CREATIVE TECHNOLOGIES OF COLOR WORK WITH TALENTED STUDENTS

Аннотация

In the article, main practical recommends on drawing etudes are given. The peculiarities ofindividual methods using in thisdirection are explained. Key concepts: Etude, arrangement, specify ratios, composition, the lows of perspective, relations ofcolor and tint, constructivebuilding, plastics, plein air. Rezume: Maqolada ranglavhalar ishlash bo‘yicha asosiy amaliy tavsiyalar berilgan, mazkur yo‘nalishdaqo‘llaniladigan individual metodlarning xususiyatlari tushuntirilgan. Tayanch tushunchalar: ranglavha, komponovka, nisbatlarni aniqlash, kompozitsiya, perspektiva qonunlari, rang va tus munosabatlari, konstruktiv qurilish,plastika, plener. Рeзюме: В статье даны основные практические рекомендации по выполнению краткосрочных этюдов, описаны особенности индивидуальных методов, применяемых в этомнаправлении. Oсновные понятия: этюд, компоновка, выявление oтношений, композиция, законы перспективы,отношениясвета иoттенка,конструктивное строение,пластика,пленэр. One of the urgent pedagogical problems of today is to organize the teaching of visual arts tostudents ofhigher education in anewway, to improveitscontent andmethodology. The work of short-term color palettes in visual arts is of particular importance here. Therefore, providing art education to students of higher education through visual arts is one of the urgent tasks. In the training of qualified pedagogues from visual arts, exercises for students to correctly depict bodies according to nature are important, and the future artist-pedagogue's skills in the field of visual arts are formed through exercises of realistic depiction of nature in the audience and independently. In drawing classes from nature, the student will first of all be able to see the specific aspects of various forms. It is known that people imagine objects and their images differently. First of all, it depends on the structure of each person's eyes and especially on the ability tosee in visual arts. The main task in teaching drawing is to form the artist's ability to see and describe the shape of an object from a distance. Viewing and describing the shape of a body from a distance (in width) means seeing the body in "fiber size", three-dimensional form (height, width and thickness). Accurate drawing is achieved by measuring by eye, measuring distances and sizes of objects, and accurately understanding nature. In such cases, it is important to develop the ability to use the eye to determine the size and distance of an object. The ability to think makes a child pedagogue to be careful and responsible for his little work, develops the ability to carefully analyze the objects and shapes around him, and at the same time develops the ability to remember what he saw. It is good to constantly determine the ratio by eye during the work process to form the ability to draw. Remembering by sight is the most valuable and important attribute of the artist, through which he keeps in memory a clear and general idea of ​ ​ the shape, proportions and structure of the body. This allows to draw the form from https://ijmri.de/index.php/jmsi volume 4,issue2,2025 86 memory, based on imagination and understanding, and will somewhat ease the artist's work on creating independent compositions and sketches in the future.As a result of constant practice of drawing from nature, the ability to remember by sight develops. Such exercises, especially among students admitted tothe first year, will give good results. This helps the students to retain the ideas about the shape, structural construction, proportions and plasticity of objects in their memory for a longer time. At the initial stage of learning, students usually try to copy what they are drawing superficially. They carefully look at the objects in front of them, then paint each littleone and theircolor individually. As aresult, theimage is fragmented anddoes not looklike a whole. Such shortcomings arise from the inability of the artist to show the large color relationships between objects in the etude (color table). Even in depicting the human head correctly, one cannot start from the small details of the face, but only from the generality and wholeness of the proportions in the movement, and in the painting, one should be able to determine the color relationship between different objects of nature (still life, landscape) or the main generalized spots of things. The ability to see a natural object as a whole and to identify a large spot of primary colors is an important professional skill, which should be formed in the initial painting training. Only after that, he can go to the long-term (time) works to elaborate the volumetricforms oflandscape objects orstill-life objects. It is important to clearly find the main color relationships when working with different colors in small-scale etudes (paintings) in the open air. To do this, it is necessary to compare the contrasting (toned and colored) spots in the foreground of nature with the distant ones. In small- scal