two types of color contrast – light and chromatic

I show the table for light contrast:

Light– the brightness of a visible object is not an absolute value, but a relative value in relation to the background. For example: a gray square on a blue and black background becomes lighter, and on a white background it darkens.

Showing a table for chromatic contrast

Chromatic- called a change in color tone or color saturation under

by the action of neighboring chromatic colors. The lighter the tonal ratio, the greater the contrast
a) if a chromatic color is placed against the background of its complementary color, then it retains its color tone and acquires greater saturation. For example, yellow appears brighter on violet than on any other chromatic color.
b) if a gray figure is surrounded by a chromatic background, then its color takes on shades
complementary color to the background color. For example, a gray background on a green background becomes pink
shade, and vice versa - on red it turns green.
Any object in a still life has a color characteristic and has a certain
lightness, i.e. tone.
When performing work in color, we must also strive to convey:
- volume of still life objects;
- texture of objects (their materiality);
- planarity of the still life (foreground, middle and distant plans).
All of these goals can be achieved by using various watercolor painting techniques.
paints.
- Guys, let's list them.
The first method is “raw” (and 1aprima)
The second method is “dry”, or mosaic.
The third method is combined.

II years of LHMPU.

Considering students' painting worksI-II years of Kazan Art
schools
Photos are also presented here student work I-II courses of Kazan
Artistic schools. The unusualness of these still lifes lies in the use
optical method of mixing paints. This method consists of alternating 2-3 colors,
placed next to each other in strokes. At a distance, these multi-colored strokes combine into a common,
complex color, characterized by picturesqueness, purity, play of colorful shades.

I show you exercises done using the “textured watercolor” technique.
Let's name the new, already familiar methods of textured watercolor:
- applying masking liquid;
- application of film;
- scraping off the paint with a plastic card and the end of the brush handle;
- painting with a dry brush on wet paint;
- “salt spray”.

Explanation of new material
Now let's look at the sequence of working in color.

Method No. 1

Some textbooks advise starting work with the illuminated parts of objects, i.e. with
light relationships, and consistently work from the brightest object to the most
dark.
To do this, you first need to mentally arrange objects according to color tone (by
color and lightness) according to the following scheme

I demonstrate scheme No. 1

Scheme No. 1.

Now, using this scheme, we will make a color-tonal layout of objects in one of the still lifes. For example, with a yellow ceramic teapot, a clay jug and a straw basket of fruit:

I write down on the paper:

a yellow teapot is the lightest object;

Medium tone items:

fruits; 3. wicker basket; 4. vertical surface; 5. horizontal surface; 6. clay jug; 7. blue drapery is the most saturated in tone and color.

We work in color according to the following scheme

Scheme No. 1(a)

I analyze the sequence of work in color according to schemes I. I(a):

So, if we have identified the lightest object in a still life - this is a yellow ceramic teapot, then we begin to paint it from the illuminated side, and be sure to show contact with the background, while determining what is darker and what is lighter and by how much. Then we move on to objects that are more saturated in tone - this is a tangerine in the foreground and peppers in a wicker basket. In the middle ground we paint light on objects and touch with the background; then we move to the illuminated part of the clay jug in the background, and show contact with the vertical and horizontal planes; and in conclusion, we will paint the light on the blue drapery - on the darkest and most saturated object of the still life, which is in the foreground,
It should be noted that each time you begin to depict the illuminated part of a subsequent object, you must compare it with the illuminated part of the previous one in order to determine how much more saturated, darker, you need to take the color.
Then, in the same sequence, we paint the halftones of the objects. Then we compare our own shadows on objects, then the falling shadows from objects on a plane, and, finally, the reflexes on objects touching the background.

Method No. 2 of performing work in color.
There is another option for doing the work in color. We use it in our lessons
drawing when performing graphic works, and today in the painting lesson I advise
use this exact sequence.
It is as follows: first, we mentally arrange the objects according to
color tone, but no longer from light to dark, as in the first version, but on the contrary - from the very
an object saturated in color and lightness in a still life - to the lightest.

I demonstrate scheme No. II

SchemeII

For example, consider a still life with a red teapot, a bottle and fruit in a ceramic
vase; A red teapot is the most saturated in color and tone.

I write down on the paper:

Red teapot

mid-tone items:

green drapery; 3. grapes; 4. bottle; 5. pepper; 6. vase; 7. vertical plane; 8. horizontal plane - the lightest object in a still life.

We work according to the following scheme:

I demonstrate scheme No. II (a)

SchemeII(a)

5. Light on the subject + touch with the background

Analyzing the sequence of work in color according to schemes II. II(a):
So, first we paint our own shadow on a red ceramic teapot - the most saturated object in tone and color. Then we move on to a lighter object - this is green drapery. We write folds from the shadow side, showing the thickness of the fabric. Then we look at objects that are even lighter in color – these are grapes and a bottle. They are very close in color and tone, however, they are different in texture and significance. We first begin to paint our own shadows on the grapes, since they are in the foreground, distinguishing them by color intensity (some are closer to the light source - highlights and reflections are brighter, more contrasting, others further away - lighter, softer).
Next we write our own shadow on the bottle, it is in the background and has
matte surface. Then we show the shadow relationships on the pepper, ceramic vase and vertical plane - the lightest object in the still life.
It should be noted that each time you begin to paint the shadow part of each subsequent object in color, you must compare it with the shadow part of the previous one in order to determine how much lighter the color should be taken on the brush.
Then, in the same sequence, we compare the falling shadows, then the reflexes on the objects, then the penumbra on the objects and, finally, the illuminated parts of the still life objects.
I advise you to use this version of work in order not to darken the darkest objects, so that your work does not become worn out and whitish as a result of many hours of working in watercolors.
Thus, your attention should be paid to identifying the difference in tone and shades of color, taking into account the smoothness of the still life: the closer the objects are to us, the more contrasting they are in color and tone; the further you go, the more their color and shape soften, the saturation and contrast of color are lost).
The comparison method, the method of looking for differences in light voltage and color shades, will lead to the right decision. This unique dialectic of painting allows us to organize nature.
So, the whole meaning and meaning of this method lies not in searching for the color and tone of any spot, but on the contrary - in comparison with the surrounding one, allowing one to find the corresponding place as a whole.
The more experienced you become, the more broadly you will look at the whole. First you will look for and compare two tones, then three, then four, five at the same time, and finally, like an orchestra conductor who hears a violin, a flute, a double bass and so on at the same time, you will develop your eyes so much that you will see everything at the same time , and your hand will not be two - three notes, whole chords of painting. Then you will become a master of painting.
- Don’t forget, guys, that we apply strokes according to the shape of objects, if the object reminds us of the shape of a ball, then along a circle (in the shape of an oval), if it is a cylindrical or conical surface, then vertically or horizontally (at an angle), etc.
Lesson Objective:
- Guys, before starting practical work, let’s clarify the task of our lesson - this is the beginning of the color scheme of a still life, that is, the initial layout of objects according to lightness and color and color contrasts.

Independent work.
Job analysis.
Lesson summary.

Tested by an expert

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Lesson plan Painting 1.docx

Library
materials

Academic subject: “Painting”

First year of study. Introductory lesson No. 1. 3h.

Subject: Painting Basics

Target:

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

Equipment and materials

Lesson progress

1. Organizational moment . Greeting, checking readiness for the lesson.

Setting the goals and objectives of the lesson. Introduction to the subject, purpose and objectives of the training course. Organization of the workplace.

2. Main part. Explanation of the topic of the lesson. Analysis of paintings. Demonstration of demonstration and visual diagrams. Introduction to brushes, paints, paper, basic techniques. Introduction to paints (watercolor, gouache, pastel, oil paints, etc.) and their properties (tone, saturation). Achromatic and chromatic colors in painting.

3. Practical work. Apple in achromatic range. Drawing a sketch and in color. Independent activity: color science exercises to perform an ornament with achromatic and chromatic colors.

4. Lesson summary

Document selected for viewing Lesson plan Painting 10.docx

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materials

Academic subject: “Painting”

First year of study Lesson No. 10.3 hours.

Subject: Painting sketches of deciduous tree

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

Tasks Develop the ability to plan activities, exercise independent control of one’s educational activities give an objective assessment of your work

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

Lesson progress

1. Organizational moment

2. Main part. Explanation of the topic of the lesson. Demonstration of demonstration and visual diagrams. Painting sketches of a deciduous tree. Introduce proportions and individual features of painting autumn tree, color palette when depicting autumn. Study of the basic characteristics of a color spot. Introduction to the concept of “natural color of an object.”

3. Practical work. Painting sketches of a deciduous tree. performing a sketch, color sketch Independent work: observation in nature and illustrations of trees, sketch of a tree

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

Document selected for viewing Lesson plan: Painting 11.docx

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materials

Academic subject: “Painting”

First year of study Lesson No. 11.3 hours.

Subject: Painting sketches autumn landscape

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

Tasks : Training in the basics of construction pictorial composition. Introduce the basics of color science in painting. Develop a sense of color and the ability to mix paints, obtain complex shades of primary colors.Develop brush skills when performing a painting.Develop the ability to plan activities, exercise independent control of one’s educational activities, and give an objective assessment of one’s work

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

Lesson progress

1. Organizational moment . Greeting, checking readiness for the lesson. Setting the goals and objectives of the lesson. Organization of the workplace.

2. Main part. Explanation of the topic of the lesson. Demonstration of demonstration and visual diagrams. Painting sketches of autumn landscape. Introduction to aerial perspective. Construction of a scale of related colors. Using color stretch to convey aerial perspective. Making a scale of related colors with many shades, adding achromatic colors. Studying the properties of the yellow-red range. Contrasts of tone, color, color saturation.

3. Practical work. Painting sketches of the autumn landscape, completing a sketch, color sketch. Independent work: performing color stretches, compositional search

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

Document selected for viewing Lesson plan Painting 12.docx

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Academic subject: “Painting”

First year of study Lesson No. 12.3 hours.

Subject: Painting of a two-piece production on a neutral background.

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

Tasks : Teaching the basics of constructing a pictorial composition. Introduce the basics of color science in painting. Develop a sense of color and the ability to mix paints, obtain complex shades of primary colors.Develop brush skills when performing a painting.Develop the ability to plan activities, exercise independent control of one’s educational activities, and give an objective assessment of one’s work

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

Lesson progress

1. Organizational moment . Greeting, checking readiness for the lesson. Setting the goals and objectives of the lesson. Organization of the workplace.

2. Main part. Explanation of the topic of the lesson. Demonstration of demonstration and visual diagrams. Painting of a two-piece production on a neutral background. To teach the basics of pictorial literacy: the laws of tone and color relationships, the laws of subordination and contrast, the whole and the detail

3. Practical work. Painting of a two-piece production on a neutral background. Independent work: performing color stretches, compositional search

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

Document selected for viewing Lesson plan Painting 13.docx

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Academic subject: “Painting”

First year of study Lesson No. 13, 3 hours.

Subject: Painting sketches of various animals.

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

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

Lesson progress

1. Organizational moment . Greeting, checking readiness for the lesson. Setting the goals and objectives of the lesson. Organization of the workplace.

2. Main part. Explanation of the topic of the lesson. Demonstration of demonstration and visual diagrams. Painting sketches of various animals. Introduce the proportions and features of images of animals and birds in color. Color spot and color silhouette.

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

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

Document selected for viewing Lesson plan: Painting 14.docx

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Academic subject: “Painting”

First year of study Lesson No. 14, 3 hours.

Subject: Painting staged from three objects similar in color.

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

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

Lesson progress

1. Organizational moment . Greeting, checking readiness for the lesson. Setting the goals and objectives of the lesson. Organization of the workplace.

2. Main part. Explanation of the topic of the lesson. Demonstration of demonstration and visual diagrams. Painting staged from three objects similar in color. Introduce the proportions and features of the image of a set of three objects similar in color on a neutral background. Painting a still life using the fractional stroke technique.

3. Practical work. Painting staged from three objects similar in color: performing color sketches, compositional search Independent work: still life sketch

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

Document selected for viewing Lesson plan Painting 15.docx

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Academic subject: “Painting”

First year of study Lesson No. 15, 3 hours.

Subject: Self-portrait in color.

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

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

Lesson progress

1. Organizational moment . Greeting, checking readiness for the lesson. Setting the goals and objectives of the lesson. Organization of the workplace.

2. Main part. Explanation of the topic of the lesson. Demonstration of demonstration and visual diagrams. Self-portrait in color. Familiarity with the basic proportions of the human face. Strengthen the ability to mix

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

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

Document selected for viewing Lesson plan Painting 16.docx

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Academic subject: “Painting”

First year of study Lesson No. 16, 3 hours.

Subject: Painting sketches of a coniferous tree.

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

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

Lesson progress

1. Organizational moment . Greeting, checking readiness for the lesson. Setting the goals and objectives of the lesson. Organization of the workplace.

2. Main part. Explanation of the topic of the lesson. Demonstration of demonstration and visual diagrams. Painting sketches of a coniferous tree. Strengthen the ability to use harmonious colors and shades in work.

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

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

Document selected for viewing Lesson plan: Painting 17.docx

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Academic subject: “Painting”

First year of study Lesson No. 17, 3 hours.

Subject:

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

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

Lesson progress

1. Organizational moment . Greeting, checking readiness for the lesson. Setting the goals and objectives of the lesson. Organization of the workplace.

2. Main part.

3. Practical work.

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

Document selected for viewing Lesson plan Painting 18.docx

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Academic subject: “Painting”

First year of study Lesson No. 18, 3 hours.

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

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

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

Lesson progress

1. Organizational moment . Greeting, checking readiness for the lesson. Setting the goals and objectives of the lesson. Organization of the workplace.

2. Main part. Explanation of the topic of the lesson. Demonstration of demonstration and visual diagrams. Still life painting from two objects in cold colors. Give the concept of “Cool colors”. Tonal contrast, gain characteristic features objects, identifying form. Independent work: still life of household utensils

3. Practical work. Painting a still life of two objects in a cold color scheme: performing color sketches, compositional search. Independent work: still life of household utensils

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

Document selected for viewing Lesson plan: Painting 19.docx

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Academic subject: “Painting”

First year of study Lesson No. 19, 3 hours.

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

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

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

Lesson progress

1. Organizational moment . Greeting, checking readiness for the lesson. Setting the goals and objectives of the lesson. Organization of the workplace.

2. Main part. Explanation of the topic of the lesson. Demonstration of demonstration and visual diagrams. Painting from life bouquets of flowers in related colors. Making a scale of related colors with many shades, adding achromatic colors. Studying the properties of the yellow-red range. Contrasts of tone, color, color saturation.3. Practical work. Painting from life bouquets of flowers in related colors: performing color sketches, compositional search. Independent work: still life of household utensils, color mixing exercises, color stretches, color sketches

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

Document selected for viewing Lesson plan: Painting 2.docx

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Academic subject: “Painting”

First year of study Lesson No. 2.3 hours.

Subject: Basics of color science

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

Tasks : To introduce the basics of color science in painting. Develop a sense of color and the ability to mix paints, obtain complex shades of primary colors.Develop brush skills when performing a painting.Develop the ability to plan activities, exercise independent control of one’s educational activities, and give an objective assessment of one’s work

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

Lesson progress

1. Organizational moment . Greeting, checking readiness for the lesson. Setting the goals and objectives of the lesson. Organization of the workplace.

2. Main part. Explanation of the topic of the lesson. Analysis of paintings. Demonstration of demonstration and visual diagrams. Color composition of the pattern. Acquaintance with the basics of color science, the rules for constructing the color composition of a pattern.

3. Practical work. Image of the ornament in a stripe, square and circle. Independent activity: color science exercises to complete an ornament with primary and secondary colors. Drawing a sketch and in color

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

Document selected for viewing Lesson plan: Painting 20.docx

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Academic subject: “Painting”

First year of study Lesson No. 20, 3 hours.

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

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

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

Lesson progress

1. Organizational moment . Greeting, checking readiness for the lesson. Setting the goals and objectives of the lesson. Organization of the workplace.

2. Main part. Explanation of the topic of the lesson. Demonstration of demonstration and visual diagrams. Still life painting of two household items in warm colors. Introduce the subtlety of color transitions by lightening colors. Develop the ability to soften the sound of the palette, find different shades of the same color. Give the concept of “Warm colors”, color harmony.

3. Practical work. Still life painting from two household items in warm colors: performing color sketches, compositional search. Independent work: color stretching exercises, ornaments in warm colors

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

Document selected for viewing Lesson plan: Painting 21.docx

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Academic subject: “Painting”

First year of study Lesson No. 21, 3 hours.

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

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

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

Lesson progress

1. Organizational moment . Greeting, checking readiness for the lesson. Setting the goals and objectives of the lesson. Organization of the workplace.

2. Main part. Explanation of the topic of the lesson. Demonstration of demonstration and visual diagrams. Painting from life educational still lifes of two objects of contrasting color on a neutral background. Give the concept of “color contrast”. Develop the ability to use contrasting colors in painting.

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

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

Document selected for viewing Lesson plan: Painting 22.docx

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Academic subject: “Painting”

First year of study Lesson No. 22, 3 hours.

Subject: Creative activity.

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

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

Lesson progress

1. Organizational moment . Greeting, checking readiness for the lesson. Setting the goals and objectives of the lesson. Organization of the workplace.

2. Main part. Explanation of the topic of the lesson. Demonstration of demonstration and visual diagrams. Creative activity. Independent work: preparation for competitions, exhibitions (materials and topic of students’ choice)

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

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

Document selected for viewing Lesson plan Painting 3.docx

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Academic subject: “Painting”

First year of study Lesson No. 3, 3 hours.

Subject: Basics of color science

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

Tasks : Teaching the basics of color science, the rules for constructing the color composition of a pattern. Introduction to rhythm, depiction of symmetrical and asymmetrical patterns. Introduce the basics of color science in painting. Develop a sense of color and the ability to mix paints, obtain complex shades of primary colors.Develop brush skills when performing a painting. Develop the ability to plan activities, exercise independent control of one’s educational activities, and give an objective assessment of one’s work

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

Lesson progress

1. Organizational moment . Greeting, checking readiness for the lesson. Setting the goals and objectives of the lesson. Organization of the workplace.

2. Main part. Explanation of the topic of the lesson. Demonstration of demonstration and visual diagrams. Definition of concepts: color, color properties, color wheel, warm and cold colors. Color composition of the pattern. Teaching the basics of color science, the rules for constructing the color composition of a pattern. Introduction to rhythm, depiction of symmetrical and asymmetrical patterns.3. Practical work. Drawing a sketch and in color. Execution of ornamental compositions in the scale located in one of the quarters color wheel. Independent work: exercises in mixing paints.

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

Document selected for viewing Lesson plan Painting 4.docx

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Academic subject: “Painting”

First year of study Lesson No. 4, 3 hours.

Subject: Leaf painting

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

Tasks : Teaching the basics of color composition. Introduction to rhythm, depiction of symmetrical and asymmetrical patterns. Introduce the basics of color science in painting. Develop a sense of color and the ability to mix paints, obtain complex shades of primary colors.Develop brush skills when performing a painting. Develop the ability to plan activities, exercise independent control of one’s educational activities, and give an objective assessment of one’s work

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

Lesson progress

1. Organizational moment . Greeting, checking readiness for the lesson. Setting the goals and objectives of the lesson. Organization of the workplace.

2. Main part. Explanation of the topic of the lesson. Demonstration of demonstration and visual diagrams. Basics of color science. Introduction to the basics of color science. Means pictorial image on a plane. Paints. Color shift.

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

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

Target: acquaintance with the technique of multi-layer glaze watercolor. Painting a contrasting still life consisting of 4 objects and 3 draperies.

Tasks:

Educational:

Three main watercolor techniques - raw, ala prima, glaze;

acquaintance with the works of artists;

making a preliminary sketch of a still life in pencil;

sequence in working with watercolors on a still life.

Educational:

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

development of imaginative thinking, memory, attention, perception of the material being studied;

Educational:

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

fostering respect for the artist’s professional work;

formation of interest in the study of art history.

Materials and tools used:

watercolor paper;

a simple pencil and eraser;

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

Educational production-still life

Lesson Plan

1. Organizational part -1-2 min.

2. Reporting new material – 10-12 min.

3. Instructions for work – 2-3 min.

4. Practical work of students – 25-27 min.

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

6. homework

Progress of the lesson

1. Introduction to the topic.

Preparing for classes, organizing the workplace. Safety precautions with materials and tools.

2. Stages of working on a still life.

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

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

When the drawing is correctly constructed and completed, paint is applied. Watercolor - water paints, from the French word aguarell and comes from the Latin word agua - water. The main property of watercolor is the transparency of the color layer. Therefore, the pencil drawing of the outline of an object should not be very dark, the lines should be soft, otherwise the pencil will be visible through the paint.Whitewash is not used in watercolors; it deprives the paint of its transparency and purity of color. Lighter tones are obtained by diluting a rich tone with water. To ensure that the paint adheres better to the paper, the entire sheet is washed with water before starting to paint. When applying color in watercolor, two methods are used: glaze and alla prima.

Glazing is the application of one transparent layer of paint to another, while the first layer is dried. This method is sometimes called “working dry”, it preserves the transparency of the watercolor.

Alla prima - all colors are taken at once in the required strength, each color detail begins and ends in one step. In this way, or “working raw,” you can achieve brightness and colorfulness.

Filling with local colors begins. Gradual application of color on objects from light to dark.

Our pouring begins with the darkest object - black cast iron. It should not be pure black. Mix the blue-violet gray color and start filling. We paint the darkest areas more densely, the light ones with more diluted paint, leaving places for highlights and reflections. We cover them with very diluted paint. The highlights don't have to be white; they have their own tone. Since we have green drapery, the cast iron reflects a red tint. Add a little red paint, it should be delicate. The light reflects off the pink drapery and falls on the cast iron, forming a gentle reflection in the lower part. In parallel to this, we write all the subjects together. You cannot write out each item separately; all work must be carried out as a whole. You need to get rid of white spots on the sheet, they interfere with the perception of the picture as a whole. We fill the objects with local colors, do not apply the paint too tightly, so that at the first stage of registration we do not darken the light objects. The brightest thing in our still life is the one-time reflective drapery. The cast iron will be the darkest, the glass will be close in tone to it, but it will still be lighter. The next tones are green drapery and a wooden vase. Fill the green drapery with green-yellow color. Fill the light green drapery with gray-green color with the addition of various shades of green, yellow, purple, and brown. Fill the glass with red brown. Since it is varnished and gives a lot of glare and reflections, all this needs to be conveyed in our painting. We outline the reflection from the pink drapery on the left side, and on the right side we outline the highlights. Fill the rim and the inside of the glass with golden ocher. A wooden vase is filled with a light brown color, in the light with the addition of ocher. In the shadows we add a greenish tint and take the color more densely. Since this is a wooden object, there will be no strong glare here, they will be more muted and diffused. You need to try to convey the texture of the wood and the fact that the vase is made of planks, you need to delicately show the edges of the wood.

We begin to apply various shades visible in nature. We create light and shade and volume with this. Work is underway on the background and reflexes.

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

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

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

Working on the details. Summing up. Clarification of details and generalization of the composition as a whole. Softening hard lines.

Examples of still lifes made by the teacher.

Contrasting still life in warm colors.

Still life made in cold colors.

Contrasting still life.

Still life made in warm colors.

Contrasting still life made in warm colors.

1. The drawing begins with the compositional placement of the object on the sheet. The image is outlined with light lines. Taking into account the angle, proportions and perspective, the main design points are found and determined. Taking into account future reductions at design points, it is planned general shape designs of facial parts.

2. Proportions and perspective construction are clarified. Determine the boundaries of own and falling shadows.

3. Using light-tonal relationships, volumetric forms are revealed. They convey spatiality and highlight those forms that are closer to the person drawing with greater contrast.

4. Full tonal elaboration of forms. Working with light-tonal relationships: light, shadow, penumbra, reflex. Summing up. Checking and summarizing the drawing (in its entirety)