Topic: "Age features of children's fine arts." Presentation - teaching preschoolers object drawing using ict The text of this presentation
Types of children's activities Visual activities: drawing, modeling, applique. Compiled by Konysheva Ya.V. Educator MBDOU No. 3 "Rainbow", Mezhdurechensk Visual activity
- - the form of activity of the child, as a result which a material or ideal object is obtained: drawing, modeling, appliqué
- The visual activity of 6-year-old children reflects such specific features of their thinking as concreteness, figurativeness. The visual activity of the child is closely connected not only with individual functions (perception, memory, thinking, imagination), but also with the personality as a whole. It shows the interests of the child, temperament.
In the process of visual activity, manual skill, visual-motor coordination, necessary to prepare the child for writing, develops. In the process of drawing objects of various shapes, sizes and proportions, the ability to maintain a certain direction is formed. Acquaintance of children with basic forms close to geometric figures, both flat and three-dimensional, the ability to distinguish them from the surrounding reality, compare them in size, length, width, height, correlate the size of the parts of the depicted object and their spatial position in the classroom for decorative drawing contribute to the mastery of elementary mathematical concepts.
The tasks of the comprehensive development of the child's personality are also carried out in the art classes: mental development and aesthetic attitude to reality, moral education.
Currently, educators, teachers, when planning classes, select modern and innovative forms of work that contribute to a more effective and purposeful process of preparing for schooling.
Teaching methods and techniques The method of observation underlies the entire system of teaching fine arts. The success of the development of their creative abilities depends on how children develop the ability to observe the environment, establish connections between the phenomena of reality, distinguish between the general and the individual. But observations alone before the lesson will not fully ensure the possibility of depicting what is seen. It is necessary to teach the child special image techniques, ways to use various visual materials. Only in the process of systematic training in the classroom are the abilities of children fully formed. In kindergarten, in the classroom for visual activities, a variety of methods and techniques are used, which can be conditionally divided into visual and verbal. A special group of techniques specific to the kindergarten is made up of game techniques. They combine the use of visualization and the use of the word.
The teaching method, according to the definition adopted in pedagogy, is characterized by a unified approach to solving the task, determines the nature of all activities of both the child and the teacher in this lesson.
The method of learning is a more private, auxiliary tool that does not determine the entire specifics of the activity in the lesson, which has only a narrow educational value.
Sometimes individual methods can act as just a technique
Visual Visual teaching methods and techniques include the use of nature, reproductions of paintings, samples and other visual aids; examination of individual objects; showing the educator of image techniques; showing children's work at the end of the lesson, when they are evaluated. Verbal The verbal methods and techniques of teaching include conversation, instructions of the educator at the beginning and during the lesson, the use of a verbal artistic image. Classes in fine arts, as a rule, begin with a conversation between the teacher and the children. game The use of the moments of the game in the process of visual activity refers to visual and effective teaching methods. The smaller the child, the greater the place in his upbringing and education should be played. Game teaching methods will help attract children's attention to the task, facilitate the work of thinking and imagination. Types of classes There are two types of classes in visual activity: classes on a topic proposed by the educator (mastering new program material, repeating what has been covered), and on a topic chosen by each child (according to his plan). The choice of one or another type is determined by the nature of the educational task, the level of visual skills and abilities of children, their age characteristics. Visual activity outside of classes Consolidation of knowledge, skills and abilities of children in visual activity can take place at the request of children in their free time. Most of this time is devoted to games. But if any of the children wants to draw, sculpt, this should not be prevented. Such a desire sometimes indicates the presence of abilities in a child, and it is necessary to promote their identification and development. In the process of independent activity, various skills of children are fixed. Forms of work with children The leading form of organizing children in a preschool educational institution in the educational field "Artistic Creativity" is GCD. “Joint activity of an adult and children” is the main model for organizing preschool children. These are entertaining shows, free artistic activity with the participation of a teacher, individual work with children, viewing works of art, a plot-game situation, artistic leisure, competitions, experimenting with material (training, experiments, didactic games, playing with an unfinished drawing, observation) Independent activities - one of the main models of organization of preschool children. This is the creation of problem situations, a game, tasks for independent observations, drawing by design, looking at paintings, illustrations about nature.
A special place is given to the organization of conditions for independent activities of children according to their choice and interests. For this purpose, an aesthetic developmental subject is organized in groups. Wednesday:
corners of creativity, where you can experiment with different materials: colored crayons, washable markers, clay, plasticine, collage material, scissors for the right and left hand, glue, thick paper and material for mastering various techniques painting: finger printing, soap flakes, sponge printing, flow printing, inkblot printing, rope printing, wax printing. These techniques can be traditional or non-traditional.
corners for fine arts, where easels, accessories for drawing, modeling and appliqués are collected in an expanded assortment.
The main concerns of the teacher are related to the development of the interests and abilities of each child, stimulating the activity, independence of children. Free, diverse activities in an enriched developing environment allow the child to show inquisitiveness, curiosity, to learn about the environment without coercion, to strive for a creative display of what is known. In a developing environment, the child realizes his right to freedom of choice of activities.
Forms of work with parents Forms of work of preschool institutions with parents in the formation of interest in art activities are diverse: mini-seminars, demonstration of educational work, organization of exhibitions, pedagogical libraries, involvement of parents in active participation in the life of the kindergarten, etc. This work is carried out in two directions: individually and with a group of parents. Individual forms of work with parents are conversations, consultations, instructions for parents, a round table, an open day, etc. General consultations, group and general parent meetings, conferences, exhibitions, lectures, circles are organized for a team of parents; information and thematic stands, photo montages are made; there are Q&A evenings, round tables, etc.
An effective form of work with parents is individual conversations of educators and other employees with adult family members. In these conversations, parents are more willing and frank to talk about the grief that can sometimes be in the family, about the success of the child.
Individual conversations can take place at the initiative of the teacher or the parents themselves. Sometimes it is necessary to agree on such a conversation in advance, sometimes it is enough to talk in the morning or in the evening when parents come to kindergarten.
The library collected in the kindergarten is of great benefit in the pedagogical education of parents about the artistic education of children.
It is better to acquaint parents with one or another issue of upbringing allow sliding folders. Usually they select thematic material with illustrations and practical recommendations; it is systematically updated, illustrations are replaced by new ones,
Work with a team of parents opens up great opportunities - wide pedagogical information, exchange of experience, involvement of parents in the life of the kindergarten.
The main form of work with a team of parents is a group parent meeting. The meeting of parents and educators becomes lively if it is accompanied by a display of children's work, a tour of the kindergarten or group, where the hand of their child was laid. Whether it is the design activities of children (for example, an assembly hall), applications of "Vegetables" and "Fruits", etc.
Drawing modeling applique
PAGE_BREAK-- 1.2
Narrative drawing in preschool age: its features and significance
The main purpose of plot drawing is to teach the child to convey his impressions of the surrounding reality.
It is known that all surrounding objects are in a certain connection with each other. The attitude to any object or phenomenon largely depends on the understanding of this connection.
The possibility of establishing semantic connections between various objects and phenomena develops gradually in the child. Therefore, plot drawing for educational purposes is introduced no earlier than in the middle group, and at the beginning as an image of 2-3 objects located side by side. Naturally, children should be aware of the methods of depicting objects that are the main characters in the plot, otherwise the difficulties in depicting unfamiliar objects will distract them from the main task.
However, plot drawing should not be limited to depicting only those objects that children have already depicted. The child should be able to draw the main thing in the plot, and he performs all the details at will.
The ability to highlight the main thing in the plot is associated with the development of perceptions and analytical-synthetic thinking. They are still too superficial in a small child; first of all, he perceives what is directly accessible to sight, touch, hearing, and often recognizes an object from some insignificant details that he remembers. In the same way, the child perceives and conveys the plot in the drawing. To highlight the shit, to understand the relationships and connections of the objects of the plot - the tasks are quite difficult for a preschooler. They can be solved by children of the older group.
In plot drawing, it is important to correctly convey the proportional relationships between objects. This task is complicated by the fact that when depicting a plot, it is necessary to show not only the difference in their sizes that exists between them in life, but also an increase or decrease in objects due to their location in space. To do this, the child must be able to compare, contrast the objects of the image, see the semantic connection between them.
Solving the problem of the spatial relationship between objects is very difficult for a preschooler, since he has little experience and insufficiently developed visual skills and abilities.
Ideas about the extent of space, about the horizon line connecting earth and sky, children can get mainly when going out into nature (to the forest, to the field). But even if some of them understand the perspective changes of objects in space, it will be difficult for them to transfer these changes to the plane of the sheet. What is far away in nature should be drawn higher in the figure, and vice versa. These features of the image of space on a plane are accessible to understanding only by an older preschooler who has experience.
So, the general tasks of teaching plot drawing in kindergarten are as follows:
ü To teach the transfer of the content of the topic, highlighting the main thing in it;
ü To teach how to transfer interactions between objects;
ü Learn to correctly convey proportional relationships between objects and show their location in space
Teaching children plot drawing begins in the middle group. True, in the younger group, some of the topics proposed for drawing sound like plot ones (for example, “Kolobok is rolling along the path”, “it is snowing, falling asleep all over the earth”, etc.). but they do not require the transmission of the action of the plot. An indication of the plot of the picture is used to create interest in children in depicting the simplest forms.
As for the definition of image themes, the teacher should be guided by the following principles:
ü The first principle of selecting topics is to take into account the emotional and intellectual experience that children develop in the course of their life and activities in kindergarten and in the family.
ü The second principle of content selection: the formation of generalized image methods suitable for the embodiment of images of a whole group of objects similar in appearance, shape and structure, i.e. typical.
The child himself sets a goal, he acts as the subject of his activity, which is one of the indicators of personal development. However, the task setting should be followed by the next step - the selection and application of means to achieve the goal, obtaining the result. And this child does not always do. Gradually, realizing his ineptitude, he ceases to set goals. This means that activities that are important for human development are disappearing. Therefore, it is necessary to help the preschooler to master the ways, means of achieving the goal, it is necessary to teach him visual activity, but in such a way that he can relatively freely depict any phenomenon, embody any of his ideas.
Thus, while maintaining the first principle of selecting the content of the image - taking into account the knowledge and interests of children, their emotional and intellectual experience - one should simultaneously be guided by the second principle - the selection of content that is not only interesting, but also systemic.
ü The third principle for the selection of content is taking into account the sequence of mastering visual skills and abilities. This means that the selection of systemic knowledge, the content embodied in the subject, is subject to the specifics of the activity and the image tasks accessible to children.
ü The fourth principle combines the two previous ones: taking into account the need to repeat similar topics while complicating the nature of children's cognitive activity in the direction of increasing their independence and increasing creativity in the process of cognition, and then in the process of figurative reflection of impressions
the fifth principle - accounting for seasonal phenomena, local environment - natural and social, social phenomena, etc.
the sixth principle - if possible, taking into account the individual emotional and intellectual experience of children as a condition for actualizing valuable and effective motives for activity, activating the corresponding feelings, imagination, purposefulness of activity, and, consequently, creative manifestations of preschoolers.
The tasks of plot drawing are not reduced to visual tasks, but are a specification of general tasks that direct the teacher to form a holistic activity in children and develop the personality of a preschooler. .
The following training tasks are distinguished:
ü To form interest in surrounding objects, natural phenomena, social phenomena and events, people, their activities and relationships; to promote the formation of a moral, aesthetic position in children.
ü To form in children the desire and ability to accept from an adult and set appropriate goals and objectives.
ü To develop in children the ability to conceive an image, determining in advance the content and some methods of image.
ü To teach preschoolers some of the available ways to depict a plot image:
A) techniques for creating the simplest compositions, i.e. the arrangement of images on the plane of the sheet, first on the entire sheet, rhythmically repeating the images of the same objects with minor additions - in the younger and middle groups; stimulating and encouraging images of one object in different versions, thereby mastering the ways of depicting an object at a variable level - in the middle group; placing images on a wide strip of a sheet denoting the earth, sky, outlining the horizon line, placing images of those objects that are closer - at the bottom of the sheet, further - at the top; by varying the arrangement of images on the sheet, i.e. to lead children to a conscious choice and construction of compositions, while depicting objects of near plans larger, distant objects - smaller - in older groups;
B) to learn to depict the main thing in the drawing, i.e. those objects and characters that express the content of this topic allow you to immediately determine the content of the image (middle, senior groups);
AT ) to teach to convey in the drawing relations in size, relative position in space (senior groups);
D) direct children to convey the action through the image of movement, dynamics, postures, details (from the middle, but mainly in the older groups).
ü To teach children the ways of perception, observation of the phenomena of the surrounding world, necessary to complete the plot drawing.
ü To develop in children an understanding of the dependence of image quality on the quality of observation, to form in them a desire and, if possible, a need for observation in the future for the purpose of subsequent imaging.
ü Encourage children to be independent, creative in conceiving an image: searching for original content, using adequate, diverse means of expression (composition, color, etc.)
ü To teach children to feel the expressiveness of the image, to encourage an emotional response to it, to lead to an understanding of the dependence of the expressiveness of the image on the means used, methods of depiction, i.e. to form the ability of artistically creative perception of drawings.
Based on the set of tasks for managing plot drawing, taking into account the difficulties in mastering this type of activity (features of the perception of children) and the complexity of the graphic embodiment of the plot image, the methodology for working with children should be built in two directions:
1. Enriching children with vivid impressions of the world around them: social and natural phenomena. The development of observation, the ability to see, feel, notice the expressiveness of the form, proportions, colors of individual objects, their relationship and combinations.
2. Helping children in understanding the means of graphic representation of the plot, in establishing a connection between representations and ways of depicting
Since in our work we must mainly investigate the development of creativity in the middle preschool age, we consider it expedient to designate tasks for plot drawing within the indicated age limits. The following tasks are identified in the Praleska program:
ü Introduce the means of expressiveness of subject, plot and decorative drawing
ü To form ideas about the plot composition, constructive (partially holistic) and arc methods of creating images
ü To help in the practical development of the plot composition (linear, frieze, over the entire surface of a sheet of paper).
These tasks are solved on subjects that are well known to children, on the image of objects that they drew earlier. The need to place several objects on one sheet requires a developed ability to analyze and synthesize, as well as creatively use the acquired skills.
The arrangement of several objects on one line is the simplest compositional solution to the theme. Children of 4 years old are able to learn that in life objects are located one next to the other, therefore it is impossible to place another one in the place of one object. The straight line on which children draw objects is, according to E.A. Flerina, that rhythmic simplification of the image of the space of the earth, which is accessible to children's understanding.
The topics offered to children are simple: a house, a tree grows near it, there is a bench; a house or a tree, a girl is walking nearby; grass, flowers grow, the sun shines; chickens walk on the grass.
In these drawings, the guys do not show the plot development of the action. Children draw 2-3 objects side by side, between which there will be no effective connection.
In the middle group, children also get acquainted with another method of composing a plot drawing - the arrangement of objects on the entire sheet. The teacher gives the children sheets of paper of certain colors corresponding to a certain plot (green - for a meadow, blue - for water, yellow - for sand, etc.), and they freely place the intended objects on the selected color background, using the entire plane of the sheet (flowers in the meadow, fish in the water).
In plot drawing, children are not given the task of showing exact proportional relationships between objects, since it is quite complex and accessible only to children in the older group.
Summing up, we can say that plot drawing as a way of active, creative, effective and indifferent awareness of the world around the child and his attitude to it has a huge impact on the development of the personality of a preschooler. At all stages of plot drawing, the cognitive, emotional, moral and volitional spheres of the personality are actively manifested, and therefore develop in a single creative process.
1.3
Non-traditional techniques in the visual activity of preschool children
In kindergarten, visual activity includes such activities as drawing, modeling, applique, and design. Each of these types has its own capabilities in displaying the child's impressions of the world around. T.S. Komarova points out: “However, it is often difficult for educators to bring variety to all moments of work and to free children's activities, to come up with many options for classes on topics. Drawing, modeling, appliqué as types of artistic and creative activities do not tolerate a pattern, stereotyping, once and for all established rules, but meanwhile, in practice, we often encounter just such a situation (“A tree is drawn from the bottom up, because it grows like that, and a house like this”, etc.)”. Therefore, it will be important to use non-traditional techniques of visual activity of preschoolers.
As part of our work, we will consider the use of non-traditional techniques mainly in drawing. Currently, there are a fairly large number of options for art preschool education, but not all of them are scientifically substantiated at a sufficient level. The artistic techniques listed below, which are non-traditional for domestic preschool education, have been studied and tested in work with children by R.G. Kazakova and L.G. Belyakova.
In drawing with children, you can use the following non-traditional techniques:
ü poke with a hard semi-dry brush
ü finger painting
ü palm drawing
ü foam impression
ü Styrofoam imprint
ü Eraser print
wrinkled paper print
ü wax crayons + watercolor
ü candle + watercolor
ü screen printing
ü subject monotype
ü blotography
ü spray
ü leaf prints
u watercolor crayons
ü landscape monotype, etc.
Since the work in our study is carried out with children of middle preschool age, we consider it appropriate to describe only techniques that are suitable for this age range. According to the Praleska program, children of the fourth and fifth years of life are classified as children of middle preschool age. Accordingly, a more detailed description will be given to the following techniques:
1. drawing with fingers (from two years old): the child dips his finger into gouache and puts dots, spots on paper. Each finger is filled with a different color of paint. After work, the fingers are wiped with a napkin, then the gouache is easily washed off.
2. drawing with a palm (from two years old): a child dips his palm (the whole brush) into gouache or paints it with a brush (from five years old) and makes an imprint on paper. Draw with right and left hands, painted in different colors. After work, the hands are wiped with a napkin, then the gouache is easily washed off.
3. imprint with a cork (from three years old): the child presses the cork to the ink pad and makes an imprint on the paper. To get a different color, the bowl and stopper change.
4. imprint with foam rubber (from four years old): the child presses the foam rubber to the stamp pad with paint and makes an imprint on paper. To change the color, other bowls and foam rubber are taken.
5. imprint with crumpled paper (from four years old): the child presses the paper against the ink pad and makes an imprint on the paper. To get a different color, both the saucer and the crumpled paper change.
6. wax crayons + watercolor (from four years old): the child draws with wax crayons on white paper. Then he paints the sheet with watercolor in one or more colors. The chalk drawing remains unpainted.
7. poke with a hard semi-dry brush (any age): the child lowers the brush into the gouache and strikes it on the paper, holding it vertically. When working, the brush does not fall into the water. Thus, the entire sheet, contour or template is filled. It turns out an imitation of the texture of a fluffy or prickly surface.
8. stencil printing (from five years old): the child presses a signet or a foam rubber swab against an ink pad and makes an impression on paper using a stencil. To change the color, another swab and stencil are taken.
9. subject monotype (from five years old): the child folds a sheet of paper in half and draws half of the depicted object on one half of it (objects are chosen symmetrical). After drawing each part of the subject, until the paint has dried, the sheet is again folded across the floors to make a print. The image can then be decorated by also folding the sheet after drawing a few decorations.
10. ordinary blotting (from five years old): the child scoops up gouache with a plastic spoon and pours it onto paper. The result is spots in random order. Then the sheet is covered with another sheet and pressed. Next, the top sheet is removed, the image is examined: it is determined what it looks like. Missing details are drawn.
11. splashing (from five years old): the child picks up paint on the brush and hits the brush on the cardboard, which he holds above the paper. The paint splatters on the paper.
12. blotting with a thread (from five years old): the child lowers the thread into the paint, squeezes it out. Then, on a sheet of paper, he lays out an image from the thread, leaving one end of it free. After that, he puts another sheet on top, presses it, holding it with his hand, and pulls the thread by the tip. Missing details are drawn.
13. leaf prints (from five years old): the child covers a leaf of a tree with paints of different colors, then applies it to the paper with the colored side to get an imprint. Each time a new leaf is taken. The petioles of the leaves can be painted with a brush.
14. embossing (from five years old): the child draws with a simple pencil what he wants. If you need to create many identical elements (for example, leaves), it is advisable to use a cardboard template. Then an object with a corrugated surface is placed under the drawing, the drawing is painted with pencils. In the next lesson, the drawings can be cut out and pasted onto a common sheet.
15. inkblotography with a straw (from five years old): a child scoops paint with a plastic spoon, pours it onto a sheet, making a small spot (droplet). Then this spot is blown from a tube so that its end does not touch either the spot or the paper. If necessary, the procedure is repeated. Missing details are drawn.
16. black and white scratching (from five years old): a child rubs a leaf with a candle so that it is all covered with a layer of wax. Then mascara with liquid soap or tooth powder is applied to it, in this case it is poured with mascara without additives. After drying, the drawing is scratched with a stick.
17. “Familiar form - new image” (from five years old): the child circles the selected object with a pencil. Then he turns it into something else by drawing and painting with any suitable materials. When circling the foot, the child takes off his shoes and puts his foot on the sheet. If a figure is circled, whatman paper is attached to the wall, one child leans against it, the other circles it.
18. print with eraser stamps (from four years old): the child presses the seal against the ink pad and makes an impression on paper. To change the color, you need to take another bowl and signet.
19. candle + watercolor (from four years old): the child draws with a candle "on paper. Then he paints the sheet with watercolor in one or more colors. The candle drawing remains white
20. watercolor crayons ( from five years ): the child wets the paper with water using a sponge, then draws on it with crayons. You can use the techniques of drawing with the end of the crayon and flat. When dry, the paper rewetted.
The accessibility of using these techniques is determined by the age characteristics of preschoolers. Work should begin with such techniques as drawing with fingers, palms, etc., and later these same techniques will complement the artistic image created using more complex techniques. The more diverse the conditions in which visual activity takes place, the content, forms, methods and techniques of working with children, as well as the materials with which they act, the more intensively children's artistic creativity will develop.
It is necessary to diversify both the color and the texture of the paper, since this also affects the expressiveness of the drawings and puts children in front of the need to select materials for drawing, think over the color of the future creation, and not wait for a ready-made solution. So that children do not create a template (draw only on a landscape sheet), sheets of paper can be of different shapes: in the form of a circle (plate, saucer, napkin), square (handkerchief, box). Gradually, the baby begins to understand that any sheet can be chosen for the drawing: this is determined by what is to be depicted ..
The novelty of the environment, the unusual beginning of work, beautiful and varied materials, non-repeating tasks that are interesting for children, the possibility of choosing, and many other factors - this is what helps prevent monotony and boredom from children's visual activity, ensures the liveliness and immediacy of children's perception and activity. It is important that every time the educator creates a new situation so that the children, on the one hand, can apply the knowledge, skills and abilities they have learned earlier, and on the other hand, look for new solutions and creative approaches.
Continuation
--PAGE_BREAK-- Findings:
1. Creativity is defined as an activity to change, transform the surrounding world, create something new that did not exist before.
2. Children's creativity has its own characteristics, which determines the subjective nature of its results.
3. In order to get a creatively developed personality, it is necessary to give the child the right to choose an activity, as well as the materials necessary for it. This also applies to the development of children's fine arts.
4. Preschool age - the initial period in the mastery of plot drawing by children. Children at this age are not yet able to convey a complex plot in a drawing, as well as accurately embody a conceived artistic image.
5. Both plot drawing and visual art of children include a number of visual skills that children must master in the process of purposeful learning.
6. Non-traditional techniques are of great importance in working with children: they create interest in visual activity, which is one of the most important conditions for the development of artistic creativity in children.
7. The prerequisites for the development of fine arts may appear already at preschool age.
2. Empirical study
children's fine art in plot drawing
2.1
Description of experimental research methods
Experimental and research work was carried out by us on the basis of the post office No. 3 in Mogilev in November 2008 - April 2009. For the study, we took 25 children of the "Why" group (Appendix 1) and their parents, 1 teacher of the group.
The purpose of the study: to study the influence of plot drawing on the development of children's fine arts.
Research objectives:
1. To identify the conditions for the development of fine art in children in the family and kindergarten.
2. To study non-traditional techniques of visual activity and describe their influence on the development of creativity in plot drawing of preschoolers.
3. Develop and test an experimental methodology to identify the possibility of the influence of plot drawing on the development of children's fine arts.
Research hypothesis: we assumed that the use of non-traditional techniques will contribute to the development of children's fine art in plot drawing, subject to the following conditions:
ü competent selection of the content of work with children, as well as non-traditional drawing techniques
ü the availability of an appropriate material base
ü the interest of preschool teachers and families in the development of fine arts in children
the relationship between different types of children's activities.
The research work included several stages:
1. a stating experiment aimed at identifying the conditions for the development of children's fine arts in a preschool institution and the family and at identifying the levels of development of fine arts in children.
2. a formative experiment, during which we selected various non-traditional drawing techniques and conducted a series of plot drawing lessons using these techniques with children who showed the prerequisites for the development of creativity.
3. a control experiment aimed at identifying the impact of the use of non-traditional techniques in plot drawing on the development of fine art in children of middle preschool age.
To conduct research work to identify the conditions for the development of fine arts in the family and kindergarten, we used questionnaires. (Appendix 2, 3).
We compared the answers of parents and teachers of preschool institutions with the conditions necessary for the development of artistic creativity, identified by G.G. Grigoryeva in the book "Development of a preschooler in visual activity":
ü a broad approach to solving the problem: this problem should be solved in all spheres of the child's life and in all activities. (there should be special systems of games, tasks that develop creativity).
ü Organization of an interesting, meaningful life of a child in a preschool institution and family; enriching it with vivid impressions, providing emotional intellectual experience that will serve as the basis for the emergence of ideas and will be material for the work of the imagination (observations, classes, games, theater visits, etc.).
ü A unified position of teachers in understanding the prospects for the development of the child and the interaction between them.
ü Communication with art.
ü Training
ü Comprehensive and systematic use of methods and techniques, the leading among which are preliminary observation, the creation of problem situations that identify the problem, and the lack of ready-made means to resolve them.
ü Offering effective motives, leading children, if not to self-setting, then to accepting the task set by adults.
ü Taking into account the individual characteristics of the child.
To identify the levels of development of creativity in plot drawing in children, we conducted a lesson on plot drawing on the topic “Snow, snow is spinning, the whole street is white ...”. The following levels of creativity were identified: high, medium and low. The assignment of a child to each of them is due to the correspondence of the indicators of the process and the quality of the product of his artistic creativity to the assessment criteria put forward by N.A. Vetlugina:
1. indicators of creativity that characterize the relationship, interests, abilities of children:
ü Sincerity, spontaneity, enthusiasm, emotionality.
ü Interest in visual arts.
ü The ability to enter the depicted image
2. indicators of creativity, characterizing the ways of creative actions:
ü Creation of new combinations from previously learned elements.
ü Additions, changes, transformations of familiar material, finding original image techniques.
ü Independent finding of new ways, speed of reactions and orientation in new conditions.
3. indicators of creativity, characterizing the quality of products of children's artistic activity:
ü Finding adequate expressive and visual means to embody the image.
ü Compliance of the results of creativity with elementary artistic requirements.
ü Individual "handwriting" of children's products, the originality of the manner of performance and the nature of the expression of their performance.
Further, at the stage of the formative experiment, we developed a series of classes on plot drawing using non-traditional techniques for conducting with children who showed the prerequisites for the development of a high level of fine art. The cycle of classes included the following classes: "Butterflies in the clearing", "Our turtles for a walk", "My favorite fish", "Spring flowers for my mother", "My toys".
At the stage of the control experiment, we conducted a lesson in plot drawing using non-traditional techniques "My favorite tree at different times of the year" with all the children in the group and again determined the levels of children's creativity, determined the impact of using non-traditional techniques in plot drawing on the development of children's fine art.
At the final stage of the study, we drew conclusions and developed recommendations for educators on the development of fine art in children, selected information for parents on the topic "How to develop fine art in children" (Appendix 4)
2.2 Identification of conditions for the development of fine art of children in the family and kindergarten and the levels of fine art in children of the study group
The ascertaining experiment was carried out in several stages. The first stage was to identify the conditions for the development of the fine arts of children in the family and kindergarten. To this end, we have developed questionnaires for parents and separately for the teacher of the group.
The questionnaire for parents included questions, the answers to which assumed a certain attitude of parents to the visual arts of the child, their participation in classes with the child, in creating certain conditions for the child to engage in his favorite kind of artistic activity, etc. After analyzing the answers given by parents, we made the following conclusions:
ü Most families have created good conditions for the development of creativity in children
parents are most often actively involved in the life and activities of their children
ü most of the children in the group have a sufficient number of artistic impressions
ü among children there are those who are very fond of drawing (Iman M., Karina N., Sasha S., Nastya Sh., Dasha M., Oleg G., Nika P., Alisa A., etc.)
ü some children compose stories well, but they do not know how to draw, and, therefore, they cannot display the artistic image created by the imagination using visual means
The questionnaire for the educator was focused on identifying the forms of work of the educator with children in visual activity, the methods used in the work. It also included questions, the answers to which suggested the attitude of the educator to children's fine arts and awareness of the influence of fine arts on the development of the child's personality as a whole. In this questionnaire, the educator could also make suggestions for improving the methodological and subject environment in the organization of artistic activities in kindergarten.
After studying the answers of the educator, we made the following conclusions:
ü work on visual activity in kindergarten is being carried out
ü the teacher uses various possibilities of fine arts for the development of the personality of children
ü children are given independence in visual activity
ü attracts the attention of parents to the visual activity of children
ü However, traditional materials for visual activities are still used in the kindergarten for the most part.
The second stage was aimed at identifying the prerequisites for fine art in children and was held in the form of a lesson with the whole group on the topic "Snow, snow is spinning, the whole street is white ...".
Program content: to teach to convey a simple plot, to include familiar objects in the drawing; notice the beauty in the combination of white with other colors; continue to learn to perform the drawing in the specified sequence; exercise in the rhythmic application of dots with the end of the brush all over the sheet of paper.
Equipment: 2-3 illustrations depicting snowfall; sheets of gray paper A4 size, brushes, gouache paints.
Lesson progress
The teacher shows the children illustrations depicting a snowfall. He asks what is in the pictures.
Draws their attention to the fact that during a heavy snowfall, snow covers all objects around. And the roofs of houses, and tree branches, and fence posts, and benches, etc. snowflakes are flying everywhere. We see all objects as if through flying snowflakes in the gray sky, on objects (dark green firs, black tree trunks, etc.).
Today you will draw a picture for the song "snow, snow is spinning, the whole street is white." Decide for yourself what you will draw on the street: one or 2 houses, trees or other objects (snowman, fence, benches, gates).
First, you will draw houses, trees and other objects, whoever you want, then the snow lying on the ground and on everything, and at the end, with the tip of the brush, draw small snowflakes everywhere.
Through questions, the teacher reinforces the children's ideas about the sequence of drawings. Asks a few people what they will paint on their street and invites everyone to get to work.
In the process of work, it is necessary to ensure that the children first depict large objects (houses, trees), then smaller objects (fence, snowman, benches). Reminds you to wait until one paint dries, and only then apply another one on it (windows on houses, etc.).
The teacher also reminds that the branches of the trees should be drawn with the end of the brush. He advises to paint them with white paint, since in heavy snowfall the snow covers the entire branches. On the branches of a spruce, attacking snow can be depicted by sticking. When children start drawing snowflakes, make sure that they are depicted all over the sheet of paper.
At the end of the lesson, the teacher puts the drawings on the stand for viewing. He places two or three drawings with the most successful image of snowfall on the top shelf, says: “children, look at these drawings, they are very suitable for the song“ snow, snow is spinning, the whole street is white. In the drawings, most of all is white: white snow on the roof of the house, on the trees and the fence. All objects are visible through falling snowflakes. Who will find among other drawings similar to these and put them side by side? invites several children to the board. He asks: “why do you think that this drawing will also fit the song “Snow, snow is spinning ...”?”.
The selected drawings are shifted together and everyone admires the snow-covered street.
During the lesson, the following methods were used: conversation, demonstration, explanation, instructions, reminder, encouragement, analysis. Visualization was also used in the form of illustrations, which depict snowfall, a snow-covered street, etc.
The positive thing about the lesson was that some of the children coped with the goal.
Most of the children did not cope with the work, despite the aroused interest and activity in completing the task. During the lesson, the children tried to create an artistic image based on the involvement of previously accumulated experience, but the goal was not achieved, due to the fact that children do not know how to convey the intended artistic image. The result of the ascertaining experiment is summarized in the form of a table.
Child's name
Relationships, interests
Ways of creative action
Individual handwriting
1. Alice A.
2. Arseniy B.
3. Vova B.
4. Dima V.
5. Oleg G.
7. Alina K.
8. Andrey K.
9. Maxim K.
10. Kirill K.
11. Anton K.
12. Iman M.
13. Said M.
14. Roller M.
15. Masha M.
16. Karina N.
17. Alina P.
18. Nika P.
19. Sasha S.
20. Nikita T.
21. Sasha Sh.
22. Nastya Sh.
23. Sasha M.
24. Dasha M.
25. Dasha B.
Thus, according to the table, we can conclude that in the group studied by us, the children for the most part have an average and low level of creativity in plot drawing classes. But there are those who showed good results: the prerequisite for the development of a high level of creativity is Alisa A., Kirill K., Iman M., Nastya Sh., Karina N., Nika P., Oleg G., Dasha M. All the listed children were assessed positively in all or most of the criteria.
Based on the results of the ascertaining experiment, we can conclude that both education and the creation of conditions in the family and kindergarten are equally important for the development of fine art in children. But an important role is played by personal prerequisites for the development of creativity.
continuation
--PAGE_BREAK--2.3 The development of visual creativity in children of middle preschool age in the process of plot drawing using non-traditional techniques
Conducted with children: Alisa A., Kirill K., Iman M., Nastya Sh., Karina N., Nika P., Oleg G., Dasha M., who in the ascertaining experiment showed the existing prerequisites for the development of a high level of fine art.
The purpose of the formative experiment was the development of visual creativity in children of middle preschool age in the process of plot drawing using non-traditional techniques.
The use of non-traditional techniques in the classroom for plot drawing in our study is due to the fact that in the middle preschool age, plot drawing is just beginning to develop. Our work was carried out with children of middle preschool age. We hypothesized that the use of non-traditional techniques by children in story drawing classes could help them more fully convey the artistic image they want to depict.
In the course of the formative experiment, individual lessons were held with capable children. All classes were in the nature of entertaining material. In these classes, children mastered new techniques, new visual materials, new technical capabilities of these materials.
1. "Butterflies in the clearing"
Non-traditional techniques: subject monotype
Program content: to form in children an idea of \u200b\u200bthe appearance, structure of a butterfly, nutritional features, a variety of colors; exercise in counting, determining the right and left sides; teach children to make a pattern and achieve a symmetrical image by folding paper; cultivate accuracy.
Lesson progress
Children sit in a circle
Children, listen to what happened to me once. I walked through the forest and came to an unusual clearing. What a beautiful, bright, strewn with unusual flowers she was! I wanted to smell the flower. But as soon as I leaned over, all the "flowers" fluttered and flew away. What were these unusual flowers in the clearing? (The teacher offers to consider a butterfly).
Have you seen butterflies? Where did you see them? What did the butterflies do? Why can butterflies fly? What else do butterflies have besides wings? Let's now take a close look at the illustration and determine what the butterfly has. Here you will see what has already been named. (The teacher calls the child to the picture. The child looks again and says what the butterfly has).
What is the most beautiful thing about a butterfly? How many wings are there? Let's count how many wings are on the left side of the body, and how many on the right. How can you say otherwise? (equally) and now let's look again at both wings on the left side. Are they the same shape? Size? And on the right side? Correctly. The upper and lower wings differ in shape and size.
Generalization:
Children, look again at the butterfly. How beautiful she is! She has two wings on the right and left sides of the body. And she has two identical upper wings, and two identical lower ones. All good fellows.
Now get up, let's play a little with you. Imagine everything that we are butterflies, and our hands are wings. Let's show how big and beautiful our wings are (spread your arms to the sides), and now let's fold them. Let's imagine that we are in a spring meadow. Let's fly, spread our wings (children "flutter" to quiet music). The children sit down again.
Who knows why butterflies land on flowers? (answers are heard)
Butterflies sit on flowers to eat. What do butterflies eat? Each flower has a sweet juice inside, it is called nectar. Butterflies get juice with their long proboscises, which are on their heads, (we look at the illustration)
What color are butterflies? That's right, colorful. Look, what beautiful butterflies have flown to us! (we look at the illustrations).
All butterflies are different, unusual, have their own color. The name of individual butterflies is associated with coloring: peacock eye, lemongrass, etc.
Is the pattern on the wings on the right side similar to the pattern on the left? Find the pattern that repeats on the left and right wings. All these butterflies are different, but each has a pattern on the left and right sides, both sides of the wings are colored the same.
And now we will draw with you. What do you think needs to be done to get the exact pattern on both sides? We each have a sheet of paper with a silhouette of a butterfly on our tables. To get the same pattern, we decorate only one side of the butterfly (half). And then the sheet is folded in half and pressed with a pen to print the picture. But butterflies are different. And you, children, come up with each of your drawings (an unusual pattern).
After finishing drawing:
Remember, children, I told you about the flower field. Bring the butterflies here and we will arrange an extraordinary clearing with you. And next to the butterflies, sit down yourself (music sounds)
How beautiful! Butterflies are like unusually bright flowers. It makes me want to take them in hand. But we can’t, let’s not ruin this beauty, because if we take a butterfly in our hands, we can hurt its wings, erase the pattern. Let them flutter, fly and sit on flowers. Let's enjoy this beauty and take care of it.
2. "Our turtles for a walk"
Non-traditional techniques: wax crayons + watercolor, black marker + watercolor, wrinkled paper print.
Program content: to cultivate an aesthetic attitude to nature and its depiction by various visual techniques; learn to most expressively display the image of animals in the drawings; develop color perception and a sense of composition.
Equipment: A3 paper, watercolor, wax crayons, black marker, illustrations and sketches depicting turtles, various herbs and flowers in the form of a landscape.
Lesson progress
The teacher reads a poem by K. Chukovsky "Turtle":
Go far to the swamp
Going to the swamp is not easy!
“Here lies a stone by the road,
Let's sit down and stretch our legs."
And a bundle is placed on the frog stone:
“It would be nice to lie down on a stone for an hour!”
Suddenly a stone jumped to its feet,
Grabbed them by the legs.
And they cried out in fear:
"What is it! - this is RE!
This is PAHA! - this is CHERERE!
This is PAHA! This is PAPAH!”
Children remember watching turtles; jokingly explain why the frogs did not notice that it was a turtle and not a stone. It is proposed to draw a family of turtles on a walk, adding grass, trees, flowers, etc. to the drawing. The guys come up with simple plots (mommy turtle teaches her kids to crawl, daddy turtle brings them delicious dandelions, etc.). The proposed techniques are discussed, illustrations and sketches are considered.
The teacher reminds the children of the basic rules for working with watercolors, draws attention to the tenderness, smoothness of the transitions of watercolor paints and the clarity of the marker lines, the locality of the color of wax crayons. In case of difficulties, he shows the methods of work in the chosen techniques.
Finished works are hung. When viewing, turtles with the most powerful and beautiful shell, the smallest, the most cheerful family, the largest, etc. are selected. Landscapes with turtles are given names.
3.
"My favorite fish"
Non-traditional techniques: wax crayons + watercolour, foam rubber or prints from vegetables and potatoes.
Program content: to acquaint with artistic techniques; develop a sense of composition and color.
Equipment: wax crayons, blue and violet watercolors, A3 or A4 sheet (optional), blue, violet, white (for wax crayons and watercolors), blue flowers, brush, 2 pieces of foam rubber in the shape of a tail and body of a fish, bowls with gouache, potato seals in the shape of a fish's tail and body, green gouache in jars, pedagogical sketches.
Lesson progress
The inhabitants of the aquarium, soil, algae are considered. The teacher makes a riddle: splashes in the river with a clean silvery back (fish).
Reads a poem by I. Tokmakova “Where the fish sleeps”:
Dark at night, quiet at night.
Fish, fish, where do you sleep?
The fox trail leads to the hole,
Dog track - to the kennel,
Belkin's trail leads to a hollow,
Myshkin - to the hole in the floor.
It is a pity that in the river, on the water,
There are no traces of you anywhere.
Only darkness, only silence.
Fish, fish, where do you sleep?
The teacher reminds that he is in an aquarium (soil, pebbles, algae), where a fish can hide, where it can sleep. Illustrations of different fish are considered, it is noted that they swim by moving their fins, tail, and body.
It is proposed to choose a technique using pedagogical sketches. Children name the pictures they liked and disliked. The teacher separately explains the techniques to everyone, shows how to draw algae.
Viewing drawings is played out like feeding fish. At the same time, children can draw worms, flies, bloodworms. The largest, brightest, smallest, most mobile, funny and cocky fish are selected.
4.
"Spring Flowers for My Mom"
Non-traditional techniques: wax crayons + watercolor + screen printing.
Program content: to cultivate an aesthetic attitude to the image of mother through the image of flowers in various techniques; develop color perception, sense of composition, imagination.
Equipment: white and pale green A3 and A4 paper, illustrations, wax crayons, watercolor, green gouache, gouache in bowls for printing, sketches depicting flowers, cardboard cards of various colors for the game.
Lesson progress
The teacher reads a poem written by eleven-year-old Olya Arkhangelskaya:
To a clear field
Warm up in the spring
A piece of sky has fallen
The flower of the forest has blossomed!
Illustrations and sketches of snowdrops and other spring flowers (tulips, coltsfoot, daffodils, etc.) are considered, children express their impressions. The game exercise “Flowers are blooming” is being performed: cards with painted flowers (bud, half-blown, blooming) are lined up in order of growth and development. In the game exercise “Pick a color”, color cards (white, yellow, lilac, blue, purple, blue, red, etc.) are selected for illustrations of spring flowers.
It is proposed to draw a "family" of flowers or a bouquet for mom, choosing their color, image technique and composition on their own. Several children show how to work in these techniques, depicting different flowers.
Viewing children's drawings is accompanied by a description of the nature of the flowers: sad, lowered their heads; cheerful, many, many flowers in the family, the bouquet is selected according to color, shape, etc. Drawings are discussed with the children, and it is determined which can be called landscapes and which still lifes (bouquets).
5. "My toys"
Non-traditional techniques: seal impression, cork impression, finger painting.
Program content: to form an aesthetic attitude to toys by means of their depiction in drawings; exercise in combining two different techniques; develop a sense of composition, rhythm.
Equipment: sheets of A3 paper, gouache, gouache in bowls for printing, seals of various shapes, cork, simple-shaped toys, for example, a tumbler, a mouse, balls, two toy bear cubs, brushes, pedagogical sketches.
Lesson progress
A scene is played out in which two bear cubs try to play with one tumbler and a ball, but they do not succeed: each needs both to play. The bear cubs are upset. The teacher asks the children to help: let the bears play with their toys. They tell what toys they have, it turns out that there is a tumbler, balls, a mouse, etc. Here the cubs say that they guessed how to do it: draw these toys for them. The teacher draws the children's attention to the toys arranged in the composition, they are considered in combination with the balls: how they are decorated, what shape, size. Attention is focused on the composition of the picture: a tumbler and balls nearby, balls around the tumbler, etc.
The teacher shows how to draw a tumbler, a mouse and many different balls around: large and small.
Viewing children's drawings in a playful way: the cubs choose toys for themselves and their friends: the funniest tumbler, the most decorated balls, the most unusual composition, etc.
2.4
Revealing the level of children's visual creativity in plot drawing, developed in the course of a formative experiment using non-traditional techniques
The purpose of the control experiment was to identify the level of visual creativity of children in story drawing, developed in the course of a formative experiment using non-traditional techniques.
The control experiment was conducted in the form of a plot drawing lesson using non-traditional techniques.
During the lesson, such methods and techniques were used as: story, questions, demonstration, explanation, indication, reminder, analysis. Children were offered non-traditional equipment and illustrative material. Music was also used for a better emotional mood.
Topic: "My favorite tree in different seasons"
Non-traditional techniques: print with seals, print with crumpled paper, finger painting, monotype, spatter, inkblotography with a tube.
Program content: to improve the skills of children in various techniques; consolidate knowledge about seasonal changes in wildlife; to teach to depict these changes in the drawing most expressively; develop a sense of composition.
Equipment: sketches and illustrations depicting trees in different seasons, paper tinted in pale blue, gouache, hard and soft brushes, a piece of cardboard for splashing, a blotting tube, seals, gouache paints, paper.
Lesson progress
A riddle is guessed: “in the spring it amuses, in the summer it cools, in the winter it warms” (tree).
Children look at illustrations of trees in winter, summer, spring and autumn and determine how these pictures differ. It is proposed to draw up a nature calendar for the group, draw a tree on it. It is discussed how accurately the trees will reflect changes in wildlife. Determines how many drawings are needed for the calendar. Attention is drawn to the fact that the image of inanimate nature (sky, earth, etc.) must correspond to the season in which the tree is depicted. To choose a technique, children look at sketches made in various visual techniques, select them according to the seasons, then choose what they like and what they don’t like.
The image of trees in the chosen technique, the addition of such suitable details as grass, people, leaf fall, snow are accompanied by inventing a figurative name for your work, for example: “white birch in winter”, “green oak in summer”, “colored aspen in autumn”. Drawings are inserted into frames, hung on a stand in the form of a gallery. All this is done with the participation of children. Along the way, it is discussed which technique helped to depict the season, and in which case it was better to choose a different material. Drawings are grouped by seasons, young artists are invited to choose 3 works per season and make a calendar for the group.
The result is summarized in the form of a table:
Child's name
Indicators of the process and quality of children's art products
Relationships, interests
Ways of creative action
Quality of creative results
Sincerity, enthusiasm, emotionality
interest in the image. activities
The ability to "enter" the depicted image
Creating something new from previously learned
Additions, changes, transformations
Finding new ways on your own
Finding adequate images.-express. funds
Individual handwriting
Compliance with elementary art. requirements
1. Alice A.
2. Arseniy B.
3. Vova B.
4. Dima V.
5. Oleg G.
7. Alina K.
8. Andrey K.
9. Maxim K.
10. Kirill K.
11. Anton K.
12. Iman M.
13. Said M.
14. Roller M.
15. Masha M.
16. Karina N.
17. Alina P.
18. Nika P.
19. Sasha S.
20. Nikita T.
21. Sasha Sh.
22. Nastya Sh.
23. Sasha M.
24. Dasha M.
25. Dasha B.
The presence of a certain criterion is marked with a “+” sign, the absence is marked with a “-” sign.
Thus, after conducting a cycle of classes using a variety of techniques, it is clear that in children with the ability to work with paints and non-traditional techniques, the studied indicators are at a high level. And for children with poorly developed artistic and creative abilities, the indicators are still at a low level, but due to the use of non-traditional materials, the level of enthusiasm for the topic and technology has improved.
Continuation
--PAGE_BREAK--
Stages of development of children's drawing Acquaintance with the features of the natural development of children's fine arts, with an understanding of its significance for the general mental and artistic development of a person, will help to identify the characteristic and possible mistakes in our interaction with the child. And, on the other hand, and determine the conditions for the effectiveness of this interaction FIRST STAGE. Pre-figurative stage or scribble stage Age of the child - from 1 to 3 years A CHILD AT THIS AGE: - is able to coordinate his movements to a certain extent; - is able to track the ability of art materials to leave a mark on the surface. Features of the drawings: - The child does not draw yet, he plays with art materials, leaving traces (spots and lines) on the surface of the sheet or any other surface; - the child does not "hold" the format of the sheet and his "drawings" do not have pronounced boundaries. What should an adult do at this stage? Once, having asked such a question at a lecture, I received the following answer from one young dad: “An adult should not do anything, except to give the child the opportunity to draw. He still doesn’t know how to draw yet, but only soils and spoils everything. ” He was actively supported by other students. Let us now see what role doodles play in the psychological development of the child. Functions of graphic activity - drawing becomes for the child a means of mastering his own body, it helps to develop the ability to coordinate his movements - the child discovers a way to indicate his presence in the world graphic activity at this stage is also the development of the child's consciousness. Tasks for an adult: - provide the child with the opportunity to experiment with different art materials; - demonstrate how to use these materials; - emotionally support the child in the process of playing with art materials, forming a positive attitude towards this activity (to enjoy the size and brightness of the spot, the thickness or thinness of the lines, the number of small dots SECOND STAGE. The stage of the structural and functional image The child's age: from 2 to 4 years AT THIS AGE: - discovers the coincidence of the forms of the real world and their own graphic signs - comprehends the structural and functional patterns of the form (the presence of parts necessary for recognizing the object) Features of the drawings: - image content - images of the real world (which the child can reach with his hands); - the child draws without going beyond the boundaries of the sheet; - the images are extremely generalized; - the images reflect the tactile, motor, visual and intellectual experience of the child; - the drawing reflects the structure of the object and its purpose; - the changes in the drawing reflect the general level of the child's mental development - the images float freely in space sheet; - the proportions of the image are distorted The first images are extremely simple. A circle with two sticks is a person. Psychologists have their own name for these little men - "cephalopods." Carrot with thin tails - a tree. Gradually, the designs become more complex. Fingers grow on the hands, leaves on the trees, shoes are put on the feet, bows and hats on the heads Tasks for the adult: - Create conditions for the child to independently discover the image. (For example, games of turning spots, lines of strokes into specific images); - demonstrate how to work with art materials; - observe the world around with the child, explore the patterns of structure of various objects; - emotionally live together with the child the impressions of the real world and the harmony of the plastic form. THE THIRD STAGE. Spatial-plot image Age of the child: from 4 to 6 years A CHILD AT THIS AGE: - comprehends and creates his own hierarchy of the significance of the phenomena of reality (the main one is the largest); - comprehends the hierarchy of sizes of objects of the surrounding world; - development of spatial representations; - reveals the orderliness of the objects of the surrounding world with respect to the top and bottom (earth and sky); - the child's verbal abilities develop (the ability to comprehend and state the cause-and-effect relationships of events); - comprehends and evaluates events, himself, people and their actions (+) and (-), “good = beautiful” and “bad = ugly”; - there is an interest not only in the process, but also in the result of visual activity Functions of visual activity: - development of a visual attitude (focus on visual perception when orienting in space); - development of the ability to create and recognize graphic and color signs - development of voluntary attention; - development of fantasy and imagination; - development of cognitive abilities of the child. Namely: the ability to comprehend the features of the form and structure of the object, the ability to generalize the impressions of the object, highlighting the most significant features; - development of fine motor skills (hand movements become more complicated). Features of the drawings: - the content of the image - the plot, the event (the drawing becomes a story); - the top and bottom are indicated in the figure: the line of the earth and the line of the sky; - the composition of the drawing is frieze (the objects of the image are located in one line, without overlapping each other); - objects of the image do not "float" in the space of the sheet, but are oriented relative to the top and bottom; - the drawing is detailed; - the proportions of the image are distorted, particular details are given special importance; - the scale of the image indicates the importance of the subject of the image. Functions of visual activity: - development of the visual attitude; - development of the ability to emotional experience and empathy; - development of cognitive abilities of the child. Namely: to reveal the causal relationships of events; - development of the volitional sphere. Tasks for an adult: - cohabitation of events, empathy for the characters; - study of constructive, structural-spatial and role patterns in the world; - play with the possibilities of artistic means and materials; - emotionally living together with the child of the harmony of the plastic form; - joint development of the ability to comprehend their own experiences Evaluation of the child's drawings How do we usually react to the work of the child? 1. What did you draw? - Does not look like it! 2. Wonderful! Masterpiece! In the first case, we form self-doubt, but the second option is also pedagogically illiterate. With such an assessment, the motif of drawing shifts. The child sits down to draw a masterpiece. What can be drawn with this setup? The artist paints in order to clearly express his emotional experiences. FOURTH STAGE. Aesthetically significant image Age of the child: 6-9 years But there comes a moment when the child begins to notice the difference: - between the created image and the image of perception or imagination - between what he wanted to depict, what he experienced and what happened in the image. This is a new stage in the development of children's drawing. In fact, the image that is born in our perception of reality does not at all coincide with the visual image reflected on the retina of our eyes. An interesting observation can be found in the diaries of the famous artist Ostroumova-Lebedeva. The artist describes her experience in the open air. Trying to achieve the veracity of the image, she tried to ensure that all the colors in the picture corresponded to nature as closely as possible. However, the desired result of the veracity of the image could not be achieved. Later, she painted the work again, boldly changing colors and not thinking about literal similarities. Strange as it may seem, the new drawing gave that feeling of fidelity to the image that the artist was striving for, a feeling of coincidence with what she saw in nature. It turns out a paradox: we depict what we see, it turns out not what we see. Features of the drawings: - the content of the image - the plot, the event, the aesthetic appeal of the subject of the image; - combination of several points of view when depicting one object; - dynamic drawing; - decorativeness of the drawing as a reflection of the desire for aesthetic expressiveness Functions of visual activity: - development of the ability for conscious emotional experience and empathy; - development of cognitive abilities of the child. Namely: the development of the ability to comprehend the expressive possibilities of the language of art. Tasks for an adult: - cohabitation of events, empathy for the characters; - emotionally living together with the child of the harmony of the plastic form; - discovery of the expressive possibilities of the language of fine arts. EVALUATION: - spontaneous embodiment of experience; - the embodiment of an emotional plan. If there is no such work, then at the age of 10-12 a crisis of visual activity breaks out. The fact that by the age of 10-12 the child loses interest in it, leaving it as an experienced stage, is explained by psychologists by the fact that at this age the child is fond of other types of creativity, such as literature, because “the word allows with much greater ease than drawing, convey complex relationships, especially of an internal nature. Task Determine the proposed drawings in groups according to the stages of development of children's drawings FIRST STAGE. Pre-figurative stage or stage of doodles SECOND STAGE. Stage of structural-functional image THIRD STAGE. Spatial-plot image FOURTH STAGE. Aesthetically significant image When performing the task, take into account the features and functions of the children's drawing COLLOQUIU M In Latin, the word "colloquium" means just a conversation or a conversation. Firstly, a colloquium is often called one of the traditional forms of training sessions, both in the Western and in the domestic education system, the purpose of which is to identify the knowledge of students and increase their experience as a result of a casual conversation with a professor or other teacher. Secondly, a colloquium is a full-fledged scientific meeting, where at first pre-prepared reports are heard, and then a complex process of their discussion takes place. More details: http://www.kakprosto.ru/kak-83630chto-takoe-kollokvium#ixzz3KO1PnfrY More details: http://www.kakprosto.ru/kak-83630chto-takoe-kollokvium#ixzz3KO1EvxIu More details: http://www. kakprosto.ru/kak-83630chto-takoe-kollokvium#ixzz3KO19T1xg Assignment Divide into pairs, choose a question and prepare reasoning answers for the colloquium. Copy the addresses of the sites you used. Write a list of references 1. 2. 3. 4. 5. 6. 7. 8. Non-traditional forms and methods of developing creative abilities in teaching children the fine arts. Development of creative imagination. Development of creative thinking. Development of visual abilities. The value of various types of fine arts in the development of creative abilities in children. Working with gifted children and students Working with children and students with learning difficulties. Diagnostics of the study of the child's abilities DEVELOPING GAMES http://www.liveinternet.ru/users/maknika/post2 55778479
"Patterns for drawing" - Collective discussion of children's work. WHO MOVES HOW? Now let's get ready for the next one. The last drawing will be more difficult. P l a n b e s e d y. Hare. Wellness motor minute. Look, there are blank drawings on your tables. Birds. Independent work. That's right, bunny.
"Age psychology" - 3.2. Features of child development in early childhood. What methods should the researcher use to find out the cause? 3.6. General characteristics of adolescence. 3.7. General characteristics of maturity. Pierre Buast. Examples of tasks for independent work of students: Module 1. Developmental psychology as a science.
"Drawing with plasticine" - Using the techniques of working with plasticine in the classroom. Master class Drawing pictures with plasticine (plasticine). Children draw more than one image with plasticine, but are already building a plot. Goals and objectives: The benefits of working with plasticine. The cardboard format is increasing. Attaching Applying Smoothing Plaques.
"Drawing a butterfly" - How will you decorate the butterfly and prepare pencils, felt-tip pens or paints with a brush. There are about 110 thousand species of butterflies on Earth. The second option is Butterfly from the cartoon. The eggs hatch into larvae, which are called caterpillars in butterflies. Machaon. We drew a butterfly! Lemongrass. Compiled by: primary school teacher Popova T.V. year 2012.
"Age features" - However, younger students are very impressionable. Circle "Erudite". Library lessons are organized on the basis of the City Children's Library. General educational. Anatoly Gin World of logic. The topics of classes are determined by the teacher, museum staff and the interests of children. Memory can be auditory, visual, combined.
"Drawing Courses" - Draw more! Lesson 8. Setting goals and objectives of the course. Memories of May. Examples of work after the 9th lesson (my work). Lesson 5. Disclosure of creative abilities in the process of learning to draw according to the right hemispheric technique in 25 hours! Lena preliminary drawing 16.05.09. 4. Disclosure of creative abilities in the process of learning to draw.
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Text content of presentation slides: Age stages in the development of a child's drawing Psychologists consider drawing to be one of the most accurate and reliable methods for diagnosing a person's state of mind. What difficulties the baby experiences, whether he has time in development, to whom he feels sympathy, and to whom, on the contrary, children's arts can tell about all this. Works in the field of psychology, art therapy, carried out by Western and Russian researchers have shown that it is in the drawing that the features of thinking, imagination, and the emotional-volitional sphere are revealed. Drawing is a kind of language, a cipher that one must learn to read correctly. Many modern theories in the field of art interpretation and, in particular, artistic representation are based on the ideas put forward by Carl Jung. A serious contribution to the development of this area of psychology was also made by Yolande Jacobi and Susan Bach. In our country, the beginning of the diagnosis of children's drawings was laid by V.M. Bekhterev. At present, the tests "House-Tree-Man", "Family Drawing", "Drawing of a Person", carried out in almost any school, serve as one of the important sources for obtaining information about the character, the child, his fears, state of mind. Stages of development of children's drawings the stage at which the child names his "doodles". Graphic period: the stage of subject drawing (schematic representation); stage of plausible images. The doodle stage lasts differently, sometimes it passes quite quickly, but always at this time the child seeks and masters three lines: horizontal, vertical, learns to close the circle. He learns to navigate on a sheet of paper and a special problem at this time is to stop. The child has to specially master this skill: not to lead an endless horizontal line, from the kitchen to the front door along the wall, through the entire corridor, but to stop the hand in time. The stage of doodles is important precisely because the child masters the movements of his hand. Pre-pictorial stage The second stage of the pre-pictorial period is from 2 to 3 years. It differs little from the previous one in terms of the quality of the drawing - scribbles were and are. But at this stage, the child begins to give names to his drawings: “This is dad” or “This is me running,” although neither dad nor the child himself can be found in the drawings. Approximately at the age of 3-5 years, the visual period begins, the first stage of which is the stage of subject drawing (schematic representation). The first subject images, as a rule, are not created on purpose, they are "recognized" in what is drawn. For example, after drawing a lot of rather crooked circles, a three-year-old boy asks himself: "Is this snow?" The hand is ahead of the image. Object drawing goes through many periods, fades away and turns into handwriting. At first, children do not draw themselves, not dad or mom - they depict a person "in general", just a person. - The first thing they get is the famous "cephalopod", created literally according to the instructions of the children's song: "Dot, dot, comma, minus - the face is crooked, arms, legs, cucumber - that's the little man out." A comma-shaped nose is not required at all (unlike the eyes and mouth); the "cucumber" in a curved closed contour covers the head and torso together, from which sticks-handles and sticks-legs stick out to the sides. The next stage in the development of the drawing - the stage of plausible images - is characterized by a gradual rejection of the scheme and attempts to reproduce the actual appearance of objects. In a human figure, the legs take on a certain bend, often even when a person is depicted calmly standing. The image of the hands begins to fill with functional content: the person in the picture is holding some object. Hair appears on the head, sometimes decorated in a carefully traced hairstyle. The neck acquires commensurability, the shoulders - roundness. More attention is paid to the image of clothing. All this is not achieved immediately. The drawing also passes an intermediate stage, at which part of it is still almost completely schematic. At the age of 5-7 years, the development of the imaginative world in the drawing also occurs - from a person to his environment. Proportions are first established in the human figure. A characteristic pattern of this period: a tall big man next to a small multi-storey building and a small passenger car. The five-year-old author does not understand our bewilderment: "Yes, this man arrived in his car, he lives in this house, yes, on the third floor, you see, here is his window and balcony." Often family members appear in the drawings. Already at the age of 5-6, children are well aware of intra-family relationships and demonstrate them in their drawings. Those whom the child especially loves are depicted more carefully: the child strives to achieve the maximum similarity and decorates the portrait in every possible way. Desirable, but not really existing relatives may also be present in the image of the family. By adolescence, drawing, apparently, basically exhausts its psychological functions, its adaptive role is reduced. The child moves to a higher level of abstraction, the word moves to the first position, which makes it possible to convey the complexity of events and relationships with much greater ease than drawing. Drawing for a child is not art, but speech. Drawing makes it possible to express what, due to age restrictions, he cannot express in words. In the process of drawing, the rational fades into the background, prohibitions and restrictions recede. At this moment, the child is absolutely free.
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