Drawing by presentation. Drawing from life, from memory and from imagination in art lessons in a secondary school

The process of creating a drawing involves the establishment of constant and very subtle connections between the drawer and the subject of the image, between the drawer and the drawing, between all elements of nature and the drawing. These connections are determined by knowledge of the entire drawing process - drawing methods, aspects of the drawing process, drawing principles and solving educational problems.

Methods of drawing: reality, influencing a person’s consciousness, shapes his perceptions and ideas certain images. Due to the difference between the image of a real object, formed in the process of visual perception, and the image preserved in memory in the form of a representation, there is also a difference in the methods of their representation. These methods are called drawing from life, drawing from perception and drawing from imagination.

Drawing by Perception characterized by the fact that the object of the image is in front of the painter throughout the entire work. Watching carefully with specific place beyond typical of this subject signs and parts, the painter transfers what he observes onto paper, trying to depict everything as it really is and as his eye sees it, that is, visually similar. This method of drawing is also called drawing from life. Latin word“natura” is translated as “nature”, “real reality”. In nature, the subject of the image can be everything that exists, that is, everything that has its own form and content.

Drawing from life, leaving a person eye to eye with the subject of the image, makes you think about its form and content, determine its signs and properties, comprehend their relationships - in a word, thoroughly study the subject; At the same time, drawing from life develops attention and observation skills, teaches you to see and think correctly.

Working from life not only expands the range of knowledge about reality - it allows visual means consolidate the images of understood things and phenomena, their essence and beauty. These wonderful qualities made it possible for drawing from life to become one of the main ways of teaching images.

In the old Russian school, at the first stages of learning drawing, drawing was often replaced by living nature original drawing made good artist. Everything in this original visual tasks were resolved in an exemplary manner. Students, copying the original, imitated the masters, learned to correctly use material and visual means and learned “exemplary” depiction techniques. This method of drawing from originals also takes place in the practice of teaching teachers, not only as a visual means of mastering techniques images and solutions to educational problems, but also as a tool to help create all kinds of tables and cards necessary for conducting classes with children.

Drawing by View characterized by the fact that the object of the image is absent, is not in front of the eyes of the painter. The artist recreates the image that was once formed in his mind from memory, description or imagination. Images of ideas are less specific and complete than images of perceptions, and therefore drawings made from ideas are somewhat generalized. Their content and originality depend on the conditions of image formation. Drawing from an idea develops visual memory, saturates thinking with vivid images and promotes the development creative imagination.

Drawing from imagination also develops amazing abilities.

They say that the artist Reynolds had a long conversation with the person who ordered him a portrait, inquisitively watched him for more than one hour, and then was left alone. The master painted the portrait based on an idea. One day, one of the visitors to his studio accidentally found himself between the artist, painting a portrait, and an empty platform. Immediately there was an exclamation: “Don’t block my model.” It turns out that Reynolds imagined the person’s appearance so clearly that he continued to “see” him, and painted a portrait, constantly looking at the place where no one was already there.

Drawing from memory

Some people confuse working from memory and drawing from imagination. Both drawing methods have common ground: the depicted object is absent at the time the drawing is executed.

But in a drawing from memory they try to reproduce it in the same position and lighting in which it was observed. In a drawing by representation, the artist freely, at his own discretion, depicts a previously seen object from any angle and lighting, choosing what is necessary according to the plan.

It’s easy to verify this from your own experience: it would seem that you know your room like the back of your hand, but try to draw at least one or two objects from its furnishings from your imagination! You will immediately feel the need to look at nature. You may not be sure about something, general shape you won’t be able to draw it boldly, let alone the details. Support in kind is required. It becomes clear why the masters say: “draw a hundred times and it will be simple.”

Even in drawing from life, if it is done creatively, there is a moment of drawing from memory. Indeed, while the artist’s gaze is transferred from nature to the drawing, the work proceeds from memory, reflecting not only what he noticed in the production, in nature, but also impressions, experiences, refraction of what was seen in the consciousness and soul of the painter. It is no coincidence that they advise placing the easel not directly in front of the nature, but sideways to it, with the left hand, in order to thereby extend the time to experience what you see and not allow yourself to paint like on glass.

©2015-2019 site
All rights belong to their authors. This site does not claim authorship, but provides free use.
Page creation date: 2016-02-12

Drawing by representation

Still life and composition of geometric bodies

F. N. Glushchenko

Created in the intellectual publishing system Ridero

This manual is intended to help students of art and architecture educational institutions, as well as for those who want to independently master drawing techniques and speed up the assimilation of educational programs. The work is full of universal material; it contains detailed step-by-step drawing lessons and other useful information. I think it will arouse professional interest among architects, designers, artists, as well as teachers of the discipline “Drawing”.

Such a wide range of recommended implementation is due to the fact that the work is based on the construction of settings using the method of geometric analysis. Or, as it is also called, an architectural method, erroneously attributed only to the architectural school, although it is most widely disseminated by it. In fact, the proposed method is already more than 80 years old, and this work is based on a solid scientific foundation of such works of the outstanding artist and teacher P. Ya. Pavlinov as “Graphic literacy” and “Everyone can learn to draw”, the successors of his work - architects-teachers Tikhonov S.V., Demyanova V.G., Podrezkova V.B. (textbook “Drawing”. M. 1983) and a number of others.

The analytical approach, which has long proven its high efficiency in mastering the subject, which P.Ya. Pavlinov called objective, descriptive and demonstrative, stands in opposition to the approach usually practiced by art schools and colleges - its supporters call for completely trusting nature and intuition, essentially not analyzing what is depicted, and “expressing” from the standpoint of subjective perception. In the epigraph of the book “Everyone can learn to draw,” the author cited the words French philosopher D. Diderot (1713-1784): “A country in which they taught to draw in the same way as they teach to read and write, would surpass all other countries in all arts, sciences and skills.” And Pavlinov himself noted that not every person who draws can become an artist, just as not every person who is literate can become a writer, but “an engineer, a teacher, and a researcher should be able to explain a thought through a drawing.”

However, resistance to the architectural method was not expressed in the reluctance of people to join the “beautiful” as such, it was met precisely by the proposed ways of mastering the subject. In other words, the observed confrontational position of many schools “neutralizes” the natural desire of students to master more effective methods knowledge of the world, a single language, known since ancient times, but presented by many teachers as ineffective.

Geometric analysis in pre-university educational drawing is the main tool in the formation of three-dimensional spatial thinking in students. This approach aims to not only explain the basics of drawing in six months to a year, but also teach how to think “in a complex way,” meaning by this the ability to compare promising views observed in nature with orthogonal projections, giving an objective, complete picture of them. But such a drawing will not only be beautiful and expressive, but also accurate, and therefore comprehensively useful.

The standard course for studying drawing in architectural classes, thanks to which the analytical (geometric, objective) approach to drawing itself was largely widespread, begins with exercises such as depicting cubes in space (“perspective”), simple and complex insets (for example, a cube , embedded in a cube; a ball embedded in a prism with some displacement of the ball along one of the coordinates), and ends with such tasks as head, interior, exterior (city landscape).

Well architectural drawing divides the task “volumetric composition of geometric bodies”, which is the subject of consideration of this work, into two conditional stages. The first stage aims to teach the applicant to perceive the environment as a set of spatial geometric volumes and to work with them analytically. The second stage is to teach how to use the knowledge acquired in the first stage. The second stage is a logical continuation of the first; This can best be seen in productions such as still life with the inclusion of geometric bodies, directly in the production architectural detail(rosette, ionic, vase, capital), interior and the city landscape that completes the course. Drawing is required in artistic and architectural universities settings - heads, figures - is also not divorced from general process knowledge of the world through geometric analysis, and is also “tested”, built, as when working with any geometric shape.

Our tutorial will mainly focus on the first stage. A certain detachment from nature, isolation from function, from the purpose of the subject of study, from the “first impression” - allows painters to more consciously perform the work and, as a result, more effectively create an image that is always individual.

Chapter 1. Problems of verification and self-test educational exercise"Composition of geometric bodies"

Before the teacher art school, college, university, the question often arises - which drawing is considered the most reliable. When working with nature, the answer seems obvious. Whereas in drawing from an idea it is not only difficult to give an answer, but the very formulation of the question seems meaningless. Any drawing can be “beautiful in its own way,” and everything depends only on who evaluates it. At the moment, there are no generally accepted or at least well-known rules for evaluating work according to objective criteria, the presence and absence of errors. All at first glance errors, or vice versa, advantages are tasteful, generally accepted, but often controversial, and sometimes simply harmful to the process itself - when obvious construction errors are compensated by the external diligent appearance of the drawing. This set the teachers the task of formulating evaluation criteria. “Errors” that often appear in assessments, such as “crooked lines”, “carelessness”, “inattention to work”, look especially unconvincing when we're talking about about a serious examination test, on which the profession of the examinee often depends.

First attempts to formulate general rules in the construction of geometric bodies led to even greater “discrepancies” due to the fact that they were not fully formulated and were rather advisory in nature. The justification for such “crude” techniques was that drawing is not an area descriptive geometry. This is partly true; the basis of the drawing, its “ main formula", which will be discussed below, in the third chapter, is not mandatory in construction and verification, for example, in descriptive geometry; but fundamentally, when it comes to self-testing or when there is a need to achieve the greatest accuracy of the depicted production, it inevitably requires knowledge in this particular area.

But such tools as a constructed horizon line, the use of prototypes of geometric bodies in nature, transitional exercises such as still life, interior, exterior, and individual special seminars that explain the basics of perspective images often do not give the desired effect. The work must be not only “reliable” in the “visible” part, not only convincing at first glance, which, as the standard methodology assumes, the student comes to with experience, but also be accurate, useful for mastering related, related courses, such as industrial and architectural design, drawing, paper modeling, design, etc.

In other words, the current compositional drawing, even in leading specialized universities, is a rather complex geometric design, often not without a complex author’s plot - that is, one of the goals of the exercise itself, but does not have a basis based on a real idea of space. Consequently, all “superstructures” in the form of introducing non-standard geometric figures directly into the very condition for specifying “complex” sections are meaningless until the answer to the key question is formulated - what can be responsible for accuracy and “reliability” in the space of a plane, a figure, a body. And hence: the accuracy of size, proportions, perspective and, ultimately, the persuasiveness of the overall impression of the work.

In practice, when analyzing and checking work, a square with a circle inscribed in it is used: the square helps to assess the depth, the modular square also helps to determine the proportions of the figures, and the circle “helps” the square itself to be reliable. It would seem that these two interrelated techniques may well form the proper drawing, but the situation is complicated by the fact that three-dimensional space does not provide the freedom that is possible in the depiction of two-dimensional space. Three-dimensional space requires specific knowledge. For example, a violation of the sequence of drawing a square cube, when an ellipse fits into a square, and not vice versa, leads to the fact that the “expected” circle turns out to be an oval “in plan”, and not a circle elongated in width or height. This error is easily identified by constructing lateral and superior projections. The error occurs as a result of a “random” rotation of the axis of an ellipse inscribed in a square located on the object plane. Such a square, like the entire composition as a whole, is always easier to start over than to try to correct the first, fundamental error in it. In other words, if a square is not a square, then without a doubt a cube will not be a cube, and hence a prism will be a prism, a pyramid will be a pyramid, and the number of errors will be equal to the number of geometric bodies.

Saraeva N.P.

art teacher

Drawing from life, from memory and from idea

in art classes in secondary school

In the modern world, art has not lost its importance in the education of the younger generation, in the development of artistic taste and sensitivity to beauty in surrounding life.

Passion for art and love for it do not come to a child on their own; an adult must carefully and passionately lead him to this. And first of all, the school teacher is a professional who will convey to an inexperienced student all the subtleties of his business - teaching fine arts, teach him to understand and feel the world of the artist, and through him - the beauty and meaning of life, reality.

The formation of interests and needs of a student’s personality is carried out by various means, including the means of fine art. Success here can be ensured only when the student, along with independent visual activities, is prepared to perceive paintings, drawings, sculptures, works of architecture and decorative and applied art. Fine arts lessons play an irreplaceable role in this.

art- this is a beautiful, amazing and attractive world. It is not always possible to simply enter into it right away. This world lives according to its own special laws. Without feeling them, without trying to understand them, it is not easy to perceive all the beauty and complexity of fine art.

Far from it last place V school teaching Fine arts are devoted to such types of work as drawing from life, from memory and from imagination, the implementation of which contributes to the development of students’ ability to see the world in connection with art, the formation of a creative personality. Students who understand the language of graphics, painting, and sculpture perceive other types of art much more deeply.

Different kinds creative activity, mastered by students, contribute to developing their attitude towards fine art as a form human consciousness, to activities that require deep knowledge, a lot of work, observation, determination, and the ability to overcome difficulties.

Drawing from life

Drawing from life is the leading section of training, visual method training, which gives excellent results not only in teaching drawing, but also in general development child. Drawing from life teaches you to think and purposefully observe, awakens interest in analyzing nature and thereby prepares the child for further educational work.

Drawing from life plays a big role in mastering the skills of competent depiction. This fair statement of many methodologists is reflected in various literature, drawing and visual arts programs. The difficulties of drawing from life not only for teenagers, secondary school students, but even for professionals lie in the fact that, after going through analysis, maintaining the freshness, activity and integrity of the initial perception, deepening and enriching it. A close analytical-synthetic perception of objects of reality in the process of drawing from life encourages contemplation; this ability is extremely important for the emergence of aesthetic emotions and artistic image.

Drawing from life in a secondary school creates the prerequisites not only for mastering the basics of competent depiction, but also the conditions for a creative artistic and figurative reflection of reality. One of the types of creative work that artistically reflects reality can be called still life.

The main task in still life is to develop in schoolchildren the ability to emotionally and aesthetically perceive the depicted objects. The direction of visual perception should be emotional in nature. Having felt the beauty of objects, the child begins to look differently at an ordinary still life; he sees the harmony of the outlines of the vase, the sparkling whiteness of the plates, the picturesque texture of the drapery, that is, he learns to analyze what he sees and see the beauty of the objects that surround them in everyday life.

When working on a still life, the following educational and creative tasks are solved:
1) analysis of shape, proportions, structure, spatial position;
2) depiction of the symmetrical shape of objects using the midline;
3) color analysis;
4) training in how to work with different materials(graphic, pictorial, plastic).
5) acquiring skills to work in monochrome;
6) studying the rules of composition;
7) acquisition of skills in working from memory and representation (observation, knowledge).

The fine arts course involves students performing various still lifes, starting with simple ones, composed of one or two objects, becoming more complex at subsequent stages of training.

So in the fifth grade at the beginning school year a still life with fruits and vegetables is performed. Work on a still life begins with composition - the arrangement of a group of objects on the plane of a sheet of paper. The image of the objects should be very large and occupy the entire sheet of paper. Then the outlines and design of the still life objects are drawn, starting with the largest. Next, the construction lines are removed and paint work begins. Thin lines the boundaries of light, shadow, penumbra, highlights and reflections on objects are outlined; with the help of color and chiaroscuro, the beauty of the shape, surface, and color of objects is conveyed.

Children learn to understand nature, learn the laws of its competent depiction, master the skills of building work sequentially from simple to complex, from elementary exercises to more diverse and profound tasks.

In the process of learning to draw from life, educational tasks are laid down,

which contain a lot of different information, for example: if they draw fruits, vegetables - information - where they grow, about the works of artists - masters of still lifes; if instruments, a story about their purpose follows. When they draw household items, they talk about traditional folk decorations of household items (Palekh, Khokhloma and other folk crafts), a story about crafting techniques. The visual range, which usually accompanies any information, ensures more conscious drawing by schoolchildren.
So the next step is drawing autumn still life"Rowan branch and apple." The drawing is preceded by a story about a mountain ash: “Against the background of the troika sacred trees(ash, hazel, oak), ordinary rowan looks modest. In our forests this tree, with its thin branches, carved leaves, large berries, swaying in the wind among the mighty oaks and pines, is as much a symbol of magic as this sacred three.

In the past, sacred rowan groves grew in sacred places of the sanctuaries of the ancient gods, since rowan provided magical protection and contributed to predictions. In addition, rowan was associated with such skills as the ability to control one’s feelings and protect oneself from other people’s spells.

A rowan tree growing near a house is still considered a good omen, and cutting it down unless absolutely necessary is not good, and we pay attention to extraordinary beauty this tree." Children are given the opportunity to get acquainted with some paintings depicting rowan trees. Attention is drawn to the rowan tree growing outside the office window, which at this time of year - autumn - is decorated with bright clusters of berries.

Next, the teacher, together with the students, analyzes the full-scale setting, shape, volume of the rowan bouquet, spatial position, horizon level, structure of leaves and bunches of rowan. The sequence of linear construction of a still life drawing is demonstrated. Special attention is given to the first stage - determining the compositional arrangement of the entire group of still life objects on a sheet of paper. Attention is drawn to the correct and incorrect composition of the still life drawing. Students with great interest relate to this work. The still lifes are very bright, beautiful and emotional. The beauty of the rowan tree outside the window is also reflected in the students’ drawings.

In the seventh grade, it is planned to perform the “Festive Still Life” and the national “Russian Still Life”.

When drawing a “Festive Still Life” from life, it is necessary to remind students of the need to examine the object being drawn and compare it with their drawing. To make the still life easier to perceive, contrasting objects are set, simple in shape and different in color. At the same time, it is necessary to help the child see the characteristic color and shape of objects, to draw his attention to the aesthetic qualities of the model. A staged work may contain a small number of objects, but the requirements for the quality of the drawing are increased.

When performing “Russian Still Life”, students expand their knowledge about

decorative and applied creativity of the peoples of Russia, folk crafts, the specifics of figurative and symbolic language and the role of color in works of decorative and applied art. The still life is made up of Russian household items (jar, birch bark, clay bowl, wooden spoon). Students' attention is drawn to the fact that a production drawing is not just a sum of details; one object is drawn onto another. This is something whole, but including several items. Here it is necessary to take care of the balance of the composition, the plastic unity of the entire drawing.

Even when drawing a jar, which is generally a simple object, it is necessary to follow a certain sequence. We start by studying the form, understanding the structure and texture of the surface. Then we assemble the image into a format and begin constructive construction. We check the correctness of the design, the verticality of the axis, the symmetry of the right and left sides of the lid, stability on the plane: is there a feeling that the object is falling forward or backward. If there is, it means that the horizontal parts of the jar or other thing are not accurately marked relative to eye level. After correcting the inaccuracies and errors of the entire composition, students begin to work with paints.

In this way, the knowledge acquired during the learning process is consolidated. The number of tasks is decreasing, but quality requirements are increasing.

The first step in mastering the techniques of depicting three-dimensional objects is drawing the simplest geometric bodies. IN primary school Students become familiar with geometric bodies and acquire linear construction skills. IN high school this knowledge expands and deepens. The ability of students to understand and draw basic geometric bodies provides enough knowledge to depict any household item, which, when analyzing the shape, reveal similarities with geometric bodies or consist of their combinations.

Geometric bodies underlie many objects; all perspective changes are clearly visible in them, and the process of depicting these bodies is simple and determined by only a few specific stages.

In the fifth grade, a “Still Life of Geometric Solids” is drawn, composed of geometric solids various shapes(parallelepiped, cylinder, sphere). The task is in progress soft pencils: TM, M, 2M. Drawing this still life has the following goals:

Familiarity with design, end-to-end drawing, linear construction, chiaroscuro;

Drawing geometric bodies from life with an attempt to convey volume;

Understanding the structural structure of objects, elements of linear perspective;

Development visual memory, conveying impressions, awakening fantasy, creative imagination;

Drawing from the general to the details;

Development of memory, ability to combine parts;

Strengthening interdisciplinary connections (mathematics).

The educational performance is aimed at understanding the basics of perspective, the ability to understand the design of objects, and to reveal volume using chiaroscuro. The lessons learned from drawing simple objects will help you later convey any objects, regardless of their size or complexity. For example, buildings are thought of as combinations of spheres, cylinders, cones, prisms and pyramids. The domes of cathedrals are usually hemispheres; the roofs of some houses resemble triangular prisms or low pyramids. Gas and water storage facilities, in most cases cylinders with conical or dome-shaped tops. The interior of the room and furniture also have geometric proportions.

In the sixth grade, the knowledge acquired in the previous stages of education is consolidated. For example – “Drawing carpentry tools from life » – still life with a plane and mallet. Given training session promotes the formation of spatial imagination, develops the ability to use the laws of linear drawing.

The ability to draw a plane, which is based on a parallelepiped, provides enough knowledge to depict any household object, which, when analyzed in shape, reveals similarities with this geometric body or consists of combinations of several parallelepipeds, including a mallet.

Working on the drawing “Drawing carpentry tools from life” is a sequential solution to interrelated basic problems.

1) Perspective construction objects (parallelepiped) in an angular position. Determination of the horizon line and two vanishing points, which determines the correct placement of objects on the sheet.

2) Determination by four lines of the horizontal edge of the parallelepiped of the plane body on the plane of the sheet. Lateral planes bounded by vertical edges are depicted vertical lines. Then the spatial arrangement and size of the mallet, and promising reductions in shapes are outlined.

3) Construction of an end-to-end drawing of each geometric body. Conveying the proportions of objects, relationships in height, width, proportionality of objects, well conveying the design of objects.

4) Determination of gradations of light and shade, transfer of volume, competent use of shading “in shape”. The dependence of the illumination of an object on the strength and distance of the illumination source is explained.

Despite the difficulties that arise, drawing this still life is interesting for students, and good execution of the drawing increases self-esteem. To obtain such an image, you need not only life-long visual experience, but also knowledge of perspective patterns. Knowledge of these patterns will help in depicting from memory and in representing three-dimensional objects in a spatial environment.

All objects around us have a form. We distinguish them by the characteristics of this form. There is a classification of forms established by geometry. In some cases, the signs of the shape of an object are very clear, they fit exactly into this classification, in others they are barely noticeable. Sometimes forms that are familiar by classification form new, complex and unique combinations in objects. Developing in children the perception and ability to convey the shape of objects on a plane, we first pay attention to its clearly distinguishable features.

In many works of artists you can find images of various buildings and houses. These are village huts, ancient wooden and brick mansions, and modern houses. The ability to draw buildings is especially important for architects. Students again encounter the simplest laws of linear perspective and the rules of three-dimensional image when drawing from life in a lesson in the fifth grade on the topic “Sketches from life of a model of a house.”

Students can complete one or two sketches of a house model in different rotations, or one long drawing revealing the volume of the house with shading. It should be noted that children look at the house model from different sides, which means their points of view are different. For some children, the house will have its façade facing it, while for others it will be located at the corner. Therefore, to form a full-fledged image of the house in them, it is necessary to analyze its design, geometric shape and observe from different angles.

Any artist pays a lot of attention to the depiction of a person throughout his life. In general education curriculum a certain number of hours is also devoted to the image of a person, providing for drawings from life on the topics “Sketches from a human figure” and “Sketches from a figure of a man sitting in profile.”

Sketches are one of the types of drawing, quick, concise sketches. Most often they are small in size. This is due to the purpose and specificity of the sketches, the speed of their execution, and the conditions under which they are performed. Sketching classes play important role in the process of mastering visual literacy. Systematic work on sketches develops observation, eye, develops a sense of proportions, enriches with observations and knowledge.

In the sketches one finds mainly the main, most significant characteristics of the depicted figures. Essential in quick drawing plays the ability to begin work by establishing the whole. When drawing sketches from life, one must strive to express the general impression of nature. Give a complete picture of it. One of the very important tasks facing students is the correct transfer of the characteristic features of the depicted figures, including proportions individual parts bodies. When sketching a person, students are guided by rules taken from ancient canons about proportions human figure. In the process of creating a composition, students constantly compare nature with their drawing.

Independent work of students can be done in various ways:

Making sketches using only lines (the first lines represent general outline figures, and then parts of the figure are drawn);

Making sketches using lines, diagrams (first, straight line segments are drawn showing the spatial arrangement of parts of the figure, then the volumetric shape of the figure is drawn).

To reinforce the clarity of the material, you can show similar poses (standing straight, standing sideways, sitting straight or to the side) on reproductions, and give a similar pose to the natural material. The person's face is not drawn in detail.

Sketching plays an important role in the process of mastering visual literacy. Systematic work on sketches develops observation, eye, develops a sense of proportions, enriches with observations and knowledge. Purposeful drawing from life contributes to the formation of students' worldview, accustoms them to conscious perception of phenomena and objects of the surrounding reality, and develops their artistic taste.

Drawing from memory and idea

Creative work on any topic is largely based on the work of memory and imagination. Therefore, in the process of preparing students for creative activity, it is necessary to carry out constant training of visual memory, to promote the enrichment and replenishment of visual ideas, which is achieved through appropriate exercises in drawing from life and from memory.

The basis for successful drawing from memory and from imagination is the systematic work of students on drawings and sketches from life. By drawing from life, students learn and remember characteristics structures of various objects, get acquainted with the principles of their representation. Drawing from memory is based on this basis.

In the practice of art education, a certain terminology has developed that distinguishes between certain types of work on the image, carried out without the direct use of nature. This is drawing from memory, from idea, from imagination. They are based on the work of memory, thinking, as well as previous observations and drawing from life.

Under drawing from memory involves making drawings and sketches based on visual memory.

At drawing from idea visual activity proceeds according to a slightly different principle. The image is also performed on the basis of memory work, using visual representations previously obtained as a result of observations and full-scale sketches. In addition, in the process of drawing from imagination, imagination plays a certain role, the ability to depict familiar objects in various positions and combinations. Drawing by representation is more complex look visual arts than drawing from memory.

Drawing from memory and from imagination finds its application in educational work with students. The program for preparing students for drawing from memory includes various tasks and exercises.

One of the tasks that students work on in the fifth grade is “Drawing answers to folk riddles" Getting to know this type of oral folk art How riddles teach you to look closely at the entire world around you, see beauty, enjoy its diversity, develop associative thinking, curiosity, and broaden your horizons. Children are asked to illustrate the riddles, but at the same time think through the composition so that the drawing - the answer - cannot be seen next to the text of the riddle. A sheet of paper can be folded like a postcard. The text of the riddle, which describes using artistic and expressive means the signs by which the object is guessed, is written in block letters with colored pencils, felt-tip pens, ballpoint pens on the first page. Answer - the answer is drawn inside the postcard. Completing this task requires the student to have competent command of composition, line, color, and developed associative thinking.

In the work of representation, knowledge about reality and its observation play an important role. Knowledge is classified, combined and stored in memory. Certain knowledge and observations are also required from the animal artist.

Introducing students to the animal genre in high school involves sketching and drawing animals. The peculiarity of the animalistic genre of fine art requires knowledge of the anatomical structure, proportions, and color of animals.

Working on the topics “Red Cat”, “Sketches of Pets”, students implement the following activities:

1) Analysis of the main forms and body parts of animals.

2) Familiarization with behavior and methods of movement.

3) Clarification of characteristic movements.

4) Features appearance(leather, fur).

5) Study of the habitat.

6) The ability to draw an animal using means of artistic expression.

What is wrong are those students who, having received the task of drawing an animal from memory, immediately begin the drawing process, without giving themselves the trouble to imagine what needs to be done, without first achieving a clear mental reproduction in memory of the object to be sketched. In this work, students can be helped by developed memory and imagination, the presence of skills and abilities that are developed in the process of consistent repeated repetition.

The attitude towards the natural world is expressed primarily in the genre of landscape. Love to native nature, understanding its beauty is an indispensable part patriotic education person. The feeling of attachment to one’s native land begins precisely with the awareness of the poetry of the natural world that surrounds us from childhood.

Practical work in the landscape genre provides many opportunities to understand and master elementary artistic skills, which expand and deepen in the tasks of each lesson. Working from memory and imagination to complete the landscape “In the Autumn Park” and the sketch “Crimson and Gold of Autumn” allow students to improve their knowledge of the application of the laws of linear and aerial perspective, color, composition.

For a more complete and vivid representation of nature, reproductions of paintings by Russian artists are shown to the class, drawing attention to the coloring of the presented paintings, because the mood of the painting and its emotional impact depend on the choice of color. The color of the canvas can be joyful and sad, calm and anxious, mysterious and clear.

Thus, the red-excited coloring of A. Arkhipov and F. Malyavin creates a major mood in their works. And vice versa: a minor mood is evoked by the tender, thoughtful colors of V. Borisov-Musatov or the cold, fabulously mysterious color of M. Vrubel.

It is known that the natural colors of objects themselves are rarely harmonious. However, they always look united and harmonized precisely thanks to the general lighting. When working from memory, students find the greatest difficulty and difficulty in conveying the color characteristics of nature. So, for example, the color of grass, tree foliage is sometimes written simply in shades of green, a brick house - in orange-red, blue, and so on.

Therefore, students are told that the coloristic unity of the image watercolor paints sometimes achieved by artists mechanically. For these purposes, the same paint is introduced into all shades used to depict objects; the same results are achieved by pre-coating with one color or another.

The conversation ends with an analysis of the characteristics of autumn and changes in autumn nature. Schoolchildren recall their observations during walks in nature and share their impressions. Reading excerpts from I. Bunin’s poem “Falling Leaves” and from G. Skrebitsky’s work “Artist - Autumn” reinforce children’s aesthetic impressions of autumn park or forests.

Drawing on the topic “Landscape with images of houses above, below and on the horizon” sets the following goals and objectives for students: studying the features of the image of prismatic forms located on at different levels to the horizon line; consolidation of information about linear perspective: horizon line, horizon level, point of view, vanishing point, frontal and angular, aerial perspective. In the process of working on a drawing, the skills and abilities of observing the laws of frontal and aerial perspective are expanded, and the concept of linear angular perspective is introduced.

Drawing on topics such as “Sports” and “Motherhood” allows you to pay attention to the beauty of the movements of the human body, apply the knowledge and skills previously acquired when drawing a human figure from life, and consolidate the expressiveness of body proportions in the movement of figures.

When drawing from memory and idea on the topic “Sports”, students d For greater expressiveness, one should choose such body positions and moments of movement when the dynamics are most fully felt - its climaxes. The movement of figures can be enhanced by dynamic compositions.

When analyzing the works of the artist A. Deineka, students’ attention is drawn to the fact that the figures in a sports game are never located on the same line - some are closer to the viewer, some further away. Attention is drawn to the possibility of overlapping a figure with a figure and their rhythmic connection when depicting figures in a single action.

It is far from indifferent where the image is placed. If it is in the center of the sheet, it will be motionless. It will also be motionless at the very edge. The edge of the sheet seems to hold the image. It is suggested to think about where the image should be placed to make it dynamic.

At the end of the conversation, students must answer the question: why are the movements of the figures conveying movement sports games, are the artists' works so convincing? The answer is that only what we ourselves have seen in life is convincing. All this creates a feeling of naturalness of what is happening, vitality.

Subject motherhood present in almost every fine arts program - the most important topic attitude towards life and close to the child. It is always carried out with special interest, but it is also quite difficult - here it is necessary to convey people’s feelings through their image and facial expressions. Z a remarkable number of works by outstanding Russian and foreign artists, proverbs create a certain mood for work. Not always having a good idea of the nature of working from memory, students are afraid to try their hand, or an unsuccessful attempt is regarded as an inability to draw from memory in general. In this regard, it should be noted that a drawing from memory does not necessarily have to be detailed or exhaustive in conveying the impression of what was seen. It is difficult for students to achieve similarities even when drawing from life, and even more difficult when drawing from memory. However, these very natural difficulties should not be frightening and should not be regarded by students as insurmountable.

Processes of drawing by representation may vary depending on their content and the relationship between observation and imagination involved in the drawing process. Images of representation can be very far from objects of reality, for example, fairy tales: they bizarrely combine signs of reality, violating the laws familiar to us objective world. In the image, the representation can convey images of the distant past. The painter recreates them in his imagination on the basis of knowledge and ideas about the material culture of peoples, nature and life of past eras. Such work is drawing based on a presentation in the fifth grade on the topic “Ancient Mansion”.

During the lesson, students become familiar with the image architectural structures in paintings by masters of Russian painting, with the architectural ensemble of the Moscow Kremlin. Then students draw " old mansion"using geometric shapes that they had previously studied and depicted (cube, cone, tetrahedral prism, cylinder, ball). Thus, exercises in drawing from memory and from imagination help consolidate previously acquired knowledge, develop visual memory and spatial thinking.

Drawing from memory and from imagination is drawing compositions on themes from the life around us. In the process of drawing on themes, the skills of competently depicting proportions, structural structure, volume, spatial position, lighting and color of objects are improved and consolidated.

The creation of works of art is unthinkable without creative imagination, without the participation of memory. Many Russian and foreign artist-teachers used in their pedagogical work with students drawing lessons from life, from memory and imagination as a mandatory component of the learning process for future artists.

IN daily work When working on drawings, children need developed creative thinking, a rich supply of plastic observations, strong skills in confident and free drawing, and the ability to improvise. These qualities are acquired as a result of systematic drawing from life, from memory and from imagination. The ability to draw from memory is ensured by knowledge of perspective, plastic anatomy, color science. In drawing on topics - from memory and imagination - students use skills, which were developed when drawing with nature. Without them, successful work on tasks on thematic drawing and composition is impossible, since a compositional sketch is not compiled mechanically.

Writing compositional sketches is one of the important means of developing memory, observation, and creative imagination. By how a student copes with composition tasks, one can to a certain extent judge how developed these data are in him. It must be borne in mind that developing the ability to work “on one’s own” is not an end in itself, but necessary condition for successful work, especially in composition and thematic drawing. The main assistants in in this case are the skill, memory, imagination of the drawer, as well as his observations and knowledge of life acquired while working from life.

Thus, drawing from life, from memory and from imagination perform common tasks:

improving and consolidating the skills of competent depiction of proportions, structural structure, volume,
illumination, spatial position, color of the object, highlighting the compositional center;
developing the ability to draw expressively;
development of the ability to independently choose the plot of a proposed topic and convey it using artistic expressive means
your attitude towards him;
development of fantasy, imagination, logical and spatial thinking.

Concluding the work, we can also say that drawing from life, from memory and from imagination, develops in students an aesthetic attitude towards the environment, the ability to see and feel beauty, develops artistic taste and creative thinking, and forms a sustainable interest in creative activity.

Bibliography

1. Nemensky B.M. Beauty wisdom: About problems aesthetic education: Book for teachers. – 2nd edition, revised and expanded – M.: Education. 1987. – 255 p.

2. Nemenskaya L.A. Art. Art in human life. 6th grade. Textbook for general education institutions. Edited by B.M. Nemensky. Moscow, "Enlightenment". 2013. - 175 l.

3. Drawing. Tutorial for students of the art and graphic faculty pedagogical institutes. Edited by A.M. Serova. M., “Enlightenment”, 1975. 271 p.

Informational resources