scholarly journals Technologies of Working on Graphic Materials in Fine Arts Classes

Author(s):  
Ismatov Ulfat Shuhratovich

This article discuses technology used to develop graphic material in fine arts classes. The purpose of fine arts classes is to teach students to draw on a variety of graphic materials; to teach them to see, comprehend, understand and appreciate the beauties of being and art; to develop aesthetic and artistic taste, to expand the scope of artistic thought; to develop artistic creativity and imagination, to help them find their own style, their own way of creativity.

Author(s):  
V. Vandаlovskyi

Nowadays the problem of improving the artistic and technical features of the lithographic manner of mixed technique has matured already. The author of this study expanded and supplemented the ways of combining a variety of manners of lithographic techniques through practical experiments to achieve positive results in this area. Mixed technique is one of the types of lithography, in which a certain combination of lithographic manners engraving on stone with pencil, blurring ink, root paper, color lithography is used on one stone depending on the intent of the author, his artistic taste and possession of a large number of techniques in lithography, such as shading, sketching, blurring ink, pen, prints of cloth and other textures and the like. Lithography got the greatest spread in France, the gifted artists on stone included T. Géricault, Antoine-Jean Gros, Claude Joseph Vernet, Nicolas-Toussaint Charlet, O. Raffet, Ferdinand Victor Eugène Delacroix, Louis-Léopold Boilly, Paul Gavarni, Henri Grévedon, A. Toulouse-Lautrec and many others. Famous Ukrainian artists, namely M. Deregus, M. Popov, S. Yakutovich, and others worked in lithographic mixed technique. In particular, N. Popov in the creation of graphic works used the author's manner of execution of lithographs – drawing with acid. In artistic creativity to the main lithographic technique artists add elements of other graphic techniques: combine with etching, woodcut, monotype and other techniques. The program of teaching lithography in National Academy of Fine Arts and Architecture in methodical terms is designed so that the student of the specialty "Free graphics, design and illustration of the book", mastering lithographic technique and getting acquainted with her manners, could be able to do on this basis a mixed lithographic technique. Mixed technique is the final task, in which the student is given the opportunity to choose and combine the manners of lithography. Senior students improve their knowledge in the field of technical and technological capabilities of lithography. Due to the rich, original technique lithography has unlimited visual possibilities. It met the requirements of different artists, despite the difference in styles, language and artistic techniques. Lithography makes it possible to solve the composition in black and white, dashed, tonal, color techniques through the use of different manners.


2017 ◽  
Vol 14 (1) ◽  
pp. 151-158
Author(s):  
Olimpiada Arbuz-Spatari

Abstract The framework and the reference objectives of the ‘Textile art’ course signal priority of the student’s initiation in the fine arts language theory. It is essential to discover new possibilities to study and apply of fine arts language elements for the purposes of triggering students’ creativity. For this purpose, at the course of “Textile art”, we will examine the necessity of studying fine arts language, synthesis of creative forms when essentially determining the contents in the process of development of artistic creativity to fine arts education students. In the process of development of artistic creativity in students it is important to study the language elements by selecting and processing artistic elements of nature. The study of the elements of fine arts language contributes to educating and informing the creative personality while choosing and processing the reality in the context of a methodical creative thinking - along with compositional regularities of scale, rhythm, movement and fine arts forms.


Author(s):  
Iraida Rudenko ◽  
Iryna Solomko ◽  
Elena Semenova ◽  
Olha Sova ◽  
Tеtiana Doroshenko

The role of fine arts in the process of developing pupils’ creative activity remains insufficiently studied. This is especially true for the specifics of developing a values-based attitude towards any kind of creative activity in the representatives of such a complex age group as younger adolescents. The paper aims to develop and experimentally verify the methodology for developing creative activity in younger adolescents using fine arts in the educational process of secondary schools based on theoretical justification of the problem of the individual’s creative activity. This methodology was aimed at implementing a holistic set of creativity exercises, partial searching and artistic creativity tasks and a variable model for organizing the actions in the form of “the projection of desire”. The control and experimental groups involved the same number of younger adolescents, namely, 143 respondents, whose indicators of development levels of creative activity did not differ significantly. Different methods were used to identify the level of creative activity: questionnaires, interviews, conversations, pedagogical observations, partial searching, multi-level artistic creativity tasks and creativity exercises. The level of creative activity in younger adolescents in the experimental group has increased: a prospective level - by 9.1% (from 7% to 16.1%), a differentiated level - by 5.6% (from 51.7% to 57.3%). A situational level has decreased by 14.7% (from 41.3% to 26.6%). All the obtained data differ from the tabular ones for the selected high level of statistical significance (0.01<p<0.05), which indicates the effectiveness of the developed methodology for developing creative activity in younger adolescents using fine arts in the educational process of secondary schools.


Author(s):  
Botir Boltabaevich Baymetov ◽  
Shoxidahon Odiljonovna Botirova

Author(s):  
Лі Янь

The article reveals the connection between the teaching of oil painting and the spiritual and intellectual development of future teachers of fine arts. Classes in oil painting harmonize the inner world of a young person, cultivate his aesthetic taste, evaluative judgments. The best oil paintings by Chinese artists have gained recognition.


2020 ◽  
Vol 16 (1) ◽  
pp. 133-144
Author(s):  
Antanas Andrijauskas

SummaryThe article is dedicated to the research of the origins and peculiarity of classical Chinese historiography of fine arts from the broader civilisational perspective. Based on the principles of comparative analysis, the paper reveals the peculiarities of formation of Chinese historiography of fine arts, its attention to the analysis of various methods, styles, schools, directions and different internal and external factors of artistic creativity and development, highlighting its relationship with neo-Confucianist ideology that influenced the rise of “Chinese renaissance”. The article focuses on written work by three most prominent historiographers of the Tang and Song eras, Zhu Jingxuan, Zhang Yanyuan and Guo Ruoxu. The analysis of authentic treatises of historiography first exposes the theoretical peculiarity of the founder of this tradition, Zhu Jingxuan, the principal scope of issues that interested him, and the impact of his research strategies and methods on later scholars. The article follows with the research of Zhang Yanyuan’s and Guo Ruoxu’s theories, particularly their relationship with neo-Confucianist ideology. Based on the detailed comparative analysis of their treatises, the analysis shows the broadening of the field of historiographical issues of interest to them, as well as separation of historiography of fine arts into an individual influential direction of art criticism.


2021 ◽  
Vol 02 (05) ◽  
pp. 55-61
Author(s):  
Botir Boltabaevich Baymetov ◽  
◽  
Laylo Misoatova ◽  

The article describes how visual activity contributes to the development of abstract thinking and specific, sensory experiences in schoolchildren, and in the process of the image, the child selects from the integral visual image proportions, color, silhouette, line as general and constant characteristics of the reality visually perceived by it.


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