limite si avantaje metode pt studiu dupa natura la gimnaziu

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Analele Universitii Constantin Brncui din Trgu Jiu, Seria tiine ale Educaiei, Nr. 2/2013

Annals of the Constantin Brncui University of Trgu Jiu, Education Sciences Series, Issue 2/2013

61

STRATEGII I TEHNICI DIDACTICE

PRIVIND STUDIUL DESENULUI

DUPNATURI DIN IMAGINAIE,

LA CLASELE GIMNAZIALE

Lect. univ. dr. Vasile FUIOREA

Universitatea Constantin Brncui dinTrgu-Jiu

Abstract: Studiul desenului dup naturpresupune o operaie complex de percepie-reprezentare a realitii obiective i dereproducere a ei cu mijloacele de limbaj plastic,avnd ca obiectiv primar, transfigurareastructurilor naturii n structuri plastice expresive.

Desenul din imaginaie presupune o cutotul alt abordare metodic. Dac la desenuldup natur una dintre principalele metode deobinere a imaginii este metoda algoritmica,aceasta presupunnd o suit de operaiidesfurate ntr-o anumit secvenialitate iordine aici strategiile didactice trebuie axate peobinerea imaginii plecnd de la alte date.Sensul,semnificaia, scopul desenului dinimaginaie are cu totul alte destinaie.

Complexitatea desenului din imaginaiepresupune, pe de o parte, un efort intelectual maimare, o procesare sau o sintez a imaginilor ,

precum i ordonarea lor n cadrul unei structuricompoziionale coerente capabile s transmit oidee un sens, o semnificaie.

Cuvinte cheie: desenul, limbajplastic/vizual, linia, metod

Desenul este un limbaj abstract i unmijloc de comunica ca oricare alt limbajinventat de inteligena uman. Dei desenuleste atributul unei vocaii, din perspectivaeducaiei plastice, el capt funcii deformare n principal a percepiei i

reprezentrii grafice a lucrurilor , fiinelor i

STRATEGIES AND TEACHING

TECHNIQUES REGARDING THE

STUDY OF THE DRAWING INSPIRED

BY NATURE AND FROM

IMAGINATION IN SECONDARY

SCHOOL

Vasile FUIOREA, Ph.D.

University Constantin Brncui fromTrgu-Jiu

Abstract: The study of drawing inspiredby nature implies a complex operation ofperception representation of the objective realityand its replica by means of plastic language,having as main objective the transfiguration of thenatures structures in expressive plastic structures.

The drawing from imagination implies atotally different methodic approach. If at thedrawing inspired by nature one of the mainmethods of obtaining an image is the algorithmicmethod, this one being composed of a successionof operations following a certain sequence andorder here the teaching strategies must be placedon the obtaining of the image starting from otherdata. The meaning, the goalof the drawing fromimagination has an entirely different destination.The complexity of the drawing from imaginationsupposes, on one hand, a bigger intellectual effort,a synthesis of the images as well as their orderingin a

Keywords: Drawing, visual language,line, method

The drawing is an abstract languageand a mean of communication as any otherlanguage invented by the human intelligence.Although drawing is attributed to a vocation,from the plastic education perspective it hasformations functions of the perception and

graphic representation of the things, beings


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fenomenelor ce ne nconjoarpe de o parte,iar n plan imaginativ confer posibilitiuriae de a investiga cu ajutorul mijloacelortipice desenului, psihismul copilului,

capacitatea sa imaginativ de a proiectaforme, lucruri , stri, impresii, situaii noiexpresive i inventive care mbogesc fondulcreativ al elevilor.

ncepnd cu clasa a V-a, educatorultrebuie s-i gndeasci saplice o strategie

performant pentru predarea disciplineiEducaie Plastic - Studiul desenului dup

natur - proiectnd obiectivele propuse ioferind un cadru adecvat desfurriileciilor de desen. Aceast strategie pleac

firesc de la ordonarea unor norme iconvenii i fixarea unei conduite, de lastabilirea unor cerine de ordin material ce

presupune ca elevii s respecte ceea ceprofesorul a stabilit cu ocazia leciilor dedebut. i anume: Elevii trebuie s seconformeze pentru a aduce la orele de desenmaterialele necesare unei bune desfurri aleciilor.

Profesorul trebuie s aleag cele maipotrivite metode i procedee privind

acumularea de priceperi i deprinderispecifice desenului, innd cont de

particularitile de vrst, de nivelul gndiriielevului n procesul analiz sintez,specific desenului dupnatur. Educatorul vaalege cu tact cele mai importante materialedidactice, ce vor facilita nelegerea

problemelor propuse prin temele plastice.Studiul desenului dup natur

presupune o operaie complexde percepie-reprezentare a realitii obiective i dereproducere a ei cu mijloacele de limbaj

plastic, avnd ca obiectiv primar,transfigurarea structurilor naturii n structuri

plastice expresive.Leciile de desen dupnatur trebuie

s fie n aa fel structurate nct s ofere odesfurarea fireasc a unor metode deobservare i de msurare a elementelor

propuse a fii desenate, urmnd ca n procesulurmtor ele s fie paginate i proporionate

pentru a fii amplasate n cmpul /spaiul

and phenomenon that surrounds us on onehand and on the other, from the imagination

perspective, it opens vast possibilities toinvestigate, with the help of the means

characteristic to drawing, the psychic of thechild, his imaginative capacity to projectforms, things, states, impressions, newexpressive and inventive situations that enrichthe creative core of the pupils.

Beginning with the fifth class, theteacher must build and apply a performingstrategy to teach the discipline PlasticEducation The Study of Drawing inspired

by Nature fulfilling the proposed objectivesand offering a proper frame for the drawing

lessons. This strategy begins naturally withthe organization of some norms andconventions and establishing a behavior andalso with the establishing some materialdemands stating that pupils must respect thematerial given by the teacher during the firstlessons. More exactly the pupils must bringto the drawing lessons the necessary materialsfor a good lesson.

The teacher must chose the propermethods and procedures for teaching the

skills specific for drawing paying attention tothe pupils age and mind in the process ofsynthesis analysis characteristic to drawinginspired by nature. The teacher will chose wittact the most important didactic materials thatwill facilitate the understanding of the

problems suggested by the plastic themes.The study of drawing inspired by

nature implies a complex operation ofperception representation of the objectivereality and its replica by means of plasticlanguage, having as main objective thetransfiguration of the natures structures inexpressive plastic structures.

The drawing lessons inspired bynature must be structured in order to offer anatural unfolding of some observation andmeasurement methods of the elements thathad to be drawn; in next step, the elements areframed in pages and receive the proper

proportions for being placed in the plastic

space. These situations must be approached


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plastic. Aceste situaii trebuie abordate de lasimplu la complex , uor greu, urmrindtotodat amplasarea formelor dup reguli

perspectivice precise. A se studia anterior

perspectiva linear folositpreponderent nspaializarea artei Renaterii dar i ulteriorcnd Leonardo adaugconceptul perspectiveiatmosferice (tehnica sfumato) .

n acest sens materialeledemonstrative trebuie alese cu grijpentru acontribui la ndeplinirea obiectivelor propuse. La nceputul temelor de desen, n clasele V-VI se recomandca motivele (natura static) s fie compuse din forme simple :cub,piramid, forme poliedrice plane simple,

acestea oferind posibilitatea unei corecteconstrucii a formelor i o just nelegere avolumului, precum i asigurarea uneiveridice aezri n spaiul plastic prinintermediul noiunilor de perspectivasimilate . Materialele didactice ce vin nsprijinul elevilor, cum sunt albumele de artimaginile grafice schematizate, proieciilevideo ,vor completa i facilita nelegereatemelor i fixarea noilor cunotine i abiliti.Acestea pot fii combinate metodic i cu

desenul la tabl, acesta fiind un exempludidactic personal i care are un aport mare deinteractivitate , strnind interesul isimplificnd nelegerea.

Odat cu nelegere i reprezentareaformelor simple se poate trece la formeleeliptice de rotaie cum sunt sfera i derivateleeliptice ,vase, ovoide complexe (clasa a VII a i a VIII). De un mare ajutor este aranjarealogic spaial i dispunerea luminii iumbrei , a eclerajului - printr-o regie - care sconfere obiectelor o ct mai mare reliefarevolumetric. Elevii vor dobndii competenen zona gndiri raional critice creative,autoevalundu-se i evalundu-si colegii.Analiza plasticeste recomandatca metodde fixare a unor cunotine prin interaciunevizual , contribuind substanial ladezvoltarea gndirii plastice critice i asensibilitii elevului.

nvarea reprezentrii formelor n

spaiu prin desen trebuie s conin

from simple to complex, easy-hard payingattention in the same time at placing the formsfollowing perspective and precise rules. Onesuch rule is the study of the linear perspective

often used in the Renaissance art but alsowhen Leonardo uses the concept ofatmospheric perspective (the sfumatotechnique).

Taking into consideration all theinformation mentioned above, thedemonstrative materials must be carefullychosen so they fulfill the intended objectives.At the beginning of the drawing homework, atthe fifth and six grades is recommended thatmotives (static nature) should be composed of

simple forms: cube, pyramid, simple, planeforms, all these offering the possibility of acorrect construction of forms and the rightunderstanding of the volume as well as thelifelike framing in the plastic space helped bythe assimilated perspective notions. Theteaching materials that help pupils like the artalbums, the synthesized, graphic images, thevideo projections will complete and facilitatethe understanding of the homework, newknowledge and abilities. All these can be also

combined with the drawing on the blackboardthis one being a personal teaching methodwith a great degree of interactivity provokinginterest and simplifying understanding.

Once that simple form has beenunderstood and represented the teacher can

pass on to elliptic forms of rotation as thesphere and elliptic derivate: vases andcomplex ovoid (the seventh and eighth grade).Of a great help is the logic, specialarrangement and the disposition of light andshadow, of the artificial light by stagedirection that gave the objects a greatervolume enhancement. The pupils will acquirecompetences in creative, critical rationalthinking, self assessing and evaluating theircolleagues. The plastic analysis isrecommended as method of understandingsome knowledge by visual interaction,substantially contriuting to the developmentof critical, plastic thinking and pupils

sensibility.


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urmtoarele teme :Tehnici de valoraie gradaii valorice prin care se realizeazveridicitatea i caracterul formei i alspaiului. Linia element de construcie a

formei, principalul mijloc de limbaj plastic.Linia element al micrii i al ritmuluiplastic. De asemenea, este necesar odiversificare a mijloacelor tehnice i deexpresie pentru a nltura rutina iidealizrile, accentul cznd pe construcie iobinerea rezultatelor plastice-expresive. Serecomanddiverse modaliti de a desena : ,,Schia, Proiectul,Studiul,Cartonul, Desenul

direct pe zid, Desenul dupdesen Copia (1)

Dintre acestea Studiul este cel care conferun algoritm potrivit fixrii unor cunotine idezvoltarea unor abiliti practice dereprezentare.

,,Odat conceput vizualizat prinproiect, apare necesitatea aprofundrii n

real al unor detalii din cadru, ce vor servi

mai apoi la transpunerea n material

definitiv a proiectului. Aceasta se realizeaz

prin desen executat direct dupmodelele din

natur. De cele mai multe ori, au o funcie

subordonat() dar studiul poate fi iobiectul unui exerciiu de descifrare a naturii

de ctre un nvcel. (2)Prin desen elevii vor avea competena

de a percepe linia ca agent de construcie aarhitecturii formei, exersnd prind diversetipuri de linii i n corelare cu celelaltemijloace de limbaj plastic, modaliti derecompunere a imaginii obiective observaten structuri plastice. Aceste strategii metodicevor fii continuate pe perioada claselorgimnaziale, crescnd progresiv factorulcomplexitii, urmrindu-se unitatea ndiversitate i invers . Este necesar ca periodics se efectueze evaluri care s msoareatingerea obiectivelor propuse de profesor.

Desenul din imaginaie presupune ocu totul alt abordare metodic. Dac ladesenul dup natur una dintre principalelemetode de obinere a imaginii este metodaalgoritmica, aceasta presupunnd o suit de

operaii desfurate ntr-o anumit

The learning of the representation offorms in space by drawing must contain thefollowing themes: Valoration techniques valor gradations that give credibility and

character to form and space. The line element of construction of the form, the mainmean of plastic language.The line element ofmovement and plastic rhythm. It is alsonecessary a diversification of the technicaland expression means to eliminate routine andsublimations, the accent being placed on theconstruction and the obtaining of the plastic-expressive results. It is recommendeddifferent modalities of drawing: The draft.The Project.The Study.The Carton.The

drawing on the wall. The drawing after adrawing The Sketch (1)

Using drawing pupils will be able toperceive the line as an agent of constructionof the forms architecture exercising bydifferent types of lines and in correlation withthe other means of plastic language, means ofrecomposing an objective image observed in

plastic structures. These methodic strategieswill continue in high school, increasing

progressively the factor of complexity and

having as a goal the unity in diversity andvice versa. It is necessary to made evaluations

periodically that measure the fulfillment ofthe objectives proposed by the teacher.

The drawing from imagination impliesa totally different methodic approach. If at thedrawing inspired by nature one of the mainmethods of obtaining an image is thealgorithmic method, this one being composedof a succession of operations following acertain sequence and order here the teachingstrategies must be placed on the obtaining ofthe image starting from other data. Themeaning, the goal (3) of the drawing fromimagination has an entirely differentdestination.

The complexity of the drawing fromimagination supposes, on one hand, a biggerintellectual effort, a synthesis of the images aswell as their ordering in a coherent,compositional structure capable of

transmitting an idea, a meaning a


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secvenialitate i ordine aici strategiiledidactice trebuie axate pe obinerea imaginii

plecnd de la alte date. Sensul,semnificaia,,,scopul(3)desenului din imaginaie are cu

totul alte destinaie.Complexitatea desenului dinimaginaie presupune, pe de o parte, un efortintelectual mai mare, o procesare sau osinteza imaginilor , precum i ordonarea lorn cadrul unei structuri compoziionalecoerente capabile stransmito idee un sens,o semnificaie.

Obiectivele i competenele desenuluidin imaginaie la segmentul de vrstcercetat:

- Elevii vor avea competena s cunoascprincipalele structuri ordonatoare ale uneicompoziii compoziia nchis i deschis,statici dinamic, cele mai uzitate structurigeometrice ca armturi stabile sau dinamicecapabile s ordoneze elementelecompoziionale ale unui desen.- S formeze la elevi abiliti i competenecreative de a compune forme figurative saunonfigurative i a le amplasa n spaiul bi sautridimensional.

- Exerciiile grafice vor dezvolta capacitateaimaginativa elevilor , ei avnd competenai capacitatea imaginativ, ca dupce au cititun text literar sau o poezie, s propun

propria imagine narativ-poetic, cumijloacele specifice desenului prin : punct,linie, form, pat, suprafa.

Desenul din imaginaie este poate ceamai eficienttehnicmetodicde deblocare acreativitii, neavnd constrngerile pe carele are desenul dup natur , rezultateleobinute ncurajnd creativitatea .Permiteutilizarea aplicrii unor mijloace tehniceextinse care poate duce la obinerea unorexpresiviti crescute i la o mai mareatractivitate din partea elevului din segmentulde vrsta evocat. Se recomand, ca tehnici,

pe lng cele tradiionale, desenul n pastelcretat sau uleios, desenul n tuuri sau bairealizat cu un bascuit sau cu pensula ntr-un laviu monocrom - desenele de mai scurt

durat tip schi sau crochiu- tehnici

significance.The objectives and the competences of

the drawing from imagination at theresearched segment of age are:

The pupils will have the competence toknow the main structures of acompetence, the competence closed andopened static and dynamic the most usedgeometrical structures as stable anddynamic armatures capable of orderingthe compositional elements of a drawing.

To form at the pupils abilities andcreative competences to composefigurative and nonfigurative forms and to

place them in the bi or tridimensional

space. The graphic exercises will develop the

imaginative capacity of the pupils whohave it so, after they read a text to beable to propose their own narrative-

poetic image with the specific means ofdesign by: point, line, form, spot,surface.

The drawing from imagination isperhaps the most efficient methodic techniqueof unlocking creativity, unbounded by theconstraints of the drawing inspired by nature,the results obtained encouraging creativity. Itallows the use of some extended technicalmeans that can lead to some significantexpressivities and to a greater attraction fromthe pupil belonging to the evoked segment ofage. It is recommended as techniques, besidethe traditional ones, the drawing in chalked oroily pastel, the drawing in touches made witha sharp stick or with the paintbrush in a

monochrome color the drawings of shortertime such as sketches - techniques borrowedfrom graphics as frotaj and monotipia. Theseexperimental procedures bring that willing towork, of inspiration the uniqueness of ideasis much superior to that of the drawinginspired by nature that can transform thedrawing lesson in a pleasant momentculminated by notable esthetic results.

The home works proposed by theteacher have, of course, numerous plastic

solutions which he must know how to handle,


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mprumutate din grafic ca frotajul imonotipia. Aceste procedee experimentaleaduc acel declic al poftei de lucru, alinspiraiei unicitatea ideilor este mult

superioara desenului dupnatur- care poateface din lecia de desen un moment plcutncununat de rezultate estetice notabile.

Temele propuse de profesor comportdesigur mai multe soluii plastice pe careacesta trebuie s tie s le gestioneze,existnd pericolul ca educatorul scearpreamulte restricii, stopnd n mod greitcreativitatea. Cred ccel mai oportun mod delucru din punct de vedere didactic i metodiceste sistemul de lucru modular , n funcie de

abilitile i fondul creativ al unor grupuri deelevi sau al cazurilor de excepie.

Neprecizarea unei teme - chiar iminimal-sau a unor date tehnice , anume cumva fii conceput acel desen, care va fiidominanta mijloacelor de limbaj, vaintroduce multconfuzie i derut. De aceea,educatorul trebuie s aib mult abilitatemetodic, ajutnd fiecare propunere aelevului printr-o precizare a celei mai

potrivite tehnici n care sse exprime.Note :(1)Ion Stendl, Desenul Estetica. Suporturi.

Materiale.,O paralel ntre Renatere i

Secolul XX,Editura Semne, Bucureti, 2004,pp. 84-96(2) Op. cit. p. 87(3) ,, Scopul desenului din imaginaie imemorie este de a dezvolta capacitatea decreaie a elevilor. Ei sunt ndrumai sreprezinte scene din via, folosindu-se

pentru aceasta de cunotinele i deprinderiledobndite n celelalte forme de desen (nspecial desenul dup natur) n acelai timp

prin desenul din imaginaie i memorie sevor verifica cunotinele dobndite de elevi lacelelalte lecii de desen i mai mult dect attse va verifica iscusina lor de a folosi n modcreator aceste cunotine . (AlexandruTohnescu , Maria Ilioaia,Metodica predriidesenului la clasele V- VIII, EdituraDidactic i Pedagogic, Bucureti, 1971,

p.161).

existing the danger that the teacher to ask toomany restrictions, stopping wrongly thecreativity. I believe that the most opportunemethod of work from methodic and teaching

point of view is the modular system of workconsidering the abilities and the creative fondof some groups of pupils or of the exceptioncases.

The ignoring of a theme evenminimal or of some technical data such asdetails of that drawing or the main means oflanguage will introduce much confusion. Thatis why the teacher must have a lot ofmethodic ability helping each proposition ofthe pupil with s specification of the most

appropriate techniques to express himself.

Notes:

(1) Ion Stendl, Desenul. Estetica.Suporturi. Materiale. O Paralela ntre

Renastere si Secolul XX., Publishing HouseSemne, Bucharest, 2004, pp 84-96.

(2) Op. cit. p 87(3) The purpose of the drawing

from imagination and memory is that ofdeveloping the capacity of creation of the

pupils. They are directed to represent scenesfrom real life, using their acquired knowledgeand skills gained in the other forms ofdrawing (mainly in the drawing inspired bythe nature) in the same time through thedrawing from imagination and memory will

be verified the knowledge gained by the pupat the other drawing lessons and much morethan that will be verified their skill to usecreatively these knowledge.(AlexandruTohanescu, Maria Ilioaia,

Metodica predarii desenuluila clasele V- VIII,Publishing HouseEdituraDidacticasiPedagogica, Bucharest,1971, p. 161)


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Bibliografie

1. Alexandru Tohnescu, Maria Ilioaia,Metodica predrii desenului la clasele

V- VIII, Editura Didactic iPedagogic, Bucureti, 1971.2. Ailinci, Cornel, Introducere n

gramatica limbajului vizual, EdituraDacia Cluj-Napoca, 1982.3. Ion Stendl,Desenul Estetica. Suporturi.

Materiale. ,O paralel ntre Renatere i

Secolul XX,Editura Semne, Bucureti, 2004.4. Nanu Adina Vezi? Comunicare prinimagine.Editura Vizual. 2002.5. Maria Cristea,Metodica predrii

educaiei plastice n nvmntul primari precolar, Editura Corint, Bucureti2009

Bibliography

1. Alexandru Tohanescu, Maria Ilioaia,Metodica predarii desenului la clasele

V- VIII, Publishing House,EdituraDidactica si Pedagogica,Bucharest, 1971

2. Ailinci, Cornel, Introducere ngramatica limbajului vizual, PublishingHouse, Dacia Cluj-Napoca, 1982

3 Ion Stendl, Desenul. Estetica.Suporturi. Materiale. O Paralela intre

Renastere si Secolul XX.,Publishing House, Semne,

Bucharest, 2004

4 Nanu Adina Vezi? Comunicare prinimaginePublishing House.Vizual. 2002.

5.. Maria Cristea,Metodica predriieducaiei plastice n nvmntul

primar i precolar,Publishing House, Corint,

Bucureti 2009

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