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Nesterova I.A. The use of non-traditional techniques in the visual activities of preschool children // Nesterov Encyclopedia

As is known, a child’s visual activity acquires an artistic and creative character as he masters the methods of depiction. The product of artistic and creative activity is an expressive image. One of the tasks of teaching drawing in kindergarten is to teach children to depict objects and phenomena as a means of figuratively reflecting life impressions.

The variety of non-traditional techniques in teaching visual arts

The image requires clear, distinct ideas, as well as the ability to express them in graphic form. When creating a drawing, the child controls his actions by representing the depicted object and evaluates them. The ideas needed for drawing are formed in the process of perception. Research by N.P. Sakulina shows that it is necessary to teach children a certain way of perceiving an object, examining it. However, in order to draw this or that object, it is not enough to have a clear idea of ​​its shape, color, structure; it is necessary to be able to express these properties of the object in graphic form on the plane of a sheet of paper, to subordinate the movement of the hand to the task of depiction.

As noted by T.S. Komarova: “One might think that the movements aimed at making a drawing are sufficiently organized by the process of drawing itself. However, this is not so: children should definitely be taught drawing techniques.”

Thus, mastering technology by preschool children is an independent and important task.

At present, points of view on the problem of artistic development and the conditions for the formation of artistic abilities are rapidly changing, the change of children's generations and their preferences, the emergence of new artistic techniques and techniques. In this regard, the methods of work of teachers in the field of fine arts with preschoolers must also change.

The choice of non-traditional drawing techniques as one of the means of developing children's visual creativity is not accidental. Most non-traditional techniques relate to spontaneous drawing, when the image is obtained not as a result of the use of special artistic techniques, but as the effect of playful manipulation.

Non-traditional techniques expand the visual capabilities of children, which allows them to realize their life experience to a greater extent, free themselves from unpleasant experiences and establish themselves in the positive position of a “creator”.

The idea of ​​using non-traditional techniques in the process of teaching visual arts is not new and the need to use non-traditional techniques in organizing the visual arts of preschool children is not in doubt. After all, the variety of visual materials provided to children, the departure from traditional, familiar ways of creating drawings, and the search for new creative solutions contribute to the development of children's creativity, activity, and imagination. Children love novelty, they are interested in a variety of materials, and as a result, children receive a successful product of activity.

Visual arts technique and its role in image creation

Childhood is a period of intense development, change and learning - this was the definition given by psychologist L.F. Obukhova. She writes that this is a period of paradoxes and contradictions, without which it is impossible to imagine the “process of development.” Childhood is the most favorable for the development of creativity.

The development of creativity is one of the “bridges” leading to the development of artistic abilities.

Unfortunately, the modern mass “school” still retains an uncreative approach to the acquisition of knowledge. Often learning comes down to memorizing and reproducing action techniques and typical ways to solve tasks. Monotonous, patterned repetition of the same actions kills interest in learning. Children are deprived of the joy of discovery and may gradually lose the ability to be creative.

Visual activity in modern research is interpreted as one of the forms of a child’s artistic exploration of the surrounding reality, during which he reflects the world with the help of artistic means.

In the process of drawing, sculpting, and appliqué, the child experiences a variety of feelings:

1. rejoices at the beautiful image he created,
2. gets upset if something doesn't work out,
3. strives to overcome difficulties or gives in to them.

He acquires knowledge about objects and phenomena, about the means and methods of their transmission, about the artistic possibilities of fine art. Children's understanding of the world around them deepens, they comprehend the qualities of objects, remember their characteristic features and details, master fine arts and abilities, and learn to use them consciously.

In modern theory and practice of preschool education, visual activity is considered as the most accessible means that provides preschool children with ample opportunities for a full and meaningful expression of impressions about the life around them, experiences, and manifestation of their spontaneity and emotionality. Artistic activities develop memory, attention, fine motor skills, teach the child to think, analyze, measure and compare, compose and imagine.

At first, children develop an interest in visual aids, manipulations, and traces. left on a sheet of paper, from working with a pencil or brush and only gradually, by mastering visual techniques, motivation for creativity appears - the desire to get results, to create an image.

Modern pedagogical and psychological research proves the importance of visual creativity for the intellectual and artistic development of children in preschool age.

After all, it is in visual activity that the formation of artistic creativity occurs, the development of which is possible without teaching children how to implement ideas, convey objects, and phenomena. This training is aimed at creating an artistic image for children and is closely dependent on the development of abilities for visual activity.

One of the conditions for the development of children’s creative abilities is the use of a variety of visual arts techniques.

The concept of "technology" has several meanings. Let us consider the interpretation of the concept of “technology” from different sources.

Table of interpretations of the concept “technology” in different sources

	Source	Interpretation
	Big Encyclopedic Dictionary	Technology (from Greek - art, skill, skill), a system of arts. organs of social activity, developing through the historical process of objectifying labor functions, skills, experience and knowledge in natural material, through knowledge and use of the forces and laws of nature.
	Explanatory dictionary of the Russian language edited by D.N. Ushakov	Technology is a set of techniques and devices used to obtain the greatest results with the least amount of human labor.
	Culturology Encyclopedia. Volume 2	Technology is a set of material means created to carry out the production process, enriching and facilitating man’s knowledge of the surrounding world, expanding man’s relationship with the environment.
	Ozhigov's Explanatory Dictionary	The technique is: 1. The range of sciences related to the study and creation of means of production and tools. 2. The set of means of labor, knowledge and activity that serve to create material values. Advanced t. Master the technique. 3. A set of techniques used in some. business, skill.

Technology is a set of techniques, devices and material resources used to carry out the production process and obtain the best result.

What is art technique?

Soviet artist D.I. Kiplik in his book “Painting Technique” indicates that painting technique should mean a special branch of knowledge, the subject of study of which is the rational construction of a painting from the point of view of its material essence. Knowledge of technology will give the artist the opportunity not only to create durable works, but also to make the best use of painting materials from an artistic point of view.

The technique of drawing by artists is understood broadly: this includes the technique of line, shading, a certain manner of drawing and writing and the way of using certain materials (paper, canvas, wood, pencil, charcoal, pastel, oil paint, watercolor, gouache, tempera, etc.) in accordance with their properties, their visual capabilities.

In the fine arts, technology (from the Greek technike - skillful and techne - art, skill) is understood as a set of special skills, methods and techniques by which a work of art is performed.

However, technique is also understood more narrowly: as a direct, immediate result of the artist’s work with a special material and tool (hence the expression: the technique of oil painting, watercolors, gouache, etc.), the ability to use the expressive capabilities of the material, and more broadly: as, for example, the method transfer of the materiality of objects. The technical side of visual activity is subordinated to the task of creating an expressive image in a drawing.

Representatives of the realistic movement in fine art have always attached great importance to drawing technique, paying special attention to its development.

The concept of technology includes the development of the eye and hand, their coordinated activity. Particular importance is attached to skillful, festive depiction of the contour and shape of objects.

The teacher needs to teach children technology so that they can freely use it when solving any problem, and most fully express their impressions of the life around them in their work. In kindergarten, it is necessary to immediately, within accessible limits, formulate the correct drawing technique for all children, so that later they do not have to be retrained.

The definition of drawing technique that is accepted in the fine arts is mainly applicable to the technique of children's drawing. The difference lies in the fact that in a preschool child, the initial development of various and subtle hand movements that are necessary for drawing and which can be called drawing movements occurs. Mastering a contour line, a stroke, a spot as expressive means of drawing constitutes a special task for a small child, which the child cannot solve on his own.

In drawing, as in any tool activity, the socio-historical experience of people is fixed. It is necessary for the child to correctly perceive the methods of action in drawing from an adult, who reveals to him this experience, embodied in each specific instrument. An adult’s demonstration appears to the child as a model of action that needs to be followed and learned by children only through training in various techniques of visual activity.

The image in the drawings is created using a variety of materials. Artists use various materials in their work: a variety of paints (oil, gouache, watercolor), sauce, charcoal, sanguine, pastel and many others. There are often cases when different materials are used to create an expressive image in one work (for example, charcoal, sanguine, gouache; whitewash, watercolors and colored pencils). It is necessary to teach children to use these materials in accordance with their means of expression, and also to teach them to combine available materials in visual creativity.

Traditional techniques of visual arts include those that are most often used in children's institutions, in preschools, schools, specialized art schools, art schools, in orphanages, in boarding schools, in various art studios, in creative houses. Visual activities in kindergarten are aimed at teaching artistic and creative activities within the limits accessible to preschool children.

There are three traditional types of children's artistic and visual creativity:

1. drawing,
2. modeling,
3. applique.

Figure 1. Drawing techniques for preschoolers according to T.S. Komarova and N.P. Sakulina:

Thus, the following technical skills of older preschoolers develop:

1. learn to draw straight lines in different directions and of different widths, draw arcs, circles, oval shapes, wavy lines, apply the brush flat to make a stroke;
2. practice light, without excessive tension movements with a pencil and brush, moderate pressure on the paper with a pencil and regulation of pressure to obtain shades of colors, drawing thin lines with the end of the brush, wider stripes with the side of the pile;
3. the ability to arbitrarily change the pressure on a pencil to obtain colors of different intensities is developed.

Young children cannot yet control the movements of their hands, so they cannot roll clay, squeeze it with their palms with the necessary force to get a flat shape, they cannot independently take a pencil correctly, or subordinate the movement of their hand with a pencil to create an image of a particular object. Children need to be taught both the movement itself and its qualities:

1. strength,
2. duration,
3. orientation, etc.

Hand movements aimed at making a drawing are not born from the process of drawing itself, because the child is just beginning to create. Therefore, he should be taught how to draw.

According to T. S. Komarova, teaching children drawing techniques should be carried out “not on its own, not for the sake of technical perfection of the image, but so that the child can expressively and without much difficulty create the image he wants.”

If a child does not control his hand, each artistic movement is difficult for him, his hand quickly gets tired and the process of creating an image does not bring joy. At the same time, mastering a line, a stroke, a spot as a means of expression, learning how to hold a pencil, a brush correctly, and how to use them rationally is a rather difficult task that a child cannot solve on his own. It is necessary that he correctly perceive the methods of action in drawing from an adult.

In the process of targeted learning, children develop courage in action, confidence, and freedom to use tools and materials. They acquire technical ease and freedom, which is one of the incentives for drawing, creating an image of an object or phenomenon. If children hold a pencil incorrectly - with a pinch, in a fist, with crooked fingers, then the hand quickly gets tired, and the image is distorted. And the result is dissatisfaction, grief, loss of interest.

The drawing technique includes both movements and their perception, that is, movement under the control of vision and motor sensations.

In modeling, it is necessary to develop such hand movements that would allow children to transform a lump of clay or plasticine, obtain various shapes from it, and create images.

Children gradually master pinching small lumps of clay from a large one, rolling with a straight movement (sticks, cylinders, etc.), circular movements (balls, berries, balls, etc.), flattening, stretching. They learn to flatten lumps, press in, and pull out small parts and details of the image. They are taught a variety of finger sculpting techniques, the use of stacks, and sculpting in parts and from a whole piece. Thanks to this, children are able to convey more subtle features of the shape of objects.

Mastering the technique of modeling promotes the development of hand movements, allows children to convey various objects of reality in this type of visual activity, and depict simple scenes from life and fairy tales.

Children can depict objects, phenomena, create patterns, and embody their plans in drawing, modeling, and appliqué only if they master the technique of each type of visual activity. Despite the fact that the technical execution of the work is not the main thing, mastering the correct and varied techniques is necessary.

Figure 2. Traditional techniques for teaching applications in preschool educational institutions

In the process of visual creative activity, the child learns:

1. independent transfer of previously acquired knowledge to a new situation;
2. vision of a new function of an object (object);
3. seeing the problem in a standard situation;
4. vision of the structure of the object;
5. ability to make alternative solutions;
6. combining previously known methods of activity with new ones.

The visual movement of the hand when drawing, sculpting, or applique is associated with muscle-motor sensations, the perception of the movement itself kinesthetically and visually: the child sees how the hand moves and feels this movement.

Applique develops a decorative sense, contributes to the development of color sense and compositional skills in children, as it gives them the opportunity, before gluing, to try to arrange cut-out figures in different ways and choose the best option for their placement.

In appliqué classes, just like in drawing and modeling classes, children develop the ability to depict objects and phenomena of the environment, to express their impressions and ideas. To do this, it is necessary that children gradually master the technique of folding images from parts and gluing them, and most importantly, master the technique of independently cutting out the shape of objects.

The child’s visual activity acquires an artistic and creative character gradually, as a result of the accumulation and refinement of images and representations and mastery of methods of representation. The product of artistic and creative activity is an expressive image.

The technical side of visual activity is subordinated to the task of creating an expressive image in a drawing. It is this goal that determines the choice of a particular material for drawing. When thinking through the lesson, the teacher selects the material in which the image of the object can be particularly expressive, interesting, beautiful, and will give both children and others aesthetic pleasure. But this will be possible only if children well master the visual and expressive capabilities of each material.

Programs for teaching preschoolers drawing techniques

The use of modern techniques of visual creativity in the education of preschool children is determined by the program content. We decided to analyze the sections of programs for preschool institutions on visual arts for the diversity of the use of visual techniques.

IN education, training and development program in kindergarten developed by M. Vasilyeva and aimed at developing the artistic creativity of a preschooler, the following areas of work on the artistic education of children have been identified:

1. experience of artistic impressions of art images;
2. some knowledge and skills in the field of various types of artistic activity;
3. a system of creative tasks aimed at developing in children the ability to create new images, using the means of different types of art;
4. creating problematic situations that activate creative imagination;
5. creation of a materially enriched environment for artistic activities.

The implementation of this program material can be based on the use of modern techniques of visual creativity.

IN program "Childhood" In the section “Fine arts and artistic activities of children,” attention is mainly paid to the development of visual skills necessary for plot drawing. The disadvantage of these tasks is that the task of developing creativity and imagination is not separately identified, what means of expressiveness should be used when creating a drawing are not indicated, the tasks are given in general terms, and there is no specification of these tasks.

IN "Rainbow" program work with children in visual arts is carried out in two directions: in the process of aesthetic perception of nature, beautiful objects and works of fine art in drawing and modeling classes and in the process of free activity.

The advantage of the “Rainbow” program can be confidently called the fact that the content covers all aspects of a child’s life in kindergarten; learning and development occurs not only in a specially allotted time, but throughout the child’s entire activity. The program also includes subsections “On the influence of one color on another”, “Color and light”, which contain information on the development of color perception, which is very important for the development of children's creativity.

But this program also has some disadvantages:

1. there are no clear tasks for the development of plot drawing,
2. The main focus is on teaching technical techniques and the ability to work with visual material.
3. The subsection “How to develop children’s imagination” is presented separately, but, unfortunately, it talks about developing imagination only in the classroom.

Of course, this program can serve as a stimulus for the teacher’s free creativity in the education and development of children, but at the same time, information about the possible development of children’s creativity is not presented here, and accordingly, the teacher will not pay special attention to this issue.

IN "Development" program in the section “Visual activity” it is said that for children of senior preschool age the main artistic task is to convey relationships of various types through visual activity. This problem is solved by constructing an expressive plot-figurative composition that reflects the features of such relationships. At this age, much attention is paid to the construction of two figurative compositions and a subject-based drawing that conveys paired relationships. Such tasks will require analysis of methods of interaction between objects, features of actions and visual characteristics of interacting characters, and analysis of their emotional relationships. We can conclude that this program is aimed at developing intellectual abilities rather than creative ones. Even in art classes, the child is placed in a situation of mental activity, which promotes mental development rather than creative development.

The analysis allows us to conclude that in modern preschool education programs the use of non-traditional techniques of visual activity has not been sufficiently developed. Today there is a choice of options for art preschool education and it is determined by the presence of variable, additional, original programmatic and methodological materials that are not sufficiently scientifically substantiated and require theoretical and experimental testing in the specific conditions of a preschool educational institution.

Modern techniques of visual creativity develop in children logical and abstract thinking, imagination, observation, attention and self-confidence. The variety of materials poses new challenges and forces us to always come up with something new.

With the connection between teaching image techniques and creativity, a child of senior preschool age has the opportunity to independently master various artistic materials, experiment, and find ways to convey an image in drawing, modeling, and appliqué. This does not prevent the child from mastering those methods and techniques that were unknown to him.

With this approach, the learning process loses the function of direct following, naming methods. The child has the right to choose, to search for his own option. He shows his personal attitude to what the teacher offers. Creating conditions under which a child reacts emotionally to paints, colors, shapes, choosing them at will, is necessary in the creative process. This condition is the use of modern techniques of visual creativity.

Problems of using non-traditional visual techniques

The term non-traditional can be considered as “not traditional”, “associated with a retreat, rejection of traditions”, “fresh”, “innovative”.

Non-traditional visual techniques are an effective means of depiction, including new artistic and expressive techniques for creating an artistic image, composition and color, allowing for the greatest expressiveness of the image in creative work.

From the above, the definition of non-traditional drawing techniques follows - these are ways of creating a new, original work of art in which everything is in harmony: color, line, and plot. This is a huge opportunity for children to think, try, search, experiment, and most importantly, express themselves.

A positive attitude towards the use of non-traditional visual techniques did not develop immediately.

Figure 3. Approaches to teaching fine arts in preschool educational institutions

In the first case, children acquire skills useful in life, but do not gain experience in solving artistic problems and do not become familiar with art. This is learning without creativity. In the second case, a favorable environment and conditions for creativity are created for children without providing targeted influence. Children gain experience of free self-expression, but this is creativity without learning. It rises on the wave of “age-related talent,” as if apart from the child himself, and with it fades away... a small child “does not take possession” of his own creative potential. We need a third way - the path of purposeful guidance of the creative development of children.

In the 90s of the 20th century, there was great interest on the part of teachers in the use of a variety of visual techniques. This circumstance is explained by the fact that it was at this time that the education system in Russia was actively changing, new variable pedagogical programs and technologies appeared.

At present, points of view on the problem of artistic development and the conditions for the formation of artistic abilities are rapidly changing, the change of children's generations and their preferences, the emergence of new artistic techniques and techniques. In this regard, the methods of work of teachers in the field of fine arts with preschoolers must also change.

Today, teachers and psychologists oppose traditional didactic teaching methods used in preschool education, which often force children to act within established patterns, against the imposition of stereotypical ideas that do not excite the child’s imagination, do not excite the child’s imagination, but bore him, suppress his creativity and do not stimulate the development of a creative personality.

Thus, the idea of ​​using non-traditional techniques in the process of teaching visual arts acquired relevance in the 90s of the last century.

The need to use non-traditional techniques in organizing the visual arts of preschool children is not in doubt. After all, the variety of visual materials provided to children, the departure from traditional, familiar ways of creating drawings, and the search for new creative solutions contribute to the development of children's creativity, activity, and imagination. Children love novelty, they are interested in a variety of materials, and as a result, children receive a successful product of activity.

The task of activating children's creative abilities leads teachers to the need to find new ways of artistic expression. However, after studying program materials on visual arts, we noted that they recommended a limited range of artistic techniques, which restrained the creative abilities of preschoolers and negatively affected the expressiveness of their work. This is the contradiction between the advisability of using non-traditional artistic techniques in children's visual activities and the insufficient theoretical and methodological elaboration of this issue. .

Currently, techniques such as scratching, monotype, and sanguine drawing, which were once unconventional, are becoming traditional.

The experience of using non-traditional techniques is based on the idea of ​​learning without coercion, based on achieving success, on experiencing the joy of the world, on the sincere interest of the preschooler in performing a creative task using non-traditional techniques. Such tasks put the child in the position of a “creator”; it activates and directs children’s thoughts, bringing them close to the line beyond which the emergence of their own artistic ideas can begin.

The positive point is that in addition to the main programs in modern preschool institutions there is a choice of variable, partial and original programs that reveal the positive aspects of using a variety of non-traditional techniques.

T.S. Komarova, N.P. Sakulina, A.A. Melik - Pashaev suggest the use of a variety of visual techniques in working with preschool children as an option for a way out of this current situation.

Practical research by O.A. Belobrykina, R.G. Kazakova, G.N. Davydova, A.A. Fateeva and other teachers in the field of using non-traditional techniques were openly tested in preschool educational institutions and showed their significance for increasing the level of expressiveness of drawings, increasing the efficiency of mastering artistic and expressive techniques in creating an image or composition.

I.A. Lykova developed the “Colored Palms” program, which includes long-term planning and a series of classes using non-traditional drawing techniques by age.

Modern magazines on preschool education "Preschool Education", "Preschool Teacher", "Preschool Pedagogy", "Senior Educator", "Hoop", "Modern Preschool Education", etc. publish many articles devoted to the problem of using techniques in the visual activities of preschool children age. They present the experience of teachers, describe non-traditional techniques, and also offer lesson notes using a variety of non-traditional techniques.

The true value of non-traditional techniques lies not in the quality of the work, but in the fact that children get joy from the process itself.

We designate non-traditional techniques as modern. And we will consider the modernity of this or that technology according to the criterion of application, use in working with preschoolers, at the present time.

The use of a variety of non-traditional techniques develops children's creative potential. The variety of visual techniques allows the teacher to set new tasks for children and stimulates creative activity. In addition, non-traditional techniques develop in children logical and abstract thinking, imagination, observation and, most importantly, self-confidence. Children's interest in visual arts increases. They look at the world around them more creatively and learn to find different shades. Gain experience of aesthetic perception. Children create a new original product. They show creativity, realize their plans, and independently find the means to implement them.

Non-traditional techniques play a big role in the development of children. The desire to create is an internal need of a child; it arises independently and is characterized by extreme sincerity. In classes using non-traditional image techniques, preschoolers are given the opportunity to experiment. Everything unusual attracts children and makes them wonder. The children develop a taste for learning new things and research. Children ask questions to the teacher and each other, their vocabulary is enriched and activated.

As you know, children often copy the model offered to them; non-traditional image techniques allow one to avoid this, since the teacher, instead of a ready-made model, only demonstrates how to operate with non-traditional materials and tools. This gives impetus to the development of imagination, creativity, the manifestation of independence, initiative, and the expression of individuality. Working with non-traditional image techniques stimulates positive motivation in the child, evokes a joyful mood, and does not tire.

Researchers indicate that the use of non-traditional drawing techniques helps reduce arousal in children who are overly emotionally disinhibited. Thus, M.I. Chistyakova notes that unconventional drawing captivates children, and the more passionate the child is, the more he concentrates. The zone of its activity narrows, the amplitude of movements decreases. Thus, the use of non-traditional image techniques contributes to the intellectual development of the child, correction of mental processes and the personal sphere of the preschooler.

Research activities perform a therapeutic function, distracting children from sad events, grievances, relieves nervous tension, fear, and provides a positive emotional state. Also, in the process of visual activity, the child experiences different feelings - he rejoices at the beautiful image he has created, is upset if something does not work out, and strives to overcome difficulties. The child improves his observation and aesthetic perception, artistic taste, creative abilities, and develops special skills.

Teachers, due to their busy schedules, rarely use non-traditional techniques. Undoubtedly, the advantage of such techniques is the versatility of their use. The technology for their implementation is interesting and accessible to both adults and children, which is why the non-traditional technique is very attractive to children, as they open up great opportunities for expressing their own fantasies, desires, and self-expression in general.

According to the famous child psychologist A.A. Melik-Pashayeva, “an artistically gifted child does at his childhood level the same thing that a real artist does at another level, but a bad, albeit professionally skilled, painter cannot do anything.”

T.S. Komarova writes that based on the diversity of drawing techniques in the fine arts and taking into account the capabilities of preschool children, it is advisable to enrich the technical side of children's drawing. This can be achieved. diversifying the methods of working with paints and pencils already known in wide practice and using new ones, as well as combining different materials and techniques in one drawing.

Experience shows that one of the important conditions for the successful development of children's artistic creativity is diversity and variability in working with children in the classroom. The novelty of the environment, an unusual start to work, beautiful and varied materials, interesting non-repetitive tasks for children, the opportunity to choose and many other factors - this is what helps prevent monotony and boredom in children's visual activities, and ensures the liveliness and spontaneity of children's perception and activity. It is important that each time the teacher creates a new situation, so that, on the one hand, children can apply previously acquired knowledge, skills, abilities, and on the other hand, look for new solutions and creative approaches. This is what evokes in a child positive emotions, joyful surprise, and a desire to work creatively.

T.S. Komarova points out: “However, it is often difficult for educators to introduce variety into all moments of work and into free children’s activities, to come up with many options for activities on topics. Drawing as a type of artistic and creative activity does not tolerate templates, stereotypes, once and for all established rules, and yet In practice, we often encounter exactly this situation (The tree is drawn from the bottom up, because it grows this way, and the house is like this,” etc.)

To prevent children from creating a template (draw only on a landscape sheet), the sheets can be of different shapes: in the shape of a circle (plate, saucer, napkin), square (handkerchief, box). Gradually, our baby begins to understand that you can choose any piece of paper for a drawing: this is determined by what is to be depicted

The availability of using non-traditional techniques is determined by the age characteristics of preschoolers.

Features of visual activity of preschool children at different age stages.

In a child in the third year of life, the leading type of attitude towards the world around him remains the attitude towards objects, orientation towards objects and ways of using them. The child discovers not just a world of objects, but also a world of adults interacting with each other. However, a child of primary preschool age cannot always act on his own, like an adult, and the inability to realize this desire gives rise to the so-called crisis of three years.

The contradiction between the child’s desire to act like an adult and the inability to realize this child’s desire to act like an adult, to realize the “I myself” position and his limited capabilities.

In the period from two to three years, visual activity is focused on the objective world and the leading type of activity is object-tool activity. A discovery made by a child on a piece of paper greatly attracts the child. The search for the content of the image in scribbles is one of the leading motivators of activity at this stage. The child accumulates experience by mastering the world. This determines the content of associative images. The associative image is not yet very stable and the child can call the same line, stroke, spot differently.

The content of children's visual activity reveals the preschooler's interest in the objective world, characteristic of this age. In the process of working with materials and reading doodles, imagination, visual and effective thinking develops, and the level of visual activity increases. The child no longer just names what happened by chance in his scribbles, he himself determines the content of the future drawing, that is, the child himself sets a goal, a visual task.

The baby’s first plans are not yet a plan in the full sense of the word, but only a theme that the child formulates with the word (“I’ll draw a car”). The initial plan is poor in content and not clear.

The little artist draws only what excites him, what interests him, what has left a vivid mark in his memory. If a child’s life is interesting and full of vivid impressions, then he has a desire to tell about it in drawing, modeling, and the themes of the image in this case are varied.

It is important to help the child master the methods of representation available to him in drawing, modeling, and appliqué; introduce the properties of materials and basic techniques for their use.

Children of primary preschool age can depict individual objects and phenomena using rhythmic strokes - colored spots, pencil strokes, felt-tip pens, straight and closed lines, vertical and horizontal, etc.

The teacher should know that by the age of three a child has a number of features presented in Figure 4.

Figure 4. Features of children by the age of three

Children in the middle group are familiar with various types of visual activities; therefore, as a rule, they have a developed interest in drawing.

As a rule, visual activity is guided by a complex of motives: interest in the material, especially if it is updated, imitation of peers and adults. However, the leading and main motive gradually becomes interest in objects, phenomena, events that the child is trying to portray. During this period, the leading motive of visual activity and play is the same - the need to experience significant aspects of reality for him, the need to once again return to those phenomena, objects, events that surprised and interested the child in ordinary life. This is most clearly manifested not so much as a result of the activity, but in the process of its implementation.

Children of middle preschool age notice the advantages and disadvantages in the works of their peers, but sometimes they cannot evaluate their own work, since children enjoy the process of depiction. Rather than from the result of the work.

In this age group, a peculiar transition is clearly evident not only in the design, but also in the drawing itself from the subject to the plot.

In older preschool age, children create variable images, preserving the characteristic features of shape, structure, color, proportional relationships, and convey the individual characteristics of objects. The leading motive of visual activity also remains the phenomena, events that the child is trying to convey in the image, but the content changes, these are already events that excite the child.

The drawings of older preschoolers are more technically competent, compositionally designed, but at the same time less expressive, this is due to the fact that children in their development are approaching the crisis of seven years. As an older preschooler masters creative skills, an internal plan of activity is formed, which is absent in a young child.

By the age of seven, a child should be able to:

1. perceive and react emotionally to the artistic image and means of expression in works of fine art of different types and genres;
2. independently create individual artistic images in various types of visual activities;
3. integrate different types of visual activities in individual and collective work;
4. independently convey the plot composition, using its different options with elements of perspective;
5. possess a set of technical skills and abilities, motivate independent selection of materials;
6. participate in team work, plan your activities in drawing, modeling, appliqué, give a motivated assessment of the results.

The practice of preschool education shows that teachers do not always know how to flexibly, variably, and creatively apply general theoretical knowledge in specific work with children. Thus, the main focus of modern preschool education on personality development, the general mental development of the child in the context of specific types of activity often remains at the level of declarations. Communication and activity, generally recognized as the main conditions for personal development, in the pedagogical process of preschool institutions most often have a narrow didactic orientation. Their role comes down to the formation of knowledge, skills, and abilities, which are certainly important, but not the only ones in the development of the child.

The pedagogical creativity of practitioners most often does not have sufficient theoretical justification - this is at best; at worst, it is erroneous.

The full, harmonious development of a child’s personality in a preschool educational institution can only be guaranteed if competent, creative teachers work with him.

Studying the theoretical principles of using non-traditional techniques of visual creativity in working with preschool children allows us to say with confidence that they are an effective means of creative development of children, but only if the level of qualifications of the teacher working with children is high enough.

The main condition for the effective use of various visual techniques in working with children is the teacher’s knowledge on this issue.

Figure 5. Level of teacher competence

As we noted earlier, modern manuals for teachers of preschool educational institutions do not contain detailed information about the possibilities of using various techniques of visual creativity in working with preschoolers; this circumstance is the reason for the low level of qualifications of teachers in this matter.

In our opinion, there is a need to develop a manual for teachers of preschool educational institutions, which will reflect the main aspects of the use of non-traditional techniques in working with preschool children. Such a manual should contain the following information about the age-related characteristics of the visual activities of preschool children:

In the third year of a child’s life, the leading type of his relationship to the world around him remains his attitude towards objects, orientation towards objects and ways of using them. The child discovers not just the world of objects, but the world of adults acting with these objects and interacting with each other. But a younger preschooler cannot always act on his own, like an adult. The desire to live like an adult, and the inability to realize this desire, gives rise to the so-called three-year-old crisis. The contradiction between the child’s desire to act like an adult, to realize the “I myself” position, and his limited capabilities are resolved in role-playing play. In the period from two to three years, the visual activity of a preschooler is focused on the objective world and the leading type of activity is object-tool activity. The discovery made by a child that an image of some object or phenomenon can appear on a piece of paper under his influence greatly attracts the child. The search for the content of the image in scribbles is one of the leading motivators of activity at this stage. By mastering the world of objects, the child accumulates experience. This determines the content of associative images.

The child boldly and independently draws and sculpts everything. Whatever he wants, being sure that he will do it perfectly. This feeling of the baby must be supported and developed in every possible way. This is an important condition for the development of independence, a prerequisite for the child’s creative manifestations in visual arts.

With younger children, you can draw together not only on paper, but also on the sand - with a stick. For drawing, you can first offer children colored felt-tip pens with a thick rod; they are quite durable and give a bright line. You should first give one marker, and then two or three, to attract children's attention to color.

You can use colored wax crayons; they do not crumble and do not smear your hands, leaving a bright mark on the paper.

A young child shows great interest in a variety of materials; in particular, when working with gouache paints, he very often tries to get his fingers into the paints, and, moreover, to draw with his finger on a sheet. The child should not be stopped. The baby feels the object better by exploring it with his hands; in addition, finger painting will help the child master such means of expression as strokes and spots.

Children of the middle group are familiar with various types of visual activities; therefore, as a rule, they have a developed interest in drawing.

As a rule, visual activity is guided by a complex of motives:

1. interest in the material
2. imitation of peers and adults.

However, the leading and main motive gradually becomes interest in objects, phenomena, events that the child is trying to portray. During this period, the leading motive of visual activity and play is the same - the need to experience significant aspects of reality for him, the need to once again return to those phenomena, objects, events that surprised and interested the child in ordinary life. This is most clearly manifested not so much as a result of the activity, but in the process of its implementation.

Essentially, this motive remains leading throughout preschool age. Only, as in the game, its specific content changes:

1. in early preschool age it was the world of objects and actions with them;
2. on average, this is a person, his actions and interactions, relationships with other people.

The visual activity of middle preschoolers is more independent in nature, but the requirements for drawing are increased.

Children of middle and senior preschool age notice the advantages and disadvantages in the works of their peers, but it can be even more difficult to evaluate their own work, since children derive more pleasure from the process of drawing than from the result of the work.

In this age group, a peculiar transition is clearly evident not only in the concept, but also in the drawing itself from subject drawing to plot drawing. The variety of materials poses new challenges and forces us to always come up with something new. And from the spots and scribbles, in the end, a recognizable object emerges, which becomes the embodiment of the artistic image in the drawing. In the process of drawing, the child develops an unclouded joy of satisfaction from the fact that “I did this - it’s all mine!”

Characteristics of non-traditional visual techniques

The list of non-traditional techniques used in the work of preschool institutions is not very diverse. Therefore, we decided to focus on the recommendations of the authors dealing with this issue.

Lykova I.A. gives the following recommendations for the use of non-traditional techniques. Work using non-traditional techniques should begin with the younger group according to the principle “from simple to complex.” The main techniques used in this early preschool age are presented in the figure below.

Figure 6. Basic techniques used in early preschool age

The middle group adds: drawing with a candle.

Key non-traditional techniques used by teachers in preschool settings are presented in the figure below. Many of them may seem quite strange? However, with regular use they give good results.

Figure 7. List of non-traditional methods used in senior groups of preschool educational institutions

In the preparatory group, to the techniques characteristic of the senior preschool group, a whole group of new, more complex ones is added, such as:

1. Embossing
2. Poking with a hard semi-dry brush
3. Drawing on wet
4. Black and white scratch paper
5. Blotography with thread
6. Batik
7. Painting with salt
8. Combing paint
9. Double dipping of the brush.

Let us list the most famous types of non-traditional artistic and graphic techniques presented by A.V. Nikitina She recommends vividly and emotionally explaining to the children methods of action and showing depiction techniques

1. finger painting;
2. stamped with potato stamps;
3. palm painting.

Children of middle preschool age can be introduced to more complex techniques:

1. foam printing;
2. cork printing;
3. wax crayons + watercolor;
4. candle + watercolor;
5. leaf prints;
6. palm drawings;
7. drawing with cotton swabs;
8. magic ropes.

At older preschool age, children can master even more difficult methods and techniques.

Having analyzed the list of non-traditional techniques from various literature, we made a summary table in which non-traditional visual techniques are noted according to the age characteristics of preschool children.

Summary table of non-traditional techniques used by age category

	Unconventional techniques
Younger age	finger painting palm painting drawing with foam rubber pokes cotton swabs leaf printing potato signet imprint
Average age	finger painting palm painting drawing with foam rubber pokes cotton swabs leaf printing drawing with a candle poke with a hard semi-dry brush. foam printing; cork printing; wax crayons + watercolor; candle + watercolor; leaf prints; palm drawings; drawing with cotton swabs; magic ropes.
Older age	blotography with a tube monotype wax crayons + watercolor crumpled paper print drawing with foam rubber sand painting drawing with soap bubbles drawing with crumpled paper blotography with a tube landscape monotype stencil printing subject monotype regular blotography plasticineography candle + watercolor
Preparatory group	blotography with a tube monotype wax crayons + watercolor crumpled paper print drawing with foam rubber impression with cork, foam rubber, foam plastic embossing poke with a hard semi-dry brush drawing on wet black and white scratch paper blotography with thread painting with salt brushing paint double dipping of the brush stencil printing subject monotype black and white scratch paper regular blotography blotography with string watercolor crayons poking color scratch paper landscape monotype

Modern techniques of visual creativity develop in children:

1. logical and abstract thinking,
2. fantasy,
3. observation,
4. attention,
5. self confidence.

In the process of learning to draw, the teacher must understand that by learning the properties and qualities of various materials, children enrich their sensory experience. In addition, when using various materials, you can create a situation of free choice, so necessary in creative activity. You can draw not only with pencils and a brush, but also with thick paper.

Let's consider the most intriguing and interesting from the point of view of teaching methods and techniques.

Water printing technique.

The child first draws a landscape on plexiglass. Then, after wetting a sheet of paper, he places it on top of the image, lightly pressing the sheet against the plexiglass. Then he carefully removes it from the plexiglass. The resulting images are complemented by making a few finishing touches.

If you bring several leaves or blades of grass from a walk, place them on a sheet of paper, cover them with a thin layer of gouache, and then place the painted side on the sheet prepared for the postcard, you will get a print. Using this technique, you can make holiday cards or story pictures.

Unconventional drawing techniques help children to become more interested in drawing. They look at the world around them more creatively, learn to find different shades, and gain experience in aesthetic perception. They create something new, original, show creativity and imagination, realize their plan, and independently find the means to implement it.

"Modeling" technique

Modeling is the most dynamic, cheerful children's creativity. Even small children are attracted by the opportunity to make “real” nuts and feed them to the squirrel. Any manipulation with sculpted objects, their use in play situations significantly enriches the child’s life experience.

Modeling is a technique of fine art, the main purpose of which is a figurative reflection of reality.

Each type of visual activity develops certain qualities in children. By doing sculpting, a child gets acquainted with the three-dimensional shape of an object, the relationship of its parts, he develops the skills of working with two hands, coordination of movements, the small muscles of the fingers very actively develop, and this contributes to the development of thinking, eye, and spatial thinking. It is difficult to overestimate the importance of modeling for the development of a child.

The more often a child engages in modeling, the more varied the material from which he sculpts, the more actively his general and visual abilities develop. The child sets serious goals for himself and develops constructive thoughts. After all, it’s not enough to just portray a person, you need to make sure that he stands on his own two feet. Great intelligence is required, and the brain, like muscles, develops when it is exercised. The main expressive means of modeling is plasticity, the transmission of shape and movement.

Both clay and plasticine allow you to bend the sculpted figure, achieving a more accurate and expressive depiction of movement. Therefore, the child learns to convey movement in modeling more productively than in other types of visual activities - drawing, appliqué. Only in the process of constructing from natural materials - twigs, twigs - can a child's eye suddenly discover amazingly plastic movement, if by this time he has developed an associative fantasy. Such discoveries unusually quickly develop children's creative abilities.

Color, just like shape and movement, is a means of expression in sculpting. The visual period begins for most children at the age of 3, when imaginative thinking appears. At this age, the child masters the basic techniques of modeling, he develops skills in working with plastic materials and visual designs. This is the best time for the development of a child’s visual abilities. But they will not develop or develop very little without the competent guidance of adults. Two main conditions for the development of abilities: the child saw at close range, without haste, what happens to the plastic material when it is in the hands of an adult; This material should always be in a place accessible to the child. By the age of 5, a child has mastered the necessary skills and abilities; he has already learned to depict some animals, toys, and simple objects, but most importantly, he has acquired the ability to aesthetically evaluate his images. Only on the basis of these skills does the child begin to see some characteristic aspects of objects and react emotionally to them.

The lack of development of graphic skills prevents the child from expressing what is intended in drawings; adequately depicting objects of the objective world makes it difficult to develop aesthetic perception. The child realizes that this or that line did not work out and therefore strives to correct it. But it is very difficult to do this on paper unnoticed. Taking into account this feature of children, we can offer children the technique of “plasticine molding” or “plasticine painting”. The bas-relief picture can be changed and supplemented with details, and the objects are obtained. They paint with plasticine not only on cardboard; if you use organic glass, the works turn out like real paintings. If you put them in a candy box, you can decorate a child's room.

Technique "Products made from salt dough".

The technique is the same as using plasticine and clay, but children prepare the material for modeling themselves, using the properties of flour and water. During the preparation of the material, its different consistency is achieved, depending on the visual tasks. You can make pictures from salt dough, sculpt a variety of figures. They can become part of the picture when it is made using mixed techniques. To make salt dough products more interesting, the dough can be colored with food coloring, and cocoa powder is used to give natural shades. After drying, the products made from simple uncolored dough are painted, which allows the child to combine several types of visual techniques, which increases his interest in the creative process.

Plasticineography

In modern preschool educational institutions, the modeling technique “plasticineography” has become widespread.

Plasticineography is the creation of a sculpted picture depicting semi-volume objects on a horizontal surface.

Figure 9. Example of plasticineography. Photo by Marina Tsybanova maam.ru

The use of plasticineography in kindergarten gives teachers an excellent opportunity to develop the creativity, imagination and imagination of preschoolers.

Technique "Drawing on plaster"

For work, medical or construction plaster is used. It makes it possible to make bas-relief figures. To begin with, children are taught how to mix plaster, from which they can make figures or bas-reliefs. After the craft has frozen, the child takes it out of the mold and paints it.

The uniqueness of modeling lies in the fact that children learn a three-dimensional way of depicting objects. Fashioned objects are like small copies of real things; they can be used in the game as substitutes for surrounding objects. Children emotionally perceive the things they have fashioned and immediately begin to play with them. Even the landscape is perceived by them “as real” if it is sculpted and not painted.

"Applique" technique

The concept of “appliqué” includes methods for creating works of art from materials that differ in their properties and texture, united by the similarity of the execution technique

Appliqué is one of the types of visual techniques based on cutting, overlaying various shapes and fixing them on another material taken as a background.

Each material has its own characteristics, which have a decisive influence on the application technique. For example, paper, straw, dried plants, birch bark are attached to the background with various adhesives; fabrics, leather, fur, felt are usually sewn on; poplar fluff is applied to velvet paper without glue.

Applique is the simplest and most accessible way to create artwork, which preserves the realistic basis of the image itself. This makes it possible to widely use appliqué not only for design purposes (in the production of visual aids, manuals for various games, toys, flags, souvenirs for holidays, decorations for festive and other costumes, design of wall newspapers, stands, exhibitions, kindergarten premises), but and in the creation of paintings, panels, ornaments, etc.

Figure 10. Signs of application

Applique is one of the oldest ways to decorate clothes, shoes, household items, and homes, and is still used today by many peoples. The appearance of appliqué dates back to ancient times and is associated with the appearance of stitches and seams on clothes made from animal skins.

Figure 11. Modern appliqué techniques

In kindergarten, paper construction, design and sewing of soft toys are used. In addition, in older preschool age, it is possible for preschoolers to participate in such types of artistic creativity as patchwork, weaving, weaving, and embroidery.

Thus, non-traditional techniques can be used in all types of visual activities: drawing, appliqué and modeling.

The use of non-traditional techniques in children's visual arts

Currently, a relatively small range of non-traditional techniques is used in preschool educational institutions. And those that are currently used in working with children are not used systematically. Teachers do not take into account the great potential of a variety of non-traditional techniques in working with children, precisely because non-traditional techniques contribute to the development of a creative personality. Artistic creativity of preschoolers requires a positive attitude, interest on the part of the teacher, and an understanding of the specifics of using non-traditional techniques in visual arts.

In the educational process of modern educational institutions, non-traditional techniques are not used enough due to the limited availability of visual materials. Lack of awareness among teachers is expressed in insufficient preparation for classes and group work in visual arts. Preparation should be understood not only as familiarizing teachers with methodological recommendations or ready-made notes; the teacher must take a creative approach to preparing the materials used and choosing visual techniques that will be more consistent with the age characteristics of children and the tasks of fully revealing the image and intent of the image.

In addition, there is insufficient knowledge of teachers on the use of non-traditional visual techniques in working with preschool children, as a consequence of the lack of mastery of non-traditional techniques by teachers. And modern manuals for teachers of preschool educational institutions do not contain detailed information about the possibilities of using various techniques of visual creativity in working with preschoolers; this circumstance is the reason for the low level of qualifications of teachers in this matter.

conclusions

The use of non-traditional techniques in visual arts requires increased interest on the part of teachers of modern preschool educational institutions.

Visual technique is the basis for the development of children's visual activity. Teachers in modern preschool educational institutions are more inclined to use traditional techniques. A wide variety of visual techniques makes it possible to use them in all types of visual activities of preschool children.

It depends on the teacher, on his interest, how effective the use of non-traditional techniques will be in the practice of working with children. Teachers must provide the child with freedom of creative development, which is impossible without introducing into practice as many non-traditional techniques in visual arts as possible, and this is only possible if teachers pay more attention to visual arts as a type of educational activity, corners for independent artistic activity will be equipped with the necessary materials, as required by modern education of preschool children.

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The formation of a creative personality is one of the important tasks of pedagogical theory and practice at the present stage. Its solution should begin already in preschool childhood. The most effective means for this is the visual activity of children in a preschool institution.

In the process of drawing, sculpting, and appliqué, the child experiences a variety of feelings: he is happy about the beautiful image that he created himself, and he is upset if something doesn’t work out. But the most important thing: by creating an image, the child acquires various knowledge; his ideas about the environment are clarified and deepened; in the process of work, he begins to comprehend the qualities of objects, remember their characteristic features and details, master visual skills and abilities, and learn to use them consciously. Aristotle also noted that drawing contributes to the diversified development of a child. Outstanding teachers of the past - J. A. Komensky, I. G. Pestalozzi, F. Frebel - and many domestic researchers wrote about this. Their work shows: drawing and other types of artistic activities create the basis for full, meaningful communication between children and with adults; perform a therapeutic function, distracting children from sad, sad events, relieve nervous tension, fears, cause a joyful, upbeat mood, and provide a positive emotional state. Therefore, it is so important to widely include a variety of artistic and creative activities in the pedagogical process. Here every child can express himself most fully without any pressure from an adult.

Management of visual activities requires the teacher to know what creativity in general, and especially children’s, is, knowledge of its specifics, the ability to subtly, tactfully, supporting the initiative and independence of the child, to promote the mastery of the necessary skills and abilities and the development of creative potential. The famous researcher A. Lilov expressed his understanding of creativity as follows: “...creativity has its own general, qualitatively new signs and characteristics that define it, some of which have already been quite convincingly revealed by the theory. These general natural points are as follows:

Creativity is a social phenomenon

Its deep social essence lies in the fact that it creates socially necessary and socially useful values, satisfies social needs, and especially in the fact that it is the highest concentration of the transformative role of a conscious social subject (class, people, society) in its interaction with objective reality ".

Another researcher, V. G. Zlotnikov, points out: artistic creativity is characterized by the continuous unity of cognition and imagination, practical activity and mental processes; it is a specific spiritual and practical activity, as a result of which a special material product arises - a work of art.

What is the visual creativity of a preschool child? Domestic teachers and psychologists consider creativity as the creation by a person of something objectively and subjectively new. It is subjective novelty that constitutes the result of the creative activity of children of preschool and primary school age. By drawing, cutting and pasting, a preschool child creates something subjectively new for himself. The product of his creativity does not have any universal novelty or value. But its subjective value is significant.

The visual activity of children, as a prototype of adult activity, contains the socio-historical experience of generations. It is known that this experience was carried out and materialized in tools and products of activity, as well as in methods of activity developed by socio-historical practice. A child cannot master this experience without the help of an adult. It is the adult who is the bearer of this experience and its transmitter. By mastering this experience, the child develops. At the same time, the visual activity itself, as a typical child’s activity, including drawing, modeling, appliqué, contributes to the diversified development of the child.

How do famous domestic scientists define children's creativity? How is its significance determined for the formation of a child’s personality?

Teacher V.N. Shatskaya believes: in the conditions of general aesthetic education, children's artistic creativity is rather considered as a method of the most perfect mastery of a certain type of art and the formation of an aesthetically developed personality, rather than as the creation of objective artistic values.

Children's creativity researcher E.A. Flerina evaluates it as a child’s conscious reflection of the surrounding reality in drawing, modeling, design, a reflection that is built on the work of imagination, displaying his observations, as well as impressions received through words, pictures and other forms of art. The child does not passively copy the environment, but processes it in connection with accumulated experience and attitude towards what is depicted.

A. A. Volkova states: “Nurturing creativity is a versatile and complex impact on a child. In the creative activity of adults, the mind (knowledge, thinking, imagination), character (courage, perseverance), feeling (love of beauty, fascination with an image, thought) take part. We must cultivate these same aspects of the child’s personality in order to more successfully develop creativity in him. Enriching the child’s mind with various ideas and some knowledge means giving abundant food for creativity. Teaching him to look closely, to be observant means making his ideas clear. more complete. This will help children more clearly reproduce what they see in their creativity.”

I. Ya. Lerner defines the features of a child’s creative activity as follows:

Independent transfer of previously acquired knowledge to a new situation;

Vision of a new function of an object (object);

Vision of the problem in a standard situation;

Vision of the structure of the object;

Ability to make alternative solutions;

Combining previously known methods of activity with new ones.

I. Ya. Lerner states: creativity can be taught, but this teaching is special, it is not the same as knowledge and skills that are usually taught.

We were convinced of the correctness of this idea in our own practice. However, we note: the independent transfer of previously acquired knowledge to a new situation (the first trait according to Lerner) can manifest itself in children if they learn to perceive objects, objects of reality, and learn to identify their forms, including in this process the movements of both hands along the contour of the object. (In other words, just as we outline an object, looking at it, we also draw - with pencils, brushes, felt-tip pens.) Only then will children be able to use this method independently, only then will they gradually acquire the freedom to depict any objects, even those that do not have a clearly fixed shape, for example, clouds, puddles, floating ice, unmelted snow.

The second feature according to Lerner - the vision of a new function of an object (object) - appears when the child begins to use substitute objects, for example, turning cut narrow and wide strips into parts of objects or objects; plays with spoons, imagining that he is playing in an orchestra. This ability to highlight a form, a part, in the process of perception, which we form in children, leads them to seeing the structure of an object, mastering the ways of conveying it in drawing, modeling, and appliqué. That is why we recommend that in creative classes, include in the work plan the topic “Teaching to create images of animals, the shape and structure of which have been learned.”

By introducing children to works of art (fine arts, literature, music), we thereby introduce them to the world of standards of beauty, i.e. We implement the goals and objectives mentioned above - to understand the expressiveness of means and figurative solutions, the variety of color and compositional structure. Knowing, for example, the secrets of Dymkovo painting, a child will undoubtedly use them, creating images of fairy-tale animals and birds; comprehends the qualities of what is depicted, the remembered characteristic features.

What characterizes creativity? In this regard, B. M. Teplov writes: “The main condition that must be ensured in children’s creativity is sincerity. Without it, all other virtues lose meaning.”

This condition, naturally, is satisfied by the creativity “that arises in a child independently, based on an internal need, without any deliberate pedagogical stimulation.” But systematic pedagogical work, according to the scientist, cannot be based only on independently arising creativity, which is not observed in many children, although these same children, when organized in an organized manner, sometimes display extraordinary creative abilities.

This is how a pedagogical problem arises - the search for such incentives for creativity that would give rise to a genuine, effective desire to “compose” in the child. Lev Nikolaevich Tolstoy found such an incentive. When starting to teach peasant children, the great Russian writer already understood how significant the task of “developing children's creativity” was; as one of the possible solutions, he offered children joint compositions (see the article “Who should learn to write from whom?”). So, what is the essence of involving children in artistic creativity, according to L.N. Tolstoy? Show not only the product, but also the very creative process of writing, drawing, etc. in order to see with my own eyes how “it’s done.” Then, as the domestic researcher of the psychology of children's creativity E. I. Ignatiev writes, the child “from a simple listing of individual details in a drawing moves on to an accurate transfer of the features of the depicted object. At the same time, the role of the word in visual activity changes, the word increasingly acquires the value of a regulator directing the process of depiction , controlling the techniques and methods of depiction."

In the process of drawing and modeling, the child experiences a variety of feelings; as we have already noted, he rejoices at a beautiful image, gets upset if something doesn’t work out, tries to achieve a result that satisfies him, or, conversely, gets lost, gives up, refuses to study (in this case, the teacher’s sensitive, attentive attitude and help are needed). Working on an image, he acquires knowledge, his ideas about the environment are clarified and deepened. The child not only masters new visual skills and abilities that expand his creative capabilities, but also learns to consciously use them. A very significant factor from the point of view of mental development. After all, every child, when creating an image of a particular object, conveys the plot, includes his feelings, and understanding of how it should look. This is the essence of children's visual creativity, which manifests itself not only when the child independently comes up with the theme of his drawing, modeling, appliqué, but also when he creates an image on the instructions of the teacher, determining the composition, color scheme and other means of expression, making interesting additions , and so on.

Analysis of provisions on children's creativity by famous domestic scientists - G. V. Latunskaya, V. S. Kuzin, P. P. Pidkasisty, I. Ya. Lerner, N. P. Sakulina, B. M. Teplov, E. A. Flerina - and ours Many years of research allow us to formulate its working definition. By artistic creativity of preschool children we mean the creation of a subjectively new (important for the child, first of all) product (drawing, modeling, story, dance, song, game); creation (inventing) of previously unused details that characterize the image being created in a new way (in a drawing, story, etc.), different options for the image, situations, movements, its beginning, end, new actions, characteristics of heroes, etc. P.; the use of previously learned methods of depiction or means of expressiveness in a new situation (to depict objects of a familiar shape - based on mastering facial expressions, gestures, voice variations, etc.); showing initiative in everything.

By creativity we will understand the very process of creating images of a fairy tale, story, dramatization games in drawing, etc., the search in the process of activity for methods, ways to solve a problem, visual, gaming, musical.

From our assumed understanding of artistic creativity, it is obvious: in order to develop creativity, children need certain knowledge, skills and abilities, methods of activity that they themselves, without the help of adults, cannot master. In other words: we are talking about purposeful learning, mastering rich artistic experience.

For a child (younger groups), creativity in creating an image can manifest itself in changing the size of objects. Let me explain this idea: a lesson is going on, the children are making apples, and if someone, having completed the task, decides to independently make a smaller or larger apple, or a different color (yellow, green), for him this is already a creative decision. The manifestation of creativity in younger preschoolers also includes some additions to modeling, drawing, say, a stick - a stalk.

As skills are mastered (already in older groups), creative solutions become more complex. Fantastic images, fairy-tale characters, palaces, magical nature, outer space with flying ships and even astronauts working in orbit appear in drawings, modeling, and applications. And in this situation, the teacher’s positive attitude towards the child’s initiative and creativity is an important incentive for the development of his creativity. The teacher notes and encourages the creative discoveries of children, opens exhibitions of children's creativity in the group, in the hall, in the lobby, and decorates the institution with the works of pupils.

In a child’s creative activity, three main stages should be distinguished, each of which, in turn, can be detailed and requires specific methods and techniques of guidance on the part of the teacher.

The first is the emergence, development, awareness and design of the plan. The theme of the upcoming image can be determined by the child himself or proposed by the teacher (its specific decision is determined only by the child himself). The younger the child, the more situational and unstable his plan is. Our research shows: initially, three-year-old children can implement their plans only in 30-40 percent of cases. The rest basically change the idea and, as a rule, name what they want to draw, then create something completely different. Sometimes the idea changes several times. Only by the end of the year, and only if classes are carried out systematically (in 70-80 percent of cases), do children’s ideas and implementation begin to coincide. What is the reason? On the one hand, in the situational nature of a child’s thinking: at first he wanted to draw one object, suddenly another object comes into his field of vision, which seems more interesting to him. On the other hand, when naming the object of the image, the child, having still very little experience in the activity, does not always correlate what he has in mind with his visual capabilities. Therefore, having picked up a pencil or brush and realizing his inability, he abandons the original plan. The older the children, the richer their experience in visual activity, the more stable their idea becomes.

The second stage is the process of creating the image. The topic of the task not only does not deprive the child of the opportunity to show creativity, but also guides his imagination, of course, if the teacher does not regulate the solution. Significantly greater opportunities arise when the child creates an image according to his own plans, when the teacher only sets the direction for choosing the topic and content of the image. Activities at this stage require the child to be able to master methods of depiction, expressive means specific to drawing, sculpting, and appliqué.

The third stage - analysis of the results - is closely related to the previous two - this is their logical continuation and completion. Viewing and analysis of what children create is carried out at their maximum activity, which allows them to more fully comprehend the result of their own activities. At the end of the lesson, everything created by the children is exhibited at a special stand, i.e. Each child is given the opportunity to see the work of the entire group and note, with a friendly justification for their choice, those that they liked the most. Tactful, guiding questions from the teacher will allow children to see the creative discoveries of their comrades, an original and expressive solution to the topic.

A detailed analysis of children's drawings, modeling or appliqué is optional for each lesson. This is determined by the features and purpose of the images being created. But here’s what’s important: the teacher conducts the discussion of the work and their analysis in a new way every time. So, if the children made Christmas tree decorations, then at the end of the lesson all the toys are hung on the furry beauty. If you created a collective composition, then upon completion of the work the teacher draws attention to the general appearance of the picture and asks you to think about whether it is possible to complement the panorama, make it richer, and therefore more interesting. If children decorated a doll's dress, then all the best works are "displayed in the store" so that the doll or several dolls can "choose" what they like.

Experts distinguish three groups of means, the purpose of which is to increase the level of aesthetic education: art in all forms, the surrounding life, including nature, artistic and creative activity. Thanks to these interconnected means, the child actively participates in the experience of creative activity of adults. However, effective leadership is possible provided that the teacher knows and takes into account the mental processes that underlie children's creativity and, most importantly, systematically develops them.

What mental processes are we talking about? Of all the means of aesthetic education, all types of artistic activity, we identify common groups that form the basis of creative abilities.

1. Perception of objects and phenomena of reality and their properties, which has individual differences. It is known that in their drawings, modeling, and applications, children reflect the impressions received from the world around them. This means that they have formed various impressions about this world. Ideas about objects and phenomena are formed on the basis of their perception. Therefore, the most important condition for creativity is to develop children’s perception (visual, tactile, kinesthetic) and to form a diverse sensory experience.

How should education be carried out so that children acquire the necessary knowledge and ideas? Psychologists note: syncretism, unity and lack of clarity of perception images are characteristic of children of primary preschool age. To depict an object or phenomenon, a child must imagine all its basic properties and convey them so that the image is recognizable. For a small artist this is quite significant.

The teacher forms knowledge and ideas about the environment purposefully. These include special observations and examination of the subject during didactic games. The teacher directs the child’s perception to certain properties and qualities of objects (phenomena). After all, not all preschoolers come to kindergarten having a rich experience of perceiving their surroundings - imaginative, aesthetically colored, emotionally positive. For the majority, it is limited to fragmentation, one-sidedness, and often simply poverty. In order to develop aesthetic perception in children, the teacher himself must have the ability of aesthetic vision. V. A. Sukhomlinsky also emphasized: “You cannot be a teacher without mastering a subtle emotional and aesthetic vision of the world.”

Children should not just look at an object, recognize and highlight its properties: shape, structure, color, etc. They should see its artistic merits, which are to be depicted. Not everyone is able to independently determine the beauty of an object. The teacher shows them this. Otherwise, the concept of “beautiful” will not acquire a specific meaning in the eyes of the student and will remain formal. But in order for him to understand why this or that object, this or that phenomenon is beautiful, the teacher himself, we repeat, must feel and see the beauty in life. He constantly develops this quality in himself and his children.

How to do it? Day after day, watch with your children the phenomena of nature - how the buds swell on trees and bushes, how they gradually blossom, covering the tree with leaves. And how varied are the gray clouds driven by the wind of bad weather, how quickly do their shape, position, and color change! Pay attention to the beauty of the movement of the clouds, the changes in their shape. Observe how beautifully the sky and surrounding objects are illuminated by the rays of the setting sun.

This kind of observation can be carried out with different objects. The ability to contemplate beauty and enjoy it is very important for the development of children's creativity. It is not without reason that in Japan, where the culture of aesthetic perception is so high, teachers develop children’s powers of observation, the ability to listen attentively, to peer into their surroundings - to catch the difference in the sound of rain, to see and hear how heavy drops loudly knock on the glass, how joyfully the sudden summer “mushroom” rings. " rain.

Objects for observation are found daily. Their goal is to expand children's understanding of the world, its variability and beauty. The Russian language is so rich in epithets, comparisons, metaphors, poetic lines! N.P. Sakulina once drew attention to this.

L. S. Vygotsky, speaking about the role of training, emphasized: training leads to development. At the same time, he drew attention: “Training can provide more in development than what is contained in its immediate results. Applied to one point in the sphere of a child’s thought, it modifies and rearranges many other points. It can have distant, rather than only immediate consequences."

It is precisely this long-term result that we can talk about when it comes to the formation of figurative ideas in children in the process of learning visual arts. The statement is not accidental. Proof of this is the work of E. A. Bugrimenko, A. L. Venger, K. N. Polivanova, E. Yu. Sutkova, the topic of which is preparing children for school, diagnosing mental development and its correction. The authors note: “The insufficient level of development of figurative ideas is one of the common causes of difficulties in learning not only at the age of six, but also much later (up to high school). At the same time, the period of their most intensive formation occurs in preschool and the beginning of primary school age Therefore, if a child entering school has problems, then they must be “compensated” as soon as possible with visual and constructive activities - in his free time, encourage activities in drawing, modeling, appliqué, and design.”

When characterizing a child’s thinking, psychologists usually distinguish stages: visual-effective, visual-figurative, logical. Visual-figurative is based on visual representations and their transformation as a means of solving a mental problem. It is known that entering a new stage of thinking does not mean overcoming the previous stage. It is preserved in the child, helps in the development of thinking at a new stage, and forms the basis for the formation of various activities and abilities. Moreover, experts believe that this form of thinking is necessary not only for children’s creativity, but also for the creativity of a person of any profession. That is why it is so important to develop imaginative thinking, as well as imagination, a positive emotional attitude, mastery of image methods, expressive means of drawing, sculpting, and appliqué.

In the process of technical design, four main stages are most clearly distinguished: formulation of a technical problem, collection and study of the necessary information, search for a specific solution to the problem, and material implementation of the creative concept.

The primary and most widespread form of organization of technical work is the technical circle. The profile of technical clubs, the nature and content of work in them are determined by age characteristics, the level of training of schoolchildren and the material and technical base. At primary school age, children do not yet have stable technical interests; they most clearly show an interest in machines in general, which is realized in general technical modeling clubs (the simplest models and mock-ups of airplanes, ships, cars, rockets, using cardboard, wood, various semi-finished products and finished parts). At middle school age, children become interested in amateur radio and various types of sports and technical modeling. High school students are predominantly interested in real design, educational and industrial experiments, rationalization of production, and modeling. With the support of production specialists and scientists, high school students are able to carry out serious creative work of an innovation and research nature. In terms of sports and technical equipment, the design and construction of minicars, micromotor scooters, boats, snowmobiles, etc. predominate. Small-scale agriculture is being created in rural schools. equipment for training and experimental sites (microtractors, motor-ploughs, cultivators, etc.).

The organization of mass technical engineering in the USSR dates back to the early 1920s. In 1923, a section of young friends of the Air Fleet was created under the Society of Friends of the Air Fleet (SDAF), which marked the beginning of the massive development of children's aircraft modeling. In 1924, competitions for aircraft modellers-schoolchildren were held for the first time in Moscow, and the country's first provincial exhibition of technical technical equipment was opened in Tula. In 1926, the first children's technical station - DTS (now the Central Station of Young Technicians of the RSFSR) - was opened in Moscow - a specialized instructive, methodological and consulting center of technical D. t. In the late 20s and 30s. DTS were organized in many cities of the country. In 1938, Soviet schoolchildren set a number of world records in aircraft modeling. In 1939, the works of young USSR technicians were demonstrated at the World Exhibition in New York, and in 1941 - at the All-Union Agricultural Exhibition. exhibition. During the Great Patriotic War of 1941-45, young technicians participated in the repair and production of agricultural products. machines and equipment, hospital radio equipment; Many stations of young technicians organized workshops to carry out military orders. In the late 40s - early 50s. In technical agriculture, more attention is paid to issues of mechanization and electrification of agriculture. In the late 50's - early 60's. In schools and out-of-school institutions, the creative work of students to create new instruments and models, various technical devices (models and instruments for automation, telemechanics, operating small-sized transport agricultural machines, electronic devices, etc.) has been widely developed. Meetings and competitions of the 60s. had the goal of developing a rationalization movement among schoolchildren and the creative activity of children in the field of industrial and agricultural activities. production, improvement of teaching aids and equipment. Rationalization activities of schoolchildren are carried out mainly in extracurricular activities or in combination with labor training. For the late 60s. The emergence of new organizational forms of technical engineering is characteristic: school design bureaus and organizations of the All-Union Society of Inventors and Innovators - VOIR, school clubs in various areas of technical hobbyism. Since 1967, the USSR has systematically held shows of technical creativity of youth (STTM), an integral part of which is technical creativity. The best works in the field of technical creativity are annually exhibited at the VDNKh of the USSR, and are awarded with awards from VDNKh, the Central Committee of the Komsomol, the All-Union Central Council of Trade Unions, and the ministries of education ( public education) of the union republics. Exhibitions of technical engineering works are held annually in the capitals of all union republics, regional, and regional centers. At the end of the 60s. The theme of space, especially rocket modeling, received intensive development in technical design. In the USSR, the first competitions for young rocket modelers were organized in 1962 in the Moscow region. Since 1968, all-Union competitions of rocket modelers and schoolchildren have been systematically held. The main Soviet magazines on technical engineering are: “Modelist-Constructor” (since 1966), “Young Technician” (since 1956).

In the USSR, technical work is a kind of school on the path to creative work in production, technology, and science. Many inventors, rationalizers, production innovators, designers, scientists passed through it, including Academician B. E. Paton, aircraft designers S. V. Ilyushin, A. S. Yakovlev, O. K. Antonov, pilot-cosmonauts G. S. Titov, A. V. Filipchenko, and others. Outstanding Soviet scientists N. D. Zelinsky, S. I. Vavilov, M. A. Lavrentyev, I. I. Artobolevsky, N. N. Semenov, A. A. Lyapunov, cosmonauts Yu. A. Gagarin, A. S. Eliseev and others.

Technical engineering is successfully developing in a number of foreign countries. In the People's Republic of Belarus and the German Democratic Republic, state-public systems for the development of technical technology have been created, aimed at the feasible participation of schoolchildren in the rationalization of production, preparing them for creative work in various fields of technology and science, and participation in the work of creative groups of adults. Preference is given to the study of electronic technology, automation, technical cybernetics, mechanical engineering and machine tools. In Hungary, Poland, Czechoslovakia, Romania, and Yugoslavia, modeling predominates in technical art, which is practiced in clubs and other institutions of youth unions, trade unions, enterprises, sports and technical and other organizations, as well as in institutions of the educational system. The main focus of technical training is sports and technical. Magazines on modeling and technical hobbyism are published in all socialist countries.

Technical engineering has been developed in a number of capitalist countries (for example, Great Britain, the USA, France, Finland, and Switzerland); it is carried out mainly individually, to a lesser extent in amateur clubs and societies of various profiles; usually has a sports and technical focus. A large number of magazines are published on various types of modeling and technical hobbyism.

Artistic creativity. The creative activity of children in the field of art manifests itself in the form of improvisations (stories, poems, melodies, dance movements, games) and drawings, molded crafts, embroideries, appliqués, literary works, artistic compositions, montages, etc. created in the process. , children judge cultural phenomena more consciously and interestedly. D. t. in the field of art actively promotes the development of aesthetic taste in children and their artistic education.

At an early age, a distinctive feature of artistic drama is its improvisational nature. However, it does not follow from this that artistic creativity excludes guidance from adults. From the standpoint of socialist pedagogy, artistic creativity is primarily a mediated and controlled phenomenon. The high importance of direct individual factors is obvious only in the case of high talent. But gifted children also need serious guidance (and even more than ordinary ones).

The problem of pedagogical leadership is the main scientific and practical problem of the development of artistic teaching. In this regard, issues of the relationship between professional art and artistic teaching, age characteristics, mutual influence of teacher and student, mastering artistic skills and traditions, and independent reflection of life are traditionally resolved.

There is a close relationship between different types of artistic creativity, which has found the most convincing interpretation in the theory of the so-called sensitive periods of childhood development (L. S. Vygotsky, B. G. Ananyev) - about the child’s disposition to various types of artistic creativity changing with age and perception, about the consistent change in childhood and adolescence of preferential interest (periods of relevance) in dance-drama, visual, literary and musical activities and changes in perception.

Visual arts and crafts became the subject of scientific and pedagogical research earlier than other types of amateur performances. The artistic merits of children's drawings and its significance as a document reflecting the age-related characteristics of the child's psyche have been studied since the end of the 19th century. attracted the attention of scientists (C. Ricci - Italy, J. Sally - Great Britain, K. Lamprecht, Z. Lowenstein, G. Kerschensteiner - Germany). In the last century, teaching drawing was characterized by a mechanical transfer to the child of methods of working with adult professional artists. The progress of knowledge about the child and his creativity relatively quickly led to a revision of the methods of guiding children and to the creation of new pedagogical and artistic theories and systems. Bourgeois pedagogical theories are influenced by formalistic artistic movements, idealistic views on history and spiritual development of man (biogenetic theory, psychoanalysis of Z. Freud, archetypes of C. Jung, etc.). In the 20s 20th century Austrian teacher f. Cizek put forward the idea of ​​freedom and inviolability of children's artistic expression in drawing, which led his followers to attempts to completely eliminate educational aspects, pedocentrism and “pedagogical non-interference.” In the 30-50s. bourgeois theories of D. t. acquired a philosophical and psychological bias (V. Lonefeld - USA, G. Reed - Great Britain, S. Frenet - France). The theory of the natural development of artistic potential also became widespread (G. Britsch - Switzerland). The most influential was the American school. In the 60s There has been a return to realistic trends in the theory and practice of directing the visual arts. At the same time, narrow practicalism and an orientation towards the education of a passive “cultural consumer” of artistic values ​​have become popular.

In the USSR, a state system of artistic education of children has developed. Its foundations were laid by N.K. Krupskaya and A.V. Lunacharsky. One of the first Soviet theorists of artistic art was A. V. Bakushinsky. Soviet artistic education after a short period of enthusiasm in the 20s. The biogenetic theory and practice of “pedagogical non-interference” moved to the systematic accumulation of facts about the development of childbirth under the conditions of targeted guidance based on children’s mastery of realistic images. An analysis of world experience in the theory and practice of managing visual arts confirms the validity of this orientation. Teachers and methodologists in many countries are actively studying the theory of visual art, developed in the USSR by E. I. Ignatiev, N. N. Volkov, L. S. Vygotsky, V. I. Kireenko, G. V. Labunskaya, E. E. . Rozhkova, N. P. Sakulina, E. A. Flerina.

Visual arts are the most widespread among children under adolescence. A child usually begins to depict recognizable objects at the age of 3-4 years. The image of the baby is clear and effective. Along with drawing, constructive and plastic types of visual activity are especially accessible to him. Later, a child's drawing is a graphic story with a playful slant and plot. From the age of 9-10, young draftsmen show an active interest in meaningful graphic skills. In the absence of sufficient training, the drawing ceases to meet the more mature requirements of the young author, and he gives up drawing. Under conditions of systematic training (or active self-education), the adolescent image painlessly enters the zone of “object drawing” with careful development of details. The experience of the best teachers (V.S. Shcherbakov) shows that the subject drawing of a younger teenager naturally acquires new creative qualities. Teenagers and young men are showing increased interest in issues of artistic skill, and some of them are looking for their calling in art. The increased spiritual capabilities of a teenager contribute to the formation of a full-fledged perception of works of professional art and world artistic heritage.

Elements of literary vocabulary appear in a child from the moment when, having mastered his native speech, he begins to manipulate words, play with them, put them in different combinations, sometimes only rhythmically conveying the mood. At an early stage - from about 2 to 5 years - literary D. t. is part of the game. During this period, it is difficult to draw a line between lyrical and epic elements in creative writing; moreover, it is difficult to separate literary creativity from other types of artistic activity: the child draws, at the same time composes poetry or a story on the theme of the drawing, singing and dancing at the same time - all this reflects the syncretism of D. t. With age, the literary creativity of children becomes more and more purposeful. An understanding of the social value of literary works comes, and their creation becomes the goal of the creative process. Inclinations towards various literary genres - poetry, prose - are more clearly manifested. Under the guidance of a teacher, young authors try themselves in such genres as essays, reportages, interviews, and reviews. Creativity is also manifested in the most widespread form of literary creativity among adolescents and youth - school writing. Students’ literary and creative abilities develop through the process of authorial participation in school wall newspapers, handwritten almanacs and magazines, literary circles, etc.

D. t. in the field of music is considered not as a process of creating works of art, but as one of the methods of musical education. Outstanding Soviet musicians-teachers and theoreticians paid great attention to musical music. Asafiev and B. L. Yavorsky. The problems of musical education have been widely studied by the Institute of Preschool Education of the Academy of Pedagogical Sciences of the USSR (by N. A. Vetlugina). A significant contribution to the musical upbringing and education of children was made by D. B. Kabalevsky, V. N. Shatskaya, V. S. Loktev and others.

In many countries in the 60s. 20th century The so-called relative system of musical training began to be used, in which improvisation occupies an important place. This system was developed on the basis of national musical traditions by the outstanding Hungarian composer Z. Code, and then by teachers of a number of other countries (including the USSR) in relation to their national musical traditions.

In the 60s Children's photography and filmmaking has become very popular, which also develops children's artistic and creative abilities. Children's independence is manifested in the choice of plot and compositions, and in the development of the film script.

Performing types of artistic activity of children (in theatrical, choreographic, choral, orchestral and other amateur groups) provide great opportunities for the development of creative abilities, independence in the interpretation of an assigned role, a piece of music, or a readable text.

The development of artistic creativity is facilitated by singing, rhythmic, drawing, modeling, and other activities organized in kindergartens; lessons in literature, music and singing, drawing, as well as elective art classes in a secondary school; various student art groups and groups in schools, out-of-school and cultural and educational institutions; a network of music and special art schools for gifted children; regularly held exhibitions, shows, and art competitions. The role of the family in the creative development of children is becoming increasingly noticeable.

In the early 30s. To assist schools and out-of-school institutions in the aesthetic education of children and the development of artistic creativity, art education houses and special scientific and methodological institutions were created in regional, regional, and republican centers of the USSR. In the houses there were clubs and studios in various types of art, and children's amateur art groups. In 1952, the houses of artistic education were merged with palaces and houses of pioneers and schoolchildren (the Central House of Artistic Education in Moscow in 1946 was transformed into the Institute of the Academy of Pedagogical Sciences of the RSFSR, now the Scientific Research Institute of Artistic Education of the Academy of Pedagogical Sciences of the USSR).

The study of pedagogical arts is concentrated in the research institutes of the Academy of Pedagogical Sciences of the USSR: technical - in the Research Institute of Labor Training and Vocational Guidance, and artistic - in the Research Institute of Artistic Education.

Museum collections of works of artistic painting are available in Leningrad, Kyiv, Yerevan, and others. There are large centers of artistic painting in India (Delhi), Yugoslavia (Novi Sad), France (Sèvres), Italy (Florence), and the USA. (at the Museum of Modern Art in New York, Columbia University, etc.). From the end of the 19th century. - later, within the framework of the activities of UNESCO, international organizations act to promote the development of artistic creativity.

Literature

Tolmachev V., Technical amateurism, M. - L., 1932

Kulichenko V.F. and Volkov A.I., Future engineers, M., 1937

Razumovsky V. G., Development of technical creativity of students, M., 1961

Voitsekhovsky B. T., Development of student creativity in design, M., 1962

Kudryavtsev T.V. and Yakimanskaya I.S., Development of technical thinking of students, M., 1964

Komsky D. M., Stolyarov Yu. S., Automation and cybernetics in the physics and technology circle, M., 1964

Stolyarov Yu., Young designers and technical creativity, M., 1966

Technical creativity of schoolchildren. Collection, M., 1969

Bakushinsky A.V., Artistic creativity and education, M., 1925

Vetlugina N. A., Musical development of the child, M., 1968

Vygotsky L. S., Imagination and creativity in childhood, 2nd ed., M., 1967

Ignatiev E.I., Psychology of children’s visual activity, 2nd ed., M., 1961

Art and children. Aesthetic education abroad. Collection, M., 1969

Labunskaya G.V., Fine creativity of children, M., 1965

Sakulina N.P., Drawing in preschool childhood, M., 1965

Tolstoy L.N., Collection. op. in 20 volumes, vol. 15, M., 1964; Chukovsky K.I., From two to five, 19th ed., M., 1966

Harris D., Children's drawings as measures of intellectual maturity, N. Y., 1963

Visual arts are an excellent means of developing creative talents and all other abilities of a child. In addition, with the help of fine arts, children study the world around them. This is a specific figurative cognition of reality. What about positive emotions? The joyful smiles that appear on the faces of children who managed to draw or cut out another “masterpiece” are worth a lot! This thematic section helps to encourage children's creativity and expand their capabilities. This is a comprehensive, constantly growing library of useful materials for organizing art classes. Come in and choose!

We are glad to be useful to you in the aesthetic education of children.

Contained in sections:
Includes sections:

• Still life. Classes for children, master classes, games and manuals for studying still life
• Paintings. Getting to know the paintings, looking at and writing stories
• Corner of creativity and fine arts. Art centers

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All sections | ISO. Visual activities in kindergarten

Consultation for educators “Non-traditional drawing techniques” Consultation for educators "Unconventional drawing techniques"“The origins of children’s abilities and gifts are at their fingertips. From the fingers, figuratively speaking, come the finest threads - streams that feed the source of creative thought. In other words, the more skill you have in children's...

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"General developmental kindergarten No. 1"

« Materials and equipment for

classes in visual arts in kindergarten."

Usolye - Sibirskoe

Materials and equipment for

art classes in kindergarten

Consultation for educators

Fine arts classes require pedagogically thoughtful material equipment; special equipment, tools and visual materials. Equipment includes all those items that create conditions for conducting classes - boards, easels, stands and etc. Tools - pencils, brushes, scissors, etc., necessary in the image process, visual materials for creating an image. The quality of children's work largely depends on the quality of the material. Different types of visual arts are equipped differently.

FOR DRAWING:

Boards (wall and floor), a board with three slats for displaying children's drawings are required; stand for nature. In order to protect the vision of children in older groups, they should have individual boards with an inclined plane, which provide a perpendicular, rather than sliding at an angle, direction of the visual beam.

PENCILS:

To draw, children need a set of colored pencils.

In younger groups of 5 pencils (red, blue, green, yellow, black).

In the middle group of 6 colors (red, blue, green, yellow, black, brown).

In older groups orange, purple, dark red, pink, blue, light green are added.

In younger groups, pencils should be round. For older children, soft graphite pencils are recommended: “MT” - for preliminary sketches; “2MT” - for independent drawing.

To prepare a pencil for work, grind down the wooden frame by 25-30mm and expose 8-10mm of graphite. The wooden frame of colored pencils must be ground to a shorter length than that of ordinary pencils, since their cores are thicker and with strong pressure they crumble and break.

BRUSHES:

To paint with paints, you need round, hair brushes with fine and elastic bristles - kolinsky, squirrel, ferret. Brushes are identified by numbers. From No. 1-8 thin, from No. 8-16 thick. It is recommended to give brushes No. 12-14 to children of younger groups. Such a brush, pressed to the paper, leaves a bright, clearly visible mark, making it easier to convey the shape of an object.

Children of the middle group and older groups can be given both thin and thick brushes.

When conducting art classes, you should pay special attention to whether your children know how to hold a brush correctly; During the lesson and at the end of it, do the children place their brushes on stands, which are best made of thick cardboard or a spool cut lengthwise into two halves. (see "D/v" No. 2-95, "Brush stands").

Under no circumstances should children be allowed to leave their brushes in a jar of water, as the hair on the brush will bend and diverge in different directions, losing its shape. Hair brushes will last a long time and paint well if they are handled with care. When preparing paint for a lesson, do not stir it with a brush. It is more convenient to do this with a stick. When painting with watercolors, paint is applied in small semicircular movements, without pressing on the brush, so that the pile does not fan out. At the end of the work, rinse the brush thoroughly so that the remaining paint does not dry out. It is recommended to store brushes in glasses with the nap facing up.

PAINTS:

Two types of water-based paints are used for drawing - gouache and watercolor. For preschool children, opaque paints - gouache - are most convenient. The gouache needs to be diluted to the consistency of liquid sour cream, so that it sticks to the brush and does not drip from it. Watercolor paints are recommended for children of the senior and preparatory groups. Currently, watercolors are produced in different types: hard - in tiles, semi-soft - in porcelain molds, soft - in tubes. In a kindergarten setting, it is best to use semi-soft watercolors in molds. During classes, the teacher teaches children the skills of using watercolor paints correctly: before painting, wet them, carefully pick them up on a brush, try the color on a plastic or paper palette, apply a thin layer so that the paper shines through and the color is visible. When painting with watercolors, children must first draw the outlines of objects with a simple pencil.

PAPER:

For drawing you need fairly thick, slightly rough paper, preferably half-paper. You can replace it with thick writing paper. Glossy paper is not suitable, on the surface of which the pencil glides, leaving almost no mark, and thin paper, which breaks under strong pressure. During operation, the paper should lie motionless and level. The exception is decorative drawing, during which children can change the position of the sheet.

Children of the middle group and senior groups To depict individual objects, half a sheet of paper is recommended, but you can also use a whole sheet. For plot drawing, larger format paper should be provided. When preparing paper for drawing, the teacher must take into account the structure and size of the object being depicted. Older children can independently prepare paper of the desired color. To tint paper, use gouache and watercolor paints and thick soft brushes. It is very convenient to use flat paint brushes – flute brushes – for this purpose. The paint is first applied in horizontal strokes, followed by vertical strokes.

For classes in fine arts and independent artistic activities for children, it is recommended to use:

Pressed charcoal, sanguine, pastel, sauce pencil, colored wax crayons, felt-tip pens.

COAL – this is a large rod 10-12 cm long with a diameter of 5-8 mm. This material is small, brittle, crumbles and gets dirty, so it should be wrapped in foil. Charcoal leaves a matte black mark on paper. It is better to work with charcoal on fluffy paper that retains coal dust, for example, wallpaper, wrapping paper, and drawing paper. You can fix the drawing made with charcoal with slightly sweetened water applied to the paper with light vertical movements using a cotton swab.

SANGUINE – natural clay pressed into sticks (without a wooden frame) containing anhydrous brown iron oxide. It is good to use it to depict bushes, trees, animals, people on an already prepared background.

COLORED WAX CRAYONS - looks like colored rods. Their advantage is that they can produce a line almost pencil thick. Therefore, drawing with wax crayons is done without using a simple pencil.

COLORED CHALKS – used for drawing on the board in free time. To erase chalk from a blackboard, you need to have two rags - dry and slightly damp. The dry one eliminates mistakes, and the wet one erases the drawing from the board at the end.

FOR STYLE CLASSES

plasticine is used. Plasticine is an artificial plastic mass made from clay, wax, lard, paints and other additives. It is soft and flexible, does not harden for a long time, but when the temperature rises, it softens and melts. It is not recommended to crush it in your hands for a long time before sculpting. Before working with plasticine, warm it up slightly by placing the boxes closer to the heat source. Children of older groups should have individual ready-made boxes of plasticine, the condition of which the children should monitor by arranging the remaining plasticine by color. A special stand can be used to demonstrate a nature or sample.

In older groups it is recommended to use stacks and frames . Frames - These are ordinary sticks of different lengths and widths. The use of frames helps children more perfectly depict the legs of animals, making their figures stable and dynamic. Instead of boards and oilcloths, it is better to use plastic. Plastic boards are easier to clean and, while modeling, allow you to turn the work as convenient for the child.

FOR APPLICATION PRACTICES needed:

· trays and flat boxes for ready-made forms, paper, paper scraps,

· oilcloth or plastic board 2015 for spreading molds with glue,

· cloth,

· paste jars with low edges,

brush holders,

· bristle brushes,

· scissors with blunt ends (lever length 18cm).

For applique work, white and colored paper of various grades are used, and for the background, thicker paper. Parts of objects are cut out of thin paper, preferably glossy, because it has a bright color and is pleasant to the touch. In older groups, it is advisable to have for each child an envelope with a set of paper of different colors and shades.

There are various types of paper on sale that can be used to make crafts. These are shagreen, bronze, silver paper and cardboard. But there are other sources of replenishment of paper supplies. You ate a chocolate bar, some candy, printed out the toilet soap, and saved the wrappers. After renovating your apartment, collect all the remaining pieces of wallpaper. From unnecessary color illustrations, posters, make cuttings, colored covers from old notebooks, paper in which purchases are wrapped, also collect, everything will come in handy.

And finally, you can prepare the paper of the desired color yourself. Of the many ways to color paper, the following can be recommended: ink, ink, watercolor, gouache, oil paint.

Knowing the characteristics of paper will make working with it easier and will help you avoid many mistakes and disappointments. In the longitudinal and transverse directions, paper has different mechanical and physical properties. When glued, paper cut along the transverse direction of the fibers gives wrinkles, but along the longitudinal direction it lays smoothly and sticks well. We must not forget that when coated with paste, it swells and stretches. Paper stretches much more across the grain than along it. If you immediately glue paper that has just been coated with glue, then as a result of continued swelling and elongation, wrinkles and folds appear on the paper. Therefore, the coated paper needs to lie down for one and a half to two minutes. Only after this can it be glued.

All materials for art activities must be sorted and folded in order, each in a specific place. The scissors are stored in a box, the paint is poured into cans. The jars must be tightly closed to prevent the paint from drying out. Gouache paints need to be filled with water. It is better to place colored paper in individual envelopes (in tbsp). Carefully laid out materials take up little space, are better preserved, and are more convenient to use.

At the very first meeting of children with scissors, you need to introduce them to some rules:

Give scissors to each other only with the rings first,

Place the scissors in the glass only with the rings facing up

· do not use scissors as a pointer

· do not swing scissors

· Be careful when using them.

When working with children, do not forget about one very important point

ABOUT LABOR CULTURE.

Beautiful, tastefully decorated things help foster thrift and neatness. Even the simplest crafts, made elegantly, well and positively affect the feelings of children, create a certain mood, evoke aesthetic emotions, attract to the completion of the work started, to frugality, to neatness. Children are especially careful about what they have made with their own hands.

In the group room of the kindergarten it is necessary to allocate space for the “Creativity Corner”. For this purpose, a well-lit part of the group room is allocated, as far as possible from the playing corner. On open shelves and tables there should be supplies for drawing, modeling and appliqué.

In younger groups, children are given only colored pencils for free use. Children of older groups can be provided with all materials. Advise parents to organize a similar corner for their child at home.

Didactic games for preschoolers

Didactic games for art classes in kindergarten"

Matveeva Evgenia Aleksandrovna, teacher of the preschool educational institution – kindergarten No. 16 “Malyshok”, Serpukhov, M.O.

Sometimes it can be very difficult to explain some material to a child. And of course it’s even more difficult to explain it so that he remembers it. And here didactic games come to the aid of the teacher. They are used in the educational process from the very beginning of a child’s learning to draw. I bring to your attention examples of such games that I use in my work.

1. Game “Colored baskets”

The first game is used with very young children and is called "Colored Baskets".
Purpose of the game: the game is aimed at learning colors by children 2.5-3.5 years old, memorizing the names of primary colors, developing the speech skills of preschoolers, developing observation and memory.
Progress of the game: children are asked to collect mixed up objects in baskets, the child draws any card, but he must put it in a basket of the same color, while loudly calling out the color and the object he chose.

2. Game “Bottom of the Sea”

Purpose of the game: development of artistic composition skills, development of speech, logical thinking, memory.

A very common game that can be used not only in art activities, but also in other educational areas. The children are shown the seabed (empty), and it must be said that all the sea inhabitants wanted to play “Hide and Seek” with us, and in order to find them we need to guess riddles about them. The one who guessed correctly puts the resident in the background. The result is a complete composition. The teacher motivates children to perform visual activities. (Good to use with middle and older groups). In the same way, you can study with children other themes of plot compositions: “Summer Meadow”, “Forest Dwellers”, “Autumn Harvest”, “Still Life with Tea”, etc. You can invite several children to the board and ask them to make different compositions from the same objects. This game develops intelligence, reaction, and compositional vision.

3. Game “Painted Horses”

When consolidating knowledge of folk paintings or when conducting monitoring in senior and preparatory groups, you can use this simple game.
Goal: to consolidate knowledge of the main motifs of Russian folk paintings (“Gzhel”, “Gorodets”, “Filimonovo”, “Dymka”), to consolidate the ability to distinguish them from others, to name them correctly, to develop a sense of color.
Progress of the game: the child needs to determine in which clearing each of the horses will graze, and name the type of applied art based on which they are painted.

4. Game “Magic Landscape”

One of the most difficult topics is, of course, the study of perspective in a landscape - distant objects seem smaller, near ones larger. It is also more convenient to use the game for this.
Purpose of the game: to teach children to see and convey the properties of spatial perspective in drawings, to develop the eye, memory, and compositional skills.
Progress of the game: The child needs to place trees and houses in pockets according to their size, in accordance with their prospective distance. (preparatory group).

5

Game "Collect a landscape"

Using the example of a landscape, it is also convenient to develop a sense of composition and knowledge of natural phenomena. To do this, it is convenient to use this didactic game.
Purpose of the game: to develop compositional thinking skills, consolidate knowledge of seasonal changes in nature, consolidate knowledge of the concept of “landscape,” develop observation and memory.
Progress of the game: the child is asked to compose a landscape of a certain season (winter, spring, autumn or winter) from a set of printed pictures; the child must select objects that correspond to this particular time of year and, using his knowledge, build the correct composition.

6.Game “Arrange and count the nesting dolls”

Purpose of the game: to consolidate knowledge about the Russian nesting doll, develop the ability to distinguish this type of creativity from others, develop ordinal counting skills, eye, and reaction speed.
Progress of the game: There are pieces of paper with drawn silhouettes of nesting dolls hanging on the board, three children are called and they must quickly sort the nesting dolls into cells and count them.

7. Game “Matryoshkin’s sundress”

Purpose of the game: to develop compositional skills, consolidate children’s knowledge about the basic elements of painting a Russian nesting doll, and consolidate knowledge of Russian national clothing.
Progress of the game: Silhouettes of three nesting dolls are drawn on the board, the teacher calls three children in turn, they each choose to put on their own doll.

Each of these games can be drawn by yourself or made using a computer and a color printer.