Volume 04 Issue 09-2024
110
International Journal of Pedagogics
(ISSN
–
2771-2281)
VOLUME
04
ISSUE
09
P
AGES
:
110-116
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
ABSTRACT
The article provides basic practical recommendations for future fine arts teachers on how to perform short-term
sketches, and also describes the features of individual methods used in this direction. Also, to highlight the topic, the
author purposefully used scientific sources.
KEYWORDS
Fine art, sketch, drawing, composition, color and color relations, landscape, creative technology, art teacher, artist,
master.
INTRODUCTION
In today’s world, the processes of globalization and
integration in education have heightened the need to
develop the professional-social preparedness of future
specialists. In particular, as an important criterion for
determining the professional competence of a
qualified specialist, it is crucial to identify the qualities
associated with job-oriented tasks, include the
qualities of professional competence among the
important attributes of graduates, study the
preparedness of future specialists for professional
activities, research their professional competence in
their respective fields, and search for innovative
methods of pedagogical diagnostics. Furthermore,
conducting scientific research on the efficient and
effective use of these methods and introducing them
into practice holds great significance.
A thorough understanding of the basics of fine arts
helps students observe and comprehend the laws
governing the structure of all forms in nature, enabling
them to accurately depict what they see. However, this
alone is not sufficient to become a skilled artist-teacher
Research Article
INDIVIDUAL METHODS FOR TEACHING FUTURE ART TEACHERS TO
CREATE PAINTINGS
Submission Date:
Sep 20, 2024,
Accepted Date:
Sep 25, 2024,
Published Date:
Sep 30, 2024
Crossref doi:
https://doi.org/10.37547/ijp/Volume04Issue09-21
Nozim Xamidovich Talipov
Associate Professor at the Department of "Fine Arts" at Tashkent State Pedagogical University named after
Nizami, Candidate of Pedagogical Sciences, Uzbekistan
Journal
Website:
https://theusajournals.
com/index.php/ijp
Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
Volume 04 Issue 09-2024
111
International Journal of Pedagogics
(ISSN
–
2771-2281)
VOLUME
04
ISSUE
09
P
AGES
:
110-116
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
in the future. Research shows that although students
may understand and remember the fundamental rules
of drawing from observation, there are cases where
they struggle to apply the theoretical and practical
knowledge they have gained in practice. Therefore, in
addition to theoretical knowledge, students must also
acquire execution and technical skills in fine arts. They
should not face technical difficulties during practical
exercises. Mastery of technical skills with ease and
proficiency allows students to fully engage in
creativity, realize their artistic abilities, and become
highly qualified artist-teachers. Students who have
only superficially mastered artistic skills will not feel
confident during practical work and, as a result, may
not be able to fully express their ideas and emotions.
This is particularly true for drawing, which forms the
foundation of all art forms, especially fine arts [1.-89].
A comprehensive mastery of the fundamentals of fine
arts helps students accurately observe and understand
the laws governing the structure of all forms in nature
and to truthfully depict what they see. However, this
alone is not enough to become a skilled artist-teacher
in the future. Research shows that although students
may understand and remember the basic principles of
drawing from observation, they sometimes find it
difficult to apply the theoretical and practical
knowledge they have acquired in practice. For this
reason, students need to possess not only theoretical
knowledge but also performance and technical skills in
fine arts. Utilizing creative technologies effectively in
delivering knowledge to students is advisable.
Creative technologies are a modern set of methods
and techniques that help maximize the development
of creative abilities and potential. The tasks of creative
technologies include developing creative thinking,
expanding the range of unconventional ideas,
generating new ideas, and refining existing ideas. It is
advisable for teachers to take these aspects seriously
during both theoretical and practical exercises with
students.
It is essential that students do not struggle with
technical aspects during practical exercises. Mastering
technical skills freely and proficiently allows the
student to fully immerse themselves in creativity,
realize their creative abilities, and develop into a highly
qualified artist-pedagogue. A student who has not fully
mastered the skills and techniques of drawing will not
feel confident during practical work, and as a result,
will not be able to express their thoughts and emotions
perfectly. This is especially true for pencil drawing,
which is the foundation of all types of art, particularly
visual arts. In ancient academic schools, great
attention
was
paid
to
drawing
techniques.
Additionally, skilled artists, when
introducing
apprentices to the art of drawing, initially gave them
tasks to copy examples from renowned artists,
focusing primarily on the technique of execution.
These practices can be observed in the manuals of
Jul'en, A.T. Skino, V.V. Pukirev, and A.K. Savrasov.
Similarly, we witness the high level of refinement and
elegance in the artwork of Kamoliddin Behzod, a great
Eastern painter, who created the portrait of Sultan
Husayn Bayqaro of Khurasan using simple line
techniques.
The mastery of their chosen specialty not only
determines the quality of the student's pedagogical
and educational process but also helps reveal their
creative abilities. Talent forms the foundation of any
great individual's abilities. Skills are the foundation of
any creative work, as well as visual activity. Skills are
reinforced through practice. Exercises should be based
on a well-developed and organized system. For
Volume 04 Issue 09-2024
112
International Journal of Pedagogics
(ISSN
–
2771-2281)
VOLUME
04
ISSUE
09
P
AGES
:
110-116
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
example, during pencil drawing exercises, students
must learn to move their hands freely to express the
shape and volume of objects correctly, and to bring the
movements of their fingers into coordination. Many
years of scientific research, pedagogical experience,
and studies have shown that practical exercises in hand
movement skills and drawing develop in three stages:
1. Teaching the hand to perform various movements
and carry out a series of specific exercises (drawing
circular, semi-circular, vertical, and horizontal lines,
etc.).
2. Achieving free movement of the hand muscles
during visual activities. It is essential to improve hand
movements on the paper and develop technical skills
when observing and depicting nature (emphasizing
essential parts of the work based on the task’s nature,
using light lines for secondary elements, etc.).
3. Teaching students to hold the hand correctly for
drawing should be introduced from the very first
stages of completing educational tasks. Later,
technical methods that are necessary when drawing
from life should be taught. This will allow the proper
development of t
he student’s creative abilities.
In visual arts, working on short-term color sketches
holds particular significance. Therefore, providing
students with artistic education through visual arts is
one of the urgent tasks. In training qualified
pedagogical personnel in visual arts, exercises that
teach students how to correctly depict objects
according to the setting are crucial, as they help
improve the skills of future artist-pedagogues in the
field of visual arts. These skills are developed through
exercises on accurately depicting the settings in
classrooms. In drawing lessons based on settings,
students first learn to properly observe the distinctive
aspects of different shapes. It is well known that
people perceive objects and their depictions in
different ways. This is primarily due to the individual
structure of each person's eyes and, especially, their
visual perception abilities related to the visual arts. The
main task in teaching drawing is to develop the artist's
ability to see and depict the shape of an object from a
distance.
Seeing and depicting an object from a distance means
perceiving the object in its "full volume," in three
dimensions (height, width, and thickness). Accurate
drawing is achieved through visual measurement,
estimating distances, object dimensions, and correctly
understanding the setting. In such cases, it is important
to develop the ability to visually estimate the
dimensions and distance of objects. This estimation
ability teaches future pedagogues to be attentive and
responsible in their work, fosters the skill of carefully
analyzing surrounding objects and shapes, and
simultaneously improves the ability to remember the
image they see. Constantly checking proportions
visually during the process helps achieve good results
in developing this ability. Visual memory is one of the
most valuable and noteworthy traits of an artist,
allowing them to retain a clear and comprehensive
understanding of the shape, proportions, and
structure of objects in their memory. This enables the
artist to draw from memory, based on their
imagination and understanding, making future work
on independent compositions and sketches much
easier.
The ability to observe and remember improves as a
result of continuous exercises in drawing from a
setting. Such exercises, especially when conducted
more frequently among newly admitted students, yield
Volume 04 Issue 09-2024
113
International Journal of Pedagogics
(ISSN
–
2771-2281)
VOLUME
04
ISSUE
09
P
AGES
:
110-116
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
effective results. This helps students retain longer
memories of the shapes, constructive structures,
proportions, and plasticity of objects. At the initial
stage of education, students usually try to copy what
they are drawing superficially and exactly. They
carefully examine things one after another, and then
color each small part and its shade separately. As a
result, the image becomes fragmented and lacks a
cohesive appearance. These shortcomings arise from
the inability to represent the large color relationships
between the objects in the setting in the sketch (color
study).
For example, when accurately depicting a human head,
one should not start with the small parts of the face.
Instead, in both drawing and painting, it is important to
begin by finding general proportions and unity through
the interrelationships of the shapes and colors. In
painting, students need to learn how to determine the
color relationships between the major, generalized
color spots of different natural objects (still life,
landscape) or things. The ability to see an object as a
whole and to identify the large, primary color spots is
an essential professional skill that should be formed in
the early stages of painting education. Only after this
can students move on to more detailed and time-
consuming
work,
thoroughly
developing
the
volumetric shapes of objects in landscape or still life
scenes.
In plein air (outdoor) studies of small-sized color
sketches using different color techniques, it is
important to first correctly identify the main color
relationships. To do this, one must compare the
contrasting (tonal and chromatic) color spots in the
foreground with those in the distance. In small
sketches, attention is not paid to minute details but
rather to large color relationships. When doing
landscape studies, relatively simple subjects are
chosen (such as part of a house and a yard). Later, the
task becomes more complex, moving to the depiction
of open landscapes. Depicting natural scenes requires
experience from the young artist. In initial exercises,
students learn to depict individual details of nature
(stones,
flowers,
tree
branches,
fruits,
and
vegetables). Over time, they enhance their skills by
working on small, characteristic scenes. Through this,
they begin to feel the colors in natural settings. As a
result, new ideas for future compositions arise.
When working on color sketches, young creators
should focus on elements such as the sky and clouds,
mountains, trees and plants, and water. One of the
main tasks is to capture a beautiful and captivating part
of nature, skillfully placing it on paper, cardboard, or
canvas. After completing the composition of the color
sketch, it is then transferred to larger paper. As
students work on the composition of the piece, they
must, of course, express their inner emotions within
the composition, inspiring art enthusiasts to reflect.
This, of course, depends on the artist’s skill. Constant
and continuous practice and research lead to the
improvement of the artist's mastery. Working on color
sketches can be considered a preparatory stage before
creating a larger piece. The beauty of nature has always
fascinated people. Humans take pleasure in it, become
emotional, and are moved by the colors they love.
When creating a piece, the artist inevitably pours their
heart and passion into it. In such sketches, attention
should be paid to the lightness and saturation of the
colors in the air perspective, for instance, in the
landscape. This is achieved through the holistic
perception of the scene by comparing all the elements
of the landscape.
Volume 04 Issue 09-2024
114
International Journal of Pedagogics
(ISSN
–
2771-2281)
VOLUME
04
ISSUE
09
P
AGES
:
110-116
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
For example, the riverbank in the foreground is
compared with the middle and distant views, as well as
with the sky and its reflection in the water at the same
time (the duration of the study may vary from 15, 30, to
60 minutes). “...The study should be depicted in such a
way that the tonal relationships between the land,
water, and sky are instantly grasped,” said the famous
artist, People's Artist of Uzbekistan, Malik Nabiev, to
his students. He himself was a master of correctly
identifying the main color relationships in his studies
[2.-111].
The purpose of creating short-term studies can vary:
sometimes a study is done before a longer work, where
the color relationships in nature are analyzed and the
initial impressions of its color scheme are noted. In
other cases, the study focuses on additional and more
detailed exploration of forms (such as a study of a
human hand or individual parts of a landscape). To
thoroughly learn the principles of painting, studies are
conducted in field practice: the overall lighting
conditions of the landscape, color harmony, and so on.
During landscape studies, the lighting conditions
constantly change. Even when the sun is behind the
clouds, it directly affects the landscape, and the
lighting conditions at the beginning and end of a
session are always different.
Several short-term studies are done with simple still life
arrangements, specifically designed to observe the
overall tonal and color conditions of a still life in an
indoor setting. These arrangements can be placed at
varying distances from the light source, such as near
the window, in the middle of the room, or further from
the window (deeper inside the room). The initial still
life arrangement is placed closer to the window,
resulting in it being more brightly lit compared to
others. The lighting on subsequent arrangements is
slightly weaker. Through these exercises, students can
observe how the overall tone and color condition of
the study change depending on the decrease or
increase in shadow, light, and illumination [3.-22].
It is important to complete short-term studies that
emphasize the unity and harmony of the color range,
known as the color palette. In such targeted
arrangements, a dominant color should be present. For
example, still life can be illuminated with warm artificial
light. In such studies, there is no need to focus on the
details of small parts. The main task is to understand
and depict the color harmony and its unity. It is useful
to alternate between depicting the arrangements in
warm and cool colors in short-term studies.
Continuous exploration and practice help young artists
develop the ability to distinguish subtle color changes,
enhance their observation skills, perceive the richness
of color, and master the use of artistic tools. When
observing the studies of experienced artists, we
admire how delicately and beautifully they are
depicted. The mastery of skillfully capturing the
colorful state of nature is achieved through consistent
practical work.
Thus, maintaining the overall and primary color
relationships between the main objects in nature
within a specific tonal and color range is the foundation
of painting. Based on this foundation, the extremely
delicate process of working on the subsequent colors
of the objects takes place, which is the result of careful
observation and a lively perception of nature [4.-118].
Any still life arrangement must be perceived as a
unified image. For example, in still life consisting of
various objects such as a pitcher, an apple, and a bowl,
or in a landscape with the sky, forest, and distant blue
Volume 04 Issue 09-2024
115
International Journal of Pedagogics
(ISSN
–
2771-2281)
VOLUME
04
ISSUE
09
P
AGES
:
110-116
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
mountains, one must temporarily forget the separate
objects. Viewing nature in this way allows only the
individual colors of the objects to be seen, but not the
colors that need to be depicted. All things or objects in
nature are merely parts of a colored picture; the
vibrancy of the colors and their unity are revealed
during the depiction process, just like a symphonic
piece played on various musical instruments.
REFERENCES
1.
Boymetov B. Qalamtasvir. Darslik
–
Т.: Мusiqa,
2006, 89-bet.
2.
2.Аbdirasilov S.F.,Тalipov N.X., Rangtasvir. O‘quv
qo‘llanma –Т
.: NISO POLIGRAF, 2017,111-bet.
3.
Азимoва Б.З. Натюрмoрт тузиш ва тасвирлаш
метoдикаси. Тoшкент, Ў
қ
итувчи
1984, 22-
бет
.
4.
Аbdirasilov S.F.,Тalipov N.X., Rangtasvir. Darslik –
Т.: Innovatsiya
-Ziyo, 2019,118-bet.
5.
https://lk.msu.ru/course/view?id=922
6.
Talipov, N., & Talipov, N. (2021). CREATIVE
TECHNOLOGIES FOR THE DEVELOPMENT OF
STUDENTS’ CREATIVE ACTIVITY THROUGH ART
EDUCATION. Збірник наукових праць ΛΌГOΣ.
https://doi.org/10.36074/logos-19.03.2021.v3.12
7.
Talipov, K. N. (2021). Is graphics important in
painting?.
Academicia:
an
international
multidisciplinary research journal, 11(1), 984-990.
8.
Талипов, Н., & Талипов, Н. (2021). Талабаларни
бадиий
таълим
ор
қ
али
қ
обилиятларини
ривожлантириш
.
Збірник
наукових
праць
ΛΌГ
O
Σ
.
9.
Талипов, Н., & Талипов, Н. (2021). Проблема
исторического
жанра
в
изобразительном
искусстве: взгляд на творческую школу
художника Малика Набиева. Общество и
инновации,
2(4/S),
607–
613.
https://doi.org/10.47689/2181-1415-vol2-iss4/S-
pp607-613
10.
Talipov Nozim Khamidovich, & Kholmurodova
Fotima, Kholmurodova Zukhra. (2022). FEATURES
OF ART EDUCATION FOR FUTURE FINE ART
TEACHERS. CURRENT RESEARCH JOURNAL OF
PEDAGOGICS,
3(01),
33
–
39.
https://doi.org/10.37547/pedagogics-crjp-03-01-06
11.
Jabbarov, R. (2019). Formation of Fine Art Skills by
Teaching Students the Basics of Composition in
Miniature Lessons. International Journal of
Progressive Sciences and Technologies, 17(1), 285-
288. doi:http://dx.doi.org/10.52155/ijpsat.v17.1.1424
12.
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
13.
Yuldasheva, N., & Jabbarov, R. (2024). KREDIT-
MODUL
TIZIMIDA
MUSTAQIL
TA’LIMGA
AJRATILGAN SOATLAR TAHLILI VA UNGA TA’SIR
KO
ʻ
RSATUVCHI OMILLAR. Collection of Scientific
Papers
«ΛΌГ
O
Σ»
, (May 24, 2024; Zurich,
Switzerland),
332
–
336.
https://doi.org/10.36074/logos-24.05.2024.073
14.
TALIPOV, N. (2024). AMALIY SAN’AT DARSLARIDA
NAQSH KOMPOZITSIYALARINI CHIZISH. Journal of
Culture and Art, 2(1), 4
–
12. Retrieved from
https://imfaktor.com/index.php/jocaa/article/view/
919
15.
Ashurova Sevara Olimjon qizi, & Sunatulla
Abdirasilov
Fayzullayevich.
(2023).
O‘ZBEKISTONDA
DO‘PPIDO‘ZLIK
MAKTABLARINING O‘ZIGA XOSLIGI VA ULARNING
AMALYOTDAGI O‘RNI. E Conference Zone, 23–
28.
Retrieved
from
https://econferencezone.org/index.php/ecz/article
/view/2066
Volume 04 Issue 09-2024
116
International Journal of Pedagogics
(ISSN
–
2771-2281)
VOLUME
04
ISSUE
09
P
AGES
:
110-116
OCLC
–
1121105677
Publisher:
Oscar Publishing Services
Servi
16.
Mansurova Maftuna Sobirovna, & Nurtaev Urinbay
Nishanbekovich. (2023). PEDAGOGICAL AND
PSYCHOLOGICAL ASPECTS OF DEVELOPING
PROFESSIONAL COMPETENCE OF FUTURE VISUAL
ARTS TEACHERS THROUGH PAINTING. CURRENT
RESEARCH JOURNAL OF PEDAGOGICS, 4(06), 54
–
60.
https://doi.org/10.37547/pedagogics-crjp-04-
06-10
17.
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
18.
M.M.Qodirov. (2024). FUTURE TECHNOLOGICAL
EDUCATION OF PROFESSIONAL TEACHERS’
COMPETENCE OF FORMATION MECHANISMS.
CURRENT RESEARCH JOURNAL OF PEDAGOGICS,
5(02), 68
–
76. https://doi.org/10.37547/pedagogics-
crjp-05-02-12
19.
Kadirov, M. M. (2019). PEDAGOGICAL ASPECTS OF
PROFESSIONAL DEVELOPMENT
IN FUTURE
LABOUR
TEACHERS. Scientific
Bulletin
of
Namangan State University, 1(12), 333-338.
20.
Muratov Xusan Xolmuratovich (2023). OLIY
TA’LIMDA
MUSTAQIL
TA’LIMNI
DASTURIY
MAXSULOTLAR
ORQALI
TASHKIL
ETISH,
BOSHQARISH VA NAZORAT QILISH. Science and
innovation, 2 (Special Issue 5), 514-517. doi:
10.5281/zenodo.7994092
