§4 Elements of shaping. Simple and complex forms. Lesson from "Analysis of the geometric shape of an object History and mythology

Class: 6

Presentation for the lesson

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Target: developing the ability to explore the objective world.

Lesson type: lesson of studying and primary consolidation of new knowledge

UUD

Personal UUD:

Awareness of oneself as part of the world among the diversity of surrounding objects;

Formation of the ability to act in the role of a scientist, the role of a classmate, the ability to build interpersonal relationships;

Regulatory UUD:

Control in the form of comparison of a method of action and its result with a given standard in order to detect deviations and differences from the standard.

Communicative UUD:

Planning educational cooperation with the teacher and peers - determining the purpose, functions of participants, methods of interaction;

Managing a partner's behavior - monitoring, correction, evaluation of his actions.

Cognitive UUD:

- general educational universal actions:

Reflection on methods and conditions of action, control and evaluation of processes and results of activity, interaction, control, correction of the assessment of the partner’s activities;

- logical universal actions: analysis of objects in order to identify characteristics, synthesis, selection of bases and criteria for comparison, classification of objects;

Statement and solution of the problem: independent solution of the problem of the relationship between the knowledge gained in the lesson and the visual creativity of the objective world

Planned results:

Personal results:

Formation of work skills when performing practical and creative work;

The ability to understand the world through images and forms of fine art.

Subject results:

Ability to characterize the concept of simple and complex spatial form;

Know the basic geometric shapes and volumetric bodies;

Identify the design of an object through the relationship of simple geometric shapes;

Construct the complex shape of an object as a relationship of simple geometric shapes.

Meta-subject results:

– the ability to build and justify the theoretical aspects of the material being studied through the construction of a communicative dialogue: teacher-student; student-student.

– the ability to extract material studied in mathematics and adapt it into the language of fine arts;
- ability to analyze, synthesize, research.

Intersubject connections: with mathematics.

For students: plasticine, geometric shapes cut out of colored paper, colored cardboard, scissors, glue.

During the classes

1. Organizational part.

• Greetings
• Checking readiness for the lesson
• Checking Student Attendance
• Select an active group to analyze work and evaluate students

2. Repetition of the material covered:

Guys, let's remember what genre we met in the last lesson? And give it a definition.

Answer: with the still life genre. Still life is an image of “dead nature”

Today in class we will continue to work on this genre.

3. Communication of new material

You are presented with items that are identical in purpose. What is their difference? (slide No. 2,3).

Answer: These objects have different shapes.

Right. Today in class we will talk on the topic: The concept of form. The variety of forms in the surrounding world. How do you understand what form is?

Form is the unity of the internal structure and the external surface of an object.

Throughout the world around us, we strive to look for and establish similarities of forms. More often than not, we associate surrounding objects with simple geometric shapes or appear to us as a combination of several shapes. This happens because we tend to seek order and simplicity in the variety around us. What geometric shapes do you know from mathematics? (slide No. 4)

Let's imagine what objects are associated with a round shape, a square shape, etc. (slide 5,6)

The form can also be linear, flat and volumetric (examples). Remember that we get the first sensations of volume when we pick up and feel objects or do sculpting, creating a three-dimensional volume. You know that the appearance of an object and the outlines that characterize its shape depend on length, width and height, that is, it is these dimensions that make it voluminous.

The shape of an object conveys its characteristic features and makes it recognizable.

In the drawing, the shape of objects is conveyed by lines and light and shade. Each depicted object has a specific structure - design.

The design is the basis of the form, the backbone, the frame that connects the individual elements and parts into a single whole.

To convey a three-dimensional form in a drawing, it is necessary to imagine its internal structure, in other words, you need to understand the design of the object. (Slide No. 7)

Before you begin to depict a jug from life, it is useful to analyze what geometric shapes it consists of. If you mentally dissect the shape of the jug, discarding the spout and handle, you can imagine that the neck is a cylinder, and the main part of the vessel consists of a ball and two truncated cones.

It turns out that throughout our lives we accumulate ideas about various forms, and sometimes our eye only needs a hint, a dot, a spot to recognize familiar objects in them. (slide No. 8)

Designers spotted many interesting forms in nature, on the basis of which they designed objects and machines that were distinguished by their beauty and usefulness of form.

For example, a modern airplane looks like a bird. Its streamlined shape is best suited for flight.

Knowing how to analyze the shape and design of an object, the artist can easily stylize this form. Stylization means decorative generalization and emphasizing the features of the shape of objects using a number of conventional techniques. You can simplify or complicate the shape, color, details of an object, and also refuse to convey volume. (Slide No. 9, 10) One example of stylization can be the process of creating iconic images in graphic design.

As designers, we will try to be with you in today's lesson.

4. Statement of the problem:

using the knowledge gained in the lesson, transform prepared geometric shapes into silhouettes of objects for a thematic still life (work in a group is possible)

Modeling an object with a complex design, which is based on simple geometric shapes

5. Application of knowledge and skills in a new situation

Individual or group work of students

Teacher control

6. Reflection. Evaluation of student work (active class group working)

• What methods did you use to stylize the objects in your still life?
• What geometric shapes were included in the object that was made of plasticine?
• What outcomes do students deserve to achieve and why?

7. End of the lesson

SHAPE AND COLOR OF OBJECTS Goals: to continue developing workplace organization skills; give primary ideas about the shape of objects, color scheme; teach watercolor painting techniques; develop observation skills; cultivate neatness. Equipment: watercolor paints, pencil, palette, water, brushes, napkins. Pictorial row: geometric shapes (circle, oval, triangle, square); a sample of a pedagogical drawing, objects of various shapes or their drawings (ball, Christmas tree, etc.); dark sheet of paper measuring 60 × 80 cm, sets of colored stars; colored paper flags of the main colors of the spectrum and their shades. Literary series: Russian folk riddles, poems. Course I. Organization of students. 1. Checking students' readiness for the lesson. Teacher. I'll tell you riddles. I ask you not to name the answers to them, but to show them. This way we will check if you forgot to prepare these necessary supplies for the lesson. He confessed to the knife: “I’m lying without work.” Plan me, my friend, so that I can work. (Pencil.) The colorful sisters are bored without water. Auntie, long and thin, carries water to them, sighing. (Paints and a brush.) Do you have a drawing master - Bright, cool?.. (Felt-tip pen.) 2. Wetting the paints. II. Lesson topic message. Teacher. Today in the lesson we will learn to work with watercolor paint, learn that each object has some form, and draw a sun.

III. Introductory conversation. 1. Familiarization with the shape of objects. Teacher. Every object has a shape. By their outlines or silhouette (“shadow image”), objects resemble various geometric shapes. Do you know what geometric shapes are called? (Children's answers.) That's right, it's a circle, an oval, a triangle, a rectangle and a square. Can you tell what shape the ball has? (Students’ answers.) That’s right, the ball has the shape of a circle, so they say: “The ball is round.” What other objects are shaped like a circle? (Students’ answers.) Yes, a striped watermelon, a ruddy apple, and a bright, warm sun are shaped like a circle. What objects are oval shaped? (Students' answers.) Listen to the hint: It may break, it may also cook. If you want, you can turn into a bird. (Egg.) That's right, a balloon, an egg, a plum have an oval shape. What objects have the shape of a triangle? (Students' answers.) Listen to the prompt: What a beauty - Standing, sparkling brightly, How magnificently decorated... Tell me, who is she? (Spruce.) Objects such as a book, a satchel, a wardrobe have a rectangular shape... Why do you think it is necessary to know what shape an object has? (Students' answers.) Knowing the shape of an object is very important for an artist, as it allows you to carry out the drawing most accurately and accurately. 2. D i d a c t i c h i g a “Lay out the object.” Description: Children must create dissected images of objects of complex shape according to their imagination, using a combination of geometric elements. This game requires creative manipulation of ideas - the ability to compose objects from geometric shapes according to plan. M a t e r i a l. Each student has two sets of six different shapes: squares (5 × 5 cm and 2.5 × 2.5 cm); large and small triangles;

circle with a diameter of 1.25 cm; semicircle (a circle cut in half with a diameter of 1.25 cm) - a total of 12 figures. Management. The teacher gives an assessment and encourages students who have completed successful and original images. 3. Familiarization with the color of objects. Teacher. All objects not only have some shape, but are also painted in different colors. The world around us is very colorful and varied in colors. Everything around is of some color - bright or faded, dark or light. What colors do you know? (Students' answers.) YELLOW POEMS The canaries watered the yellow meadow from a yellow watering can. You do not believe? And don't believe it! Run and check it out for yourself! - Show me paints of this color. Name those objects in the world around us that are exclusively yellow in color. GREEN POEMS Poems are completely green, They are green... Open the window and balcony door wide! Let the green aroma burst into the room, Let the forest, And the meadow, And the garden dress in green. Everything, everything grows green In the green month of May, Open the balcony door And grow up too. - Show me paints of this color. Name those objects in the world around us that we can only find green. BLUE POEMS The sky fell into the river

And it faded a little. Has it faded? It's faded! The river also became blue, like a cornflower flower, like a mother’s scarf. - Show me paints of this color. Name the objects of the world around us that we know only as blue. Red, yellow and blue colors are called primary colors, since when mixing them you can get other colors and shades: orange, green, etc. 4. D i d a c t i c g e a g r a “Pick up comrades" (an exercise in comparing and generalizing objects by color). Description: Several students are given flags of different shades of the same color (from dark to light). The teacher names some color. A student with a flag of that color approaches him. This student chooses his comrades (in accordance with the color gradation of shades). All other students watch the actions of the playing children. If they choose the color scheme correctly, they invite their comrades to their place; if it is incorrect, they explain in unison: “Correct the mistake and then come.” In case of difficulties, the teacher helps the children create the correct color scheme and select comrades. M a t e r i a l. Colored paper flags of the main colors of the spectrum and their shades (one for all students playing). Yellow and red colors are perceived as warm, while green and especially blue give “coldness”. Warm colors seem to bring the subject closer, while cold colors move them away. All these and many other properties of color are used by painters. The painting has no real depth - it is located on a flat canvas or paper. But the master’s art is such that, using various properties of color, he achieves depth of space, airiness and even movement. 5. Didactic exercise “Festive fireworks.” Teacher. On holidays, multi-colored red, yellow, green, and blue stars light up in the dark sky and fall down. This is fireworks. At first the fireworks stars are bright, then they become paler and paler until

don't go out at all. How are pictures of festive fireworks born? You will now see and even participate in their creation. The teacher pins a row of colored stars on a dark sheet of paper, students note the color of the stars, arrange the stars of color tones from bottom to top in descending order of brightness (from dark to light), name the color of each star in the row (for example, dark red, red, pink, light pink) . After completing the painting, students admire the harmony of colors. There will be fireworks in the evening, everyone will go to watch it. The stars will bloom with a bright festive bouquet in the sky. M. Evensen 6. Techniques for working with watercolors. Teacher. When painting with watercolors, the pencil should not show through the paint layer, so the lines are usually made pale. We must not forget that corrections when working with watercolors are almost impossible. And the eraser you use to erase a pencil can damage the top layer of the paper so that the paint will lie unevenly. Therefore, learn to apply the drawing accurately. Visually studying the shape of the object being drawn will help you with this. Then it is important to determine as accurately as possible the color scheme of the depicted nature. But then you start painting and suddenly you see that there is no paint of the desired shade in the box. What to do? It turns out that you need to learn how to mix different paints to obtain the desired shades. This is where we need a palette. Paint is applied to the palette and either diluted with water to obtain light colors, or mixed with some other paint. Let's try to learn this now. IV. Updating students' knowledge. Teacher. Today we will draw the sun. Look at the drawings of suns. (The poster hangs on the board.) What could you say about each of these wonderful suns? Which one do you like best? Which one would you like to draw? Why?

What do all these suns have in common? (Children's answers.) The golden balloon stopped above the river, swayed on the water, and then disappeared behind the forest. V. Tolokonnikov Tell me what shape the sun has - square, oval or some other. (Students’ answers.) That’s right, the sun is round. What color is it? (Students' answers.) Yes, the sun is yellow. But is it always? Why do they say about the morning sunrise: “Scarlet Dawn”? (Students’ answers.) In the morning the sun is big and scarlet, that is, with a red tint. Have you noticed that the higher the sun rises, the lighter it becomes, changing color from yellow to light yellow? So today we will draw three suns: scarlet, yellow and light yellow.

The children are standing. The arms are slightly bent at the elbows and raised to the sides. Lightly swing your arms in front of you, crossing them in front of your chest, then swinging them to the sides. Make circular movements with your hands, starting with a small amplitude and gradually increasing it. With small circular movements, children slightly spring their legs at the knees. With each new swing, the movements become more energetic, and at the same time the children rise on their toes. The swings gradually decrease and stop. V. Stages of drawing. 1. Composition of the drawing. Let's mark the location of objects on the plane of the paper so that they look beautiful. First, we draw horizontal lines, marking the position of objects in height, and then determining the position of the central object and the position of the other two relative to it. (Appendix, Fig. 1.) CONTROL: objects do not touch each other; There is less space between them than around them. 2. Determination of the shape of an object. Draw three identical circles along the marked lines. (Appendix, Fig. 2.) 3. Filling the outline with color. We paint the first circle with light yellow paint, to obtain which we dilute the yellow paint on the palette with water. We paint the second circle with yellow paint without dilution. To paint the third sun on the palette, mix yellow paint with red to obtain an orange tint. The drawing is ready. (Appendix, Fig. 3.) VI. Practical work. Assignment: make a “Sun Circle” drawing, coloring it with different shades of yellow. VII. Lesson summary. 1. Exhibition of student works. For each completed work, the teacher selects an appropriate quatrain. Points to a specific drawing of the sun. commenting on it with a poem.

1) The sun is shining brightly, it’s fun in the world.

Tweedledee, tweedledee, Merry in the world. A. Ganchev 2) It became clear that the sun was burning, baking.

Fill the earth, as if with gold. O. Vysotskaya 3) Brighter, sunshine, shine, Merry May has come to us.

WHAT IS AN OBJECT FORM? The shape of an object conveys its characteristic features and makes it recognizable. In the drawing, the shape of objects is conveyed by lines and light and shade. Each depicted object has a specific structure - design. Even from a distance we recognize a sitting cat, only by its silhouette. You can imagine that the cat's head is like a circle and its body is like a triangle. In other poses of this animal one can also find similarities to geometric shapes.

The arrows show the main directions of formation. Green arrows show in which directions external forces “force” the surface to bend, and red arrows represent forces within the object itself, which seem to push the shape apart. Analysis of the shape of objects In order to most accurately convey the volume of objects in a drawing, such an analysis should be mentally carried out.

Conclusion Often objects have a complex shape, consisting of individual simple Forms (ball, cylinder, prism, parallelepiped, cube, cone, pyramid). It is very important to be able to identify in one complex form its constituent simple geometric shapes or bodies. To learn how to draw, you need to learn to analyze the shape of objects, examine the object from all sides.

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

Methods of organizing educational and cognitive activities.

To convey educational information when teaching fine arts, story, explanation, instruction, demonstration, independent observations of students, and exercises are used.

The use of verbal methods requires compliance with several prerequisites.

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

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

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

Let's consider the features of each of the verbal methods.

During the story, students become familiar with certain objects, phenomena or processes in the form of their verbal description. This method is more suitable for primary school age. The effectiveness of using a story depends mainly on the extent to which the words used by the teacher are understandable to the students.

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

It is necessary to explain the peculiarities of using certain materials, the rules for constructing an image, etc. This method is used during introductory and ongoing briefings to reveal issues of preparing work, methods of performing it, etc. In high school, lectures are more often used, usually serving to convey certain information from the field of the history of fine arts, technology and technology for the use of materials. A lecture differs from a story in that it not only affects the imagination and feelings and stimulates concrete imaginative thinking, but also activates the ability to select and systematize the material presented. Its structure is more strict than that of a story, and its course is more subordinate to the requirements of logic.

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

More perfect verbal method is conversation, during which the teacher, using the students’ existing knowledge and experience, with the help of questions and received answers, leads them to understand new material, repeats and checks what has been covered. Conversation differs from previous methods in that it not only requires students to mentally follow “the teacher,” but also forces them to think independently. It allows you to enhance the mental activity of schoolchildren to a greater extent and develop their attention and speech.

A conversation in a visual arts class is a conversation organized by a teacher, during which the teacher, using questions, explanations, and clarifications, helps children develop ideas about the object or phenomenon being depicted and how to recreate it in drawing, modeling, and appliqué. The specifics of the conversation method provide for maximum stimulation of children's activity. That is why conversation has found widespread use as a method of developmental teaching in visual arts.

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

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

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

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

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

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

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

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

It should be borne in mind that conversation takes more time and requires better preparation on the part of the teacher. The requirements for questions are of a general pedagogical nature: brevity, logical clarity, accessibility and clarity of formulation, emotionality. You cannot ask vague questions that can be answered with multiple answers. Complex questions should be broken down into several simpler ones. Each question asked should be logically related to the previous one and the entire topic as a whole. The most typical questions include the following:

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

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

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

Problem posing of questions is especially effective in conversation. Such a conversation, in contrast to reporting and reproducing, is called heuristic. It promotes the activation of thinking, develops independence and initiative in schoolchildren.

Among verbal methods training should also include the following:

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

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

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

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

Artistic word widely used in art classes. The artistic word arouses interest in the topic, the content of the image, and helps to attract attention to children's works. The unobtrusive use of artistic words during the lesson creates an emotional mood and enlivens the image.

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

The fine arts lesson also provides another type of verbal teaching method - m Dialogue method. Here the teacher and student are interlocutors. A teacher of art must become a master of words just like a teacher of literature. We are not preparing a craftsman, but a capable and thinking person. The student must learn to express thoughts both in practical work (drawing, painting, construction, etc.) and in words. Through gradual training in the translation of internal speech into external speech, in response to the interlocutor, the teacher should lead the child to free associative forms of thinking and expression both in figurative language and in verbal speech. That is why the method of monologue, the method of communicating knowledge, is intolerant. Understanding also requires its own training of thought, testing it with words. Naive verbal images of children, naive associations are invaluable material for a teacher” (10, pp. 118-120).

When incorporating the dialogue method into your work, you must remember that the dialogue takes place in the form of questions and answers, and the question is asked to the whole class or to an individual student, but addressed to the whole class; This can be dialogue-time thinking, when the teacher, as if reflecting, consciously gives students the opportunity to correct or supplement it.

“Pedagogically organized artistic perception of Works of Art should exclude passive, disinterested contemplation. Perception processes can be activated by a dialogue form of communication, while children cannot be “talked” or imposed on by someone else’s will, an outside concept of a work of art. This can lead to distrust of one’s own intuition, to rejection of personal impressions.”

In the interactive form of communication, two types of surveys can be distinguished: - “real” and “turn-on”.

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

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

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

Closely related to instruction demonstrations (as a special case of the observation method). This is the customary name for the totality of the teacher’s actions, which consists of showing students the objects themselves or their models, as well as presenting to them certain phenomena or processes with an appropriate explanation of their essential features. When demonstrating (showing), students form a specific example of visual actions, which they imitate and with which they compare their actions.

Visual arts 5th grade

Topic: Drawing. Analysis of the shape of an object.

Lesson type: combined (reasoning, practical work, game-exercise to reinforce the lesson topic)

Type of lesson: Study of geometric bodies and figures. Analysis of the shape of objects. Constructive construction.

Goal: To teach how to analyze the shape of objects and, based on the analysis, carry out constructive construction.

Objectives: Learn to carefully examine nature, analyze the shape of the depicted object, move from a flat image to a three-dimensional one.

Develop spatial thinking, logic, the ability to compare, compare, and think. Skills in constructing objects, graphic skills in pencil.

To cultivate respect for the artist’s work, perseverance, attention and hard work, self-criticism.

Equipment: for students - album, graphite pencil; for the teacher - a set of templates of geometric bodies, geometric shapes, a set of models of geometric bodies. Riddle drawing (poster).

Visual range: presentation of the topic, statements by artists on the importance of the topic, children's works.

During the classes

The French artist Ingres often repeated to his students that if he intended to hang a sign on the door of his studio, he would write: “SCHOOL OF DRAWING.”

Let's imagine that we are in a drawing school. Today in the lesson we will learn to carefully examine the shape of objects and analyze it. The topic of our lesson is “Analysis of the geometric shape of an object.”

Let's look at the tables that are presented before you. All drawings show careful construction and study of nature. Constructive construction. Therefore, without knowing the basics of drawing, we will not be able to create any composition that would later attract the viewer’s attention.

(demonstration of working with errors)

a) Why do you think this work did not pass the qualifying round and was not exhibited? (the composition is not thought out, the elements of the drawing are not built)

Whatever technique you use to carry out your work, the main thing is to create a sketch, outline and constructive construction.

Drawing is the basis of everything

Now, let's remember what geometric shapes do you know? (circle, square, triangle, quadrangle, rectangle, oval, rhombus, trapezoid).

Name the geometric shapes presented in the table.

What geometric bodies do you know? (sphere, cube, cylinder, cone (full and truncated), pyramids, prisms)

Name the geometric bodies presented in the table.

There are geometric bodies on the table, and geometric shapes on the board. How do geometric bodies differ from geometric figures? (bodies are volumetric, figures are flat)

The next stage of our lesson is solving the problem. On one shelf there were geometric solids, and on the other there were geometric figures. Now they are all mixed up. Let's put them on the shelves. On the first - bodies, on the second - figures. Explain your answers.

Now we move on to practical work. In the course of this work, you can see how important it is in the visual arts to be able to correctly examine and analyze the depicted objects. Let's analyze the shape of the vase. (on screen) Is it made up of geometric solids or figures? (figures) Name them. Does the vase look flat or voluminous? (flat) How to turn a flat vase into a voluminous one? (add ellipses)

I have a round dish in my hands. If we look at the dish directly, we see a circle, but if we slowly lower the dish onto a plane, then visually the circle seems to narrow. Close one eye and use a pencil (sighting method), at arm's length, to outline the edges of the dish. What shape did the pencil trace? (oval). The same reduction of the circle occurs when building a vase. (on the screen)

What has changed in the image of the vase? (it became voluminous)

What geometric solids does it consist of?

Having examined the geometric bodies, geometric figures, the perspective contraction of the circle, and analyzed the shape of the vase, answer the question. What does it mean to perform an analysis of the shape of an object?

(on the screen)

Now try to come up with and build a sketch of a vase yourself. First, compose it from geometric shapes, and then turn it into a volumetric one. Let it be some kind of magical, unusually shaped vase.

8 . Lesson summary. Exhibition – viewing of student works. Analysis.

D.z. Make a sketch of an animal from geometric solids and figures.

(on screen) Continuously drawing from life - this is the highest and truest school. I. Repin

In the next lesson we will draw a still life of geometric bodies from life. And the topic of today’s lesson will be useful to you in the future in fine arts, mathematics, and in high school geometry and drawing lessons.

“A drawing is a candle that is lit in order not to stumble in the darkness”