International Journal of Pedagogics
43
https://theusajournals.com/index.php/ijp
VOLUME
Vol.05 Issue06 2025
PAGE NO.
43-45
10.37547/ijp/Volume05Issue06-12
The Formation of Students' Creative Skills in The Process of
Working on A Portrait Pencil Drawing
Ismoilova Muhibaxon Mohtorxon qizi
Teacher of the Namangan Specialized Art School Boarding School, Uzbekistan
Received:
12 April 2025;
Accepted:
08 May 2025;
Published:
10 June 2025
Abstract:
This article discusses a currently relevant issue, namely, the development of students' creative skills in
the process of working on a portrait pencil drawing.
Keywords:
Fine arts, real, creative, composition, proportions, portrait, nature, perspective, graphics, artwork, eco-
style, plaster, shadow-light, placement, knowledge, sequence, skill.
Introduction:
Fine arts are a very broad field of activity
for every creative person. Mastering realistic drawing
in all its aspects, both theoretical and practical,
occupies an important place in all types of art.
Therefore, the knowledge of academic drawing is
useful in all aspects of visual activity and ensures
success in solving creative problems. People have been
striving to create pencil drawings and use them
effectively in their spiritual lives since ancient times.
For this reason, certain basic laws and rules of drawing
have been developed and have been improved over
many years and centuries. It would not be wrong to say
that pencil drawing is the basis and foundation of
serious engagement in all types of fine arts.
It is known that a person who gradually learns pencil
drawing as an exercise dreams of one day being able to
depict a human figure in his own image. However, this
intention is not so easy to realize. Because, like all
activities, this activity also has the following
prerequisites. They are:
- The laws and rules of composition;
- Ways to determine proportions;
- Drawing preliminary plaster models of sculptures;
- The structure of the human face, plastic anatomy;
- It also requires the ability to use visual tools well and
for their intended purpose.
The consistent implementation of the above-
mentioned conditions, in turn, involves a lot of
practice. They are achieved by consistently and
patiently performing training exercises. Because the
final result will be a portrait of a person in pencil. All its
preparatory processes must be carried out step by
step.
The main requirement for working with pencil is to
accurately reflect the drawing object in every detail, to
ensure activity. This requires the correct placement of
the image on the paper surface, the correct
determination of proportions, and the accurate
determination of the relative positions and
perspectives of the facial parts. Of course, sufficient
knowledge, experience and skill are needed to produce
a high-quality work in accordance with the intended
purpose. It is known that knowledge is acquired
through
reading,
studying,
seeing,
drawing
conclusions, analyzing previously made pencil
drawings, as well as the formation of creative skills,
through hard work, constant practice, and aspiration. It
is no secret that another important condition for
obtaining a fine art education is that each depicted
object, phenomenon, or plate is very closely related to
the original, that is, nature. Because in drawing, the
quality of being able to show the truth of life is
important. This issue is especially evident when
drawing a portrait pencil drawing. Because we know
that when a pencil drawing is worked out in the form of
a portrait, it is used to solve two main tasks. One of
these is performed as an independent graphic example,
and the second serves as an auxiliary material for a
portrait worked out in a composition or color image. Of
course, each of them has its own tasks and they are
International Journal of Pedagogics
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International Journal of Pedagogics (ISSN: 2771-2281)
performed with different drawing materials. It is
natural that the issue of their creation as an
educational exercise or as an independent work of art
also plays a key role.
It is known that before drawing an image of a living
human head and performing it at a competent level,
the artist must have gone through the stage of
depicting the skull and the anatomical head model
"eco-resin". Because the student goes through his own
stage in drawing portraits in the process of working
with these models, especially classical sculptures made
of plaster, in a single piece. When depicting the true
appearance of a person from nature, the student is
faced with the problem of holistically grasping and
depicting the most important aspects of it. To perform
this difficult task, observation and attention are
required, as well as following the sequence in drawing.
Another problem is that the nature is constantly
changing, the head is slightly tilted or turned relative to
the neck and shoulders. These conditions were not
present when the artist drew the plaster model, and it
was convenient that the "inanimate nature" was
motionless. For this reason, it is much more difficult to
depict the image of a living nature. In this case, the
structure of the head of the person chosen for drawing
has a characteristic feature: that is, the bones should
be bulging and the facial structure should be clearly
visible. Therefore, the head should be illuminated with
an artificial lighting device, slightly from the side and
from above. In this case, it is desirable that the light fall
at an angle of 35° as much as possible. In this case, it is
possible to determine the individual shadows on the
parts of the head that fall on the light sliding along the
sides of the two cheeks and the protruding parts of the
nose and the shadows falling from them. In this case,
the overall shape of the head is emphasized using light
and shadow tones. In this way, the cast, the natural
form, is formed, and the subsequent work can be
continued with the same steps as when drawing the
plaster model. That is: - first, draw a large figure on
paper;
- then, determine the proportions, the mutual
arrangement of the parts of the head;
- then, work in detail on each detail;
- generalize the shape of the head, its history.
A creative approach to such actions is also necessary.
For example, before working on a long-term
fundamental - academic pencil drawing, you can draw
and study the head as a separate, auxiliary exercise
with various drawing tools - pencil, sous, charcoal.
Because this is interesting to work with "soft" drawing
tools and paves the way for the formation of the
student's creative skills.
In the process of such independent creative exercises,
the artist:
- the properties of various drawing tools, their
capabilities;
- the use of techniques and methods that can be used
in their use;
- the knowledge and skills acquired in the technique
and technology of pencil drawing are formed, as well as
the development of creative skills.
The process of drawing a head from nature should not
always be limited to academic rules and regulations,
but should also be a means of forming each student's
own creative style. In this regard, additional practice of
nature outside the classroom during independent
lessons gives a good result. Because at this time, the
student is outside the control and guidance of the
teacher and can freely take creative approaches, for
example: draw nature from a perspective, in different
views and turning situations. In this case, of course, the
student's creative skills are formed and his confidence
in his knowledge and capabilities is gradually
strengthened. Changes occur in his psyche, and new,
untapped facets of creative ability are revealed.
It is also known that there are two directions in the art
of painting, which are distinguished by professionalism.
They are academic and amateur activities, and we
should not confuse them with each other and instill in
the minds of students their important, different
aspects. We should explain their specific aspects, that
is, their positive and negative aspects, by showing
examples of paintings related to this issue. Their
specific aspects are as follows:
1. Amateur-type works - academic, realistic, not based
on methodology, are worked on based on and relying
on the principles of the artist himself.
2. Professional-type works - academic, realistic, subject
to the principles of scientific depiction of truth and are
worked on in accordance with generally accepted
guidelines.
In the process of developing students' creative skills in
the process of working on a portrait pencil drawing, it
is advisable for the teacher to focus on the above-
mentioned.
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