1st grade Goryachev___________________________
Lesson #2.
Topic: “SHAPE OF OBJECTS”
Goals: teach to determine the shape of objects, group objects by shape, identify patterns in grouping objects by shape.
Equipment: bring any easily identifiable items, for example: a piece of sugar, a chocolate bar, a wooden or plastic ruler, a plain student notebook, etc.; any objects for comparison in pairs, for example: a coin and a button, identical in size, two colored pencils, 2 balls, etc.; task for the game "Rebus" .
During the classes
Examination homework 8 in the notebook.
Students list the items “collected” in the first bag and highlight them common feature. The items collected in the second bag are listed similarly.
The teacher finds out which objects had difficulties with coloring (most likely, this is a car) and how the students coped with them (the car should be either gray or green). (Gray objects, green objects.)
II. Repetition.
III. Learning new material.
Signs of objects. Form
The teacher suggests looking at the shape of objects. The teacher explains that the objects around us have a complex shape, so we will only study simple shapes, that is, the shapes of geometric figures.
Students must name and draw the basic geometric shapes on the board: circle, oval, triangle, rectangle, square, rhombus and so on.
Game “Name the Shape!” (with a ball).
The teacher names the object by throwing the ball to the student. The student returns the ball to the teacher with the answer what shape the named object is.
Examples: a wheel is round, a door is rectangular, the roof of a house is triangular, a book is rectangular, the sun is round, a lemon is oval, etc.
Task 9 in your notebook.
Students must use their imagination, figure out what each figure looks like, and complete it to create a picture. It is necessary to give the opportunity to present the result of your work to as many students as possible. Some of them can be drawn on the board.
Task 10 in your notebook. Key:
A) round wheel - round watch,
b) rectangular envelope - rectangular notebook,
V) oval painting - oval mirror.
Students must connect with lines different colors objects of the same shape. The called student pronounces the name of each object and its shape, after which pairs are formed.
Game “What is this shape?”
The teacher names any shape and asks the children to name as many objects of this shape as possible. Examples:
Circle - plate, clock, compass, wheel, etc.
Square- cube, box, sandbox, etc.
Oval- mirror, egg, lemon, pear, etc.
Rectangle- envelope, picture, pencil case, notebook, book, etc.
The student who last names the item wins.
Task 11 in your notebook.
Students must color the shapes that make up the drawing with a specific color. When completing this task, the called student comments: “The sun is round, let’s color it yellow. The clouds are oval, color them blue.” You can summarize this task with questions: “Which parts of the Picture are square? (Window.) Rectangular? (Door, pipe, house.).”
Task 12*in your notebook.
Task 13* in your notebook. Key:
a) triangles,
c) squares.
Students must identify a common feature among the figures in each group. To do this, you need to list these figures. The figures in the first group can be spoken out loud: “The first group shows a blue triangle, a white triangle, a gray triangle, a black triangle. The first group is all triangles.” Most likely, the second and third groups will not cause difficulties; it is enough to say the conclusion.
Task 14 in your notebook.
Students must cross out extra item in each group.
a) Students need to list the objects in the group, naming their shape (wheel - round, watch - round, coin - round, compass - round, button - round, book - rectangular). Almost all objects in the group are round. The book makes it difficult to name the general shape of all objects; it must be crossed out.
b*) Students should pay attention to the shape and color of each shape.* One solution is to cross out the red rectangle, since all the other shapes are blue. The second option is an extra circle, the rest of the figures are with corners. If the second solution option is not mentioned, the teacher should lead the children to it, asking leading questions (“Or maybe it’s unnecessary...”).
Task 15 in your notebook.
Key: red round ball.
Students must complete the drawing of Eeyore the ball and color it in the appropriate color.
To do this, you need to determine the color of the ball and its shape. All the heroes' balloons are red, which means Eeyore's balloon must be red. The shape of the balls alternates, so you need to say: “Winnie has a round ball, Owl has an oval ball, Rabbit has a round ball, Piglet has an oval ball, Eeyore has an oval ball... round
IV. Lesson summary.
Name what shape objects can be.
Game "Rebus".
The teacher shows the children a sequence of shapes with letters and asks them to read the children’s names. One name is written in triangles, the second in circles, and the third in squares.
You can prepare figures on the board for writing names.
Riddles, joke problems (see Appendix 1, pp. 139-140).
Homework.
Task 16 in your notebook.
Students must color all the triangles. brown, and the rest of the figures are blue. The result will be a picture.
You already know that the main task of drawing is to learn to see objects in three-dimensional forms, so that in practical work you can convey three-dimensionality with certain expressive means- line, stroke, tone. If you have correctly and expressively drawn an object, this means that in the pencil image it is correctly constructed. inner base- design and expressively conveyed material properties (surface texture). All this, it would seem, looks simple, but you have to work long and persistently to learn how to make such drawings. You should never rely solely on certain artistic abilities. Need a big one painstaking work, because knowledge, skills and abilities do not come by themselves, but are the result of enormous and intense efforts.
There are no shapeless bodies in nature. If it were possible to imagine such a thing, then except for some kind of abstract (abstract) emptiness, nothing else appeared in consciousness. Therefore, one should believe in form as an organization of certain parts, constructed expediently and in strict accordance. An object in the usual sense of the word is any product created by man, necessary for people and performing specific function. When studying drawing, you should be guided by form in your work. The famous artist-teacher Dmitry Nikolaevich Kardovsky wrote in his book “Drawing Manual” published in Moscow in 1938: “What is form? This is a mass that has one character or another, like geometric bodies: a cube, a ball, a cylinder, etc. The living form of living natures, of course, is not the correct geometric form, but in the diagram it also approaches these geometric shapes and thus repeats the same laws of the arrangement of light along perspectively receding planes that exist for geometric bodies.
The student’s task is precisely to combine and coordinate the understanding of form with techniques for depicting (constructing) on a plane with light... surfaces that limit the form in space. When they draw a ball, they know what techniques should be used to depict the transitions of its surfaces in the shadow and in the light, just as the techniques are known when depicting a cube, pyramid, cylinder or some other complex figure etc. ...What characterizes, for example, the shape of a person’s torso? This cylindrical shape. If the body were a regular cylinder, then its image would be very simple, but there are bulges, depressions and other deviations in it that violate the simplicity of the cylinder. At the same time, these bulges and depressions are located along big shape cylinder either on the side receiving direct rays of light, or on the side not receiving them, or in transitional places. When drawing, these deviations must be maintained accordingly in tone: 1) light, 2) shadow and 3) penumbra. The sense of form, the ability to see and convey it must be developed by the student so that it passes from consciousness, as they say, to the ends of the fingers, i.e. when depicting a form on a plane, the painter must feel it in the same way as a sculptor who sculpts a form from clay or carves it from stone” (Kardovsky D.N. Drawing Manual. M., 1938. P. 9).
People use the word "form" very often. Everyone correctly understands the meaning of this concept. Yes, indeed, the term “form” (from the Latin forma) is translated as a concept that allows a person to comprehend the external outline, appearance, contours of an object. In any image, they always show first of all the shape of the object being drawn, i.e. true outlines of it. When artists say that the three-dimensional form is well conveyed in this drawing, they thereby emphasize the veracity of the image. In fact, the concept of “volumetric form” essentially points to two words that are close in meaning, because the volume of an object also contains mass and configuration, which are also inherent in form. The volume itself should be regarded primarily as one of quantitative characteristics geometric bodies - capacity, which is expressed by the number of cubic units. Figures visual arts and architecture understands by this word the appearance of space limited by planes.
Thus, under the volumetric form of objects, one should consider the laws of structure, i.e. features of their design.
To depict a three-dimensional form, you need: the ability of the drawer to see and understand the design (structure) features of objects and the transfer of three-dimensionality - length (or width), height and depth - the shape of these same objects on the two-dimensional plane of a sheet of paper.
Consequently, the depiction of a form in any drawing from life should be based on its construction, and not on copying the external appearance of the object. Such a construction presupposes that the draftsman has a clear, constructive approach to the surrounding objects. Since you have a two-dimensional plane in front of you, and you need to draw three-dimensional volumes, imagine a sheet of paper as a certain (conditional) space and try, based on your existing knowledge about methods of perspective drawing, to place the depicted form in it. Remember what examples from the world of geometric bodies can be used to use their combinations visible in nature to solve the problem of placing a form in paper space.
Tone drawing
When drawing an object from life, you simultaneously solve several problems, one of which is the transmission of light and shade in the image.
To see the object being drawn, it must be illuminated naturally (daylight) or artificially (electric light). Physical phenomenon distribution of light, thanks to which our vision distinguishes surrounding reality, in visual practice is called chiaroscuro.
Perception various forms becomes possible because reflected light rays enter the eye. Such emitted light allows you to visually perceive any object.
Illuminated objects located in space are distinguished by us as volumetric. The volumetric shape of an object in accordance with its structural structure is determined by the play of light and shadow. The peculiarity here is that the shape of the object is made up of variously located surfaces located under different angles to the rays of light, which is why the illumination of this object turns out to be uneven: the light falls completely on areas located perpendicular to the rays, on others it is distributed Weaker, depending on their position at a certain angle - as if “sliding”, and on others not at all hits.
For the draftsman, the degree of illumination of the surface of the object is also important, which depends on the strength of the source and the distance to it. The perception of illumination of the object being drawn is also influenced by the distance between it and the person drawing. This is due to the light-air environment that forms a “haze” (from tiny particles dust, droplets of moisture and other suspended substances), which dissolves the sharp outlines of the boundaries of light and shadow, darkens the illuminated areas and brightens deep shadows.
So, the emission of light will give a luminous flux that propagates in one direction, reaches the object and reveals the lightness of its surface. Depending on the brightness of the light rays, the lightness of the object becomes contrasting. The word “lightness” should be understood as the light reflective ability of the surface of an object. You know; that everything we see and distinguish is connected with physical nature light capable of producing due to reflectivity material bodies certain signals to our eye, which reacts to them remarkable property- color perception. It goes without saying that lightness is determined primarily by the peculiarity of the surface of an object in the reflection of light. White, yellow, blue colors reflect more light than black, blue and brown.
Therefore, we should talk in more detail about chiaroscuro. Best of all, perhaps detailed characteristics All gradations of light and shade are possible using the example of a spherical surface.
The shape of the ball is remarkable in that it is uniform on all sides, not distorted due to the peculiarities of perspective changes in the object, and gives a complete understanding of the laws of light and shade. Being in space, the ball in any position is equally illuminated by one light source and shaded by opposite side. This means that rays of light fall on this geometric body, differently illuminating exactly half of its spherical surface. Why is it different? - you may ask. After all, if half is illuminated, it follows that the illumination is the same everywhere. That's the point, it's not the same. Only an incompetent draftsman can imagine an illuminated surface of the same tone, and even if he sees that this is not so, he will nevertheless retain his belief. Is this why in the drawings of the ball by people unfamiliar with the concept of chiaroscuro, half of the image is left untouched with a pencil, and the second is shaded evenly.
Let's look at the pattern of light distribution on the surface of the ball. Let the plaster model of the ball be placed on a light gray plane at a distance of one size from a white matte wall and illuminated by artificial light pouring from the left side from above at an angle of 45°. It is not difficult to think correctly that the model is illuminated from this angle and that the brightest light is on the surface geometric body will concentrate on an area that is perpendicular to the direction of the rays from the source. As you can see, we're talking about about the direct impact of light rays on the surface and, therefore, about right angle surface and the beam falling on it. Part of the light rays hits the surface of the ball due to its structure at increasingly acute angles, and the more sharper angle, those less light hits the sphere. It turns out that the curved surface should gradually go into shadow as the light decreases.
Finally, in the distribution of rays over the sphere, there comes a moment when the curved surface goes beyond the reach of light and plunges into shadow.
The most brightly illuminated spot on the surface of the ball is called a flare, which is very visible on any shiny surface, such as glass. A light penumbra is visible around the highlight, proving the rules of light distribution over the spherical surface. Artists call it halftone. The halftone of the first strip around the highlight imperceptibly along its outer edge passes into the next one, which also imperceptibly merges with the now third, etc. All these transitions, invisible to the eye, merge with each other thanks to the spherical surface of the body, until the last of them just as smoothly disappears with its edge into the shadow. Each new halftone is slightly darker than the previous one.
A shadow is a part of an object that gets its name due to the absence of light, being outside its distribution. But everything that is in the shadow also obeys its own laws, being exposed to the influence of the environment. You remember that a condition was set according to which the ball must be separated from the white wall at a distance of one of its sizes. The word “white” is used in relation to the wall, and this is not without reason. You begin to guess that the wall is illuminated by the same source, and therefore, by reflecting the light, it must now make its own amendment to the light-and-shadow relationships inside spatial environment. Light reflected from the wall at an angle of 45°, but now with right side, falls on the shadow, and although it is much weaker than the direct one, nevertheless its effect significantly affects the smooth lightening of the shadow. On the surface of the ball, which is in the shadow, due to the light reflected from the wall, a phenomenon called a reflex is formed. In that part of the ball that is connected to the surface of the table, a reflex from this surface is visible.
The shadow on the ball is called its own shadow. To the table from the ball in strict accordance with the direction luminous flux another shadow fell from the source, which is called the falling shadow.
Every artist should know the patterns of light distribution on the surface and around a visible object.
A person perceives the surrounding reality with all its phenomena, forms and volumes visually. In visual perception, the main role is played by his ability to see the world in color. If our primitive ancestor had not had this innate ability, who knows, humanity as such would have existed. Distinguishing shades of color helped the people of those distant centuries to literally survive in the fight against the harsh and merciless forces of nature. Would they be able to survive if the world around them was absolutely colorless, what is called gray or black and white?
But why then, you may rightfully ask, are black-and-white literate drawings so truthful and attractive? We’ll wait a little while answering this question, but here we’ll come close to the concept with which we will have to associate the execution of images, taking into account the requirements of truthfulness and tone.
Before defining this concept, let us turn to the surrounding reality and name some examples related to visual arts.
Remarkable Russian landscape painters Alexey Kondratyevich Savrasov, Ivan Ivanovich Shishkin and Fyodor Aleksandrovich Vasiliev produced many completed pencil drawings of nature in their work. Each drawing not only amazes with its magnificent craftsmanship, but also has whole line advantages, which include correctly taken light-and-shadow ratios. In fact, how can you achieve differences in the tone of the crown of a tree and grass, foreground and background, bushes and weeds? The masters achieved such distinction with brilliance, and the black and white pencil in their hands gave such tonal effects that can be compared with paintings.
With a simple graphite pencil you can convey the shine of water and glass, velvet and satin fabric, tree bark and the most delicate shape of a rose petal. And the point here is in the tone, and only in it.
The word “tone” (from the Greek tonos - tension) means the general light-and-shadow structure of the image (in painting, this concept corresponds to the color structure of the work).
So, tone is the light and shadow structure of an image. Consequently, the artist who performs a long-term creative drawing of a landscape or everyday scene is faced with the task of conveying in his work the tonal relationships between all the elements of the image, so that the drawing impresses the viewer not only with deep life content, but also with the expressiveness of the form.
You already know that the whitest paper is much darker than the true highlight on a glossy surface, and the softest drawing material, not to mention a graphite pencil, which produces the blackest spot on the paper, is still many times lighter than the natural black space. Therefore, you must always remember that truthfulness in a light-tonal (tone) drawing can only be achieved by achieving light-and-shadow relationships that are proportional to nature.
For preliminary acquaintance With the solution to the problems of tone drawing, we turn to the analysis of a still life, composed in our imagination from three objects. Let it be a glass jar with cherry jam, a light yellow apple and a white tablecloth. All these objects come to mind in your memory, both as a whole and individually. A shiny jar filled with dark jam with an abundance of berries looks damp black, and the apple looks darker than the tablecloth, despite its light hue.
The still life is illuminated by daylight, and all its contrasting features are clearly visible. All the reflexes are clearly visible on the jar, and the apple, located in front of the vessel with jam, even in the shadows, sharply contrasts with part of the dark silhouette. The snow-white tablecloth beautifully emphasizes the voluminous shapes of the fruit and jar. Of course, such a still life rightfully claims to be a picturesque solution, since its color qualities are obvious.
Is it possible to paint this still life, preserving the first impression of this freshness in the image and managing to subordinate the sharp contrasts between all objects to the general tonal state of nature? Of course, you can draw such a still life if you have necessary knowledge and skills in visual arts based on a holistic vision of nature.
In progress graphic image It's completely pointless to try to convey absolute relations lightness of nature. You already know why this is impossible. You just need to adhere to proportional brightness ratios.
All the various tonal relationships can be conveyed by the modest means of drawing.
Where to start? By establishing the so-called tonal scale - the relationship between plain white paper and the thickest layer of graphite substance applied to its surface. Between these two extremes all other gradations of tone are in corresponding ratios from light to dark.
So, in the presented still life, all the illuminated and shadowed places of objects are distinguished by a wide variety of different tones, which are revealed with a simple graphite pencil. Therefore, when working on any educational task be sure to set the tonal scale. It can be depicted as a strip of several (according to the number of main spots of light and shadow observed in nature) rectangles, shaded to convey the entire range of shades in the correct subordination. This will be very helpful in your work, will provide an excellent opportunity to “feel” the gradations and will give you confidence.
It is very important to practice developing the ability to subtly distinguish gradations of lightness in full-scale productions. After some time, you will begin to pick up even small tonal differences in nature.
But let's return to the imaginary still life. You have set the tonal scale and it turns out that nine main spots of light and shadow are visible on location. This is the glare on glass jar and an apple, common spots of the tablecloth and background, as well as an apple, two shadow spots of shadows from a jar and an apple, a common spot of a jar with its contents in the light and a common spot in the vessel’s own shadow.
In modeling the image with tone, you would need to observe proportional dependence between the aperture of some spots in nature and their corresponding places in the drawing. At the same time, in no case should you get carried away with working on any particular part of the image, but only work in relationships all the time, constantly comparing the drawing with nature. Working on a separate place in a drawing without connection with others is fraught with complications associated with violating the integrity of the image. By doing this kind of elaboration, you begin to compare a separate piece with the same one in real life and, naturally, move away from consciously reducing the brightness or density of the shadow in the drawing.
All details in kind should never be conveyed in a drawing. This is impossible. In nature, all the details are connected with the general, subordinate to it, but in a drawing it is hardly possible to link all this with the general. Thus, tone drawing requires a developed sense of form, design, skillful study of form with chiaroscuro and final generalization so that the image looks collected and complete, and, most importantly, it must convey relationships in tone that are proportional to nature.
Cube drawing
One of the outstanding artists of France, Ingres, once said well about drawing: “Drawing does not mean simply making outlines; the drawing does not consist only of lines. Drawing is also expressiveness, internal form, plan, modeling” (Ingres on art. Collection. M., 1962. P. 56).
When drawing plaster models of geometric bodies from life, you need to depict each body, modeling it by conveying light-and-shadow relationships. You learned about tone drawing from the previous paragraph.
Essentially this is your first rather lengthy drawing in which you have to complete difficult work, associated with the technique of pencil drawing. You are faced with a choice of technique - to draw in tone using shading or shading. Hatching is recommended, as it greatly disciplines and teaches one to approach the drawing carefully and with concentration. The peculiarity of this technique is that the strokes must be laid according to the shape of the model, and if this requirement is not adhered to, very soon you can see that the strokes covering the surface of the paper are applied at random, i.e. thoughtlessly, destroy the drawing, do not reveal the three-dimensional form.
The cube model should be illuminated with artificial light, the source of which should be located at the top left. In this case, both the entire volume of the body and the light and shadow gradations are clearly visible from the point of view you choose. The cube is placed at an angle to the person drawing, slightly below eye level, so that it is visible top edge. The background should be light, and the model should be placed on a gray drapery, spread without folds on a stand for life.
To get started, you need to remember the previous exercises on drawing frames of geometric bodies from life. You still have to solve similar problems now. True, now the cube appears before you in the form in which it is truly perceived as volumetric. The frame allowed us to see right through the cube, with all its faces and edges. Now some of them are not visible, but you need to be able to “see” them with the eye, so that when constructing them taking into account future abbreviations, you must certainly show them. Only then do we speak about the constructive structure of the shape of a geometric body.
However, it is impossible to draw on paper without first placing an image. Only a few virtuosos of academic drawing could start depicting a particular statue from one point and, without lifting the pencil from the paper, draw a very precise outline of the ancient sculpture on the sheet. You need to act much more simply and take the pencil away from the paper many times in order to look at the full-scale setting and at your sheet and draw on it the general shape of the cube, thus placing the drawing, and then refine it by comparing it with nature. The general shape of the cube is drawn on paper so that the outline is not very large, but not small either. It is most appropriate to imagine a sheet of paper as a conditional space in which the cube model takes its rightful place. Of course, at first such an idea is difficult, but in each new exercise it is necessary to include this unique “mechanism” in order to eventually bring it to automatism.
The outlined outline of the cube has taken its place on the paper, and you can step back a little to see the layout of the drawing from a distance and once again check whether it is correct or incorrect. in this case location of the image in the format. Of course, further work largely depends on how you first placed the drawing.
Begin clarifying values by visual comparison. Having chosen a certain height of the front vertical edge of the cube, subordinate the rest to it, but taking into account future changes in nature. First, determine the location of this edge closest to you in the intended silhouette of the image. Then mark the height of this edge, draw a vertical segment, and draw it strictly at the lowest point horizontal line, which will become auxiliary during construction. A little later you will need to imagine a horizontal line perpendicular to the base of the edge in real life in order to show, together with the one drawn on paper, the angle formed by the horizontal edge of the right side. For comparison, place a pencil or ruler at the base of the plaster model of the cube to see the angle in real life.
Further work drawing a plaster model of a cube is carried out as a gradual identification of the constructive basis of the object. Using guidelines, construct the bottom edge, trying to “see” its outline from all sides, i.e. show the invisible edges, as was done when constructing the frame of the cube. At the same time, mark all the other vertical edges, constantly comparing their size with the edge closest to you.
Knowing the rules of perspective, associate visible changes in the shape of the cube with the construction. The two vanishing points of the conditional continuations of the edges, located at an angle to you, remain guidelines for constructing all the remaining four upper ones.
After you have built the “skeleton” of the cube, compare the drawing with nature and think about what catches your eye first of all - the entire cube or the details of the shape. In this case, any inaccuracies will become visible. For now, they are easy to eliminate, because when constructing the shape of a geometric body, we hope you did not overdo it in drawing pencil marks on paper. Remember, when constructing the shape of the depicted object, all lines should be drawn easily and confidently.
Why did you see inaccuracies in the drawing? Our vision, as it became known thanks to experimental data from psychologists, first grasps the general shape of an object, then a short time as if fixing it.
Having eliminated construction errors, check the image again with nature and make sure that the design of the drawn cube matches the visible model. Since the image of a cube on paper is drawn relatively quickly, when constructed correctly, you should not outline the three-dimensional shape of the geometric body with light shading, thereby showing shadow side object, because it suggested itself - it is known that we draw the likeness of an object, and what our eye sees in nature, it “wants” to see in the drawing.
Light and shadow relationships in the drawing must also be built. We speak in relation to visual activities different words, for example, “build scale”, “tone scale”. In the first expression, you need to keep in mind the definition in the drawing of the sizes and ratios of the parts of the object in comparison with nature.
When drawing from life, you quite rightfully try to convey the image as you perceive the object. By shading or shading, you simulate the volume of an object, showing in the image the illuminated, transitional from light to shadow, and shaded areas observed in nature. Finish this work only after making sure that the light and shadow relationships are correctly conveyed in the drawing. By doing this, you have maintained the tonal scale in the image, i.e. managed to find proportional relationships between the darkest and lightest tones.
Tone patterns are created by the skillful distribution of light, penumbra and shadow using line art.
When modeling the shape of a cube with tone, do not rush to immediately lay out the shadow face of the geometric body. Firstly, this will not work, and secondly, just as they don’t draw, they don’t apply the tone in parts. The point here is the difference natural light and the whiteness of paper, in the materiality of a natural object and the surface of a sheet of paper shaded with a pencil, etc.
It is possible to achieve the correct (and not exact) tone by intelligently constructed relationships in the drawing that are proportional to nature.
Therefore, we recommend you this approach to conveying light-and-shadow relationships: select the darkest shade of shading that you use in certain place drawing and do not repeat it anywhere else, and all other gradations will vary from this dark to the tone of the paper itself.
Monitor the overall illumination of nature and convey this in the drawing.
Diversify your pencil technique, do not cover the area of the drawing with thoughtless, monotonous “hand-friendly” shading. The texture of the plaster itself tells the thoughtful draftsman how to cover the paper with a layer of pencil.
At the end of the work, summarize the image, i.e. achieve the elimination of contrasts that hurt the eyes or the mechanical set of individual tones, and bring the drawing into the general subordination of all tones (Fig. 18). Learn to convey the correct tonal relationships that express the form and material in the drawing.
Rice. 18
Cylinder drawing
The principle of lighting the next model for drawing from life remains the same. This time you will be doing a tone drawing of a cylinder - a geometric body, formed by rotation rectangular plane around a single axis.
The shape of the cylinder is peculiar. Unlike a cube, light is distributed over a cylindrical surface in a much more complex manner. The bases of the cylinder are round planes, and if they are at any angle (from a perspective), they already look like ellipses.
You drew a wire model of this body and practically studied its structural basis.
To build a vertical cylinder, start by laying out the overall shape of the body. In order not to make a mistake in placing the general shape (white silhouette) of a cylinder in the vertical format of a sheet of paper, draw a light vertical line in the middle and visually determine the height of the body being depicted, and then its width.
Further, constructing the shape of a cylinder turns out to be an effective means of developing knowledge and practical skills in drawing, as it helps to well understand the rules of perspective and the constructive structure of objects. Carrying out this work, you must act confidently and hold your pencil freely.
Having built the frame of the cylinder, in which both bases are correctly depicted in perspective (the lower one is a little wider, as it looked in nature), compare the image with nature and proceed to modeling the shape in tone. If in the tonal pattern of the cube there was a certain complexity caused by the transfer of proportional natures of light and shadow relationships, then in the tonal characteristics of the cylinder additional efforts are needed to understand the degree of distribution of gradations of light and shadow over its specific surface.
Be sure to understand the gradations, since instead of conveying a three-dimensional shape, the drawn image may look as if it is wrinkled or flattened. To prevent this from happening, be extremely careful in modeling the surface of the cylinder built on paper.
The light and shade solution of the cylinder shape is subject to the knowledge of the painter. Everyone sees how the light spreading over the rounded surface of the cylinder clearly builds the shape of a geometric body. A small area on a cylindrical surface looks most striking. This is a glare, and its phenomenon is caused by the fact that light rays hit this part of the volume strictly perpendicularly. Next, the light begins to slide, as it were, along the curved surface and, of course, weakens the illumination of the object until its effect is interrupted by the area going beyond the border between it and the shadow, becoming the darkest spot. Hence, cylindrical surface gives a clear visual representation of the sequential distribution of light and shadow gradations approximately in the following alternation: halftone, light, highlight, light, halftone, shadow, reflex. Of course, the transitions between them are completely indistinguishable, and this is one of the difficulties in conveying the three-dimensional shape of a cylinder in a drawing. This means that you need not to achieve absolute similarity of the drawn cylinder with nature, but to ensure the correct transmission of the proportional relationships of tone gradations (Fig. 19).
The background in the tone pattern serves integral part spatial image. In addition, it affects general state illumination, being either neutral or actively influencing the perception of the object.
Rice. 19
Ball drawing
The construction of such a geometric body as a ball is not particularly difficult, if we exclude the impeccable accuracy of drawing a curved line. However, it is needed only during construction, and in the completed tone drawing it will disappear as if it does not exist at all. It has already been said that lines are not the boundaries of form.
Rice. 20
A plaster model of a ball, intended for drawing from life, is placed in front of the person drawing at a distance that does not necessarily correspond to the triple height of the nature. The well-lit nature on the left and above is visible from a slightly greater distance.
You can build a circle with a vertical line, intersecting it with a horizontal line and two inclined ones at an angle of 45°. Having laid out equal radii everywhere from the center, easily draw a closed curve that will become the boundary of the mass of the ball.
After the circle is outlined, clarify its boundaries, remove auxiliary constructions and begin to identify the spherical shape of the ball.
The sculptural term “sculpting” is quite appropriate here. Indeed, it is possible to achieve the impression of a spherical shape (spherical volume) in a drawing only if correct definition tonal relationships - as if “sculpting” the form.
The gradual change in illumination of the ball is also expressed in the same gradations as that of the cylinder, differing only in the characters of the surface. In the cylinder, all the invisible transitions that lighten towards the highlight and gradually fade away when approaching the shadow are distributed along a straight vertical line. The ball has its own spherical surface, and the light and shadow goes along it as if in a circle.
Light rays, falling perpendicularly onto the spherical surface, form a highlight on the ball, around which an imperceptible darkening begins, spreading more and more in gradually increasing arcs, until finally it turns into a moon-shaped shadow with invisible outlines, which does not reach the rounded edge of the body, because it is prevented by a reflex , itself gradually brightening as it approaches the falling shadow.
It is very difficult for an inexperienced draftsman to convey such a distribution of light-and-shadow transitions. This requires diligence and a culture of drawing, understanding of the task, thoughtfulness of each stage of the work.
Please note that following the rules for modeling shapes in tone with a variety of shading techniques within reasonable limits gives inevitably positive results.
Correctly taken light and shadow transitions in the image convey the illusion of the materiality of plaster (Fig. 20).
Control questions. Practical tasks
1. Define the concept of chiaroscuro.
2. Explain the patterns of light distribution according to shape.
3. What is tone?
4. How to explain tonal relationships?
5. What are the main patterns of tonal relationships?
6. Perform several exercises aimed at mastering a variety of pencil techniques.
7. Do an exercise to gradually increase the tone.
8. Draw any spherical object in tone from life.
Topic 1. SIGNS AND PROPERTIES OF OBJECTS
Absolutely all objects around us have signs and properties. What is a sign of an object?
A feature of an object is a distinctive property of an object. For example: green car: a car is an object, and green is a feature, a property that distinguishes it from other similar objects (for example, from a red car).
Objects differ in color, shape, size, purpose, smell, material from which they are made and other characteristics. To determine the attribute of an object, you can ask the question: what is it?
Let's try to identify the essential (that is, main) features of an ordinary notebook. Tell us what kind of notebook it is: what material is it made of, what size, what thickness, what is it intended for? If you were able to talk about the notebook, then you were able to identify the features in which it differs, for example, from a pencil. So, one of the main characteristics of an object is color. We will designate the color as follows:
And the first thing we need to repeat is the colors of the rainbow.
Now name as many objects as possible:
a) red;
b) green;
c) black;
d) blue.
Look carefully at the picture and say which vegetables and fruits are colored incorrectly. How would you color them?
Well, we are convinced that you are familiar with such a feature of objects as color.
The next important feature of an object is its shape. We will denote the form as follows:
What shapes are objects? Round, square, what else?
Name as many items as possible:
a) round in shape;
b) oval in shape;
c) square;
d) rectangular.
Look carefully at the table. Which of the fruits and vegetables lying on it are of the same shape as shown in the diagram: 
and this color: ?
The next important feature of an object is its size. We will denote the size as follows:
Now correctly name the large and small object in pairs. For example, an elephant is a baby elephant.
Highlighting the characteristics of objects, for example, color - red, yellow; shape – round, square; size - large, small - we compare objects with each other.
Now try it using notation identify the signs of such objects: a blue cube, a big red ball, a tall yellow house. You can designate it, for example, like this:
- Red Apple.
There are still many signs of objects. We have presented them for you in a table. Using this table you can identify the features of many objects.
TABLE OF DESIGNATIONS FOR OBJECT SIGNS
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Show in the picture objects that have a smell. Try to identify them using a table.
We looked at such important characteristics of objects as color, shape, size, got acquainted with the table of designations for the characteristics of objects, and tried to apply these designations. And now let's try to complete the CONTROL WORK. With its help, we will check how you have mastered the material.
Task 1. Look carefully at the picture and complete the task. And the adults helping you answer the test questions will write down your answers on a special answer form.
Task 2. Guess the riddles about what Nyusha bought at the market?
1 riddle
2 riddle
3 riddle
4. Make up your own riddle about what grows in the garden
Task 3.
Task 4.
Task 5.
Task 6.
Find the desired picture in each box.
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The initial content of the concept of form are real items surrounding reality.
Form- This the main visually and tactilely perceived property of an object, which helps to distinguish one object from another.
Created by mankind system of standards for designating forms specific items . This system of geometric figures.
The grouping of geometric shapes can be represented as follows:
Flat and voluminous
Having angles and not having them, i.e. rounded,
Differing in external characteristics.
Thus, geometric figures perform samples, standards of shape of real objects or their parts.
Using geometric shapes held analysis of the surrounding world, the need is satisfied to understand the variety of forms, in “what it’s like.” As a result, one object becomes similar to another in shape (looks like a cucumber, like a window), etc.
Classification of geometric shapes under construction both sensual and logical basis . The child’s perception of surrounding objects at first, as special studies have shown, does not mean highlighting the form. First, the object itself appears, and only then its form.
In the system of geometric figures concentrated generalized experience of people's sensory activity.
The form is perceived through the visual-tactile-motor way. Familiarizing children with the shape of objects has always been the focus of attention of psychologists, teachers and methodologists of the past and present.
FEATURES AND METHODS OF MASTERING FOR PRESCHOOL CHILDREN THE FORMS OF OBJECTS AND GEOMETRIC FIGURES
In understanding the surrounding world, orientation in the variety of shapes of objects (objects) and geometric figures is especially significant.
The form belongs special place among the variety of properties cognizable in preschool age .
Perceiving form, child distinguishes an object from others, recognizes and calls him, groups(sorts) and relates it to other objects.
In parallel or after this child learns geometric shapes, highlighting first their shape, and then the structure.
In the knowledge of geometric figures preschool children It is customary to distinguish three stages:
At 3-4 years old, geometric figures are perceived as wholes and are distinguished by children mainly by their shape;
At 4-5 years old, geometric figures are perceived analytically; children establish their properties and structure empirically (experimentally);
At the age of 5-6 years, children perceive geometric figures in a certain relationship in structure and properties, and are aware of their commonality.
As a result psychological research it became known that The process of children learning form as a property is long and complex.
FOR CHILDREN 2-3 YEARS OLD main identification figure sign — surface, plane. They they take the figure in their hands and manipulate it; move your hand along the plane, as if trying to discover the subject basis.
In this age children highlight among the others and call individual geometric shapes, using the words “ circle», « cube», « ball».
Or compare the shape of a real object with geometric and use the expressions “It’s like a cube”, “It’s like a handkerchief”.
Usually, They " objectify» geometric figures calling them " roof», « handkerchief», « cucumber" etc.
Mastering the shape of objects and geometric figures passes at this age in active work. Children place one cube on top of another to build a tower, place objects in cars; roll the figures, rearrange them; make up rows.
CHILDREN 3-4 YEARS OLD start distinguish geometric shapes from objects, highlighting their shape. When naming the shapes, they say: “A triangle is like a roof,” “A handkerchief is like a square.”
Children examine figures tactile-motor way, trying swipe your hand along the contour. At the same time, they willingly pronounce the words and expressions they like. Begin to perceive structural elements geometric shapes: corners, sides. When perceiving figures abstract from color, size, highlighting their shape.
However the child's visual perception remains fluent, his the gaze does not focus on the contour or plane. Because of this, children often confuse similar shapes: oval and circle, rectangle and square.
CHILDREN 4—5 YEARS OLD successfully examine geometric shapes, spending index finger along the contour. However, they usually called structural components: vertices, sides, corners. Trace hand movement lines forming angles; detect points of intersection of lines. Survey becomes accurate And effective.
As a rule, at this age in children images of figures are formed — standard ideas about them. They begin to successfully identify the similarities and differences between the shapes of objects and geometric figures; use their existing standards to determine any unknown form; display forms in productive activities.
AT 5-6 YEARS OLD children mostly visually perceive geometric shapes. Tactile-motor examination becomes unnecessary. In progress visual perception They fix the contour And on this basis include the figure in certain group , highlight types of figures, classify, organize And organize objects according to form.
In older preschool age prevails visual shape recognition and their distinctive signs, verbal description shapes of objects And geometric shapes.
So, perception of shape by a preschool child carried out based simultaneous examination of it in a visual and tactile-motor way, accompanied by naming the main features of a particular form.
For example, round - no corners; quadrilateral - it has sides, angles and vertices.
Geometric figures become standards for determining the shape of surrounding objects and their parts.
Introduction...…………………………………………………………………………2-3
Chapter 1. Psychological and pedagogical foundations for the formation of preschoolers’ idea of shape……………………………………………………………..
1.1 Form as mathematical concept…………………………………………4
1.2. Psychological features of preschoolers’ perception of shape…….4-7
1.3. Pedagogical aspects forming ideas about the form………..7-9
Chapter 2. Tasks - puzzles, didactic games as a means of teaching about the shape of objects……………………………………………………………………………….
2.1. The importance of didactic games and exercises in the formation of preschoolers’ ideas about form………………………………………………………..10-14
2.2. Classification characteristics of didactic games with geometric content…………………………………………………………………………………14-15
2.3. Specifics of the event geometric games with preschool children .................................................................... ........................................................ ...................15-18
2.4. Puzzle tasks in the formation of geometric vision of preschoolers………………………………………………………………………………..18-19
Chapter 3. Experimental confirmation of the effectiveness of using didactic games and exercises to consolidate knowledge about geometric shapes and develop geometric vision in children of primary preschool age………………………………………………………………………………………… …….20-24
Conclusion…………………………………………………………………………………..25
Literature………………………………………………………………………………………...26-27
Appendix………………………………………………………………………………………..28-35
Introduction
Relevance course research Scientists such as M. Montessori, A.A. Stolyar, E.I. worked in this area. Tikheyeva, F. Frebel, E.I. Shcherbakova, Z.A. Mikhailova, L.S. Metlina.
The purpose of the study is to study the influence of puzzles and didactic games on the development of ideas about shape in children of middle preschool age
Research objectives:
1. Study and analyze the literature on the problem of forming children’s ideas about form.
2. Explore psychological characteristics perception of the shape of objects by preschool children.
3. Consider the methodology for developing ideas about the shape of objects in preschoolers
4. Consider the meaning of entertaining mathematical material, as a means of developing ideas about the shape of objects
5. Develop a system of educational didactic games for the formation of elementary mathematical representations in preschoolers
6. Identify the possibilities of puzzles and didactic games in developing ideas about the shape of objects.
7. To identify the effectiveness of the influence of the system of educational didactic games on the formation elementary ideas about the form.
Research problem The question became what is the influence of puzzle tasks on the development of ideas about the shape of objects in middle preschool children.
Object of study: the process of developing ideas about the shape of objects in children of middle preschool age.
Subject of study: educational didactic games as well as puzzles as a means of forming children’s elementary ideas about shape. Through tasks - puzzles, educational games math classes, and also in sensitive moments with all children, and in individual work with them
Research hypothesis- I propose to check what influence the subject of research actually has on the object. What is the level of development of ideas about the shape of objects in middle preschoolers
depends on various forms of using entertaining mathematical material, namely
from the use of puzzles and didactic games. If, when conducting mathematics classes for children in a group, you use a system of educational didactic games and puzzles, this will lead to an increase in the level of elementary mathematical concepts of form.
Experimental base
Novelty of the research.
Chapter 1 Psychological and pedagogical foundations for the formation of ideas about form in preschoolers
Formation basic knowledge children about the shape of objects should be carried out in such a way that training would provide not only direct practical result, but also a broad developmental effect. The currently used methods of teaching preschoolers do not realize all the possibilities inherent in mathematics. This contradiction can be resolved by introducing new, more effective methods And various forms teaching children. One of these forms is teaching children through didactic games and puzzles. Children are attracted to the game not by the educational task that is inherent in it, but by the opportunity to be active, perform game actions, achieve results, and win. However, if a participant in the game does not master the knowledge and mental operations that are determined by the learning task, he will not be able to successfully perform game actions or achieve results. Consequently, active participation, especially winning in a didactic game, depends on how much the child has mastered the knowledge and skills that are dictated by her learning task. This encourages children to be attentive, remember, compare, classify, and clarify their knowledge. Means, didactic game and puzzle games will help him learn something in an easy, relaxed way.
Shape as a mathematical concept
The concept of the form of an object appears through those real objects that surround us in reality. One of the properties of surrounding objects is their shape. The shape of objects is generally reflected in geometric figures. Geometric figures are standards, using which a person determines the shape of objects and their parts. This is natural, since shape is the main visually and tactilely perceived property of an object, which helps to distinguish one object from another.