We want to teach children the technique of drawing so that they can freely dispose of it when solving any visual task, to express their impressions of surrounding life. In kindergarten, you need to immediately form within the available limits correct technique drawing in all children, so that later it had to be retrained.
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Consultation for educators
"Methods of teaching children to draw preschool age»
Drawing techniqueis understood broadly by artists: this includes the technique of line, shading, a certain manner of drawing and writing, and the method of using certain materials (paper, canvas, wood, pencil, charcoal, pastels, oil paint, watercolors, gouaches, tempera, etc.) in accordance with their properties, their pictorial possibilities.
In the visual arts technique (from the Greek skillful and art, skill) is understood as a set of special skills, methods and techniques through which a work of art is performed. The concept of technology in the narrow sense of the word usually corresponds to the direct, immediate result of the artist's work with a special material and tool (hence the technique of oil painting, watercolor, gouache, tempera, etc.), the ability to use the artistic possibilities of this material; in a broader sense, this concept also covers the corresponding elements of a pictorial nature - the transfer of the materiality of objects.
Thus, underdrawing techniqueshould be understood: possession of materials and tools, ways of using them for the purposes of depiction and artistic expression. The concept of technology includes the development of the eye and hand, their coordinated activity. Particular importance is attached to the skillful, correct depiction of the contour, the shape of the object.
Drawing in kindergarten is aimed at teaching artistic and creative activities within the limits available to preschool children.
We want to teach children the technique of drawing so that they can freely dispose of it when solving any visual task, to express their impressions of the life around them in the drawing to the fullest extent. In kindergarten, you need to immediately form the correct drawing technique for all children within the available limits, so that later it has to be relearned.
The definition of drawing technique that is accepted in the visual arts is basically applicable to the technique of children's drawing. The difference lies in the fact that in a preschool child there is an initial development of various and subtle hand movements that are necessary for drawing and which can be called drawing movements. Mastery of the contour line, stroke, spot as expressive means of drawing is for small child a special problem that the child cannot solve on his own.
In drawing, as in any instrumental activity, the socio-historical experience of people is fixed. It is necessary that the child correctly perceive the modes of action in drawing from an adult who reveals to him this experience, embodied in each specific tool, tool. The demonstration of an adult appears to the child as a model of action that must be followed and learned by children only through training.
Methods and techniques for teaching fine arts
The method of observation underlies the entire system of teaching fine arts. The success of the development of their creativity.
But observations alone before the lesson will not fully ensure the possibility of depicting what is seen. It is necessary to teach the child special image techniques, how to use various visual materials. Only in the process of systematic training in the classroom are the abilities of children fully formed.
In kindergarten in the classroom visual activity A variety of methods and techniques are used, which can be conditionally divided into visual and verbal. A special group of techniques specific to the kindergarten is made up of game techniques. They combine the use of visualization and the use of the word.
The teaching method, according to the definition adopted in pedagogy, is characterized by a unified approach to solving the task, determines the nature of all activities of both the child and the teacher in this lesson.
The method of learning is a more private, auxiliary tool that does not determine the entire specifics of the activity in the lesson, which has only a narrow educational value.
Sometimes individual methods can only act as a technique and do not determine the direction of work in the lesson as a whole. For example, if reading a poem (story) at the beginning of the lesson had the goal only to arouse interest in the task, to attract the attention of children, then in this case, reading served as a technique that helped the educator in solving a narrow task - organizing the beginning of the lesson.
Visual methods and teaching techniques
Visual teaching methods and techniques include the use of nature, reproductions of paintings, samples and other visual aids; examination of individual objects; showing the educator of image techniques; showing children's work at the end of the lesson, when they are evaluated.
Nature in the visual arts refers to an object or phenomenon that is depicted by direct observation. Work from nature involves the image of an object from a certain point of view, in the position in which it is in relation to the eye of the painter. This feature of the image from nature also determines the originality of perception in the process of class. The main thing here will be visual perception, and when depicted on a plane (drawing, application), the object is perceived only from one side; when sculpting and constructing, children should be able to turn nature, analyze the three-dimensional form in various turns.
The ability to perceive an object in the totality of its qualities is already characteristic of a child of primary preschool age. However, the need to depict an object from nature requires the ability to analyze the ratio of parts, their location in space. Psychologists believe that a preschool child is capable of such analytical-synthetic perception only with the right pedagogical guidance.
Let us note some features of the use of nature in work with children of preschool age.
Nature, first of all, facilitates the work of memory, since the process of image is combined with perception; helps the child to correctly understand and convey the shape and structure of the object, its color. Despite the ability of children of 4-5 years old to make a simple analysis of image objects, working from nature at this age has its own differences from the use of nature by schoolchildren and artists.
Perceiving an object, the child must show its volume (give a two-dimensional image of a three-dimensional nature on a plane), which is associated with the use of chiaroscuro, the transfer of perspective changes in the object, and the display of complex angles. These image techniques are not available to preschoolers. Therefore, objects of a simple form, with clear outlines and divisions of parts, are selected as nature for them.
Nature is placed so that all children perceive it from the most characteristic side. The educator should examine nature in detail with the children, directing and facilitating the process of analysis with a word and gesture. This process requires a certain culture of perception, developed analytical thinking. Such skills begin to develop in children 5-6 years old. At this age, they learn to compare and correct their work in accordance with nature when depicting. For example, in senior group when depicting a spruce branch from nature, children convey the location of the branch in space (oblique or vertical), the number and size of branches on the left and right, draw thick needles of a dark or light tone.
Leaves, branches, flowers, fruits, as well as toys depicting people, animals, vehicles can be used as nature.
It is not recommended to use live birds and animals as nature. Their movements, sounds will distract children from drawing, will not give them the opportunity to focus on the perception of the object in the right position.
Thus, the use of nature as a teaching method covers the entire process of the image: the initial analysis of the subject, comparison of the image with nature in terms of shape, position, color, evaluation of the results of work by comparing the drawing and nature.
Sometimes nature can be used as a private technique and not affect the nature of the lesson as a whole. For example, in the process of drawing according to a plan, a child asks for help in depicting an object. The teacher puts the necessary toy in front of the child, which is used as a nature. In general, the work on the image will be determined by the content of the idea. Nature will only help to carry it out better. Examination In the younger and middle groups, often at the beginning of the subjects, classes show individual items. Examination by children of a ball, ribbons, spatulas, etc. is carried out in order to attract the attention of children to the task and enliven their ideas. During the rest of the lesson, children draw according to the idea and do not return to the perception of objects.
In the older group, it is also necessary to bring in some items for consideration. For example, before drawing or sculpting on the theme of the fairy tale "Three Bears", the teacher invites the children to consider a toy bear, highlight the features of the shape and proportions of individual parts, and trace the change in their location depending on the rotation of the object. Each child depicts a bear in the position that corresponds to the episode chosen for the picture.
A sample, like nature, can act as a method and as a separate teaching technique.
In those types of visual activity where the main goal is not to consolidate impressions from the perception of the environment, but to develop certain aspects of this activity (more often in decorative and constructive works), the model is used as a teaching method.
So, the main goal of classes in decorative drawing and appliqué is to teach how to create a pattern and develop artistic taste. Children look at beautiful objects: carpets, vases, embroideries, etc., which increases the overall aesthetic culture. In decorative drawing classes, children not only reflect their impressions of these objects and repeat the patterns seen on them, but also learn to create a pattern on their own, to give beautiful combinations shapes and colors. Therefore, on initial stage learning, it is possible to draw elements of a pattern from a sample, borrowing the principles of the arrangement of elements and combinations of colors.
Sometimes there may be several samples to choose from if the children have already mastered some skill.
The use of samples is determined by the objectives of this lesson. So, a sample can be offered without special instructions from the teacher, the children, having examined it, do the work on their own. In this case, the use of the sample will contribute to the development of the child's analytical-synthetic thinking.
Sometimes the sample acts as a learning technique. For example, in subject drawing or modeling, a sample is used not for the purpose of copying, but to clarify children's ideas about the depicted object.
The use of samples with simplified, schematic images negatively affects the development of children's creative abilities. The simplification of the image to a diagram creates only an apparent relief of the task assigned to the children. The scheme does not correspond to the specific idea of the child about the subject, since it lacks the characteristic details by which the preschooler recognizes the subject.
One should not replace the representation formed on the basis of a specific perception with a planar schematic image devoid of individual features. Such a scheme will not help the child to highlight the main thing in the subject, but simply replace the image of a particular subject.
Using such patterns, the educator forgets about such an educational task of visual activity as consolidating children's ideas about the surrounding reality.
Training with the constant use of ready-made schematic samples ultimately comes down to a narrow task - developing the ability to create simple forms. The training of the hand in creating such a form is isolated from the work of consciousness. As a result, patterns appear in the children's drawings: a house with a triangular roof, birds in the form of checkmarks, etc. This impoverishes the children's drawing, once and for all assimilated a schematic form eliminates the need for further observations, visual activity breaks away from reality. An unconsciously mastered schematic image often loses its resemblance to a real object, since the child repeats the learned forms without hesitation. For example, the “tick” bird turns its wings down or to one side when depicted.
Pictures are used mainly for pictures to clarify children's ideas about the surrounding reality and to explain the means and methods of depiction.
The picture as a work of art vividly, emotionally conveys the image.
The means of artistic expression, with the help of which the artist creates a work of art, give a visually perceived image. Studies by psychologists and educators have shown that even two-year-old children can understand a picture as an image of an object. The connection between the characters in the picture, that is, the understanding of the action, is realized somewhat later, at the age of 4-5 years.
Observations of the surrounding reality are often short-term (for example, observations of animals in a city). Therefore, the use of the picture will allow not only to ensure the repetition of perception, but also to highlight the main thing that is characteristic of the subsequent image.
Examination of paintings can be recommended in cases where there is no necessary object, and can also serve as a means of familiarizing children with some methods of depicting on a plane. For example, the teacher shows a picture to explain the image of distant objects that in life the child perceived to be located on flat ground. For this purpose, the picture can be used in working with children of six years old, they already have an understanding of this way of depicting. Looking at the picture, the child sees that the earth is depicted not with one line, but with a wide strip, and distant objects are located above, close objects are below, to the edge of the sheet.
In order for the child to be able to understand the technique used by the artist, it is necessary to explain it, since in the picture the child perceives only the final result. It is more expedient to carry out such examination and analysis of the picture before the lesson or at the beginning of it. The picture left in front of the children during the entire session can lead to mechanical redrawing. Copying at this age brings great harm- inhibits the development of visual skills. It is impossible for a preschooler to understand all the tricks and figurative means used by the artist, so he will draw without understanding why it is drawn this way and not otherwise.
Sometimes during the lesson it becomes necessary to show some children a picture to clarify any detail. Then the picture is removed, since its further perception will lead to copying. This technique should be used with caution.
The kindergarten program establishes the scope of visual skills that children must master in the learning process. Mastering a relatively small range of skills will enable the child to depict a wide variety of objects. For example, in order to draw a house, you need to know how to draw a rectangular shape, that is, be able to connect lines at right angles. The same techniques will be required to draw a car, train and any other object that has a rectangular shape.
The educator's demonstration of image methods is a visual-effective technique that teaches children to consciously create the desired form based on their specific experience. The display can be of two types: showing with a gesture and showing image techniques. In all cases, the display is accompanied by verbal explanations.
Gesture explains the location of the object on the sheet. The movement of a hand or a pencil stick across a sheet of paper is enough for children even 3-4 years old to understand the tasks of the image. With a gesture, the main form of an object, if it is simple, or its individual parts can be restored in the child's memory.
It is effective to repeat the movement with which the educator accompanied his explanation during perception. Such repetition facilitates the reproduction of the connections formed in the mind. For example, when children are watching the construction of a house, the teacher gestures to show the contours of buildings under construction, emphasizing their upward direction. He repeats the same movement at the beginning of the lesson, in which children draw a high-rise building.
A gesture that reproduces the shape of an object helps memory and allows you to show the movement of the drawing hand in the image. The smaller the child, the greater value in his training has a display of hand movement.
The preschooler is not yet fully in control of his movements and therefore does not know what movement will be required to represent one form or another.
Such a technique is also known when the teacher in the younger group makes an image with the child, leading his hand.
With a gesture, you can outline the entire object if its shape is simple (ball, book, apple), or the details of the shape (the location of the branches of a spruce, the bend of the neck of birds). More small parts the teacher demonstrates in a drawing or modeling.
The nature of the display depends on the tasks that the teacher sets in this lesson. Showing the image of the entire object is given if the task is to teach how to correctly depict the main form of the object. Usually this technique is used in the younger group. For example, to teach children to draw round shapes, the teacher draws a ball or an apple, explaining his actions.
If, when depicting an object, it is necessary to accurately convey the sequence of drawing one or another detail, then a holistic display of the entire object can also be given. With such a display, it is desirable that the educator involve the children in the analysis of the subject with the question: “What should I draw now?”
In teaching children of older groups, a partial display is more often used - an image of that detail or a separate element that preschoolers are not yet able to depict. For example, children 4-5 years old draw a tree trunk in the form of a triangle with a wide base. This mistake is sometimes caused by the explanation of the educator: “The trunk of the tree is narrow at the top, and wide at the bottom, and the children literally follow this instruction. The educator needs, along with a verbal indication, to show an image of a tree trunk.
In a group preparatory to school in drawing on the topic “ Beautiful house» The teacher shows on the board how different windows and doors can be in shape. Such a display does not limit the child's ability to create the entire drawing.
With repeated exercises to consolidate skills and then independently use them, the demonstration is given only individually to children who have not mastered a particular skill.
The constant display of methods for completing a task will teach children in all cases to wait for instructions and help from the educator, which leads to passivity and inhibition of thought processes. Showing the educator is always necessary when explaining new techniques.
The development of analytical thinking, which results in a critical attitude to what is perceived, allows children to objectively evaluate the work done by their comrades and their own work. But a child reaches this level of development by the age of five.
At a younger age, the child cannot fully control and evaluate his actions and their results. If the process of work gave him pleasure, he will be satisfied with the result, expecting approval from the educator.
In the younger group, the teacher at the end of the lesson shows several well-done works without analyzing them. The purpose of the show is to draw the attention of children to the results of their activities. The teacher also approves the work of other children. A positive assessment of them contributes to the preservation of interest in visual activity.
In the middle and senior groups, the teacher uses the display and analysis of children's work as a technique to help children understand the achievements and errors in the image. The ability to see how correctly an object is depicted helps to develop a conscious attitude to the choice of means and methods of work to intensify all creative activity.
After completing the task, the teacher shows one of the works and notes its positive aspects: “How well, the house is neatly painted”, “How beautifully the colors in the pattern are chosen - dark and light side by side, they can be seen well”, “How interestingly the skier is fashioned”, etc. e. If there are similar errors in many works, then you should pay attention to them, ask how you can correct them.
It is not necessary to consider a mistake in the work of one child with all children, since the realization of it will be of significance only for this child. The causes of the error and ways to eliminate it are best analyzed in an individual conversation.
In the older group, all children should be involved in the analysis. However, sometimes the teacher himself gives an assessment. For example, wanting to encourage a child who draws poorly and anticipating criticism of his work by other children, the educator is the first to point out the positive aspects of the drawing.
The analysis of children's work can be carried out in various plans. Most often, to save time, the teacher selectively takes several works for analysis. Showing the work of the same child in each class should be avoided, even if they really stand out from the others. As a result of constant praise, he may develop unjustified self-confidence, a sense of superiority over other children. Gifted children should be led individual work taking into account their abilities and visual skills.
Sometimes the teacher instructs the children to choose work for analysis. In these cases, all the works are laid out on one table (or attached to the stand) and the children are invited to choose the ones they like the most. Then the teacher analyzes the selected works with the children in detail.
Discussion of the work of each child is possible in the preparatory group, the children are already interested in the results of the work of their comrades. But such an analysis should be carried out in your free time, since 2-3 minutes at the end of the lesson is not enough.
Children of six years old can be invited to analyze their work, comparing them with nature, a model. This instills in children a critical attitude not only to the work of their comrades, but also to their own.
Verbal methods and teaching techniques
The verbal methods and techniques of teaching include conversation, instructions of the educator at the beginning and during the lesson, the use of a verbal artistic image.
Classes in fine arts, as a rule, begin with a conversation between the teacher and the children. The purpose of the conversation is to evoke previously perceived images in the memory of children and arouse interest in the lesson. The role of conversation is especially great in those classes where children will perform work on the basis of a presentation (according to their own design or on a topic given by the educator), without using visual aids.
The conversation should be short, but meaningful and emotional. The teacher mainly pays attention to what will be important for further work, i.e., on a constructive color and compositional solution of a drawing, modeling, etc. If the impressions of the children were rich and they possess the necessary skills to convey them, such a conversation is enough to complete the task without additional techniques.
To clarify the children's ideas on the topic or to familiarize them with new image techniques, the teacher, during the conversation or after it, shows the desired object or picture, and before starting the task, the children demonstrate the method of work. Conversation as a teaching method is mainly used in working with children 4-7 years old. In younger groups, conversation is used when it is necessary to remind children of the subject that they will depict, or to explain new methods of work. In these cases, conversation is used as a technique to help children better understand the purpose and purpose of the image.
The conversation, both as a method and as a reception, should be short and last no more than 3-5 minutes, so that the ideas and emotions of the children come to life, and the creative mood does not fade away.
Thus, a properly organized conversation will contribute to a better performance of the task by children. The artistic image embodied in the word (poem, story, riddle, etc.) has a peculiar clarity. It contains that characteristic, typical, which is characteristic of this phenomenon and distinguishes it from others.
Expressive reading works of art promotes creativity, active work thoughts, imagination. For this purpose, the artistic word can be used not only in the classroom for illustrating works of literature, but also when depicting objects after their perception.
In all age groups you can start the lesson with a riddle that will evoke in the minds of children vivid image object, for example: "A tail with patterns, boots with spurs ..." Some details of the form are noted in the riddle - beautiful tail, spurs and the habit of a rooster, which distinguish it from other birds.
In order to revive previously perceived images of objects in the memory of children, short poems and excerpts from works of art can be used.
In some cases, a verbal image accompanies the display of nature or image techniques.
When drawing or sculpting on the themes of literary works, the use of other teaching methods at the beginning of the lesson is inappropriate, as they may interfere with the work of the imagination. A picture or nature will bind the child to a certain pictorial form, the verbal image will fade.
The educator should take seriously the selection of works of art and excerpts from them for illustration. The verbal image should include pictorial moments, show those features of the object that are associated with its visual perception (color, shape, position). For example, when illustrating the poem by N. A. Nekrasov “Grandfather Mazai and the Hares”, almost all the guys turned out good work, since in this work the author vividly described appearance animals, their poses. Such visible images help the child to convey them concretely. An artistic literary image evokes the work of not only a reproducing imagination, but also a creative one.
Even if the verbal image is very specific and vivid, the child needs to think through and imagine a lot: the situation, location, details, and much more.
The instructions of the educator necessarily accompany all visual techniques, but can also be used as an independent teaching technique. It depends on the age of the children and on the objectives of this lesson. Usually the educator makes instructions in connection with the clarification of the set educational tasks.
When teaching children of younger preschool age, purely verbal instructions are rarely used. Children still have too little experience and insufficient visual skills to understand the explanation of the educator without the participation of sensory analyzers. Only if the children have well-established skills, the teacher may not accompany the visual demonstration with action.
In the minds of children of 5-6 years old, the word evokes a memory of the necessary technique and of what action should be performed when using it. The instructions of the educator can be addressed both to the whole group and to individual children.
For all children, instructions are usually given at the beginning of the session. Their goal is to explain the topic of the work and the methods of its implementation. Such instructions should be very brief, clear and concise. To check how the guys understood the explanation, the teacher in the middle and senior groups can ask one of them about the sequence and methods of doing the work. Such verbal repetition of the task contributes to a better understanding of the children of their actions. In the younger group, after explaining and showing, the teacher should be reminded of where to start work.
After all the children have started to work, the educator should not rush with individual instructions and help. It is necessary to determine who currently needs help, who did not start work or started it incorrectly. With these children, the teacher finds out the reasons for the misunderstanding of the task and repeats his explanation, shows some methods of work.
Not all children need individual guidance. Some think on their own, outline the image with a pencil on a sheet, so they do not need additional explanations. Instructions at the beginning of the lesson are needed for indecisive, shy children who are unsure of their abilities. They need to be convinced that the work will certainly work out.
However, one should not always prevent the difficulties facing children. Some of them can be denied additional explanations if the teacher is sure that they can solve the problem on their own, they just lack patience and perseverance. In addition, in order to foster creative activity, it is important that the child faces difficulties and learns to overcome them.
The form of instructions may not be the same for all children. For some, an encouraging tone is needed that arouses interest in work and self-confidence. Self-confident children should be more demanding.
The teacher's instructions should not be a direct dictation to the children how to depict an object in a particular case. They must make the child think, think. When pointing out a mistake, the child’s attention should be drawn to the violation of the meaning, logic in the image: “The dress on the girl is as if torn” (badly shaded), “Trees are falling” (unskillfully located), “The man is so big that he cannot enter the house. At the same time, one should not explain how to correct the mistake, let the child think about it himself. Remarks should be made in a friendly tone so that the children feel the teacher's interest in their work.
Individual instructions should not attract the attention of all children, so they should be given in a low voice. Instructions to all children during the lesson are given if many are mistaken. Then the teacher invites everyone to stop work and listen to his explanation. Such breaks should only be used when absolutely necessary, as it disrupts the creative process.
Game learning techniques
The use of the moments of the game in the process of visual activity refers to visual and effective teaching methods. The smaller the child, the greater the place in his upbringing and education should be played. Game teaching methods will help attract children's attention to the task, facilitate the work of thinking and imagination.
Learning to draw at a young age begins with playing exercises. Their goal is to make the process of teaching children to create the simplest linear forms and the development of hand movements more efficient. Following the teacher, the children first draw various lines in the air with their hands, then with their fingers on paper, supplementing the movements with explanations: “This is a boy running along the path”, “So the grandmother is winding the ball”, etc. Combining the image and movement in a game situation significantly speeds up mastery ability to draw lines and simple shapes.
Inclusion game moments in visual activity in the younger group continues with the depiction of objects. For example, a new doll comes to visit the children, and they mold treats for her: pancakes, pies, cookies. During this work, children
master the ability to flatten the ball.
In the middle group, children draw Teddy bear from nature. And this moment can be successfully beaten. The bear knocks on the door, greets the children, asks them to draw him. At the end of the lesson, he participates in viewing children's work, chooses the best portrait on the advice of the children and hangs it in the play corner.
Even with children of six years old, it is possible to use game techniques, of course, to a lesser extent than in the younger group. For example, during a walk, children look at a landscape, a tree, animals through home-made cameras, “take pictures”, and when they come to kindergarten, they “develop and print them”, depicting what they perceive in the picture. When using gaming moments, the teacher should not turn the entire learning process into a game, as it can distract children from completing the learning task, disrupt the system in acquiring knowledge, skills and abilities.
Thus, the choice of certain methods and techniques depends: on the content and tasks facing this lesson, and on the tasks of visual activity; on the age of children and their development; on the type of visual materials with which children act. In the classroom, where the focus is on the task of consolidating ideas about the environment, they mainly apply verbal methods: conversation, questions to children, which help the child to restore what he saw in his memory.
In different types of visual activity, teaching methods are specific, since the image is created by different means. For example, the task of teaching composition in plot themes requires an explanation of the picture in drawing, showing in the drawing how distant objects are drawn above and nearby objects below. In modeling, this problem is solved by arranging the figures according to their action: next to or separately from each other, one behind the other, etc. No special explanation or demonstration of the work is required here.
Not a single technique can be used without careful consideration of the tasks involved, the program material of the lesson, and the developmental features of children in this group.
Separate methods and techniques - visual and verbal - are combined and accompany one another in a single learning process in the classroom.
Visualization renews the material and sensory basis of children's visual activity, the word helps to create a correct representation, analysis and generalization of what is perceived and depicted.
Children of the senior and preparatory groups can learn the rules for drawing techniques.
It is necessary that the children remember: the tools are different and they need to be drawn in different ways.
Pencil drawing rules:
1. The pencil should be held with three fingers (between the thumb and middle, holding the index finger on top), not close to the sharpened end.
2. When drawing a line from top to bottom, the hand with the pencil goes to the side of the line, and when drawing a line from left to right, the hand is at the bottom of the line. You need to lead your hand in this way in order to see how you draw, then you get a straight line.
3. The line must be drawn immediately, without stopping, without taking the pencil off the paper, otherwise it may turn out uneven. No need to draw the same line several times.
4. Rectangular and square objects should be drawn with stops at the corners so that you can think about how to draw further.
5. Round objects must be drawn in one motion, without stopping.
6. You need to paint over the drawing with a pencil with a continuous movement of the hand back and forth.
7. When painting over a drawing, strokes must be applied in one direction: from top to bottom, from left to right or obliquely.
8. When painting over a drawing, you must not go beyond the outline of the drawn object.
9. You need to paint over the drawing without gaps.
10. When painting over a drawing, you need to evenly press on the pencil: press harder if you want to paint over brighter, and weakly - if you need to paint over lighter.
Paint rules.
1. The brush should be held between three fingers (big and middle, holding the index finger on top), behind the iron tip, without squeezing strongly with your fingers.
2. When drawing various lines the brush must be led along the pile, so the hand with the brush moves ahead of the line.
3. When drawing wide lines, you need to rely on the entire bristle of the brush, hold the stick obliquely to the paper.
4. To draw a thin line, hold the brush with the stick up and touch the paper with the end of the brush.
5. When painting over drawings with a brush, the lines should be superimposed side by side, leading them in one direction and only in one direction, each time starting to move from above or to the left (and not back and forth, like with a pencil).
6. Each line when drawing and when painting should be drawn only once.
7. You need to lead lines immediately, without stopping.
The child must name the rule when asked about it, explain why it is necessary to act in this way, and be guided by this in their activities.
From the third lesson, children name the rules for drawing in different directions and nature, the rules that determine how to hold the tool, the rules for painting over drawings with pencils. Gradually children remember different rules relating to drawing techniques.
Assimilation of the rules makes it possible to consciously master the technique of drawing and consciously apply it. Considering the regulatory role of speech in the process of formation of motor skills and in their application in activity, A. V. Zaporozhets emphasizes that the instruction can cause the correct system game movements only if the words of the instruction are correctly understood by the children and evoke an idea of what should be done and how.
And in connection with this, care must be taken that children know the names of the fingers: thumb, index, middle, ring and little fingers, the meaning of such spatial concepts as from the side, from below, obliquely, obliquely; knew what continuous movement, pile, contour is; the name of the shapes - rounded (circle, oval), rectangular (square, rectangle). To acquaint with these names not when the rule is given, but earlier.
Thus, in the formation of technical skills in drawing, the following teaching methods are used: organization of orienting and research activities, teaching skills based on imitation (organization of showing a motor sample), conducting an exercise in order to practice hand movements, their qualities, repeating verbal instructions by children, memorizing rules and regulation with their help of movements. All these methods should be used in unity. Organizing the demonstration of this or that movement, at the same time it is necessary to explain the method of action. This helps the awareness of the perceived pattern, and the subsequent process of imitation is built on a conscious basis. Sometimes, in order to consolidate the awareness of the action after the demonstration and explanation of the teacher, one of the children can be asked to repeat the instruction, to show the movement to another, explaining how he acts.
The development of generalized image methods requires reliance on children's experience, activation of previously acquired skills and abilities, and involvement of children in the active use of these skills (display at the blackboard). The use of psychologically based teaching methods allows you to effectively form the motor basis of the image - technical skills and abilities in preschool children.
Consultation
Methods of teaching drawing in different age groups of kindergarten
The main principle of teaching children of any age to draw is visibility: the child must know, see, feel the object, the phenomenon that he is going to depict. Children should have clear, precise ideas about objects and phenomena. There are many visual aids used in drawing classes. All of them are accompanied by verbal explanations. Consider the methods of teaching drawing in different age groups of kindergarten.
First junior group. First of all, the very activity of the educator is a visual basis. The child follows the drawing of the teacher and begins to imitate him.
At preschool age, imitation plays an active teaching role. A child who watches how a drawing is created also develops the ability to see features of form and color in their flat image. But imitation alone is not enough to develop the ability to think independently, portray, freely use the acquired skills. Therefore, the methods of teaching children are also consistently becoming more complicated.
In the works of V. N. Avanesova, it is recommended that children be gradually involved in the joint process of drawing with the teacher, when the child finishes the work he has begun - draws strings to the drawn balls, stems to flowers, sticks to flags and so on.
The positive thing about this technique is that the child learns to recognize the depicted object, analyze the already drawn and missing parts, exercises in drawing lines (of a different nature) and, finally, receives joy and emotional satisfaction from the result of his work.
The teacher can use a demonstration of drawing techniques and a verbal explanation, and the children themselves will complete the task without a reference drawing. It is important here that the process of constructing a drawing by the teacher's hand should be well coordinated with the course of verbal presentation.
The word, supported by visual material, will help the child to analyze what he has seen, to understand it, and to remember the task better. But in a child of the younger group, the memory ability is still not sufficiently developed. long time keep what he perceives with sufficient clarity (in this case, this is the teacher’s explanation): he either remembers only part of the instructions and completes the task incorrectly, or he cannot start anything without a second explanation. That is why the teacher must once again explain the task to each child.
By the end of the third year of life, many children no longer require additional explanations: they can draw on their own, using the acquired skills and after explaining the task once.
The use of various game moments has a positive effect on the education of children of primary preschool age. Inclusion game situations makes the subject of the image closer, alive, interesting. In painting with paints, the result of the activity for a small child is a bright spot. Color is a strong emotional stimulus. In this case, the teacher should help the child understand that the color in the drawing exists to recreate the image. It is necessary to ensure that children, working with paints, strive to improve the similarity with objects.
If in the first months of training they imitate their teacher, drawing this or that object, now the teacher gives them the task to draw on their own according to the plan, imagination.
It is useful for younger preschoolers to give such an opportunity to work independently according to the plan at each lesson after completing the learning task (if it was not long).
This form of independent work of children creates a prerequisite for future creative activity.
The tasks of learning in the second younger group are mainly related to the development of skills to portray various forms, the development of technical skills in using a pencil and paints and the ability to depict various objects.
Conducting drawing classes with children of three years requires the specification of all the material. Without reliance on clear ideas, teaching the simplest forms will be abstract, abstract, incomprehensible to them.
The perception of the surrounding life is the basis of the teaching methodology. Therefore, all the images that are associated with lines, circles, points, must be previously perceived, and not only visually, but in vigorous activity: “They ran along the paths”, “The balls of thread were wound and rolled”, etc. Active knowledge of the subject creates background and for active actions when drawing. The system of gaming exercises developed by E. A. Flerina takes into account this feature of age. In further studies, the methodology for applying these exercises was developed in even more detail.
For example, when drawing straight horizontal path lines, the children, together with the teacher, show the direction of the line in the air with their whole hand: “That’s what a long path!” After that, on paper, the children show which track, and, finally, draw it with a pencil or paints. In such a consistent multiple repetition of one movement, there is a system based on taking into account the features physical development three-year-olds: a gradual transition from more developed large movements with the whole hand to movement with only a brush (finger on paper) and to an even more limited movement with a pencil, in which the fingers are tied in a certain position.
While making these movements, children can accompany actions with words, for example: “Rain: drip-drip”, “That's what a long ribbon”, etc. This verbal accompaniment enhances the rhythmic nature of the drawing process, makes the movement itself more interesting and easier. The conversations of children during work should not be prohibited, they activate the thought of children, awaken their imagination.
The educator should skillfully direct these conversations, connecting them with the image received. T. G. Kazakova recommends including other means of influence in the drawing process, for example, music (the sound of raindrops). This will further increase the emotional mood of the children and, consequently, the figurative expressiveness of the drawing.
In the process of the lesson, the kids are active all the time, the image that they embody in the drawing should live in their minds.
This activity is initially based on imitation of the educator. It reminds children about the subject of the image, shows new movements that children need to master. First, he makes movements with his hand in the air, then he repeats this movement with the children. If one of the children fails to move, the teacher helps the child's hand to take the desired position and make the appropriate movement. When the child has a muscular sense of this movement, he will be able to produce it on his own. In the same way, it is necessary to first show all the drawing techniques. The teacher shows how to hold a pencil or brush correctly, how to pick up paint on a brush and draw it over paper.
Children will be able to act independently when all the basic techniques are familiar to them. If, without knowledge of the techniques of working with a pencil or brush, a child is left to himself when completing a task, then the wrong skills may be fixed in him, which will be much more difficult to change, especially when it comes to drawing techniques.
As we have already said, one of effective visual techniques learning is the teacher's drawing. But an educational drawing, even for the smallest children, should be figuratively literate, not simplified to a diagram. The image should be kept alive, corresponding to the real object.
For example, when showing how to draw a Christmas tree, the teacher should proceed from the requirements of the program for a given age - convey the main features: a vertical trunk, branches going to the sides, green color. But these signs characterize all other trees. To preserve the image of a Christmas tree, the teacher will draw the trunk with a line expanding downward, the branches (above - shorter, below - longer) slightly inclined, without fixing the attention of the kids on this. It is important that the visual image from the drawing does not diverge from the image of the real object, then the correct image will be stored in the memory of the children.
Demonstrating drawing techniques is important until the children are skilled in drawing the simplest forms. And only then can the teacher begin teaching preschoolers to draw on visual aids without showing.
For example, when children learned to draw straight lines and rectangular shapes, the teacher can invite them to draw shoulder blades without showing drawing techniques. At the beginning of the lesson, the teacher examines the shoulder blade with the children, circles its contours with his hand, all the time explaining his actions. After such examination, the guys perform the drawing on their own. For those who find it difficult, the teacher offers to circle the shoulder blade with their own hands in order to feel its shape.
Although these objects remain before the eyes of the children during the lesson, they still do not serve as nature.
A three-year-old child is unable to combine the processes of perception and image, which requires the ability to distribute attention, analyze, compare a drawing with an object.
The depicted object is used at the beginning of the lesson to clarify ideas about the shape, color, parts of the object or in the game plan to create an emotional mood.
In some cases, when it is impossible to show an object to children (due to its large size or for other reasons), a picture or a drawing well done by the teacher can be used to enliven their ideas.
The image of the item must be in close-up, with a pronounced form, as far as possible isolated from other objects, so as not to distract attention from the main thing.
As well as on the subject, the educator pays attention children on the shape, tracing it with a finger, and on the color of the object . During the lesson, the picture should be removed, since it cannot serve as a model in this group. The drawing techniques of an adult are difficult for children, and, in addition, only the result of the work is visible in the picture, the techniques remain unknown.
A painting or drawing made in a realistic spirit, creating an artistic image, can only be used in the younger group as an object for perception in order to clarify ideas or create interest in the topic.
In the second junior group is used as special reception art word. Its application here is limited. Mainly, the artistic image is used to attract the interests and attention of children to the topic of the lesson, the emergence of an emotional mood.
The teacher can start the lesson with a riddle or a short passage of poetry. For example, when drawing on the theme “It is snowing,” read a quatrain from a poem by I. Surikov:
White snow fluffy
Spinning in the air
And the earth is quiet
Falling, laying down.
The riddles and images of the poem should be simple and understandable to children, otherwise the mental stress associated with their perception will reduce the emotional mood and desire to draw.
Form start
The same rhyme can be remembered at the end of the lesson when looking at the drawings and recite it to everyone together. The artistic image also influences the content of children's works, although this is not yet illustrative drawing. The dynamics of the image (snow is spinning, falling), indications of color (white snow) evoke responses from the child when creating the image in the drawing.
Reviewing children's work at the end of classes and simple analysis contributes to educating activity in preschoolers. To do this, the teacher chooses a drawing, drawing the children's attention to the positive aspects in it, asks questions, approves the initiative shown in the work - introducing something new into the drawing. At the same time, he should so captivate the guys with the analysis of the drawings so that they are not distracted and focus on the main thing. When analyzing the content, the children, together with the educator, must take into account the quality and accuracy of the task performed. Such an examination of the work helps the children see the image, notice the inconsistency with the subject, and makes them want to correct the mistake.
The drawings are unsuccessful, bad ones should not be shown and analyzed, since high-quality performance at this age often depends not on the desire of the child, but on his general development and especially from the development of movements. It is important for all children to maintain faith in their abilities, interest in drawing, in creativity.
Children with weaker drawing skills should be given more attention during the lesson, encouraging them to draw whenever they feel like it.
An individual approach at this age is especially necessary, since it is here that the inclinations and abilities of children begin to form. To identify and develop them is one of the main educational goals.
The teacher of the middle group is faced with the task of teaching children to correctly depict an object, conveying its main features, structure, color.
Children who have come to the middle group already have the basic visual skills that make it possible to convey the shape and some features of objects. That is why the requirements of the teacher to children are increasing.
Teaching children to draw contributes to the formation in children of the ability to search for knowledge, creativity, as well as the development of a creative personality. Drawing teaching methods should be aimed at developing the child's aesthetic education; on the development to reflect the surrounding reality in the drawings, to embody ideas, to find ways for children to depict, to teach them in these ways in the classroom. Drawing teaching methods should arouse interest in children, arouse emotional attitude to the depicted, the desire to evaluate their works, to notice in them a variety of forms, brightness of color combinations, location in space.
The development of aesthetic perception will be more successful if the teaching methods are associated with practical activities: children learn to consider and evaluate drawings, find the most expressive works. Children acquire artistic experience decorative drawing in the process of observing the surrounding reality, while getting acquainted with works of art (showing paintings, objects of decorative and applied art, figurative toys). Visual and verbal methods evoke an emotional response in children, a sense of joy.
In children with a delay mental development(ZPR) there is a low level of technical drawing skills: this is a weak pressure on the pencil, uneven shading, going beyond the boundaries of the designated contour, fantasies rarely appear, there is no vividness of the imagination, ease in the appearance of images. At the same time, many researchers (E. A. Ekzhanova, B. M. Teplov, T. P. Kudrina, etc.) note that, despite the imperfection of the visual activity of such children, the process of drawing affects them very positively and has a psycho- correctional orientation of education and training. So, on the one hand, the usefulness of visual activity is obvious, on the other hand, the reduced interest of children in the process and result of drawing. The solution to this problem is seen in the use of non-traditional image techniques in teaching visual activity to children with mental retardation. To arouse the interest of children, it is necessary to take a new approach to teaching drawing. Children's work should not be only picturesque or graphic. It should include other visual materials and means. The idea lies in the systematic use of non-traditional drawing techniques, in a new approach to determining the content of teaching children with mental retardation to draw. The main difference of this system is the result of the lesson - not to teach the child the standard image of objects, but to show the ways of manifestation and development of creativity in drawing.
To teach to portray, that is, initially to love something to depict, means to do a universally useful thing for children. The features of the development of children with mental retardation, their age, applied technologies, thematic planning preschool educational institution, combination with project activities at senior preschool age, the integration of subjects of the humanitarian and aesthetic cycle. Methods and techniques, means for developing the creative abilities of children, educating aesthetic taste, personal intellectual development creating a situation of success for each child.
At the first stage of training, we introduce children to the most simple views non-traditional imaging techniques. It would be wrong to teach drawing to direct the child's activity towards solving specific visual tasks related to the direct reproduction of the forms and structure of any object. At this stage, it is very important to educate children with mental retardation in the initial forms sensory processes(sensations, perceptions, ideas, as well as to teach them to concentrate their attention on certain properties of objects in the image.
Practice has shown that a prerequisite for the development of interest in drawing should be considered the presence of manual skills in children. But it is precisely the weak technical skills of children with mental retardation (along with other shortcomings) that are a serious brake on this. Therefore, at the initial stage, we assigned a significant place to the organization practical exercises with a "pencil in hand" to teach children to perform the simplest, most elementary actions.
A system of exciting exercises such as “we wind a ball of thread”, “rain - drip-cap-cap” and many others, as well as didactic tasks of a sensory nature related to recognizing, naming and distinguishing objects by different features, provide an opportunity to move on to the next stage of the formation of interest in visual activity.
Despite the fact that drawing is traditionally considered the main activity of preschool children, it should be considered that at the first stage of teaching children with mental retardation, the awareness of the process of drawing as an activity begins, the result of which is some images, a drawing of something, someone, what something object or phenomenon. In this regard, you need to pay special attention to the drawing process itself (adjust the fit of the children; the position of the tools in the hand; show the methods of action; offer to talk during the drawing process; help with technical difficulties; do not limit the format or use different-format sheets, captivate children We create conditions so that the child can use visual material (crayons, felt-tip pens, pencils, etc.) when he needs it, he himself chooses this activity during free activity, not limited to specially designated for drawing time.
When teaching children to draw great place occupies the method of joint actions of an adult and a child - co-creation. The teacher shows the children how to complete tasks in the drawing class. Working together with the teacher, children learn various skills and abilities more easily and quickly. Co-creation helps children act collectively. In the process of drawing, obeying the general rhythm, children are happy to complete tasks on one, common sheet. Collaborative activities should be combined with simple, accessible content. Mastering the ways independent action, children can apply the methods of drawing mastered in the classroom in other conditions, without the help of an adult. Teaching methods should be aimed at: the formation of perception processes, differences in shapes, colors, their reproduction in the drawing.
In the methodology of teaching drawing at preschool age, the use of game techniques is characteristic: the introduction of figurative toys, the creation of game situations.
Based on the foregoing, we can conclude that the most effective learning methods fine arts younger preschoolers can be attributed to: taking joint actions (co-creation, examining samples, showing drawing methods, playing characters, passive movements, etc.
The teacher must study the child, skillfully use an individual approach to children. Given the characteristics of each child, it is necessary to apply tasks of varying difficulty, striving for the artistic development of each child. Many moments of the surrounding reality the child cannot clearly perceive, remember, see. Various types of art come to the rescue: music, poetry.
It is these techniques that make it possible to create a joyful and creative atmosphere in the classroom, and, consequently, to make the learning process effective.
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In addition, each work should teach something useful, develop positive personality traits in the child (kindness, responsiveness, tolerance).
It is advisable to use several genres for retelling: story and description, folk and author's tale. You can choose different fairy tales: short ("The Fox and the Jug") and long ("Geese-Swans") - each has its own characteristics and its own educational impact.
Preschoolers retell a literary work well if the story captures them, causes strong feelings, becomes close to them, even if the content does not relate to their direct experience. Therefore, for retelling, it is better to select texts related to situations familiar to children, or those that can activate their imagination and affect feelings. At the same time, the work of the imagination should be based on the ideas and simplest concepts that preschoolers have.
It is very important to pay attention to the grammatical structure of the work chosen for retelling. Compound and long sentences, participial and participial phrases, introductory sentences, complex metaphors are still inaccessible to preschool children. Thus, stories in prose that are accessible to a preschooler in terms of content, language and grammatical structure are suitable for retelling.
When selecting literary texts for retelling, one should, first of all, take into account their content, accessibility, dynamism and emotionality. It is also important to remember that the size of the work affects the perception, digestibility and quality of retelling.
Thus, the work on teaching retelling should be carried out systematically (about 1-2 times a month as part of the lesson). You should start with short fairy tales and stories, as their child retells more confidently.
Children should not be required to retell the work immediately after reading it. Preschoolers need to be prepared for this type of activity.
The retelling lesson has the following typical structure:
- Introductory part. Preparing children for the perception of a new work, mainly its ideas (revival of a similar personal experience of children, showing pictures, etc.).
- find out the knowledge of children on the topic of the work;
- provide an understanding of the words and expressions that will be in the text;
- expand children's ideas about the subject in question;
- ensure the emotional mood of children before listening to the work.
2. Primary reading without warning of subsequent retelling to ensure free artistic perception. These two stages are omitted if the work is already well known to children.
3. Preparatory conversation (analysis of the work).
- clarification of the content (mainly ideas and characteristics of images, sequences of events),
- drawing attention to the language (unobtrusively emphasize precise definitions, comparisons, phraseological units),
- active preparation for expressive retelling (work on the direct speech of characters, understanding intonations, stress, tempo, especially in important compositional moments).
All these goals are solved in unity, with a consistent analysis of the text in the course of its plot.
4. Repeated reading, summing up the results of the analysis. At the same time, the setting for retelling is appropriate, for example: “Listen as I read.” Secondary reading should be slower than the first.
5. Pause to prepare children for answers, to memorize the text (a few seconds).
6. Retelling (3-7 people). Active teacher guidance. At the end, call the child with the most vivid speech or use emotional techniques (retelling by roles, staging).
7. Analysis of the children's retellings (the first retelling is analyzed in detail, the rest are less detailed; in the preparatory group, the children themselves are involved in the analysis).
It must be remembered that the assessment of creative artistic activity, which is a retelling, should be especially tactful, allowing for variability in execution. Children should be prompted to formulate their value judgments appropriately: “It seems to me ...”, “I advise Serezha ...”, “Maybe it’s better ...”
Techniques that contribute to the effectiveness of the perception of a work of art:
- looking at pictures, illustrations, objects that will be discussed in the story;
- lexical and grammatical exercises on the lexical and grammatical material of the story;
- the use of riddles, proverbs, nursery rhymes, poems, etc., contributing to the understanding of the content of the story;
- observations in nature and the surrounding life, appeal to personal experience children.
Receptions, work on the text of the work:
- conversation on the work (reveals what the work is about, the main characters, the actions of the heroes and their assessment, questions on the analysis of the language of the work);
- series sequencing plot pictures to a story or fairy tale;
- selection of phrases from the text for each picture;
- inventing an additional and missing picture for individual fragments of text;
- partial retelling during a conversation (retell especially difficult parts of the text, where there is a description, dialogues of characters);
- drawing up a work plan (as auxiliary means, a series of plot pictures or subject pictures selected for each part of the text, as well as symbols and pictograms can be used).
Techniques to improve children's retelling:
- To achieve coherence and fluency of retelling, the most appropriate suggestion of a word or phrase by the educator. At the initial stages of education, a joint retelling of the teacher and the child is practiced (the child finishes the phrase that has been started, alternately pronouncing successive sentences), as well as reflected retelling (the child repeats what the teacher said, especially the initial phrases). By the way, even in a confident retelling, a hint is useful for immediately correcting a child's grammatical or semantic error.
- In cases where the work is divided into logical parts and is long enough (tales "Teremok", "In the car" by N. Pavlova, etc.), retelling is used in parts, and the change of narrators is led by the teacher, stopping the child at the end of the part and sometimes emphasizing this circumstance.
- If there is a dialogue in the work, then retelling by roles (in faces) comes to the aid of the teacher, especially in the formation of the expressiveness of children's speech.
- In older groups, it is possible to transmit the text in the first person or in the face of its various characters, as well as construct a retelling by analogy with what was read, with the inclusion of another character. I would like to emphasize the need for a particularly tactful, reasonable implementation of these techniques, a careful attitude to the author's text, especially the classic, not adapted. Educational syntactic exercises of children in the alteration of direct and indirect speech are more appropriate for didactic, training texts.
- game techniques (eg: retelling, sitting at the TV layout).
Bibliography
1. Alekseeva M. M., Yashina V. I. Methods of speech development and teaching the native language of preschoolers. M. 2009
2. Alekseeva M. M., Yashina V. I. Speech development preschoolers. Moscow: Academy 2008
3. Borodich A.M. Methods for the development of children's speech M. 2001
4. Vorotnina L. M. Creative storytelling // Preschool education. - 2011. - No. 9.
5. Kazartseva O. M. Culture of speech communication: theory and practice of teaching: Textbook - M .: Nauka 2008
6. Korotkova E. P. Teaching preschool children to storytelling. - M., 2006.
7. Sokolova VV Culture of speech and culture of communication. - M.: 2010
8. Sokhina F. A. Development of speech of preschool children M.: 2009
9. Ushakova O. S., Strunina E. M. Methods of speech development for preschool children. RIC Vlados. M., 2004.
ANNEX 1
Memo "Methods of teaching preschool children to retell"
The value of retelling in the formation of monologue speech.
- Qualitative and quantitative enrichment of vocabulary.
- The practice of using enriched vocabulary in active speech.
- The formation of a grammatical structure, the use of phrases of various complexity.
- Understanding the storyline.
- Development of the ability to maintain the storyline when retelling (speech self-control).
- Development of attention to the word, grammatical design of speech.
- Improvement and development of cognitive processes of perception, ideas about the surrounding reality, understanding of cause-and-effect relationships, imagination.
- Education in the child positive personality traits.
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Children are able to understand and answer questions of a small fairy tale, story. Paraphrasing elements are added. Repeatedly read texts are memorized by children, but an independent story is not yet available.
Tasks of the preparatory stage:
- Learn to follow the development of events in the story (fairy tale).
- Learn to name and sympathize with the heroes of the work.
- Learn to partially reproduce the text with the help of a teacher.
Retelling is a new type of speech activity. Children retell short stories and fairy tales, familiar and re-read. It is difficult for them to understand the essence of the events described, to trace the logical connection between the parts of the story or fairy tale.
Special classes are organized to teach retelling.
The ability to coherently, consistently retell small literary works without the help of an adult. Preschoolers are more freely oriented in literary material, their vocabulary expands, their linguistic instinct, attention and interest in figurative words increase.
Children make an effort to better remember and accurately reproduce what they read. Children can already use their own, successfully found figurative expressions, which are lexically and syntactically close to the language of a work of art.
The child independently, expressively, without repetition conveys the content of literary texts using various means of expression. Children's skills are being improved emotionally, with different intonations, to convey the dialogues of characters, to use semantic stresses and pauses in retellings. Children learn to speak slowly, loudly enough, without tension.
Requirements for the literary text for retelling:
- accessible, understandable content for children;
Material from the site nsportal.ru
Purpose: to study the ability to compose a plot composition.
Material: a table with lines and figures, various pictorial material.
Instructions: draw lines and shapes with additional elements so that they are connected by one plot.
Characteristics of the levels:
VU - accepts the instructions of an adult, quickly gets to work. Draws all the figures and connects them into one plot.
S. U. - does not start work immediately, he thinks for a long time. Connects figures in different plots.
N.W. - needs repeating instructions. Draws several figures that are not related to the plot.
Method #5
Material: sheets of paper with objects drawn by children.
Instruction: colorize the image of the object, draw the missing details.
Characteristics of the levels:
VU - can draw horizontal, vertical lines, draw a circle, an oval, polygons. Adjusts the force of pressure, arm span, paints within the contour. The lines are light.
Uses small strokes, various combinations of lines.
S. W. - does not always correctly draw horizontal, vertical lines, a circle. Paints over with large, sweeping movements, sometimes goes beyond the contour. The line is trembling, weak, intermittent.
Often asks for help from an adult.
N. W. - paints with chaotic lines (strokes), which do not fit within the contour. Does not adjust pressure. The lines are rough and hard.
Cannot draw straight lines, close them, bringing them closer to a circle or rectangle.
We made an attempt to combine these methods with the aim of a more detailed examination of children of older preschool age.
At the same time, it was assumed that these techniques would reveal the level of visual knowledge, skills and abilities in the plot drawing of children, that is, the use of expressive means by children in the drawing (shape, color, color, line, spot, etc.).
Thus, all material is proposed for use in the formative stage of the experiment.
The main stage of experimental and practical work consists of 3 subsequent stages of the experiment.
a) ascertaining stage of the experiment
b) the formative stage of the experiment
c) control stage of the experiment
At the ascertaining stage of the experiment, first of all, we set out to identify the level of visual knowledge, skills and abilities in the plot drawing of children of senior preschool age on the topics fairy tales the ability to use means of expression.
We started our work by selecting 20 children of senior preschool age MDOU No. 7, who have different levels of general development.
Each child was diagnosed with the level of development of visual knowledge, skills and abilities.
The first technique that was carried out with children, the purpose of which was to study the ability to use such a means of expression as color in a drawing. Children were asked to correlate a specific color with given fruits and vegetables, and, if possible, convey the ability to use shades of color. This technique showed the following: out of 20 children, 9 people completed the task that was given according to the instructions of an adult, and quickly set to work.
We painted over all the fruits and vegetables, used the real colors of the objects using tint variants of the image, painted over the objects, consistently filling the entire surface without gaps, adjusting the pressure on the pencil in order to obtain an intense color. After analyzing the work of these children, we can conclude that they have a high level of development of perception of the color palette. 6 children showed an average level, since they did not start work immediately, they thought about the use of color for a long time, they used a small amount of colors.
And 5 children needed to repeat the instructions, acted with the help of an adult, used colors that were not characteristic of this fruit or vegetable. It follows that children have a low level of development of the perception of the color palette.
The purpose of the following technique was to study fantasy, figurative thinking. A table with drawn circles of the same size and various visual materials (pencils, felt-tip pens, etc.) were proposed.
The children were asked to look at the drawn circles, think about what kind of objects they could be, and finish drawing them. In this method, no one showed a high level, but 11 out of 20 children showed an average level of development of figurative thinking.
They depicted 3-4 items each, but there are slight distortions in the image of the items. There was also a low level of development of figurative thinking. Nine children had 1-2 objects depicted. This activity stimulates the creativity of children and gives them the opportunity to comprehend, modify and transform the existing experience.
It follows that most children have an average level of development of figurative thinking.
The third technique was aimed at studying the originality of the drawings of children 5-6 years of age. 10 pieces of paper were given on which were drawn various figures. It was necessary to add additional details to the figure in order to get a beautiful plot picture.
After analyzing the work of children using this method, we can conclude that 4 people completed the task. They are using additional details drew 8 original drawings and got a high level, 6 children depicted 5-6 original drawings and it follows that they have an average level of development of creative thinking. And 10 people could not cope with the task at all.
The fourth method was aimed at studying the ability to compose a plot composition based on a fairy tale. It was proposed to draw additional elements on the table with lines and figures in order for the plot of a fairy tale to appear.
Only 4 children were able to quickly get to work, finish drawing all the figures and tie them into one plot. It can be concluded that they have a high level of development of the composition in the drawing, that is, the location of the image on the sheet, their relationship with the size and shape of the sheet. 5 guys thought about the idea for a long time, started working later, connected the figures into different plots.
The remaining 11 children need to repeat the instructions, draw a few figures unrelated to the plot. This shows that these children have a low level of development of the composition in the drawing.
And the last fifth method was aimed at studying the development of formative movements in children. The children were given sheets of paper depicting objects with missing details and were asked to color these objects and complete the missing details of the corresponding geometric shape.
Attention was drawn to the nature of the line, to the regulation of the force of pressure on the pencil, the force of the swing, to the nature of the coloring. This technique showed the following results: 6 children have the ability to draw horizontal, vertical lines, draw a circle, an oval, polygons.
They regulate the force of pressure, arm span, paint over within the contour. use different combinations of lines. These guys are top notch. The average level was revealed in 11 children.
These guys do not always correctly draw lines, a circle, paint over with large, sweeping movements, sometimes they go beyond the contour. Often seek adult help. 3 children showed a low level of development, painted over with chaotic lines that did not fit outside the contour, did not regulate the pressure, the lines were rough and hard.
According to the final results of the ascertaining stage of the experiment, we can conclude that with the help of diagnostic methods, we found out that visual knowledge, skills and abilities, that is, the use of expressive means by children (color, composition, color, line, etc.) in the plot drawing of older children preschool age are at different levels of development. And with the help of various pedagogical methods and techniques, we are faced with the task of raising the level of development of visual knowledge, skills and abilities of older preschool children and identifying the role of fairy tales in teaching children to draw.
The results obtained were placed in a table. According to the final table, we can conclude that the group is dominated by a low level of development of fine knowledge, skills and abilities - 50% of children, 35% of the average level and a high level of 15%
2. Teaching children to draw
For the formative stage of the experiment, we compiled a project on this topic of the diploma, which involved solving the following tasks:
1. To develop the ability of children to use all means of expression in drawings (shape, color, composition, color, spot, line);
2. Introduce children to the technical capabilities of visual materials;
3. Encourage the creation of unique, original images in plot drawing on the themes of fairy tales, using the rules of compositional construction of a drawing according to age.
The long-term plan helped to make the work purposeful and systematic. It covered the themes, didactic games, which were used in experimental work.
In order to develop visual skills and creative skills of children of senior preschool age, we decided to use fairy tales in the classroom for visual activities.
All classes on the themes of fairy tales were successfully conducted and gave good results, but to increase the level of development of visual knowledge, skills, as well as to successfully assimilate the material, work was carried out outside the classroom. Much attention was paid to acquaintance with the work of art itself.
The tale was told several times, and each time they tried to present it in a new way. For example, at first they told a fairy tale and looked at the illustrations for it, and then they showed filmstrips or listened to the fairy tale in gramophone records and on audio cassettes. This contributed to the formation of not only clear and distinct ideas in children, but also helped to feel and understand more deeply the means of expression used to convey the image.
This form of work was very helpful in conducting classes, since the children had enough knowledge in the field of Russian folk tales to obtain successful results in the work of children.
Thus, in a series of classes offered to children, we tried to acquaint them with the features of the means of expression, with the contour line as a means of expression, color as a means of expression; consolidated knowledge about the features of the fairy tale as a folklore genre.
The following tasks were set during the lessons:
Arouse interest and emotional responsiveness to works of art;
Introduce children to various means of expression (color, composition, movement, line);
To lead to an understanding of such a means of expressiveness of plot drawing as compositional relations;
Teaching children to convey expressive images fairy tale characters;
Strengthen technical skills and abilities.
The most important task at the stage of the formative experiment is the development of visual knowledge, skills and abilities in plot drawing through fairy-tale images.
In order to arouse interest in classes, emotional responsiveness to works of art, various didactic games were used, such as:
"Find the genre of fairy tale." Purpose: to consolidate knowledge about the fabulous epic genre, to find it among other genres (portrait, still life, landscape, animalistic). Justify your choice, talk about the content of the picture, the characters, their characters.
"Good and evil heroes." Purpose: to teach to classify fairy-tale heroes according to the principles: good and evil, stupid and smart, funny and scary. Find heroes by given topic justify your choice.
"Exhibition of paintings". Purpose: to arrange an exhibition of reproductions that differ in content and genre.
“Find out which artist painted me?” Purpose: to consolidate children's ideas about the features of the means of expression used by artists Yu. A. Vasnetsov, E. A. Charushin, T. A. Mavrina, I. Ya. Bilibin.
In the classroom, much attention was paid to looking at illustrations.
When looking at illustrations, the main task was to teach children to understand their content, and then to highlight the means of expression used by artists when creating an image. To emphasize these means of expression, they offered children illustrations for the same fairy tale, but made by different artists.
While working on the illustrations, the sequence of posing questions was especially carefully thought out, and in some cases the children's attention was drawn to the color scheme, in others to the methods of conveying characteristic objects, in the third to compositional solutions, etc.
They drew the attention of children to expressive means that create an atmosphere of fabulousness (the technique of strengthening individual features inherent in a real image, a kind of fairy-tale coloring).
It is easier for a child to convey individual objects in a drawing than any plot, since in this case he must have not only graphic, but also compositional skills. Therefore, we tried to build a work on visual activity in such a way that the subject image preceded the plot.
For example, in a familiarization lesson, the paintings “Wolf” and “Dog” were examined and compared. Drawn dogs different breed, sculpted a border guard with a dog, and then painted according to the fairy tale "Ivan Tsarevich and the Gray Wolf."
Such classes contributed to the formation in children of clear, precise ideas about subjects, the acquisition of the necessary skills. All this made it much easier for them to solve visual problems in the plot composition.
At each drawing lesson, we carefully thought out the tasks of learning, taking into account the level of children's skills, depending on the plot of the fairy tale, we singled out the main expressive means for conveying the image.
A large place in the work was given to the formation of children's ideas, and a lot of preliminary work was carried out. So at the final lesson “My favorite fairy-tale hero”, the purpose of which, based on the acquisition of knowledge and skills in the classroom, was to independently choose a plot for a drawing from any familiar fairy tale.
A few days before the lesson, they offered the children to choose an episode from the fairy tale that they want to draw, they asked where and how to place the hero of the fairy tale, what the hero would do, how to complete the drawing. These questions helped the children to form their own idea, to think over the work plan.
In addition, questions were asked aimed at creating a more expressive image. This helped the children to better feel the composition of the future drawing, to more clearly imagine the movements of the hero of the fairy tale, his clothes, her color. Most of the class time was used to complete the task directly.
At each lesson, in parallel with the visual tasks, technical tasks were also solved. The children were taught to use the brush freely, using various techniques. They explained that every stroke, every line is additional funds artistic image.
At the end of the lesson, during the analysis of the drawings, special attention was paid to those drawings where the movement of the hero was successfully conveyed, a good compositional solution was found.
Based on our analysis, we can say that:
The children studied with great pleasure, received good knowledge and a positive emotional assessment from the classes;
Under the influence of a purposeful display of works of fine art, the content side of the image in the drawing was enriched;
There was a pronounced emotional attitude to the hero, the plot;
The illustrative material helped the child to find various ways the embodiment of the idea - in the creation of expressive images, using color, form, composition.
The work done shows that the use of fairy-tale artistic images in working with children contributes to the formation of their ability to compositionally build their drawing, arrange it in accordance with the intended plan, convey the pose, movements, relationships of fairy-tale characters. The relationship of various types of classes in visual activity with other sections of the program helps the development of aesthetic perception in children, contributes to the formation of creative activity.
Also great job, we also held with parents, in the form of a consultation on the topic “Fairy tale - as a means of educating positive moral qualities in the personality of the child", "Working with a fairy tale" (Appendix I). Spent Parent meeting on the topic " Children's drawing- the key to the inner world of the child ”in order to draw the attention of parents to the value of the fine arts of children.
For teachers of preschool educational institutions, we made the following recommendations:
For more successful teaching of drawing to older preschool children, use fairy tales as a means of teaching drawing.
It is necessary to create a positive emotional background during the lesson to motivate the activity.
Use a variety of tools and materials to develop children's creativity and fabulousness in drawing.
Disclose characteristics characters of fairy tales for the correct transfer of the image and expressiveness of the picture.
To create a developing environment, a targeted selection of fairy tales for the development of the imagination of children in kindergarten and family.
It is necessary to develop a system of classes using fairy tales in various types of visual activity.
For the development of better painting skills, the development of fine motor skills and the ability to see the depth of the plot, give children “coloring books” at home and in kindergarten.
Use a variety of methods and techniques when working on expressiveness fabulous image in the drawing of preschoolers;
discuss and analyze drawings;
organize exhibitions of children's work;
tell children about artists, look at illustrations in books.
Combine frontal lessons and individual work with children on teaching drawing.
Plan work on visual activity, taking into account the relationship between subject and plot drawing.
Thus, our work was systematic, consistent and gave its results, which are reflected in the control stage of the experiment.
3. Comparative analysis results of experimental work.
The purpose of the control stage of the experiment is to reveal the role of fairy tales in the process of teaching children plot drawing, after the formative stage of the experiment, to prove or disprove the hypothesis put forward earlier.
At the control stage of the experiment, we carried out the same diagnostic methods, as in the ascertaining stage of the experiment.
Diagram of levels of development of visual skills in children of the older group
According to the control stage of the experiment, we can conclude that children of senior preschool age have increased the level of development of visual knowledge, skills in plot drawing, the use of means of expression in drawings, which was facilitated by our experimental and practical work and allowed us to achieve good results.
An increase in the level of development of fine knowledge, skills and abilities in children in all methods can be traced in Table 1.
Table 1
Comparative analysis of the results of experimental work by methods
Techniques
Material from the site nsportal.ru
In the studies of Silivon V.A., Gorunovich L.B., Sakkulina N.P., Komarova T.S., Kosminskaya V.V., Shaidurova N.V. and others reveals the role of various teaching methods in the formation of graphic skills in preschoolers, in the development of the artistic and figurative basis of activity, in the development of creative abilities in drawing.
Drawing - This is an important and favorite type of visual activity for children. Drawing develops the preschooler aesthetically, mentally and physically. At the same time, when teaching drawing, a set of tasks is solved: visual, technical, educational, developing.
In a preschool institution, mainly colored pencils, watercolors and gouache paints are used, which have different visual capabilities.
Training is carried out in the process of specially organized activities. It is better to conduct classes in subgroups, which are formed by the teacher, taking into account the level of preparation and psychophysical development of children. Preparation for visual activity consists of 3 interrelated processes:
Teacher training: methodical and practical (improving the ability to draw);
Preparing children: previous activities (observations, excursions, looking at pictures, illustrations, etc.), or preparing material.
Group room preparation.
Junior preschool age.
The development of visual skills begins with drawing straight, vertical and horizontal lines, first when completing the drawing started by the educator. Then the children are invited to independently draw lines in the indicated directions based on the perception of various objects.
More difficult is mastering the drawing of rounded lines and closed shapes, which requires the ability to subordinate the hand to precise movement and control of vision. The program provides for the acquaintance of children with color. The program involves mastering such technical skills as correctly holding a pencil, a brush, using them carefully, being able to pick up paint only on the bristle of a brush, etc.
Methods and techniques: joint creativity; sample examination; showing the mode of action; the presence of elements of problem-based learning; game techniques, visualization, word, method of passive movements, independent work according to plan.
Middle preschool age.
Subject drawing.
At the beginning of the year, where the proposed theme of the drawings is familiar to children, the complication of the program material is expressed in a more accurate transfer of the form and accurate coloring of the image.
New in teaching children to depict objects is the transfer of a structure with rhythmically arranged parts (top-bottom, on the one hand - on the other hand), as well as some proportional ratios of parts.
For the first time in this group, drawing of such an object as difficult to depict as a person is introduced.
Story drawing.
The topics offered to children are a simple house, near it, a tree grows, there is a bench; a house or a tree, a girl walks in rows; grass, flowers grow, the sun shines; chickens walk on the grass.
In these drawings, the guys do not show the plot development of the action. Children draw 2-3 objects side by side, between which there will be no effective connection.
Decorative drawing.
Children learn to brush straight lines and apply between them rhythmically repeating strokes or dots, alternate strokes in color, changing their position when the pattern becomes more complex.
In addition to stripes, children learn to place a pattern on other shapes - a square, a circle.
Methods and techniques: reference to the sample; study of the object of the image, showing the mode of action; problematic issues and situations; creation of drawings based on the wide use of the artistic word, game techniques, surprise moments and etc.
The educator, when considering an object, uses descriptive gesture and verbal explanation.
As sample toys are used (aesthetically designed with a clear emphasis on the shape of each part); dummies; natural things; products of artists and craftsmen; illustrations; works of painting.
Problematic issues, creating problematic situations make drawing not only more fun for children, but also contribute to the development of their ideas, imagination, mental actions.
senior preschool age. Teaching children of the senior group subject drawing is aimed at improving visual skills and developing the ability to create expressive images using various means of image.
Review and analysis the forms and positions of nature are accompanied outlining gestures, questions of the educator to the children.
Full show of the entire pattern in the older group is used less frequently than in the middle group. The display can be complete when it is necessary to explain the sequence of the image of the parts.
Problem-creative tasks act as the main direction of the complex activity of older preschoolers, in the center of which is drawing.
Children 5-6 years old with the help of leading questions of the educator when work analysis they can already notice both the positive aspects in the drawing and the errors by comparing with nature, the image, or with the ideas available in the mind.
The main principle of teaching children of any age to draw is visibility: the child must know, see, feel the object, phenomenon that he is going to depict. Children should have clear, precise ideas about objects and phenomena. There are many visual aids used in drawing classes. All of them are accompanied by verbal explanations. Consider the methods of teaching drawing in different age groups of kindergarten.
First junior group. First of all, the very activity of the educator is a visual basis. The child follows the drawing of the teacher and begins to imitate him.
At preschool age, imitation plays an active teaching role. A child who watches how a drawing is created also develops the ability to see features of form and color in their flat image. But imitation alone is not enough to develop the ability to think independently, portray, freely use the acquired skills. Therefore, the methods of teaching children are also consistently becoming more complicated.
In the works of V. N. Avanesova, it is recommended that children be gradually involved in the joint process of drawing with the teacher, when the child finishes the work he has begun - he draws strings to the drawn balls, stems to flowers, sticks to flags, etc.
The positive thing about this technique is that the child learns to recognize the depicted object, analyze the already drawn and missing parts, exercises in drawing lines (of a different nature) and, finally, receives joy and emotional satisfaction from the result of his work.
The teacher can use a demonstration of drawing techniques and a verbal explanation, and the children themselves will complete the task without a reference drawing. It is important here that the process of constructing a drawing by the teacher's hand should be well coordinated with the course of verbal presentation.
The word, supported by visual material, will help the child to analyze what he has seen, to understand it, and to remember the task better. But the child of the younger group has not yet developed the ability of memory to retain what is perceived with sufficient clarity for a long time (in this case, this is the teacher’s explanation): he either remembers only part of the instructions and completes the task incorrectly, or he cannot start anything without a second explanation. That is why the teacher must once again explain the task to each child.