Didactic tools and methods for developing colouristic vision in fine arts students

Abstract

Annotation: Purpose. The article aims to determine and substantiate didactic tools and instructional methods that are effective for developing colouristic vision in future professionals of visual arts, and to outline ways of integrating these tools and methods into contemporary art education. Methods. The study applies analysis of theoretical sources, synthesis of Ukrainian scholarly contributions to colouristic education, examination of existing artistic-pedagogical practices, comparison of instructional approaches, and systematisation of didactic solutions used in training colour perception and colour thinking in higher art education. Results. The article presents a comprehensive analysis of didactic tools and instructional methods aimed at developing colouristic vision in future professionals of visual arts. Colouristic vision is conceptualised as an integrated professional construct that encompasses sensory-perceptual experience, cognitive understanding of colour laws, analytical interpretation of colour relations, and conscious application of colour in artistic practice. It is argued that colouristic vision does not emerge spontaneously as a by-product of artistic activity, but requires intentional pedagogical design, carefully structured learning tasks, and systemically organised educational influence. The study outlines theoretical positions and provides an overview of relevant contributions of Ukrainian scholars to colouristic education, situating the problem within a broader context of contemporary art pedagogy. Three groups of didactic tools are identified. Visual tools (direct observation of colour in natural conditions, examination of reproductions, colour charts, systems of contrasts, etc.) support the development of perceptual sensitivity. Practical tools (specialised exercises, tonal scales, tasks based on colour induction, composition studies) develop operational skills for conscious manipulation of colour relationships. Digital tools (colour management software, online visualisation platforms, digital palettes in graphic editors) expand the field of experience and allow colour research not only empirically, but also analytically, responding to the demands of contemporary visual culture. In addition, the article characterises specific methods of instruction that are effective for developing colouristic vision: observation, comparison, analytical interpretation, problem-based experimentation, and project-based learning. These methods enable personalised artistic decision-making, stimulate reflective thinking, and facilitate the transfer of colour knowledge from technical exercises into meaningful artistic expression. Examples of practical tasks demonstrate potential scenarios of applying these methodological approaches in educational practice. Conclusions. The purposeful integration of didactic tools and instructional methods becomes a key condition for the development of colouristic competence in visual arts education. When applied consistently, such a pedagogical system enriches visual experience, strengthens analytical perception, and supports the transformation of learners into artists capable of using colour as a constructive, expressive, and conceptual instrument. The results emphasise the importance of methodological coherence in colour education and indicate promising directions for further research — particularly in the area of developing diagnostic criteria for assessing levels of colouristic vision, and in analysing the effectiveness of blended (analogue–digital) models of teaching colour in contemporary higher art education. Keywords: colouristic vision, colouristic competence, visual arts, didactic tools, instructional methods, art education, painting.