Enhancing creativity of students in drawing the human figure

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CONTENTS

INTRODUCTION

Chapter 1. PSYCHOLOGICAL AND TEACHING through increased CREATIVE ACTIVITIES

1.1 The creative activity. Characteristics of creative activity

1.2 Methods and techniques of enhancing creativity

1.3 The dynamics of the artistic development of students in the figurative and creative activities

CHAPTER 2. Human figure in graphical

2.1 Rules image of a human figure. Proportions and means of expression

2.2 General proportions and sizes

2.3 Materials and expressive means of graphs

CHAPTER 3. The practical part

3.1 Analysis of programs for fine arts and art work, edited by B.M. Nemensky

3.2 Initial diagnosis of knowledge and skills of students

3.3 Sample thematic planning on "Graphic human figure"

3.4 Verification diagnostics knowledge and skills of students

3.5 Stages of the creative work

CONCLUSION

BIBLIOGRAPHY

APPLICATIONS



INTRODUCTION

Visual Arts - the world of beauty, peace and a source of creative inspiration for lifting all the spiritual forces of man. In the context of the trends of modern education based on the creative development of the child, artistic creation is particularly important place, which in turn determines the urgency of the task, the development of the creative potential of the child.

In the complex problems facing the system of continuing education, are relevant performance goals of the learning process, improve the environment for professional and personal growth throughout life. Computer model of disappearing. In the organization of the learning process is a shift of emphasis from the acquisition of new knowledge to master the methods and techniques of teaching, intellectual and professional activities. This creates the need for use in the educational process of a wider range of organizational forms dominated enhance the cognitive activity of learners --36,9--.

Art of drawing - it is an amazing process of creating the illusion of the visible world, based on a realistic image. The picture has a special role in learning. In the vocational education and training of all professionals without artistic profile academic work takes the lead.

The art of drawing is a single artistic and creative, educational and cognitive process that allows us to develop observation, imagination, fantasy, hand-eye coordination, in addition to purchase a special vision of peace and refinement of perception, as well as theoretical and practical knowledge in this field. It is hard to imagine a creative person, do not have these qualities.

It is difficult to name the area of human activity where no useful ability to draw, the ability to perceive three-dimensional shape, and color. People of any profession works well, if he owns the means of art.

The man - the main object of interest and images of artists. To clearly understand what is produced and how any form, the artist has to develop his artistic three-dimensional vision and learn the correct sequence of work. Draw a shape - a very difficult but challenging task. The human body flexibility, mobility, shape it very complex and variable, but at the same time extremely harmoniously connected into one. There are different manners and ways in which you can achieve deeper understanding and knowledge of the human figure 35,38.

In this regard, we have identified research topic: Enhancing creativity of students in drawing the human figure.

The aim of our research: to identify the best methods and techniques enhance the creative activities of students in drawing the human figure.

Objectives:

* Selection and analysis of the literature on the subject;

* explore the forms of organization of creative activity;

* to study and analyze the current program BM Nemensky;

* Based on the analysis of the programs and make a primary diagnosis of a case planning lessons on "Graphic representation of a human figure" in the 6th grade;

* test the effectiveness of lessons in practice;

* to control diagnostics for analysis and comparison with a primary diagnosis, based on knowledge of students in class art on "Graphical figure of a man" in the 6th grade;

* perform creative work.

Subject of research: Lessons art, entitled "Drawing the human figure in the schedule."

Object of study: The process of revitalizing the creative activities of students.

Taken to fully develop the theme, we have set the following goal and objectives.

Hypothesis: The effectiveness of teaching children the lessons of art on "Drawing the human figure" can be improved if the teacher is to purposefully use the most appropriate methods, techniques, enhanced creativity, will use various forms of activation of cognitive activity, students will focus on the expressive means of graphs tone in addressing the human figure drawing.

Methods: Testing, analysis of the products.



Chapter 1. PSYCHOLOGICAL AND TEACHING through increased CREATIVE ACTIVITIES

1.1 The creative activity. Characteristics of creative activity

There is a hierarchy of values of ranks, characterizing the degree of predisposition to human creativity: the ability - talent - talent - genius.

According to I. Goethe, the genius of the artist is determined by the power of the world and influence on mankind. American psychologist J. Guilford said expression in arts six powers artist's fluency of thinking, analogies and contrasts, expressiveness, the ability to switch from one object to another class, originality and the ability to give artistic form the necessary shape --16,55--.

Artistic talent suggests acute attention to life, the ability to select objects of attention, fix the memory of these experiences, removing them from the memory and to include them in a rich system of associations and relationships dictated creative imagination.

Artistic activities in some form of art in a particular period of life, many are engaged with more or less success. However, only the artistic skills enable the creation of artistic values of public interest. Artistically gifted man creates works that have significance for the sustainable society for a significant period of its development. Talent creates artistic values with enduring national and sometimes universal value.

Activities - this is human activity directed at achieving the goals consciously related to the satisfaction of their needs and interests, and to fulfill the requirements to it by society and the State.

Activity in psychology is considered a form of manifestation of human activity since the activity itself - inherent in all beings the ability to react to the environment. Human activity is not only more diverse - the forms, types, fields of manifestation - but multivariant in every form or field. Human activity is productive, creative, creative nature. To be more precise, creative activity - a specific kind of human activity, aimed at knowledge and creative transformation of the world, including myself.

Any kind of human activity, which manifests something new, not the reproduction of the former in his experience of impressions and actions, and to create new images or actions, will belong to the creative work. Creative work is called work, which gives new and original products of high social value (creation of artistic, musical and literary works, as well as the development of new methods of training and education, etc.). The brain is not only the body, preserving and reproducing our previous experience, it is also an organ of combining, creative recycling and creating element of that past experience new positions and new behavior. If human activities are limited to playing one of the old, then the person would be being reversed only to the past, and was able to adapt to the future only to the extent that it reproduces the past. It is a creative human activity makes it being turned to the future, to build it and alter the present.

In modern psychology distinguish physical (external motor) actions with objects and mental (internal, mental) actions with reflections (images, concepts) items. Mental actions are formed on the basis of physical, external.

For example, the child learns to draw. To determine the correct proportions and images, spatial images of proportions, the spatial arrangement of parts and the whole depicted object, it uses widely recommended in the initial phase of training drawing welcome sight. That is, his right hand holding a pencil, the child pulls his right hand in the direction of the depicted object, and, squinting his left eye, his thumbnail notes the size or angle, the spatial location of any part of the subject, the ratio of its proportions. Gradually, the time is coming when the pencil is used in such a way to facilitate the measurement of proportions, spatial location, it becomes unnecessary, since the eye pupil after certain training itself can, without mechanical aids, to determine the proportion and arrangement of parts of an object. Specifically, the effective measurement and comparison of proportions of parts and spatial relationships an object (or group of objects) into a mental action, abstracted from the immediate act of manipulating a pencil to measure. But when you look at nature in the creation of the student actually is a recurrence of the process of real-sight, i.e. object becomes a way of operating nature and presented in the imagination of the hand with a pencil in her.

Formation of a variety of mental activity provides mental activity on the level of experience achieved by man. Successful mastering mental activity leads to the fact that, starting to external, objective activity, in the beginning the action plans in mind, using an arsenal of images, voice characters. External activities, thus, is subject to the control of mental activity, it is directed. The process of implementation of mental activity in the external, objective called exteriorization.

In the course of any activity the person is guided by certain motives and purposes. Motive is prompting people to work. As the motive may make feelings, needs, knowledge, forcing exercise willpower and achieve goals. Purpose - is the object to which the activity of man.

Human activities are very diverse. However, all this diversity comes down to three main types: work, exercise, play.

Creative activity, of course, requires the presence of skills, knowledge capital, a passionate interest in the case. In addition, creativity requires the development of imagination. But most importantly a huge hard work and persistence in overcoming obstacles. It is a mistake to assume that all the talented person easily, without effort.

Teaching is a planned and systematic assimilation of knowledge and skills. The teaching is a kind of preparatory stage of labor.

The game develops in the child thinking, memory, imagination, attention, ability, form the start of the individual will power, the makings of nature.

By the nature of what and how the child shows, one can judge about his upbringing reality, the peculiarities of memory, imagination and thought. Important role in artistic and creative activities, and the development of creative abilities of children take classes in the visual arts.

According to some psychologists, creative activities based on combines the ability of our brain can be called imagination. Usually, the imagination refers to everything that is not real, that is not true. In fact, the imagination as the basis of all creative activity is equally manifest in all aspects of cultural life strongly, enabling artistic, scientific and technical creativity.

Without the development of the artist's imagination can hardly engage in creative activities, the best he could do only mild, vaguely reminiscent of a valid copy. Visual Arts - a figurative reflection of reality. NN Re used to say: "We have to develop the power of the imagination."

"Every invention - says Ribot - large or small, before you get stronger, in fact, implement, were united only by the imagination - building, erected in the mind by means of new combinations or relations».

Creative activity generates design, i.e. of the future of creation. And when he starts any work, he "sees" the purpose of its activities, its result. Even the worst architect from the best of bees is different from the start that before you build cell of wax, he built it in his head. At the end of the labor process we get a result that is already in the beginning of the process there was a representation of a person, that is perfect. If a person is engaged in creative work, he has to imagine that no one, including himself, have not done, and therefore have not seen or heard. Imagination creates an "image" that only will be created in the process of creativity.

Imagination - not reality, but it cannot be without effect, since exactly which elements are actually nourishing environment for him. On the other hand, the creative activity often determines the program of human actions, his thoughts, his relationship to reality, to his own work, to the various forms of its activity.

1.2 Methods and techniques of enhancing creativity

Creative activity begins with heightened attention to the phenomena of the world and suggests "rare experience", the ability to keep them in mind and comprehend. Important psychological factor in creativity is memory. The artist is not a mirror, is selective and is creative. The reality is formed by the art in memory, resurrecting the past and then capturing memories in the novel.

In the psychological mechanism of creativity plays an important role of internal moment of liberation, who are allowed to need creative individuality in the confession, the desire to share with a loved one or experiencing a deep vivid impression.

The creative process is impossible without imagination, which allows creative play Raman chain ideas and impressions that are stored in memory. Thanks to the imagination in the artist's mind there are live pictures.

In creative activities involve conscious and unconscious, reason and intuition. While unconscious processes play a special role. Particularly fruitful creative work, when the artist is in a state of inspiration. This is - a specific creative and psychological state of clarity of thought, the intensity of her work, wealth and speed of association, the deep insight of life problems, powerful "ejection" accumulated in the subconscious of the life and artistic experience and the immediate inclusion in the art.

Inspiration creates extraordinary creative energy, it is almost synonymous with creativity. Not random inspiration from ancient times is the winged horse - Pegasus. In a state of inspiration, an optimum combination of intuitive and conscious element in the creative activity.

There is a great formula, "grandfather" of space K. Tsiolkovsky, lifts the veil on the mystery of the creative mind of birth: "First, I opened the truth, known to many, then began to discover truths, known to some, and finally began to open the truth, no one has ever known» --24,9--.

Teacher psychologist, Methodist Education Oksana Rudyakova developed training program for the development of creative thinking "Little Wizard". This program is designed to develop creative thinking, relieving emotional discomfort, creating a situation of success, and the correction and development processes in the emotional sphere of creative activity.

The main condition of the program is a collaboration with the student's peers, as well as a joint activity of the child with an adult.

Goal: to develop creative thinking, activation of creativity, sensitivity to the issues of flexibility and originality, the ability to analyze and synthesize ideas, the formation of the ability to understand things and events, establish logical connections.

Objectives: The organization of creative activity, the use of techniques such as: skazkaterapiya, isotherapy, play therapy, psychodrama, the development arm muscles, spatial coordination in the "eye-hand", the increase in visual perception, the formation of the psychological sense of the children in a joint creative activities.

Methods - is welcome and means through which the development of creativity.

One of the principles is the principle of learning from simple to complex. This principle is the gradual development of creative activity. In the process of training of creative activity attaches great importance to general didactic principles:

scientific

systematicity

sequence

availability

clarity

Activity

strength

individual approach

On the lessons for the development of creative activity are the following items:

1. Each lesson is a set of tasks.

2. assignments give a child in a different form, and thus introduce him to different ways of conveying information.

3. Lessons are arranged roughly in order of increasing complexity.

4. a gradual increase in difficulty performing tasks on the lessons of art - promotes creativity.

5. The key to developing creativity in children must comply with the terms:

- Development of creative activity to start from the very first lesson.

- Creative lessons should be diverse in content as well as create an atmosphere of free and joyful creativity.

Along with the principles and methods of use:

- Practical

- Visual

- Verbal

For practical methods include exercises, games, simulation. Exercise - repetition of a child of practical and mental given action. Exercises are divided into structural, imitative and performing and creative.

Game method involves the use of various components of the gaming activities in conjunction with other methods.

Modeling - the process of creating the models and their use.

For obvious methods include observation - viewing of drawings, paintings, viewing filmstrips, listening records.

Verbal methods are: story, conversation, reading and retelling. In work with children all of these methods need to be combined with each other.

Imagination and fantasy - it is an essential aspect of life. Learn a program not without imagination. It is the highest and the necessary human capacity. However, it is this ability with special needs in terms of development. A particularly intense imagination develops between the ages of 5 and 15 years.

In his paper "The mechanism of the creative imagination" Vygotsky, paying attention to age-appropriate children, notes that "Few children go on stage 3 images plausible (view silhouette outline)" is therefore in adolescence (10-15 years) drawing cannot be universal. Thus, there is the difficulty of overcoming age differences in the teaching of art. And if in this period of creative activity is not specifically to develop, then later is rapid decrease in activity of this function. Together with the reduced ability to dream in children impoverished personality, reduces the possibility of creative thinking goes interest in art, and in general to any activity. In order to develop the imagination of children in the future, you need a special organization of graphic activity.

For the successful formation of graphic skills, according to Gerasimova SL (art teacher), are:

1. The gradual formation of mental operations when deploying content on the subject of art.

2. Creating art in the classroom learning situations to overcome the "inability of skill" through communication and self-awareness of students.

3. Creation of teaching learning materials accompanying the learning process in this logic.

Apparently this is the way of becoming a creative activity, a way of inventive and research talent. Our duty - to help your child to take this path.

1.3 The dynamics of the artistic development of students in the figurative and creative activities

"To feel, to know and be able to - full of art," said PP Chistyakov. Constant exercise classes in drawing, painting aim as consolidation, improved techniques, graphic and pictorial skills and gradual acquisition of knowledge of the rules of various scientific positions in the field of fine arts. Skill is always based on the acquisition of specific rules, techniques, methods, although in spite of this practice proved vital position of individual artists consider optional systematic work and learn different techniques and rules to become a master. Their logic is simple to primitive: not necessarily perform numerous drawings, sketches, study the rules of perspective, design objects, plastic anatomy - skill will come by itself, because of talent, if any.

This opinion can be heard often among young people, students in art schools. However, the life and activities of virtually all of the more or less well-known visual artists demonstrate the falsity of this view. All the best in art is based on hard work and mastery of mandatory rules, pictorial technique.

An introduction to art school goes two ways. Developing the skills of artistic and creative activities of students in class art, the school thus equips students and perceptions of professional art of painting, sculpture, graphics. The training programs specifically allocated time to familiarize students with the works of art.

According to studies, the junior authority learned art is high, children work with great desire, their activity is higher in contrast to the middle level. Lesson art has, as a rule, two essential components: a drawing (on a given topic, any subject, etc.) and familiarity with the visual arts (viewing paintings, talking about them, the story of a teacher on the artists and their works and so on). According to the students of junior classes most of all love to draw. Beginning in the fifth grade, students' waning interest in artistic and creative activities, and art history to consider careers in art (visit exhibitions and museums, familiarity with the special literature, TV shows on art) increases.

However, it should be noted that from class to class at school is the formation of active, visual interest, of their free time they give to artistic and creative pursuits. But as it turned out, these children stand out among the best students in the development of quality indicators of artistic taste 7,56.

Identifying patterns that reveal the developmental impact of interest in the visual arts and the formation of student art culture in general, require careful attention to the education of students by means of art. Artistic and creative activities can be traced to three levels:

1. being included in the fine arts student (the presence of art in students knowledge and their propensity to artistic and creative pursuits);

2. the formation of the ability to appreciate works of art (orientation in a creative manner of the artist, the knowledge of works of art as a totality);

3. the development of artistic and creative abilities in the field of visual activity (ability to communicate in the figure a certain mood, atmosphere).

Experts in the field of developmental psychology indicate that the structure of the senior class to the interests of schoolchildren is becoming more diverse, multifaceted. And so the high school students are not only present previously established interests, but perhaps the appearance of neoplasms in the structure of artistic activity 28,131.

Developing and maintaining the interest of schoolchildren to the classical heritage, should develop and foster their interest in contemporary art. Through modern art students actively learn the spiritual life of contemporary society, the movement of culture, skill development of individual artists and entire areas.

Our task - to bring pupils to independently contact with art, which, undoubtedly, will be a source of interest and love, feel the attitude to the world of beauty.



CHAPTER 2. Human figure in graphical

2.1 Rules image of a human figure. Proportions and means of expression

Leonardo da Vinci, who studied and deeply analyze the experience of the ancients, by developing the right image of the human figure, tried on the basis of literature data to restore the so-called "square of old." He fulfilled the drawing, which shows the pattern in the ratio of proportional parts of the body.

In general, the canon for the proportions of the human figure is similar to the axiom in geometry. It means the accepted norm of the human body, the ideal criterion of discipline in art. But to talk about the ideal criteria for a figure - it's like to face a difficult choice: to shorten or extend its shape to fit regardless of individual expression. The absurdity of such a choice is inevitable: in general, right, but in particular, is absolutely wrong.

As has been long established and traditionally and historically, the height of the figure is seven times and a half the height of the head. Since the artists of Greece about 24 centuries ago developed proportions of the figure has grown to establish it of paramount importance: it is based on a rational geometric principle corresponding to the highest ideal of absolute, universal truth. Perfect human form and perfect architectural structure were designed as a generalized design systems: the purity and perfection of the one consistent with the order and harmony of the other 22,23 .

Of course, the artists of ancient Rome to recognize exceptional durability Hellenistic system and, based on calculations of the Greeks identified the Roman canon of proportions. The updated art and science of the Renaissance artists of the fifteenth century have tried to keep the spirit of humanism in the Hellenistic tradition. In light of new knowledge of Da Vinci and Durer were trying to find the Greek canon, and since the Renaissance and modern science was born, the shape created by the Greeks, in fact preserved in art still intact. As criteria of ideal human proportions of its height is equal to seven times and a half the height of the head.

However, although the preservation of the Greek tradition is understandable, especially modern life seriously challenge is how acceptable this old system. In the XV century, even meticulous Durer left his quest to discover that perfect figure does not meet its goals, and Michelangelo and El Greco's later abandoned it, to giant size by increasing and extending their characters to express their humanity and religion. We live in a world deeply contrasting symbols of relativity and speeds, and the new requirements of art more than ever to continue to contradict the figure of 9,19 .

If I am in life change so fast measurements and ratios in art, then perhaps the only reliable criterion in art is the artist's own judgment. Why not allow the creator of the art of being the only judge and interpreter of its rules, including the proportions? Because here, in the judgment of the artist, we have the same absolute, as in the previous ones, and we accept it, unrestrained personal views at once would be the principle, opposed to the collective experience.

The truth is somewhere in the middle. Every art form has to be proportional but above all in its own way, and then match the era, the challenges facing the artist. In other words, it should not be the image of the demigods or natural deities, but the embodiment of modern aspirations, inspiration and human nature. The figure should be a kind of the average culture, where there is some of each part. Further, as to the problems facing the artist, the ratio should be interpreted as a step in understanding the art, and not as an end in itself. It should be understood as a reference, with the improvement of the artist she should suggest bold new solutions. That is why the proportion of the student is, not the master, as it was in Greece. That is it - a preparatory stage for creative imagination and there is a common-sense criteria for student learning, showing figures and not as a requirement for the master 4,24 .

Thus, today, the proportion of the figure for the student of art should be a confirmation of his artistry, formed out of admiration, love, and enthusiasm of the people as a whole. This can be a sportsman, tourist, vacationer. It should be composed of foods, vitamins, health, and not the material properties must be derived from hygiene, physiology and medicine. The figure should be durable, reliable, life, in short - the prototype of the highest standards of civilization of the twentieth century, not the Greek, Roman or Renaissance. Therefore, the height of the figure, which is offered by today's anatomy, measured in standard eight and three-quarters of the height of the head. This is the physical ideal of our time, see.

If we multiply this proportion to the height of the head of the average man, about 23 cm, the height of the figure is equal to about 200 cm (naturally, without deviation, characteristic of modern life.) But to compare the contrast with the Greek criteria: if the height of the figure is seven and a half times the height of the head of the head, the perfect figure adult Greek reaches a height of about 173 cm, which is below the growth of the present, the modern man 22,34 .

Fortunately, the canon of proportions is not something that ever given, and certain absolutes exist only in their definitions. Those who study the art, and therefore to experiment, to try to do, these definitions should be calm. The artist, who are familiar with (the proportion - one of them), knows, and where and how to get around and break them.

The shape and movement of the human body in many ways defines the skeleton. It plays a role in the structure of the frame pieces. Useful in conveying the human body shape figure designates its frame, even in those cases when it is inside and you can only imagine. With these schemes can easily pass any motion. First, how would we draw the wire frame, and then turn it into a human, increasing volume. Then details, trying to convey the characteristic movement and personality traits of the person.

2.2 General proportions and sizes

Sizes offered here, instead of the traditional seven and a half the height of the head and set at eight and three-quarters of the entire height of the figure. Taking the height of the head of the unit to determine the proportions of the figure, we obtain the following values:

1. Front torso: height in three heights of the head, the line drawn through the shoulders to the pubic arch, he shares: a) baseline chest muscles, and b) through the navel, c) in the pubic arch.

2. Rear torso: the height of three and a half the height of the head of a line drawn across the shoulders to the base of the buttocks, he shares: a) the baseline blades, b) to a line drawn through the center of the external (the line in front of the navel), d ) along the base of the buttocks.

3. Neck: height in half the height of the head in the erect position, the tip of the chin to the pits on his neck.

4. Hand: long two-and three-quarters the height of the head, from the collarbone to the wrist, it is divided at the elbow through the navel. Wrist is in the position of the greater trochanter through the pubic arch in front and on the back line of the coccyx. Length of the hand adds to the arm's length three-quarters the height of the head, so that the total length of the hand is three and a half the height of the head.

5. Foot: a four-head height, from the greater trochanter to the upper inside of the talus, it is divided in the middle of the knee. Foot adds to the length of the leg to one-fourth of the height of the head, so that the total length of leg, head height is four and a quarter.

6. Hands: a long three-quarters the height of the head, or the distance from the tip of the chin to the hairline, the width is equal to one quarter of the width of the head, or the distance from the base of the nose to the tip of the chin, see.

7. Feet: foot length, is the length of the forearm, or one and one-third of the height of the head, the width of the front foot is equal to one half the width of the head 33,13 .

This is the basic proportions and dimensions that need to know when painting the human figure.

Comparison of the proportions of the figures adult and child

The proportions of children and adolescents differ from adult proportions. These proportions harder and harder to pass in the figure, because they vary in different stages of development.

Pay attention to the proportion of the newborn. He has a very large head, bulging belly and short legs. If we divide the whole body into four parts, the one part of the body is the head, two occur in the chest and abdomen, and another part is made up. Accordingly, the legs and arms seem to be very small in comparison with the rest of the body.

The child's head grows more slowly the rest of the body. The most significant changes occur in the limb. And a half to two years, the scale of proportional ratio of the body grows from four to five, one part falls on the head, the two often come to her feet and two more - in his arms, chest and stomach and remain unchanged.

Of course, all children grow up in different ways, but the average of two to six years, the scale of proportional ratio of their body is divided into six divisions: children growing lower body.

Very carefully modeled form with all the proportions of the artist AA Ivanov in his drawing "Drawing Girls» 10,38 .

Well-formed teenager fits into the scale of proportional ratio of the seven divisions. Breast development and limb reaches teenage sizes and proportions. In fact, many teenagers and do not grow more than seven divisions. And in the period between puberty and maturity develop, in the end, only the legs. In the ratio of magnitude difference in the legs and are a teenager and adult.

The overall proportions of male and female figures

Egyptian artists shared the human body by 21 ? part. Served as the unit of measurement, the length of the middle finger. However, these do not take into account the proportional relationships characteristics of figures of children, women and men. If the Egyptian master drew near a man and a woman, then portrayed them one by one to the canon, but the figure of a woman made a little smaller. Unlike the Egyptians, the Greeks created their own canon in which the unit of measurement was taken by a human head 21,59 .

Differences bodies of adult men and women are concentrated in the bone structure, the amount of muscle mass, the location of the subcutaneous adipose tissue.

There can be, of course, is the same proportion of all people: people of small stature is often a large head, and at the high - low.

For female figure typically broad hips and a relatively narrow structure of the chest. For men, on the contrary, narrow pelvis and relatively broad shoulders. Male figure can be schematically represented as a triangle pointing down.

In addition, the female figure has a number of common features, such as the chest, a large tilt axis arms and thighs, some long legs. Women also more body fat, especially in the arms, thighs and torso.

Of course, differences of bone and muscular systems, as well as morphological features of male and female figures are significant. There are differences purely individual plan. Draftsman sees especially when considering the people of different sexes, races and ages. By the way, well observed differences in different age categories - means the period of formation, maturity and old age.

A marked difference in the skull and men and women. The man's head is elongated, circular arcs are more pronounced in men, lower forehead, the angle of the mandible clearer 12,40 .

2.3 Materials and expressive means of graphs

creative activity student art

Graphics - in Greek means "writing", "draw". One type of expressive arts, in which the image is given in the form of drawing applied to any plane in the linear forms.

The principal means of expression graphs - a line, bar, line, spot, point, tone. Actively involved in the creation of a common experience and a white sheet of paper.

Since every letter is usually done with a pen or brush, giving the paper one color line, then the graph is considered primarily as a linear image of the same color (it also set him apart from painting), but gradually began to expand the concept of graphics, it began to include different types of prints, drawings with colored pencils, water color, that is, began to be used in color, shade and light.

Schedule is divided into several types: a) book drawing - drawings and illustrations in books, and b) print - print reproduction drawings made by different methods of engraving on the board (wood, copper, zinc, linoleum, etc.). There is also a huge variety of prints: printmaking, etching, linocut, lithography, reproduction, and c) applied or commercial art - first of all this is what we encounter every day labels on boxes, bottles, bags, and more 25,58 .

The materials used are very diverse graphics. The correct choice of material to draw the image can give men or women creative expression in accordance with the plan. The facial features of the child or young person is very expressive. Therefore, in order to have your picture turned out alive and truly passed portrait likeness, you need to choose the material for drawing.

In their work the artists use different materials, which determine the drawing technique. Technology in the arts - a set of special methods and techniques, which are performed by a work of art. For example, a drawing done in graphite pencil is different from the picture, made charcoal and watercolor painting is not like drawing with pen and ink. However, the painting technique itself may be a target only during the period of study. In the future, it is subject to the general plan, helps to solve creative problems and therefore should not be noticeable. However, the mastery of the technique of drawing, the use of one or another of the material allows the best way to identify the nature of the model 25,89 .

Can draw graphite pencil on paper and cardboard, charcoal on the wall, felt pen on glass, pen and ink on the fabric paint on canvas and other materials.

Here are some of them.

Paper: paper appeared in China in 105 BC. e. as a cheap substitute for silk, and only after eight centuries, it was brought to Europe by Arabs. The long road to the west of paper began in the northern Chinese city of cardboard.

Most types of paper are available factory method. The raw material for paper is cotton, flax, grass, straw, and wood pulp, and each of the ingredients gives the paper a special quality.

There are three main types of paper: fine, medium and coarse grit.

Manual and the matrix method of preparation of paper similar to the factory. Its final stage also mechanized. In the manual method of preparation, the final product is a paper with a rough uneven surface. When matrix (paper, pressed with a hot press) method of preparation, the paper has a smooth surface.

Factory-grade glossy paper, for that matter, and cardboard, are good for pen and ink drawings, pencil drawings but they do not look so good. For drawings charcoal, sanguine or sauce better suited slightly rough paper. 26; 24

Paper comes in many varieties, depending on the surface which can range from smooth to rough and semismooth. On such paper can perform almost any figures. Also paper pattern may vary in size, color, tone. Together with the other drawing materials paper is one of the means to achieve the expression pattern. Very spectacular images obtained on a lightly tinted or colored paper. There are also such species as coated paper and waxed.

Paper is usually handled dressing to give it waterproof.

Graphite pencil divided into soft and hard. On a wooden frame pencil bear the number and the letter refers to the degree of softness: M - soft, T - hard, MT - average. The figures speak about strengthening hardness. On pencils foreign brands put in place of M, instead of T put N. Most solid pencils used for drawing preliminary sketches, and soft to apply shading.

There are several types of pencils:

a) Graphite Rods - have the same grading as pencils. Actually this is just a thick pencil lead, but without the wooden frame. They are widely used in painting, create a winning uneven texture, and they quickly cover large areas.

b) water-soluble graphite pencil - line done by dry water-soluble graphite pencil blur and then it spreads widely. Soft pencils dissolve the easiest.

a) Colored pencils - Set of 6 to 48 colors and shades, solid slate of colored powder is placed in a wooden frame. Colored pencils cannot be wet with water because when exposed to water, lead is destroyed.

? Pencil "Conte" (invented by French scientist Nicolas-Jacques Conte), it can be black, white, sepia and tarakoty. Pencil "Conte" looks like an ordinary pen, but his lead is composed of powdered graphite mixed with clay, which can provide more relief, more "soft" image. In addition, there are bars that have the same composition. Pencils "Conte", as usual, divided into grade on softness (very soft -

? Coal: Coal, no doubt, is the most ancient means of graphic representation. It was used by the ancient people in the embers of a campfire. In fact, coal is like "Conte", but gives less relief and contrast, more subtle image, so the range of application in terms of expression is somewhat broader. The same technique of coal. There are many types of coal (all of them more or less erased plastic eraser, and not to smooth it over, they have to fix holder), here are:

a) Charcoal - made of willow and olive branches, which burn with a small amount of oxygen.

b) carbon rods - come in different sizes from small to very large, and the hardness are divided into hard, medium and soft. All create dust cover different shades from dark gray to brownish black and completely.

c) Pressed charcoal - sold as a pastel. The high consistency of soot can cause thick, slightly oily streaks, have a large and expressive richness. There are also carbon rods gray tones, where soot diluted chalk.

d) charcoal - they lead and coal are more smooth, as well as graphite are divided according to the degree of hardness. Their advantage is that its rich tone they increase the expressiveness of pattern 2,14 .

? Sanguine: A soft pencil without a frame is made of kaolin and iron oxide. Sanguine can get a variety of colors from reddish brown to pale pink. When drawing on wet paper sanguine fix requires. But with this method, the drawing is lost special velvety character image.

? Sepia: translated from the Greek as a cuttlefish. Light brown color of the ink sac clam (sepia). Used by European artists from the mid-18th century with the beginning of pen and brush. In the 20th century. replaced with artificial colors such as watercolors.

? crayons: pencil, pastel like, prepared on the basis of the wax. Very soft, reserve fat is difficult to remove trace.

? Bed: the word "bed" is derived from the Italian word «pasta», which means "dough." Of colored pigment powders, using chalk and resin is mixed special tests. Then make a round of dough sticks and dried. Pastel has many shades of each color, and it can make subtle changes from one color to another, see Appendix 1, Fig. 23, 24. Matt and velvety soft texture - the most aesthetic features pastels. Pastels like tinted foundation 20,20 .

Pastels may be different structures:

a) fixed bed - it dry elongated rods, pressed from ground into powder pigment, which is added as a binder resin, and for the hard clay. Leads pastel pencil similar in composition to the bed and go well with it, if you want a more subtle study of the figure.

b) Soft Pastels - the pigment with a small amount of gum arabic, chalk or dark paint for lighter or darker color. It is easy to fall off, turning to dust.

c) Oil pastel and wax crayons - they are heavy enough that they applied to the surface could scratch pattern.

? Sauce: The material in the form of thick sticks, pencils made of pressed pigments with glue, often wrapped in foil, a velvety-black (sometimes gray and brown). Allows working with dry and wet. In the second case the sauce pre-mixed with water until the desired consistency or stick sauce lightly moistened paint on wet paper. Sketches, made sauce, well captured black and white features of the model. However, to use this material should be careful, because sometimes drawings and sketches, made sauce, blackened and obtained uniform 34,15 .

? Bistro: paint from wood soot mixed with a water-soluble vegetable glue, used by European artists of 15-18 centuries. when drawing with pen and brush.

? Mascara: Mascara - a liquid black paint. But it also happens in the tiles. Before working on the tile ink rubbing wet glass or bowl and get the black paint, see Appendix 1, Fig. 25. To get lighter shades, it is diluted with water. Her figure is final - it cannot be erased - and, therefore, when using it from the beginning requires the utmost care and precision, see Appendix 1, Fig. 26, on the other hand, it is a link with watercolor and thus to other types of painting, see Appendix 1, Fig. 35. Ink drawings can be done with a brush, see Appendix 1, Fig. 29, 30, metal pen, see Appendix 1, Fig. 27, 32, sliver see Appendix 1, Fig. 28, 37, felt pen, see Appendix 1, Fig. 31. Mascara can be not only black, but also colorful. Paint it mostly feathers or brush.

? Watercolor: watercolor sold in tubes (it is softer, more moist, bright and easy to mix) or cell (jars).

? Brushes: Brushes come in various shapes and sizes are narrow, wide, flat and round. Of course, they add color to the big or small surface. However, the brush can also be carried live and dynamic lines, like tender and bright.

? watercolor crayons: Various patterns can be done by working on watercolor crayons dampened with water and a little paper. Appropriate here mainly linear sketches. Work preferably black or brown crayons (monochrome sketch), more rarely do and colored sketches (three to four colors). Work watercolor crayons on dry paper like working with pencils 19,34 .

? Hands: there are plenty of knobs to list all the impossible because to have known all the time adding new 26,13 .

a) pen - consist of a pen holder and a removable, they dipped in ink or other liquid dye. Best are flexible steel split-tip pens, but in some special shops selling reed, felt and bamboo pens. Thin reed pen (kalam) and strong bamboo is not very flexible, but they can write the tip at different angles, creating a myriad of different lines and strokes ..

Sliver:

b) Technical pens - they are a mechanical device with a tube-tip and are designed to create lines of a given thickness.

c) Automatic handle - handle gaining ink placed inside their body cartridge. Some handles are equipped with replaceable heads that carry out different types of lines.

d) Ballpoint pens - in the head of the rod ball, ink thicker. By rotation of a ball pen on paper leaves uniform lines of different thicknesses depending on the heads.

e) Pens - Disposable material like colored pencil, pressure does not really matter. Pen casing is made of plastic with different diameters, inside the case is a soft felt thick rod filled with coloring with alcohol inks of different colors. In width they also are very different, from thin to very wide, make it possible to quickly cover a fairly large surface of the paper.

e) Gel pens

g) Oil pen

? Feather: short stick (made of paper or suede) with tapered ends for a spot of rubbing stroke when drawing with pastels and other soft materials. The work carried out by the feather.

Expressive means of graphics:

? Line: The primary means of artistic expression in the figure is the line. However, the single line does not matter: the important set of lines, which transforms a blank in the image plane of the paper. Typically, the line below may be of a different nature. Line is seldom uniform and does not change in thickness and tonal richness. As a means of expression line serves as a bar, which is at one and the same figure can be thicker, thinner, shorter, longer, not to go below the continuum, be interrupted, or, conversely, to go close to each other, creating an impression of shadows.

? Outline: Involves the outlines of objects. In conditional - planar figure line can serve as an outline. The model is depicted in two dimensions without transfer of chiaroscuro means. In this type of image it is important to select a point of view from which to better identify the nature of the model. An example is the line drawings by Matisse.

? Hatching: Cover painted surface lines (lines), in the same direction. Hatching can be solid when the lines are merged with each other, or at intervals, in the distance. Shading method depends on the objectives. Hatch can transform lines and flat shapes in three-dimensional objects. There are plenty of touches. Strokes can also easily transfer any invoice subject.

? shading: solid cover one tone without pressure. Pencil should be held freely, at an acute angle to the paper. For a darker tone tushuetsya surface several times. Pressure intensifies impossible, as formed in the individual bars.

? Spot: Involves filling a certain tone on the surface of the paper to make the texture object or embodiment design composition.

? point: a very simple picture of the plane. In the fine arts under the point usually means a small area planar form. And "small" is defined with respect to: it's a small point, set at the end of phrases and a solid point (half-meter diameter), the point in the monumental painting on a blank wall facade.

? Pitch: In the application chart image or pattern obtained using dots and lines of different planes. Emerged as a raster technique printing, posters for their execution, and when the paintings fotorealistami.

? Volume: The volume of items sent to form the figure is not only designed with respect to future reductions in the surface, but with the help of light and shade. Form refers to the three-dimensional image of the object.

? Texture: The nature of the surface of the work.

Fulfilling figure you should be able to transfer the texture of materials such as glass, wood, stone, water, cloth, wool, leather, leaves, grass, clouds, etc. If you draw a stone wall, it should look hard and strong foliage should tremble water look wet, mirror, clouds - soft and light. Clear rules for transfer of the invoice no. The path to success is through experimentation with techniques and materials drawing, through the study and observation of nature.