Abstract of an open lesson in drawing with children of the preparatory group "Autumn still life" (technique "reverse graphics"). Drawing course with colored pencils

Rice. 1

This lesson will be useful for novice artists who want to paint a still life with gouache. Beginners will learn some of the secrets of drawing surfaces and textures, will allow them to see in practice the main rules of painting.

What you need:

1. Paper (A3 size). Whatman is perfect.

2. Brushes. Prepare three flat synthetic brushes (small, medium and large) and a medium bristle brush.

3. Artistic gouache. Poster gouache is not suitable for painting - they dry quickly and form streaks. Gouache must be of good quality, so it is best to purchase paints in specialized art stores.

Stage 1

First, the construction of the composition is created with a simple pencil with a soft lead. It is better to start by marking the plane of the table with a horizontal line. When determining the height, it is recommended to be guided by Fig. 1. The far corner of the table is slightly visible on the right - you need to outline it with a diagonal line. Then, observing the rules of construction, objects are outlined on the table. Light lines indicate fabric and its folds. In this case, it is important to observe the shape of objects and their location relative to each other.

When the pencil sketch is ready, you can start coloring it. It is better to start with a general background - apply the first coat of paint, making short strokes with a large flat brush. After the basic tones are pounced on the jug.

Important! There is no need to strive to completely and “perfectly” paint the entire background or other object. The main mistake that beginners make is that they first try to sketch the entire background, leaving white spaces in the picture in which objects will be located. After that, they alternately paint over all the objects, and as a whole. Or vice versa, objects are painted first, and then the background. This should not be done - the finished picture will look as if objects cut from magazines were glued to the sheet. In the end, a successful composition will not work. Any picture must be painted all at once, gradually. Experienced artists alternately return to one or another subject, in order to make sometimes just a couple of strokes - and so on until the picture is finished.

Rice. 2

Stage 2

Now you can proceed to the jug - you need to draw it over the already applied layer of paint, not forgetting about the smooth transitions between shades. You can do a lot with gouache, but it is important not to be zealous so as not to create the appearance of dirt in the picture. A medium flat brush is used for this work.

Drawing objects must be performed taking into account the light sections: light, partial shade, shadow and reflex. In fig. 3 shows a diagram - it is made in a grid for ease of understanding. The hardest part is understanding the reflex. The lightest part of the object should have white highlights - on a glossy surface, they are more noticeable and brighter.

Rice. 3

Stage 3

After working out the jug, the main color shades are superimposed on the countertop. Do not forget that the planes of the table (vertical side and horizontal surface) should differ from each other in tone saturation. The vertical plane should be made darker than the horizontal plane, which is better illuminated.

Rice. 4

Stage 4

Now you can start drawing a glass bottle, covering it with the same tone as the main background. It will be transparent, through it you can see the back wall, which acts as a background. For this reason, the main shade of the bottle will be the background tone. But it must be remembered that the bottle still remains visible, it has the size and volume. This can be conveyed in the picture by highlighting the edges of the bottle with light paint. After that, some cold tones are added to the bottle, with the help of which it will turn out to transfer glass on paper. To add volume, a reflex is drawn. At the end of this work, highlights are created. One bottle has different highlights: some are pale, softened around the edges, others are bright and noticeable. Before starting to create highlights, it is recommended to carefully consider how they look in the author's picture. In general, the presented drawings will help to understand how to draw a still life with gouache.

Rice. 5

Stage 5

Now it's the turn of the pan. First, it is worth remembering the grid of the light section, and for this you have to return to Fig. 3. Not forgetting about this principle, paint is applied to the pan. First, dark gray and light tones are used, and the darkest paint is left to accentuate the texture of the old, chipped and worn metal.

Learn more about how to convey old worn metal in a painting. To achieve this texture, you will need a coarse bristly brush, and a dry one. At this point, the gray background of the pan with chiaroscuro should already be ready. A dry brush is lightly dipped in gouache, you do not need to take a lot of paint. As shown in Figure 6, long straight strokes are made from top to bottom along the darkened side of the pan. The strokes should be rough and full of holes; even during the stroke, the paint on the brush should end. Before that, it is better to practice making such strokes on a separate sheet so as not to spoil the picture.

Rice. 6

6 stage

Now you need to finish the pot. Empty areas are covered with basic paint using a small brush. A reflex is drawn on the side of the pan, directly on top of the black texture. Handles are drawn, the contour of the pan is indicated. It is not necessary to detail the subject very much so that individual parts of the picture do not fall out of the general style. We must not forget about the relationship of objects.

Rice. 7

7 stage

Now you need to do the drapery around the pan, painting it over with paint completely. This is best done with a large, flat brush. It is important to remember that the fabric is unevenly lit, it looks lighter on one side. In the figure, the multidirectional planes should differ from each other in tone: the vertical plane is made darker than the horizontal one. This also applies to the fabric on the table.

Rice. eight

8 stage

It was the turn of the saucer, its main shade is white. Volume is given to it with bluish gray and gray paint. Then the rim of the saucer is outlined with blue pigment - it should not be too dark. The bottom of the saucer does not need to be too light, as it is in the shade.

Rice. nine

9 stage

When the space of the painting is almost all covered with paint, the drawings are detailed and refined. First, the folds on the fabric are worked out (this is easy to do even for beginners). It is recommended to use more light tones on the fabric to give the image a natural look.

Shadows are cast from the dishes on the table. Next to each of the objects, you need to draw a shadow cast from it using cold shades. Shadows should not be bright and harsh, but rather look diffuse.

10 stage

Now you can move on to the last item - the apple. It is drawn according to the principle of light separation, like other objects already drawn.

The apple casts a colored light onto nearby objects and surfaces. On the saucer, a pinkish tint is added together with the shadow from the apple.

It is important to remember that the interaction of all objects in the picture takes place through color. Items transfer part of their color to each other. By analogy with an apple, the relationship of other objects and surfaces is displayed.

Rice. ten

11 stage

After the picture has been completed in general terms, you need to pay attention to those details that were left without attention. If the pencil sketch has already worn off or has become invisible under the paint, then you can draw the outlines again. Then they will be painted over, because gouache is a thick and opaque paint.

Rice. eleven

12 stage

In order for the picture to acquire depth, volume and solidity, you need to use one artistic technique - at the end of the work, you can hardly noticeably blur the contours of objects in order to soften the line of contact between objects and the environment.

margarita akulova

An open lesson for teachers of visual activities in the art studio of a kindergarten with children of the preparatory group.

Theme:

"Autumn still life"

(in the "reverse graphics" technique)

Tasks:

1. Continue to acquaint children with one of the genres of painting - still life.

2. To acquaint with the type of fine art - graphics and "reverse" graphics.

3. Arouse the desire in children to compose a still life from the proposed objects, combining them with each other in color and size.

4. To consolidate the ability to convey in the drawing the characteristic features of leaves, flowers, fruits: shape, structure, size, location.

5. Continue to master the techniques of working in an unconventional technique - drawing with an eraser (reverse graphics).

6. In the process of work, create a joyful mood in children, teach them the ability to enjoy the results of their work and the success of other children.

7. Support the manifestation of imagination, courage in the presentation of their own ideas.

Course of the lesson:

* Installation for a meeting in an art studio (in a group):

Guys, our pencil friend is waiting for you in the art studio, he has prepared a lot of interesting things for you.

1.

* Children in the art studio.

Today we have many guests in the art studio, welcome them.

* In the magic window - Pencil.

Guys, you and I often meet with a pencil, and he became our friend.

* On-screen Pencil and Eraser

Today he came not alone, but with an elastic band. And why he brought her, you will find out later, but now Pencil has prepared a video riddle for you, do you want to guess it?

* Video excerpt: “If you see in the picture (still life)

Guys, you guessed what we are going to talk about today, and if you want - and draw (about still life).

I invite you to a video exhibition where we will admire the still lifes of different artists.

* Viewing still lifes (on the TV screen).

Did you like the still lifes?

What time of year are these still lifes talking about? (autumn)

What colors did the artists use to convey the gifts of autumn?

Estimated children's answers: bright, warm, golden, sunny ...

See what works are bright, what a variety of colors there are.

Before drawing a still life, the artist composes it.

And I also wanted to make an autumn still life.

I saved oak branches, maple leaves, flowers. We have vases, fruits.

Guys, I will try to compose a still life, and I hope you will help me.

What is our background? (dark) Choose the vase that works best (dark or light)

(-Dark vase, as if hiding)

* We compose a still life with children. We admire.

* On Screen Pencil

The pencil has prepared something else for you.

It turns out that you can depict a still life using only two colors - black and white, and this type of fine art is called graphics.

Pencil wants to show you autumn still lifes made in this technique.

* Viewing autumn still lifes (on the TV screen).

** Commentary while viewing:

If painting is a colorful art, then the main colors of graphics are black and white. Expressive means of graphics - line, drawing, transitions of color and shadow, contrast of dark and light.

* On the screen Pencil and Eraser (an excerpt from the song Big Secret ...)

But now the pencil wants to reveal the secret why he came today with an eraser.

Often, when we draw a sketch with a simple pencil, we use an eraser. But the eraser not only erases, but can create a picture itself.

These are the reverse graphics or "reverse graphics".

Look through the magic window - this is the work of children in technology - reverse graphics.

* Watching children's works (on the TV screen).

The pencil has prepared tinted sheets for you and invites you to draw an autumn still life in memory of this beautiful season. Do you mind?

2.

Guys, I invite you to take a seat in our art workshop.

I wanted to draw such a still life in memory of autumn.

* I show my still life.

If you liked the still life that we put together, then you can draw it.

And you can come up with and depict your still life.

The same subject can be depicted in different ways:

Dark - can be conveyed simply by contour drawing or by highlighting the contour

Light - a light silhouette with veins with a simple pencil

* Showing three different ways of depicting the same subject(leaf) and how you can depict small round shapes.

* I turn on calm music

And now, to the music, you imagine your autumn still life and depict it using the technique - reverse graphics, using an eraser and a simple pencil.

Those who are ready can get to work.

* In the course of the work of children I use:

Suggestive questions:

What size should the leaves be so that everyone can see and admire them;

Can there be leaves from different trees on the same branch;

How much of a leaf can a vase take?

How can you fix the mistake - shade this part;

For drawing thin lines, it is better to use an eraser on a pencil, and for drawing large ones - with an eraser.

Indirect indications:

And you would not want to add streaks on the leaves ...

Reminders:

Did you forget to draw a table or a shelf on which the still life is located?

How interesting you decorated the vase, well done;

I really liked the way you arranged the objects in your still life;

You have carved leaves, great ...

* In the course of work, I offer physical education for those children who are tired:

Finger gymnastics "Autumn bouquet"

Children spread their fingers to the side and bend them to the beat of the poem, in turn, starting with the thumb:

One, two, three, four, five,

We will collect the leaves. (All fingers are in a fist.)

Oak leaves, (Bend your little finger)

Maple leaves, (Bend your ring finger.)

Rowan leaves, (Bend your middle finger.)

Aspen leaves. (Bend your index finger.)

We will collect beautiful leaves together

(Fold your two palms together with your fingers apart.)

And we will carry the autumn bouquet to mom!

3.

- Guys, a little bell is ringing now. But as soon as a big bell sounds in our magic window, our art workshop will close, and we will invite all guests to the opening of the exhibition of autumn still lifes.

(-And those who did not have time to finish painting a little can do it in a group, in their free time).

* At the end - children's works should be placed at the exhibition

Guys, today at our meeting you learned how to depict still lifes in different ways - both in color and in graphics, and in reverse graphics.

Your autumn still lifes turned out to be expressive, interesting, different.

And I helped you create this beauty - an ordinary eraser and a simple pencil.

You were today - graphic artists.

Who has a still life similar to ours? Why did you decide to draw it?

How you accurately portrayed the veins. What did you use?

What branches did you get thin, and what tree are they from?

And your leaves turned out like living ones.

You decorated the vase very beautifully, picked up unusual patterns.

Guys, let's admire your still lifes and invite guests to join us.

Making a sketch

First, take a good look at how the fruits are laid out and how the outlines of one of them are combined with the outlines of the other. Then take hard black pastels and sketch out the entire composition. Draw in short, light strokes, keeping in mind that this is a sketch. Don't strive for absolute precision.

Apply the background tone

Using the side of a lemon yellow pastel, apply a background tone to all warm colored fruits, i.e. red apple, orange orange, yellow banana and pear (excluding grapes). Try not to go beyond the contour of each fruit and do not paint over the places where the highlights will subsequently be drawn. With the tip of a pastel, draw sharper yellow lines to show the bottom curve of the banana and its leg. Color mixing In this case, color mixing was used very limited, since our artist tried to make the fullest possible use of the possibilities offered by the rough surface of special pastel paper. However, this still life was not without mixing at all - this is how the glare on the grapes was painted, transmitting the play of light on the surface of the berries. The intensity of the white here increases as you get closer to the core of the flare. By the same principle, the shadow cast from the fruit is depicted. It is most saturated in the center and gradually blurred towards the edges.

We continue to work

By sketching out the outlines of the objects and covering the fruit with a background tone, you can move on to the main colors and highlights. When separating one fruit from another on paper, use both the flat side and the sharp tip of the pastel.

Shape the orange

Take an orange pastel and draw several short, sickle-shaped lines inside the orange, following the outline of the fruit. Use both the pointed tip and the flat side of the pastel. Regular orange blends well with lighter, warmer colors, so it will partially cover the lemon-yellow background.

Apply green strokes to the pear and banana

Again using both the sharp tip and the flat side of the khaki pastels, add a greenish tint to the pear and banana. Notice the most intricate lines that emphasize the bulges of the pear (at the bottom) and the banana stem.

Add light tones to the apple

To draw the apple, take a light red pastel. Cover the middle part of the apple with even strokes, and then do the same on the left side of the fruit. Then, with the sharp tip of the pastel, it is necessary to intensify the color around the hollow with the handle and further highlight the main contour of the apple.

How to draw grapes

Take a cherry red pastel and use short strokes to paint over the grapes so that the strokes follow their shape. Leave blank areas where highlights will appear later.

We continue to draw an apple and an orange.

Let's go back to the cherry red pastels again, as well as those areas of the apple that we already covered with a light red color. Emphasize the shape of the fruit with dense strokes. Don't touch the middle left side of the apple. Move to the orange, shade it with bright orange pastels, try to repeat the shape of the fruit.

Revealing the darkest tones in the apple

Take a dark purple pastel and use a sharp tip to highlight the outline of the apple, as well as the curved notch where the stalk sits. Then lightly darken the red spot in the center of the apple with the side of the pastel.

Now let's get back to grapes.

Using dark purple pastels, paint over the inside of each berry with very energetic small strokes, trying to emphasize their shape. Do not forget to leave light areas where highlights will appear later.

Add dark tones on pear, banana and grapes

Use yellow ocher to mark the darkest areas on the pear and peel of the banana, as shown. Use denser lines where the grapes cast a slight shadow over the pear. To better show the shape of each grape, trace the outer edge of each berry with the sharp tip of a black pastel.

We bring the grapes to glare

Take a white pastel and lightly paint over all the still unshaded sections on each grape. On some of them, make the glare as clear as possible. In order to place the glare correctly, often check your drawing with the photograph.

Mark a bright khaki speck on the orange and add a white highlight.

Then add white highlights to all the other fruits as shown using the flat side of the pastel. Now, with the sharp end of the white pastel, draw those few beveled lines in the depression where the apple stalk sits, and then with dark brown pastels. Draw the same color around the edge of the apple and lightly shade the light brown spots to make them darker. Gently rub the highlights on the grapes with the tip of your finger.

Finishing drawing an orange

Using the flat side of the pastel, paint some light red strokes on the orange, emphasizing its shape and outline. Apply them very lightly. Then gently rub the red pastel with your finger.

Draw the background

Use white pastels to paint a series of horizontal and vertical strokes around the drawing.

Leave without hatching only the areas adjacent to the right to the pear and to the left to the orange - here you can add shadows.

Add fruit shadow

Use the tip of the black pastel to make small strokes to deepen the shadows around the grapes. Then, with the flat side of the black pastel, apply a light shadow on the surface of the imaginary table and rub it with your finger so that it gradually fades into the white background.

Ready still life

A Layered color

The good thing about pastels is that it can be applied layer by layer. Darker tones were laid on the lighter main tone, which helped to give volume to the depicted subject.

B Smooth background

An even white background sets off well the complex shapes of brightly colored fruits

V Blurred shadow

The smooth transition of the shadow falling from the fruit to the white background makes it more natural.

Translated into Russian, the word "still life" means "dead nature." To put it simply, such a picture depicts inanimate objects in a certain color scheme and with a characteristic fall of light and shadows. It is very difficult to depict a visible composition using pencils and paints, to convey all the shades, mood and spirit. Therefore, to simplify the task, the artists began to conditionally divide the compositions into categories. They can depend on the time of the year, on the colors and on the objects that are depicted. Now we will consider an autumn still life, get acquainted with its colors, style and other features.

Features of an autumn still life

Sometimes it seems that drawing pictures of autumn is the most exciting thing to do. They contain a huge number of shades, but they are all in the same color scheme - warm, red-yellow. Autumn still life can be dark, saturated or light, transparent, but in both cases the colors will be bright and expressive. The background can catch your eye, for example, the painted objects are on the window, and behind the glass you can see a bright blue sky. In a similar way, objects in the foreground of the picture can attract attention.

As a rule, an autumn still life shows us the gifts of this season, its features, which are not only in paints. These can be pictures of the harvest (apples, pumpkins, grapes), images (asters, chrysanthemums), with which household items are certainly combined - vases, pots, chests, etc. Among the artists who painted such masterpieces, Eduard Panov, our contemporary, occupies an honorable place. In his work, there are floral motifs and other autumn attributes.

Different pictures of autumn

It is worth noting that in many there is autumn as art, it has come a long way from antiquity to the 21st century, and for centuries people have depicted everything that surrounded them, including the paintings of autumn. They became most plausible in the 19th century, when the directions that followed them became relevant. Among the masterpieces of the time, the painting by A. Gerasimov "Gifts of Autumn" deserves attention. The name of the canvas speaks for itself - it represents the golden era in all its glory.

Examples in painting

With a slight touch of romanticism, Joseph Lauer captured this season in his painting Peaches, Plums, Grapes, Melon and Autumn Flowers. This autumn still life has retained all the warm tones that are characteristic of the golden age, therefore it is considered one of the standards of autumn painting.

But Henri Fantin-Latour managed to portray autumn outside the box in his painting Flowers, Fruits and Pumpkin. The canvas is painted in red, saturated colors, as if passed through a gradient. The style is something between romanticism, realism and primitivism. The painting is rightfully considered a masterpiece of painting.

With the help of modern technology, you can also make a unique autumn still life. A photo of objects, in which every shade, every shadow and reflection is captured, is a work of art of the new century. Such paintings are more than realistic, but they still depend on the mood of the master who made them.

Equipment and materials: paper for drafts (of any size and quality); thick paper for painting A-3, (or A-4); simple pencil, wash, sharpener; visual aids: several well-known, simple in shape, vegetables (potatoes, carrots, onions, beets), or their dummies or images; gouache at least 9 colors; jars for water; squirrel brushes (thick - for the background, medium - for objects, thin - for strokes and small details): reproductions of still lifes with vegetables (simple but compositions), negative example schemes with typical compositional errors.

Lesson objectives: consolidate the concept of vegetables, introduce the concept of "still life", consolidate the knowledge gained about the layout of the main objects of the image, further acquaintance with the laws of composition - learn to harmoniously arrange objects on the plane of the sheet in a frontal composition, taking into account free space and format, teach drawing simple geometric shapes and to feel their connection with a real object, to acquaint with the techniques of working with gouache, to acquaint with the sequence of work when drawing with paints, to develop thinking, observation, attention, memory, fine motor skills of the hand.

Course of the lesson

1. Organizational moment: we check the availability of materials and their readiness for work. (The paints are closed, no water is collected. We open the paints and collect water just before painting!)

2. Message of the topic of the lesson. Guys, what did we draw in the last lesson? Is an apple a fruit or a vegetable? What vegetables do you know? How are they different from fruits? Today we will draw a still life with vegetables, like real artists.

The teacher shows a reproduction of a painting or a photographic still life depicting vegetables.

What is still life? This is an image of non-living objects: fruits, dishes, flowers, vegetables, or all at once. We will draw vegetables with you. Shows which ones.

3. Workout. In order for the picture to turn out beautiful, first we will practice - on the draft sheets we will try to draw the shape of different vegetables. Look guys, what shape is the potato? These are jagged circles or ovals. Let's draw a potato in one motion (shows on his sheet). Now try to draw it gradually, with many strokes (shows). While the guys are trying to draw on a draft, the teacher helps, reminding them that the hand is relaxed, that there is no need to press hard on the pencil, that the line should return to the point from which it left.

Well done! Now, let's see what shape the carrots are. It looks like a strongly elongated triangle, only its corners are not sharp, but rounded. The teacher shows on his sheet, the guys train - they draw several carrots of different sizes.

Note: for small children, with a low level of training, two types of vegetables of a simple form are enough. If the lesson is conducted with older children, with a higher level of knowledge, skills and ability to concentrate, then the task can be complicated: add vegetables and, even, introduce simple objects into the composition.

4. Execution of work. The teacher distributes paper for work. To practice layout skills, a free sense of paper space, it is better to take A-3 paper for this work. The teacher draws a straight line in the middle of his sheet and, comparing it with a reproduction, asks: Guys, what kind of line did I draw? What have I drawn? Then he explains that this is how the plane of the table is indicated when drawing a lot of objects. Further, he shows how to arrange vegetables on the table in a free order, recalling the law of the location of the main characters in the center of the picture.

Introduces several new laws: on the relationship between the horizontal arrangement of objects and the horizontal arrangement of a sheet of paper, on the effect of obstructing distant objects by close ones. Since at this age the visual abilities of children are just being formed, they may not feel well the connection between the shape, size and interposition of objects with the free space of the sheet. The learning objectives include the gradual formation of this feeling. To this end, in the first lessons, the teacher gradually explains and shows the simplest laws of layout and then gently controls their implementation (by reminding and drawing the child's attention to mistakes) until the children learn them.

Typical mistakes when drawing a still life and how to overcome them:

• The objects are drawn too small - we correct their size to harmonious connection with the free space of the sheet.
• The objects are “stuck together in one pile”, or are strongly displaced in any direction so that in other places the sheet looks unjustifiably empty - we freely and harmoniously redistribute them over the sheet, with an accent in the center.
• Objects are unjustifiably shifted to the edges of the sheet, "fall out" from the sheet, or even cut off by the edge of the sheet - we shift them to the middle so that the central visual zone is filled, and all objects are fully visible.
• In order to avoid these three common layout mistakes, it is advisable to have negative examples of such erroneous compositions sketched out and show them when explaining how to do it wrong.
• The contours of the objects are not closed - we remove the gaps, bring the lines to the point from which they came out.
• You constantly have to remind you of the need to wipe off extra lines where the near object obscures the distant one. (A separate lesson can be devoted to this topic).

Lesson options: can pose a more complex compositional task - arrangement of small vegetables around the periphery of a larger object in the center - potatoes around a cabbage swing.

After the still life is arranged, you can draw water, open the gouache and start painting. At this stage, we note the following significant points:

The quality of paper, brushes and gouache paints - the paper should be thick, suitable for painting; gouache should be fresh, plastic, at least 9 colors; squirrel brushes, soft, several sizes for different types of work. If the quality of the materials for drawing is low (thin writing paper, synthetic brushes and 6 jars of old dried gouache inherited from the grandmother), the child will experience the joy of creativity, but it is illogical to expect any aesthetic result from such activities.

Kids, as a rule, begin to paint the work not from large to small details, but on the contrary - not the apple itself, for example, but the tail of the apple, not the landscape behind the person, but the eyes and mouth on the person's face, etc. This feature of children's perception needs to be rebuilt. We begin to paint picturesque compositions of any content from the background, successively moving from. more and more large objects, to small details! In this topic, these are the background at the table and the plane of the table. We turn to the main “heroes” of the composition, in this case - vegetables, in the last turn.

Immediately, from the first lessons of painting, it is important to teach children to mix paints! To do this, the teacher invites the children to choose their favorite color for the background, then choose related colors (for example, all blue and green, or all warm - yellow, orange, ocher) and, mixing them in any sequence, paint over the background so that a colorful vibration is created , the flow of one color into another, the neighborhood of different shades of one or more colors.

In the first lessons, the teacher himself shows how this is done, and then follows and helps the children master this pictorial rule. The same is done with the table: if it is a wooden table, all colors corresponding to the wood are selected (all warm, plus shades of green), and the texture of the wood is conveyed with separate strokes of different shades. If you plan to depict a tablecloth or napkins, we select colors based on the background and the color of vegetables, with elements of a simple pattern.

• Strokes of paint, like strokes with a pencil, are placed in the shape of objects!
• Unobtrusively, we draw the guys' attention to the presence of shadows, and we make them by adding cold blue tones, or by adding black.
• If it is difficult for the guys to achieve tonal and color contrast, and the objects are "mixed" and are difficult to distinguish - you can and should use the technique of stroking in a dark tone with a thin brush.

5. The result of the lesson. Children should consolidate the concept of fruits and vegetables, know what a "still life" is, know the above layout rules, the procedure for performing painting, the rule of mixing colors, and master drawing several simple-shaped vegetables. At the end of the lesson, a general exhibition is arranged, the works are discussed. Praise deserves all who tried, regardless of the result.

6. End of the lesson: cleaning jobs.