European International Journal of Pedagogics
164
https://eipublication.com/index.php/eijp
TYPE
Original Research
PAGE NO.
164-169
DOI
OPEN ACCESS
SUBMITED
28 January 2025
ACCEPTED
27 February 2025
PUBLISHED
29 March 2025
VOLUME
Vol.05 Issue03 2025
COPYRIGHT
© 2025 Original content from this work may be used under the terms
of the creative commons attributes 4.0 License.
Important Factors in
Creating Portrait
Compositions for The
Professional Training of
Future Fine Arts Teachers
Talipov Nozim Khamidovich
Associate Professor of the Department of Fine Arts, Candidate of
Pedagogical Sciences, Tashkent State Pedagogical University named after
Nizami, Uzbekistan
Abstract:
This article addresses current issues in the
professional training of future fine arts teachers,
focusing on the theoretical and practical methodology
of portrait creation in both pencil drawing and painting.
Keywords:
Self-portrait, genre, realistic, perspective,
composition, achromatic, chromatic, grisaille.
Introduction:
New scientifically-based forms and
methods of teaching national art examples to students
are being developed in various higher education
institutions and research institutes of the republic. Fine
arts, particularly pencil drawing, painting, and
composition, play a crucial role in nurturing artistically
accomplished students with a spirit of devotion to the
Motherland and national art. This, in turn, necessitates
in-depth and well-founded special subjects taught in
higher education faculties and specialized schools,
setting high standards for educators.
Studies show that although students may understand
and remember the basic rules of drawing from nature
well, there are instances when they struggle to apply
their acquired theoretical and practical knowledge in
practice. Therefore, in addition to theoretical
knowledge, they must also develop performance and
technical skills in fine arts. Students should not
experience technical difficulties during practical
exercises. Mastering technical skills freely and
proficiently allows students to fully immerse themselves
in creativity, develop their artistic abilities, and become
highly qualified artist-educators. Students who have
only superficially mastered depiction skills do not feel at
ease during practical work and, consequently, cannot
fully express their thoughts and feelings. This applies to
European International Journal of Pedagogics
165
https://eipublication.com/index.php/eijp
European International Journal of Pedagogics
all forms of art, especially pencil drawing, which is the
foundation of fine arts.
Ancient academic schools paid great attention to
depiction techniques. Therefore, when introducing the
art of drawing for the first time, master artists would
instruct their apprentices to copy examples created by
master artists. In this approach, the main focus was on
the technique of image execution.
One of the methods to develop the creative activity of
a young teacher-artist during the lesson process is to
engage them in studying the mastery of experienced
artists. Introducing students to how renowned artists
have acquired their skills and demonstrating how
images are interpreted differently in artworks actively
involves young people in the creative process.
However, this sometimes proves insufficient.
Therefore, in addition to such tasks performed in the
classroom, the teacher should also assign homework
that involves copying examples of works by great
artists. These assignments not only teach students to
depict images more expressively but also help them
learn how master artists skillfully utilize visual
techniques. Each teacher has their own unique
methodology and individual system for teaching
drawing. If a student has proper technical preparation,
they will develop into an experienced artist-teacher in
the future, regardless of which teacher-artist guides
them. The teacher's skill is determined by their ability
to provide instructions to each student according to
their descriptive technique, make extensive use of
educational methods, and give correct guidance to the
student. Descriptive skill refers to a person's ability to
realistically render a certain form using specific
methods and techniques based on previously acquired
experience.
In artistic and creative activity, mastery arises on the
basis of previously acquired knowledge and skills. It is
important to gradually develop and improve skills in
working with young people. Careful observation of
student work, the correct approach to each of them,
allows one to exert the necessary influence. A
teacher's praise, encouragement, and respect for their
students are beneficial for creative activity. However,
the method of encouragement is useful only when it
corresponds to the emotional attitude, the student's
will, ability to work, and self-esteem. Students actively
engage in creative activity, but in some cases, due to
dissatisfaction with the results of their work, they
expect clear instructions from the teacher, and at this
time, the teacher's help in clearly pointing out the
student's mistakes further inspires the student. As a
result, the student gradually continues the work and
completes it. Students enhance their skills by drawing
pencils and color labels effectively using various
materials (pencil, sticks, sauce, charcoal) [1, 48].
Summarizing the above, it should be emphasized that
for successful education and upbringing of students, the
teacher must take into account the individual
characteristics of each of them. Every student requires
special attention, and only by considering this can a
teacher achieve great results in developing their
student's creative abilities.
An inexperienced student thinks that painting a portrait
is easy. After creating a sketch from life, they choose a
color they think is close and paint it. The result is not
satisfactory. Although there may be a resemblance in
the external appearance of the subject, it cannot be
called a full-fledged portrait painting. In portrait
painting, the student must apply all their knowledge and
skills to accurately capture the unique psychological
state of the person being depicted.
You are familiar with many masters of the portrait genre
from the history of world fine art. The works of great
Renaissance artists like Leonardo da Vinci, Raphael,
Titian, and Tintoretto continue to amaze painting
enthusiasts with their mastery in expressing complex
emotions in their delicate portraits. Flemish artists
Rubens and Van Dyck, and Dutch artists Hals and
Rembrandt were able to depict the notable people of
their time in their unique works.
While the portraits of the 17th-century Spanish artist
Ribera are distinguished by deep psychological
expression and artistry, the portraits of the 19th-20th-
century French artists Renoir and Cézanne express new
ideas and content in a distinctive color palette.
In addition, several famous Russian artists such as I.
Repin, V. Surikov, V. Serov, and M. Vrubel created an
invaluable portrait gallery of their contemporaries. In
each portrait, they were able to depict not only external
resemblances but also the inner psychological world of
a person - their intelligent, emotional, and noble
characteristics - with high artistry and in a distinctive
style.
Our renowned Uzbek artists have also achieved fruitful
success in the portrait genre. Miniature painters such as
Kamoliddin Behzod and Mahmud Muzahhib left a
profound mark on Uzbek fine art. The explorations in
the portrait genre by masters of art such as M.Nabiev,
A.Abdullaev, R.Akhmedov, M.Saidov, M.Oganesov,
N.Kuziboev, and Ch.Akhmarov are extremely invaluable.
The perfection in a portrait lies in the integrity and
expressiveness of the image. It should also be noted that
these thoughts expressed about portrait painting should
not be taken as a ready-made recipe. It is impossible to
create a skillful image with theoretical knowledge alone.
The presented ideas are aimed at preventing the main
mistakes that can occur when working on portraits. Of
European International Journal of Pedagogics
166
https://eipublication.com/index.php/eijp
European International Journal of Pedagogics
course, in the portrait genre, a creator needs great
talent, skill, and extensive experience to accurately
reveal the inner psychological state. We will provide
you with several guidelines for studying portrait
painting [2, 63].
In this regard, reorganizing the teaching of fine arts in
the higher education system and improving its content
and methodology is one of the pressing pedagogical
challenges of today. The portrait genre of fine art holds
particular significance in this context. Therefore,
providing artistic education to students through fine
arts is one of the urgent tasks.
It is essential to address issues such as students'
perception and understanding of the processes
associated with portraying the portrait genre, as well
as their becoming active participants in these
processes. While working on the portrait genre,
students gradually master its basic principles (correct
placement, perspective foreshortening, point of view,
color and tonal relationships) both theoretically and
practically.
Creating a human figure requires extensive knowledge
from the artist. Such requirements necessitate the
accumulation of both theoretical and practical
experience through study and learning, as well as the
ability to apply it in practice. Before painting a person's
appearance and div, it is essential to thoroughly
master the creation of educational still lifes.
Otherwise, it is impossible to achieve positive results.
The creation of a human image can be divided into
several interconnected stages. These are:
- Creating an image using the "grisaille" technique;
- Depicting the figure in a daylight environment;
- Portraying the figure under artificial lighting;
- Painting a portrait in the open air (en plein air).
It is well-known that when creating an image, it is
important to correctly depict the tone of the subject
being drawn and apply the corresponding color. This is
also the main task in exercises on creating a human
image. For this, first, it is necessary to execute the
composition in grisaille technique (using a single color)
to learn how to identify and depict the light and dark
values of the image and the features of its form. This
approach helps to correctly distinguish the degrees of
light and shadow in the figure and sense its volume.
Moreover, working with a single color tone greatly aids
in showing the shape and volume of the object (in still
life) or the figure (in portraiture), as well as accurately
identifying the shadow and light areas and the light-
dark tones of the figure. In this case, color hues and
luster are considered secondary. The study of a
person's appearance usually begins with a deep
analysis of the characteristic features of the subject
being drawn. Therefore, first, pencil sketches and
several short-term color studies are created. In a single
color, often using brown "Mars" pigment mixed with
black and white, the shape of the human figure, the
relationship of light and dark values, how it appears as a
whole in relation to the background, and the layout of
its main parts are determined.
After completing such preparatory work, it is advisable
to begin the main task and move on to developing a
detailed image. In long-term imagery, every minor
element is taken into account and worked on [3,140].
Using the flat part of the brush allows highlighting each
surface in segments, accentuating it according to its
shape, as the brush is used in the direction of the form.
The brush strokes represent each segment. When
depicting a portrait, it is necessary to pay serious
attention to its state in the environment. This is because
everything around influences its appearance to a certain
extent. The background plays a particularly important
role in creating the image. The figure being drawn
appears in "silhouette" as either dark or light against it.
Therefore, practicing the setup in two different
situations - with light and dark tones, and with the
background - yields good results.
If the depicted human figure is illuminated directly or
from the side, each part (detail) becomes prominent,
making it convenient to create a holistic image. First, the
tonal relationships of the large form are established as
a whole, then the small parts are worked out in detail.
In this process, attention should be paid to light and
shadow, reflections, and they should be depicted
accurately in their proper places. When performing the
task using the "Grisaille" method, illuminating the face
with an artificial light source is effective. This way, the
object being drawn becomes clear, visible, and its
volume is clearly perceived. It is better to start showing
the shape of the face from its shadow area, as it will then
be easier to present the image as a whole. After
establishing the main "silhouette" of the face and
concisely rendering its shadows and lights, one can
move on to small elements and work on them in some
detail.
Grisaille is a technique that involves drawing with a
single color. This style bridges the gap between pencil
drawing and painting. When creating a human head
portrait, along with general rules, we observe that a
sharp, thin pencil and a wide, flat brush can represent
the shape differently. For grisaille, it's preferable to
choose a darker and warmer color (for example: umber,
mars brown). Other paints, such as mixtures of black,
blue, and white, give a cold tone, which doesn't
correspond to the warmth of a human face. Before
European International Journal of Pedagogics
167
https://eipublication.com/index.php/eijp
European International Journal of Pedagogics
painting a portrait in oils, it's useful to do several
exercises that address tonal solutions.
The purpose of this exercise is to study the expression
of the human head's shape through light and shadow
relationships. The way shape is rendered with brush
strokes differs from how it's achieved with pencil. In
pencil drawing, the shape is studied based on
construction, and color characteristics are represented
conditionally. The shape can sometimes be depicted
with a single line, without a background. With a brush,
the shape is portrayed together with the background,
inseparable from its surroundings. Two paints are
typically used for grisaille: natural umber and white.
Instead of natural umber, other types of umber or mars
brown can also be used. Bright red, green, or blue
paints are not recommended. For this task, it's better
to choose a male model with a clear anatomical
structure. In the initial exercises, it's advisable not to
draw children's portraits. Their facial structure is
smooth, and their constructive structure presents
some difficulties.
The model should be positioned in such a way that the
incoming light emphasizes the character of the facial
features. For this purpose, it is better to direct the light
from the side or from above. A neutral-colored fabric
is very suitable as a background. To clearly define the
shape of the head, the model should be positioned so
that the illuminated part is brighter than the
background, and the shadowed part is darker than the
background. Once the model is properly positioned, it
is necessary to consider the compositional placement
of the portrait on the canvas. The composition is based
on the artist's viewpoint and the size dimensions. It is
advisable to choose a smaller canvas size. If the
selected canvas is large and the model is drawn larger
than its actual size, it's natural for an inexperienced
artist to become confused. A size of 30x40 cm is
recommended for creating a head study. Initially, the
head structure is constructively outlined, with
increased attention to facial proportions. It is not
necessary to develop light-shadow and volumetric
characteristics for each detail at this stage. This will be
addressed later with a brush after determining the
overall shape of the head. Most importantly, the pencil
drawing must clearly define the overall construction of
the head.
It is preferable to work with charcoal pencils rather
than regular pencils when creating images on fabric.
Charcoal is convenient for defining differences in tone
and light-shadow. Additionally, charcoal can be erased
even with a cloth. However, minimize erasing when
working on fabric, as it may damage the quality of the
top layer's primer. Once the image on the fabric is
complete, it is fixed with varnish.
How to begin the work: First, carefully observe the
model. Compare the illuminated and shadowed parts of
the head relative to the background. Identify and
mentally analyze the brightest and darkest areas. For
instance, determine the degree of lightness of the
illuminated forehead area in relation to the background.
It's not necessary to prepare mixtures for the brightest
highlights and darkest shadows. The color mixture is
prepared for medium tones of light and shadow. Once
the mixture is ready on the palette, begin with a large
brush, starting from the shadow areas. This quickly
defines the head's shape and forms the basis for the
tonal solution. After covering the shadows with paint,
proceed to work on the background. On white fabric,
shadows appear very dark. After establishing the
background in the shadowed part of the head, move on
to work on the other side. Now apply paint to the
illuminated part of the head, comparing it with the
shadows and background. Work boldly and freely,
without dwelling too long on each detail. If you use
thinner paint in the first application, you can apply
thicker paint in subsequent layers. However, strive to
accurately
establish
the
head's
lighting
and
environment during the initial treatment. Use a palette
knife to scrape off any unsuccessful or overly heavy
areas. If an applied brushstroke doesn't sit right or fails
to accurately define the form, scrape it off with the
palette knife and attempt to achieve a clear
representation of that area again. After comparing the
shadowed parts with the illuminated areas and
achieving the characteristic structure of the head,
proceed to give more precise form to the details. If the
applied paint smear doesn't fall into place or doesn't
accurately define the shape expression, it is scraped off
with a mastic and attempts are made to achieve a clear
image of that part again.
Working on the details and refining the general shape of
the head is part of the second stage of the work. At this
stage, the detailing of the face is carried out in
accordance with the structure of the head. Painting
details with large brushes is not easy. Now we will make
effective use of small brushes.
When working on the eyes, do not outline the eyelids
with a small brush. First, mark the location of the eye in
the desired tone. When determining the tone,
remember to compare it with other processed parts of
the head. After determining the location and character,
begin drawing the eye. Work on one eye and
immediately move to the other. Try to work on both
eyes simultaneously, without losing focus on their
structure. Don't draw the lips as a single line. The shape
of the lips also needs to be modeled. This is because
they have convexity consisting of various planes.
Therefore, apply paint strokes according to the shape of
European International Journal of Pedagogics
168
https://eipublication.com/index.php/eijp
European International Journal of Pedagogics
the lips. Once the shape of the lips is carefully crafted
with a brush, it is necessary to ensure that the overall
expression of the model is not lost. While focusing on
processing the parts of the head, one must not forget
its overall appearance. Even if the parts are carefully
detailed separately, the connection between them can
be lost. The artist immediately notices this, so no
matter how much attention you pay to the details, the
likeness of the head can be lost. Some minor errors
become noticeable in the construction of the head.
The reason for these shortcomings is that the artist,
having worked on the details too meticulously, loses
the ability to see the overall picture. To avoid such
errors, it is necessary to constantly observe and
compare the general state when processing details. In
the process of detailing, it is advisable that each part
harmonizes with others and does not interfere with
the overall appearance[4,28].
Therefore, the most important thing for an artist is to
develop the ability to see nature as a whole. Let's say
you started working on a nose. Look at it carefully. Try
to express the color and shape of the nose. The nose
also has areas of light, shadow, half-shadow, and
reflections of various colors. This is where artists often
make a common mistake. The artist, focusing intently
on the nose, forgets that it is part of the overall head
shape and fails to view it holistically.
What should be done to avoid losing sight of the whole
when working on a detail? For this, it is necessary to
learn to never lose sight of the general form. This is not
an easy task. Only the artist himself can cultivate this
necessary quality. To do this, he must always remain
vigilant. Once you've worked on a detail, don't forget
to compare it with the overall appearance. To correct
errors, it is advisable to view the image as a whole. This
process serves as the third stage of the work. At this
stage, freely and confidently rework some parts of the
painting with a larger brush. The brightest and darkest
areas should not be repeated in other parts of the
painting. Ensure that the shadows marked as dark do
not appear black or blurry.
When unifying the composition, it is not necessary to
paint all its parts thickly. The work can also be
perfected using transparent and semi-transparent
layers of paint through the glazing (liquid coloring)
technique.
After working on several paintings using the grisaille
method, you will master the art of creating form with
a brush. Now you have learned to work not with
painting, but with paint applications. By working on the
painting step by step, you have learned how to
progress from the general to the specific, while also
learning the necessity of maintaining overall integrity.
After gaining experience working with the grisaille
method, you can also practice exercises in color. In this
case, all color tones are effectively utilized. To perfectly
study color nuances, performing practice tasks
outdoors, in open air, i.e., in "plein air" conditions, yields
good results. The student's independent completion of
such work as homework leads to an increase in their
experience.
Painting a human figure is an important stage that
follows mastering the "grisaille" technique. It is well
known that creating an image, whether it be a pencil
drawing or a painting, is carried out in an academic
method, divided into conditional stages. Such
interconnected activity in a methodical sequence serves
as a factor in the successful completion of the training
task.
Before working on a long-term (18-20 academic hours)
portrait painting, it is recommended to complete
several short-term color studies. In these exercises, you
develop a sense of color plasticity and enhance your
color vision capabilities.
How can one learn color vision? Any person with an
adequate level of vision can easily distinguish colors in
nature: red from green, blue from yellow, and so on.
However, merely distinguishing colors is not enough to
create a thematic composition. For this, it is necessary
to develop the artist's ability to perceive color [5, 7].
In short-term color studies, it is easier to teach the
correct placement of the head on the canvas, the
vibrancy of color relationships, and a holistic view of the
composition. To further improve skills, it is necessary to
create several color studies specifically to correctly
render the shadow areas of the head. This is because
rendering shadows correctly is very important in
portraiture. Experience shows that painting shadows is
difficult for a learning artist. Often, they apply the same
color used in lit areas to shadow areas, just in a darker
shade. Therefore, it is necessary to learn to see color in
shadows. This is a rather difficult task. An artist should
always be very attentive and observant.
Short-term color studies should be designed for one
session, i.e., 1-2 academic hours. The artist must be able
to focus all their attention and concentration on the
work during this short time. It is advisable to create a
color study with a size of 20x15 or 30x20 cm. Canvas,
cardboard, or primed thick paper can also be used. An
easel is necessary for the work. Color studies are
executed directly with a brush, without preliminary
pencil drawing.
In this process, the general shape of the head is outlined
without depicting minor details. It is necessary to create
many such color sketches. The purpose of this is to
develop color perception, sense the integrity of form,
European International Journal of Pedagogics
169
https://eipublication.com/index.php/eijp
European International Journal of Pedagogics
and correctly capture the character of the model. In
essence, regular practice helps beginner artists master
painting techniques and develop their observational
skills. Only after this should one proceed to create a
long-term, detailed portrayal of the head. Through
this, the depiction of the head is studied much more
thoroughly. However, even later, it is very beneficial to
consistently work on short-term color sketches
alongside long-term projects. Even during extended
painting sessions, it is advisable to pause the work and
quickly create a color sketch from a different angle to
study the model more deeply. Afterwards, one can
resume the main work. It should also be emphasized
that practice should not be limited to classroom
activities. Independent, frequent, and diligent
completion of homework is a crucial factor in
increasing a student's knowledge and experience.
REFERENCES
Бойметов Б. Қаламтасвир. Дарслик –
Т.: Мусиқа,
2006., 48-
бет.
Talipov
Nozim
Xamidovich,
(2024).
Creative
technologies for the provision of art education to
future teachers of fine arts. current research journal of
philological
sciences,
5(01),
39
–
45.
https://doi.org/10.37547/philological-crjps-05-01-08
Talipov, N., & Rashidova, X. (2022). Talabalarga tasviriy
sanat orqali badiiy talim berishning ayrim xususiyatlari.
Collection of scientific papers «SCIENTIA», (April 22,
2022; Chicago, USA), 104-106.
Talipov, N., & Talipov, N. (2021). Creative technologies
for the development of students’ creative ac
tivity
through art education. Збірник наукових праць
ΛΌГOΣ.
https://doi.org/10.36074/logos
-
19.03.2021.v3.12
Nozim
Hamidovich
Talipov,
(2023).
Creative
technologies of working portrait composition in
professional training of future fine art teachers.
Current research journal of pedagogics, 4(01), 81
–
88.
https://doi.org/10.37547/pedagogics-crjp-04-01-12
Абдирасилов, С. Ф., Толипов, Н. Х., & Толипов, Н. Н.
(2017). Эффективность исторического подхода в
художественном обучении. Молодой ученый, (20),
417-421.
Талипов, Н., & Талипов, Н. (2021). Tалабаларни
бадиий
таълим
орқали
қобилиятларини
ривожлантириш. Збірник наукових праць ΛΌГOΣ.
https://doi.org/10.36074/logos-09.04.2021.v2.50
Nigmatjon Nozimovich Talipov (2024). The stages of
development of the art of engraving in ancient period
and the middle ages. European Journal of Arts, (1), 67-
71. doi: 10.29013/EJA-24-1-67-71.
Talipov,
Nig‘matjon
Nozimovich
(2022).
Kompozitsiyada ijodiy jarayon hamda kompozitsiya
vositalari
va
me’zonlari.
Oriental
rena
issance:
Innovative, educational, natural and social sciences, 2
(5), 744-755.
Абдирасилов, С. (2021). Изобразительное искусство
узбекистана в патриотическом и эстетическом
воспитании школьников. Збірник наукових праць
ΛΌГOΣ.
https://doi.org/10.36074/l
ogos-
19.03.2021.v4.42
R. R. Jabbarov. Patterns in applied art of the uzbek folk
// European Journal of Arts, 2023, No1.
–С. 11–
14. DOI:
https://doi.org/10.29013/EJA-23-1-11-14
Jabbarov Rustam Ravshanovich, (2024). The study of
teaching applied decorative arts in higher education
institutions through software solutions: a review of
methodological literature. current research journal of
pedagogics,
5(10),
106
–
111.
https://doi.org/10.37547/pedagogics-crjp-05-10-18
Nurtaev
Urinboy
Nishonbekovich,
(2023).
PEDAGOGICAL CONDITIONS FOR THE DEVELOPMENT
OF PROFESSIONAL TRAINING OF A FINE ARTS TEACHER.
CURRENT RESEARCH JOURNAL OF PEDAGOGICS, 4(03),
53
–
57. https://doi.org/10.37547/pedagogics-crjp-04-
03-10
Nurtaev Urinboy Nishanbekovich, & Amanyazov
Sadadin Kosbergenovich, (2023). Future fine art
teachers,
modern
pedagogical
technologies,
professional
competence
development.
current
research journal of pedagogics, 4(04), 48
–
52.
https://doi.org/10.37547/pedagogics-crjp-04-04-10
