Home – Home – Jornals – "Philosophy of Education" 2015 number 2

In the article the author indicates that among the diverse problems of studying of drawing, a problem of identification of a figurative and spatial system in the portrait is among the most significant and the most difficult ones for the students. Therefore it is necessary to direct students to representation of difficult spatial forms in the simplified schematic constructions, including of the human head which, in its basis, is related to a certain volume-spatial design. It is noted that for centuries-old history of development of the fine arts, many artists-teachers have been developing various simplified schemes of drawing the head and figure of the person, proceeding from the analysis of the elementary geometrical forms. There are many methods of carrying out drawing which represent various approaches to construction of the volume shape of the head; moreover, it is very important that they supplement each other and, in general, give the most complete idea of the design of this form. The purpose of all settings in educational drawing is not studying the means of depiction, but mastering a system of construction of an art form and space. In addition, it is necessary to know that a realistic drawing has nothing in common with simple copying of the nature. Its task is to transform observations into an artistic image. Development of the ideas about form and space is a difficult process directly depending on physiological, mental and intellectual development of the person. To develop understanding of the students concerning modeling of form, identification of its constructive basis, there are used various theories of light-and-shade, aerial perspective etc. For example, in the portrait it is impossible to separate the form from the content; there is a stable connection between the construction being formed and the searches for an expressive form. Here everything is equally important as portrait drawing is a harmonious whole. Working on the condition of a portrait image, the artist necessarily works on its form, whereas its searches, in many respects, determine the feeling of the artwork, its artistic image. A generalized form facilitates the further perspective construction of the tonal surfaces forming the head, revealing nuances and prompting an arrangement on them of finer details, allowing understanding a volume form as a tonal harmony. Each of these planes is lit differently and differently characterizes the form. But even at such initial stage of generalization it is impossible to draw conditionally a roughly planned scheme; in drawing a live form all these planes can be represented in the mind. In drawing a live nature, a conditional scheme has to be only some guidance in the work, as a means of conscious drawing a model. It must help to understand the essence of a live form in order to reproduce later a real, live form of the head.