The development of creative abilities in children of senior preschool age through visual activity. "Development of children's creative abilities in visual activity"
Sheludko Yulia Viktorovna
Job title: caregiver
Educational institution: MBDOU Kindergarten №251
Locality: Chelyabinsk
Material name: self education report
Topic:"Development of children's creative abilities in visual activity".
Publication date: 03.09.2018
Chapter: preschool education
« The development of the creative abilities of children in the visual arts
activities».
self-education report
Topic:
"The development of children's creative abilities in the visual
activities ».
Target:
Develop the need to create a new, unusual
product of creative activity
To enrich the creative aspirations of children to transform the world, to develop in
children non-standard thinking, freedom, emancipation,
individuality, the ability to peer and observe.
Tasks:
Improve technical and drawing skills.
Form an aesthetic taste. Develop creativity and imagination.
Expand understanding of the variety of non-traditional techniques
drawing.
Cultivate initiative, independence, activity.
To form the ability to work in a team and enjoy the result
collaboration.
If in working with children of preschool age in the pictorial
activities to use non-traditional ways of drawing, then
the formation of creative abilities will occur faster and more efficiently.
We all know that drawing is one of the greatest pleasures for
child. Drawing reveals his inner world. After all, drawing, child
reflects not only what he sees around, but also shows his own
fantasy. And we adults should not forget that positive emotions
form the basis of mental health and emotional
wellbeing of children. And since drawing is a source of good
mood of the child, we teachers need to maintain and develop interest
child to fine arts .
One of the important tasks of work on this topic I see the creation for everyone
child of a versatile developmental environment to give him the opportunity
express yourself. In the "center of art" I picked up didactic and
educational games; folders with drawing according to schemes, various
illustrated material on the topics “Gzhel”, “Dymka”, “Khokhloma”,
“Filimonovskie”, “Zhostovo” and others, created conditions for independent
activities, various illustrated material, were purchased
authentic handicrafts. During work
I awaken in the child faith in his creative abilities, individuality,
originality, belief that it is very important to create goodness and beauty,
bring joy to people.
Working with children, I came to the conclusion: the child needs the result that
causes him joy, amazement, surprise. And I chose to head to
his work - the use of non-traditional techniques in drawing. All
I build my work in a certain system, using traditional and
unconventional forms. Creativity is an activity in which
something new is created as a result of searching, using personal experience, and
as well as the knowledge and skills that the child received in the learning process.
The main form of education and upbringing is still thematic and
integrated lessons. The topics of these classes are aimed at
the formation of a sustainable interest of children in the art of their people, on
fostering a sense of love for the native land, the Motherland.
After all, it is very important what results the child will achieve, how he will develop
his imagination, and how he will learn to work with color. Usage
non-traditional techniques will satisfy his curiosity, help
overcome such qualities as: “fear of seeming ridiculous, inept,
misunderstood." Working in this direction, I was convinced that drawing
unusual materials, original techniques allows children to
experience unforgettable positive emotions. The result is usually very
effective (surprise) and almost does not depend on skill and ability.
Non-traditional image methods are quite simple in terms of technology and
reminiscent of a game. Unconventional techniques are the impetus for development
imagination , creativity , showing independence, initiative,
expressions of individuality. Applying and combining different methods
images in one picture , preschoolers learn to think independently
decide which technique to use to get a particular image
expressive. Drawing using non-traditional
image technique does not tire preschoolers, they retain a high
activity, performance throughout the entire time allotted for
task completion.
According to many teachers, all children are talented. That's why
it is necessary, in time, to notice, feel these talents and try to
it is possible to give children the opportunity to show them in practice, in real
life. Developing with the help of adults artistic and creative
ability, the child creates new work.
Coming up with something unique, he experiments every time
with ways to create an object .
A preschooler in his aesthetic development goes from elementary
visual-sensory impression before creating an original image
adequate figurative and expressive means. In this way,
it is necessary to create a basis for his creativity . The more the child sees
hears, the more significant and productive will be the activity of his
imagination .
With the help of non-traditional drawing techniques, it is possible to develop in children
intelligence, teach to think outside the box and activate creative
activity. “Drawing for a child is not art, but speech.
Drawing makes it possible to express what, due to age restrictions
he cannot express in words. In the process of drawing, the rational leaves
into the background, prohibitions and restrictions recede. At this moment the child
absolutely free."
Unconventional painting techniques show unusual combinations
materials and tools. Undoubtedly, the advantage of such techniques
is the versatility of their use. Technology for their implementation
interesting and accessible to both adults and children. That's why,
unconventional methods are very attractive to children as they
open up great possibilities of their own fantasies, desires and
self-expression in general.
To develop the creative abilities of children in my work were
used the following non-traditional drawing methods:
"My Aquarium" in the technique of stained glass drawing, using a box from
discs, cotton swabs, gouache.
"Golden fish" plasticineography
"Engine from Romashkovo" collective work: drawing by children on
separate boards of wagons with the subsequent addition of elements to
application technique.
"Red cat" drawing from spots
"Mallow" application, teamwork
"Ryabinka" prints of leaves with paints, berries with cotton swabs
"Snowman" drawing on colored paper with white paint
"Maslenitsa" team work, the elements are made using
elements of Dymkovo and Tver toys
"Tree in blossom" applique from buttons
Hand drawing
"Magic flowers" coloring in watercolor according to a drawing made by
wax crayons
"Cat Show" paper torn
“Childhood is an important period of human life, not preparation for the future
life, but a real, bright, original, unique life. And from how
childhood passed, who led the child by the hand in childhood, what entered into his
mind and heart from the surrounding world - from this to a decisive extent
depends on what kind of person today's baby will become.
Golubeva E. S. The role of arts and crafts in the development of creative
abilities of children [Text] // Actual tasks of pedagogy: materials of the III Intern.
scientific conf. (Chita, February 2013). - Chita: Young scientist publishing house, 2013. - S.
T. N. Doronova, T. S. Komarova, E. I. Ignatiev, N. N. Palagina, E. S. Romanova, T. T.
The development of creativity should begin in childhood.
Some believe that the imagination of children is more developed than that of adults. But it's not. After all, children still have little knowledge and experience, so the source material from which they create images is much poorer than that of adults, and the combinations of created images are also less diverse.
My goal is: Development of creative abilities of preschoolers through the use of traditional and non-traditional techniques of productive artistic activity. Development of creative abilities of preschoolers through the use of traditional and non-traditional techniques of productive artistic activity.
Teach children to find non-standard solutions to any problem;
Work out tasks that require children to have a sufficient or high level of creative imagination;
To create working conditions in a group in which children themselves strive to create individual creative works.
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Municipal Autonomous Preschool Educational Institution Kindergarten "Smile" of a general developmental type with priority activities for the physical development of children in the village of Bizhbulyak, Bizhbulyaksky District of the Republic of Bashkortostan
Generalization of experience on the topic:
"Development of children's creative abilities in visual activity in accordance with the Federal State Educational Standard"
Prepared by:
Teacher MADOU kindergarten "Smile" village
Bizhbulyak
I qualification category
I.B. Klyushnikova
With. Bizhbulyak, 2015
“Creativity cannot be taught, but this does not mean at all
What can not help the educator
its formation and manifestation” L.S. Vygotsky.
The development of the creative abilities of preschoolers is given particular importance in the context of the standardization of preschool education. The most effective means for the development of creative thinking and imagination of children is a productive activity that contributes to:
Development of the ability to think outside the box;
Readiness for creative activity;
The ability to create creative products of their own activities;
Formation of an aesthetic attitude to the world.
The novelty of the experience lies in the rethinking of the target and content guidelines for the artistic and aesthetic development of younger preschoolers through:
Use along with traditional methods of non-traditional methods of productive artistic activity;
Interrelations directly educational with independent and joint activity of children with the teacher;
Interactions with parents as active participants in the educational process.
Creativity is not a new subject of research, it has always attracted the attention of scientists and practitioners, however, the problem remains one of the most undeveloped.
My work is based on the following principles:
Development of interests, creativity and creative abilities of children;
Creating a situation of success, increasing the self-esteem of pupils;
Stimulate the emergence of benevolent relationships in the group.
Therefore, in my work, I set the following goals and objectives.
Purpose: Development of creative abilities of preschoolers through the use of traditional and non-traditional techniques of productive artistic activity.
Tasks:
Teach children to find non-standard solutions to any problem;
Work out tasks that require children to have a sufficient or high level of creative imagination;
To create working conditions in a group in which children themselves strive to create individual creative works.
The development of creativity should begin in childhood.
Some believe that the imagination of children is more developed than that of adults. But it's not. After all, children still have little knowledge and experience, so the source material from which they create images is much poorer than that of adults, and the combinations of created images are also less diverse. However, if we compare the role of imagination in childhood and adulthood, then, of course, in the life of a child, imagination manifests itself much more often and allows a much easier violation of reality than in an adult.
One of the priority tasks of the modern education system is the formation of a creative, bold and free-thinking person with a high culture, broad and deep, constantly updated and developing knowledge. Thinking, creativity, personal qualities are recognized as the necessary parameters of development. At the same time, the creative potential of the individual is not formed by itself, spontaneously; its development should be permanent and begin from the first days of a child's life.
The following factors influence the development of creativity:
Heredity;
Specially organized training;
The child's own activity, his pleasure and joy from mental activity;
The surrounding society (parents, teachers, children).
In order for children to form a holistic picture of the world, it is necessary to create this picture gradually, starting from kindergarten.
Children are gifted in all kinds of art, but they received the strongest recognition in art, and it is not surprising, because the product of their activity - drawings can be stored, exhibited, studied, as evidence of the talent of a small author. In the classroom, we develop the activity and independence of children. We help them remember what they saw interesting things around, what they liked, teach them to compare objects, activating the experience of the guys, that they already drew something similar, sculpted it, as they did. It is important to remember that all types of visual activity should be interconnected, because in each of them children reflect objects and phenomena of the surrounding life, games and toys, images of fairy tales, nursery rhymes, riddles and songs.
Being engaged in artistic and practical activities with children, introducing them to works of art, not only the tasks of artistic upbringing and education are solved, but also more global ones - the intellectual and creative potential of the child develops. Knowledge of the world, comprehension of phenomena in the process of active artistic and creative activity, feasible for preschool children, is one of the central tasks of the development of children in visual activity. In this regard, the main task of an adult is to create conditions and help form a holistic and multifaceted idea of the world around the child in the process of working on artistic images by means of fine arts. Thus, there is a need to find new approaches to the organization of the pedagogical process that ensure the success of the development and education of children.
First of all, it is:
1. Creation of an optimal object-spatial environment, including various components of the artistic and creative complex of the child's development, which will:
1.1. Contribute to the enrichment of the child with a wide range of aesthetic impressions.
1.3. Cause a desire to experiment with various artistic materials, thereby creating the basis for a variety of children's activities in a single cultural space.
2. Creation of a system of creative tasks for preschoolers on visual activity in a children's preschool organization, activating creative imagination, thinking, artistic and creative abilities, etc.
3. Providing maximum freedom for creativity and initiative. Broad approach to problem solving. Careful attitude to the process and the result of the child's activity.
4. The use of games and game exercises for the development of empathy in working with children, which is very important when creating an artistic image.
5. Using in work with children the principle of integrating activities of different content, different types of arts, which is relevant and organic in the direction of the intellectual, artistic and creative development of the child's personality.
Of great importance is the aesthetic design of the group, the selection of materials for classes, visual aids, paintings, toys, since the emotional well-being of children in the process of classes affects the final result.
This approach allows you to cover the educational process as a whole. And the teacher is given ample opportunities to create favorable pedagogical conditions that ensure the effectiveness of the development of the personality of a preschooler, taking into account his individual characteristics; helps to form the skills to be mobilely included in the search, to assign new ways of action, to understand the given pedagogical situation, to go beyond it, creatively varying and predicting the result.
It follows that the main task of the kindergarten is to help the child develop as a unique being, showing his creative potential, while choosing the best activities. Therefore, the purposeful implementation of trends in the development of the system of support and accompaniment of talented children plays an important role in unlocking their creative potential.
A full-fledged life of a child in every day: a comfortable stay in society, joint activities, and creative achievements - this triad of child development makes it correspond to the World of Childhood.
To develop the creative abilities of preschoolers, it is necessary:
Create conditions: prepare the necessary materials for creativity and find time to play with them;
Arouse the desire in the child to take the initiative, develop interest in the world around him;
Be patient with unexpected ideas and solutions;
Support the child when he is in the process of creative search;
Show interest in collaborative productive activities and experimentation with art materials;
Show sympathy for the child's attempts to express their impressions in productive activities and the desire to make it understandable to others.
I want to bring to your attention creative coloring.
An important distinguishing feature of the new generation of coloring pages is plot and interactivity. The child is no longer a passive figure with a pencil in his hand. Now he is a brave discoverer, participant or storyteller, creator of his own fantasy world.
The author addresses him from every coloring page with a question or a tempting offer: "Draw beetles and snails hiding in the foliage", "Find which pie has no match", "Turn the trees into colorful buttons", etc.
Thus, coloring not only engages the child in the fun world of cartoon stories, but guides him and helps develop his creativity. Often the drawings in them are unfinished, the stories break off at the most interesting place, forcing the child's fantasy to work.
Coloring pages of the new generation are not only pictures that need to be painted, but entire collections of tasks, games and entertainment that can keep a child busy for a long time.
The plots and themes of the coloring books have changed. Increasingly, they are devoted not to abstract scenes, but to actual stories and plots.
For example:
- "Doodle-Doodle" (author Nikalas Catlow) (9 issues) is a powerful impetus to the development of creative abilities, abstract and spatial thinking, a sense of color and freedom of expression in a child.
- "Reader-drawing. A fun fairy tale for everyone to see" (author Alexander Golubev)
The book presents a variety of tasks: find the differences, go through the maze, finish the missing details, fit new images into the background.
Fairy tales are loved by all children: both big and small. Even if you are two years old or a hundred.
When you read a fairy tale, all its characters come to life. Some of them ended up in this book. They brought the most interesting tasks from their fairy tales - you will have to remember the fairy tale or even read it again. Children on the pages will meet with their favorite fairy tales, perhaps they will take a fresh look at already known heroes. This book will be of interest to children who already know how to draw on their own, create whole images.
Conclusion: Purposeful productive artistic and creative activity contributes to the development of creative abilities of younger preschoolers. The use of non-traditional methods of artistic activity along with traditional ones stimulates creative activity, thinking, imagination, "immerse" the child in an atmosphere of creativity.
The role of the teacher, firstly, is to form the ability to “Look and See, Feel, Learn, Create”, equip children with skills (what can be done, from what, with what materials and equipment);
secondly, involve parents in active joint activities. Only in this way the child will have a desire to show creativity in independent productive activities.
Today I want to tell you about the amazing Taro Gomi albums for developing creativity in children. They are called so - albums for the development of creativity. Age category 3+.
Taro Gomi is a Japanese illustrator and children's writer. For more than 20 years, children around the world have been learning to draw and developing their creativity through his albums.
What are Creativity Scrapbooks?
Tarot Gomi albums are not just coloring books. This is a collection of amazing stories that a child will come up with and portray.
In an ordinary sketchbook, a blank white sheet lies in front of the child. What to draw? How to draw?
Same with coloring pages. They very quickly annoy the child, because, in addition to choosing a color (and even that is sometimes already predetermined), there is nowhere to show imagination.
Each page of the album for the development of creativity is a new story. The kid will be asked to continue it and draw. That's where there is a fantasy run wild! Who flies in a hot air balloon? What is on the plate? What will not go into the vacuum cleaner?
The album page consists of 3 parts:
- exercise
- coloring
- place for free drawing
Why are albums so popular?
Not only the idea of combining a sketchbook and a coloring book made Taro Gomi's albums popular.
The feature of these albums is illustrations, namely, an unusual style of drawing. Coloring pages are somewhat similar to scribbles, but that is why children like them.
There are no clear lines, contours, drawing familiar to us, adults, here.
Older children often worry that they can’t draw beautifully, kids don’t always paint neatly, they “leave” the contour. The illustrations in the album look like children's drawings, and therefore children are not afraid to draw. They can draw as they know how, and not as required by the sample.
There are three albums in the series:
- All sorts of goodies
- Animals
- Stories.
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Slides captions:
Generalization of work experience on the topic: "Development of children's creative abilities in visual activity in accordance with the Federal State Educational Standard" Prepared by: Teacher of the MADOU kindergarten "Smile" in the village of Bizhbulyak, I qualification category I.B. Klyushnikova
“It is impossible to teach creativity, but this does not mean at all that the educator cannot contribute to its formation and manifestation” L.S. Vygotsky.
Principles: - development of interests, creativity and creative abilities of children; - creating a situation of success, increasing the self-esteem of pupils; - Stimulate the emergence of benevolent relationships in the group.
Purpose: Development of creative abilities of preschoolers through the use of traditional and non-traditional techniques of productive artistic activity.
Tasks: - to teach children to find non-standard solutions to any problem; - work out tasks that require children to have a sufficient or high level of creative imagination; - to create working conditions in a group in which children themselves strive to create individual creative works.
Approaches in the organization of the pedagogical process that ensure the success of the development and education of children 1. Creation of an optimal subject-spatial environment, including various components of the artistic and creative complex of the child's development, which will: 1.1. Contribute to the enrichment of the child with a wide range of aesthetic impressions. 1.2. Guide their creativity. 1.3. Cause a desire to experiment with various artistic materials, thereby creating the basis for a variety of children's activities in a single cultural space.
Approaches in the organization of the pedagogical process that ensure the success of the development and education of children 2. Creation of a system of creative tasks for preschoolers in visual activities in a preschool organization that activates creative imagination, thinking, artistic and creative abilities, etc. 3. Providing maximum freedom for creativity and initiative. Broad approach to problem solving. Careful attitude to the process and the result of the child's activity. 4. The use of games and game exercises for the development of empathy in working with children, which is very important when creating an artistic image. 5. Using in work with children the principle of integrating activities of different content, different types of arts, which is relevant and organic in the direction of the intellectual, artistic and creative development of the child's personality.
Albums Taro Gomi for the development of creativity.
Albums Taro Gomi for the development of creativity
Creative coloring pages
Creative coloring pages
Creative coloring pages
Creative coloring pages
Creative coloring pages
Conclusion: Purposeful productive artistic and creative activity contributes to the development of creative abilities of younger preschoolers. The use of non-traditional methods of artistic activity along with traditional ones stimulates creative activity, thinking, imagination, "immerse" the child in an atmosphere of creativity. The role of the teacher, firstly, is to form the ability to “Look and See, Feel, Learn, Create”, equip children with skills (what can be done, from what, with what materials and equipment); secondly, involve parents in active joint activities. Only in this way the child will have a desire to show creativity in independent productive activities.
Thank you for your attention!
methodical development
"The development of creative abilities of preschool children
age through non-traditional forms of pictorial
activity"
Performer: Polyakova Anastasia Vladimirovna CONTENTS
INTRODUCTION………………………………………………………………………………………………. ......................................... 5 CHAPTER I. Theoretical foundations for the development of creative abilities in preschoolers in the classroom for fine arts 1.1 The essence of the concept of artistic and creative abilities ... ………….. 10 1.2. The problem of the development of creative abilities in the research of teachers and psychologists…………………………………………………………………. 1 4 1.3. Factors in the development of artistic and creative abilities…………… 19 1.4. Lessons in drawing with non-traditional techniques as a means of developing creative abilities…………………………………………………………………………………………………………………………………… 21 1.5 . Types and techniques of non-traditional drawing with art materials…………………………………………………………………………... 28 CHAPTER II. Experimental and search work on the development of creative abilities in preschoolers in visual activity 2.1. Diagnostic study of the initial level of creative abilities in children of primary preschool age……………………….. 37 2.2. The forming stage in the development of creative abilities in a preschool child in the visual activity ............................................................................................................................................................................ Diagnostic study of creative abilities in children of preschool age at the final stage of the experimentally search for .............................................................................................................................................................................................................................................................................................................................................................. …………………………………………………………………. 54 References…………………………………………………………………… 56 Introduction Modern society needs a creative person. Many of the abilities and feelings that nature endows us with, unfortunately, 2
remain insufficiently developed and undiscovered, and therefore unrealized in the future life. The presence of a developed imagination in mature years determines the success of any kind of professional activity of a person. Therefore, the development of creative abilities is one of the main tasks of preschool education. Great potential for the disclosure of children's creativity lies in the visual activity of preschoolers. Drawing and fine arts classes can give the child the necessary knowledge that he needs for full development, so that he feels the beauty and harmony of nature, to better understand himself and other people, to express original ideas and fantasies, to become a happy person. . All children love to draw when they are good at it. Drawing with pencils and brushes requires a high level of mastery of the drawing technique, developed skills and knowledge, and working methods. Very often, the lack of this knowledge and skills quickly turns the child away from drawing, because as a result of his efforts, the drawing turns out to be incorrect, it does not correspond to the child’s desire to get an image that is close to his intention or the real object that he tried to depict. . The relevance of the study is that visual productive activity using non-traditional visual technologies is the most favorable for the creative development of children's abilities, because. in it, different aspects of the development of the child are especially manifested. Non-traditional techniques are an impetus to the development of imagination, creativity, manifestation of independence, initiative, expression of individuality. Applying and combining different image methods in one drawing, preschoolers learn to think, decide for themselves which technique to use in order to make this or that image expressive. Drawing using non-traditional image techniques does not tire preschoolers, they maintain high activity, working capacity throughout the entire time allotted for the task. We can say that non-traditional techniques of poses - 3
they want, moving away from the objective image, to express feelings and emotions in the drawing, give the child freedom and instill confidence in their abilities. Owning different techniques and ways of depicting objects or the world around him, the child gets the opportunity to choose.
Subject of study:
development of creative abilities of younger preschoolers by means of non-traditional drawing techniques
. Target
research
: to reveal the influence of non-traditional drawing techniques on the development of children's creative abilities.
Hypothesis:
The development of children's creative abilities will be more successful if the experience of using non-traditional drawing techniques is brought into the visual activity. To achieve this goal, we set the following tasks: 1. To study the state of the problem of developing the creative abilities of children in the psychological, pedagogical and special literature. 2. Determine indicators and identify the level of development of visual creativity of children 3-4 years old in visual activity; 3. To develop the content and methods of work on the development of fine art in children 3-4 years old through non-traditional techniques; 4. Conduct a psychological and pedagogical experiment (stating, forming, control stages), aimed at more effective development of fine art in younger preschoolers. Research methods: theoretical: study and analysis of psychological-pedagogical and scientific-methodical literature on the research problem pedagogical observation, conversation; psychological and pedagogical experiment: formative, ascertaining and control stages; quantitative and qualitative analysis of the obtained data 4
The methodological basis of our research is based on: - an active approach (Vygotsky L.S., Nemov R.S., Zaporozhets A.V.); Pedagogical provisions on the patterns of artistic creativity and the ways of its development (Vetlugina N.A., Vygotsky L.S., Dyachenko O.M., Kazakova T.G., Komarova T.S., Sakkulina N.P., Flerina E.F., Yusov B.P.); provisions on the possibility of using non-traditional drawing techniques in the visual activity of preschoolers (Kazakova T.G., Lykova I.A., Marder L.D., Sakkulina N.P.).
Research Base
: Experimental and search work was carried out on the basis of MDOU No. 22 in Alapaevsk in the younger group.
I. Theoretical foundations for the development of artistic creativity
preschoolers
1.1. The essence of the concept of artistic and creative abilities
The purpose of this paragraph is to identify, based on the analysis of research by foreign and domestic scientists L.M. Wenger, L.S. 5
Vygodsky, A.V. Zaporozhets, T.S. Komarova, V.S. Mukhina, L.A. Paramonova, N.N. Poddyakova, E.A. Flerina and others. The essence of the concept of artistic and creative abilities. The analysis of scientific literature revealed that the development of creativity is influenced by the following components: inclinations, abilities, artistic and creative abilities, as well as the need for the formation of visual activity in preschool children. The concept of "creativity" ancient philosophers, such as Plato, considered: "everything that causes the transition from non-existence to being, the cause of the emergence of what did not exist before" (1, 115). The process of creativity in ancient times was considered as a cosmic creation, man was only a part of this cosmos, he is a speck of dust in the stream of cosmic whirlwinds. Contemplation was a manifestation of the highest form of creative activity. In the works of the philosopher I. Kant we find such an understanding of creativity. He believed that this was a hallmark of genius and contrasted creative activity with rational activity. According to Kant, geniuses create in the form of inspiration, unconsciously, intuitively, by analogy with how nature creates. From the point of view of the scientist N. A. Berdyaev, creativity is a moral duty, the purpose of man on Earth, his task and mission. “Creativity by its very essence is creativity from nothing…” (2, 117 – 118) The well-known psychologist A. Lilov expressed the concept of creativity as follows: “… creativity has its own general, qualitatively new features and characteristics that define it, some of which are already quite convincingly revealed by theory. These are the general natural moments of creativity: -creativity is a social phenomenon. - its deep social essence lies in the fact that it creates socially necessary and socially useful values, satisfies social needs, and, especially, that it is the highest concentration of the transformative role of a conscious social subject 6
(class, people, society) in its interaction with objective activity…” (2.139). Soviet teachers and psychologists, for example, L.M. Wenger, V.S. Mukhin, consider creativity as the creation by a person of objectively and subjectively new things. It is the subjective novelty that constitutes the result of the creative activity of preschool children. Drawing, cutting and pasting, the child creates a subjectively new, new for himself. The product of his creativity has no universal novelty and value. But its subjective value is significant. Creativity is characterized by such components as inclinations and abilities. The concept of "inclinations" scientists, for example, A.V. Zaporozhets, R.S. Nemov, N.S. Petrovsky is considered in two directions - from the standpoint of pedagogy and psychology. In his works, teacher B.A. Vvedensky gave such a definition of inclinations as innate prerequisites for the development of abilities, but in the presence of inclinations, the ability does not appear automatically, but only in the process of appropriate training and exercise. Deposits may vary. A person has two types of inclinations: congenital and acquired. The former are sometimes called natural, and the latter social. All abilities in the process of their development go through a series of stages, and in order for some ability to rise in its development to a higher level, it is necessary that it has already been sufficiently formed at the previous level. This latter, in relation to a higher level of development, acts as a kind of deposit. This position is held by the domestic psychologist R.S. Nemov (4, 379). A significant contribution to the development of the general theory of ability was made by the psychologist B.M. Teplov. In his opinion, the concept of "ability" contains three ideas. Firstly, abilities are understood as individual psychological characteristics that distinguish one person from another ... Secondly, not all individual ones are generally called abilities 7
features, but only those that are related to the success of any activity ... Thirdly, the concept of "ability" is not limited to the knowledge, skills or abilities that have already been developed by a given person (5.19). Abilities, B.M. Teplov, cannot exist otherwise than in a constant process of development. An ability that does not develop, which a person ceases to use in practice, is lost over time. R.S. Nemov in his research classifies abilities into natural or natural (basically biologically determined), general abilities, special, theoretical, practical, educational and creative. Creativity - the creation of objects of material and spiritual culture, the production of new ideas, discoveries. This is individual creativity in various fields of human activity. In the field of art, creativity is manifested especially brightly when creating art (paintings, sculptures, architectural monuments), musical (opera, ballet, symphony), literary (novels, novels, poetry), theatrical works (acting performance of a role, directing a play , decoration decoration, etc.). All these forms of manifestation of creativity are associated with such a concept as artistic creativity (4, 317). An analysis of the study of literature showed that creativity is the self-expression of the world of the artist, who not only cognizes, but also expresses his vision, his understanding of the environment. The result of his creative activity is an artistic image as a special kind of exploration of reality. The artistic image is a specifically sensual and, at the same time, a generalized vision and recreation of life, which is enriched with the emotional and aesthetic assessment of the artist. In a person who perceives an artistic image, the aesthetic reaction may vary depending on life experience, psychological attitude, 8
knowledge of the specifics of this type and genre of art, the features of the visual "language". When perceiving an artistic image, a special role belongs to the imagination and figurative thinking. A.I. Burov, B.T. Likhachev, B.S. Meilakh indicate that the development of figurative thinking can go from a simple image - a representation to an aesthetic generalization, from the perception of an integral image as a single phenomenon - to an understanding of the generalizations contained in it, disclosure their innermost meaning. Communication with a work of art is “immersion” in its spiritual content, which means. And into the inner world of the artist. Artistic creativity is manifested primarily in the selection of generalizations, certain life phenomena and in the individual uniqueness of their embodiment. The creation of an artistic image always presupposes a generalization of what has been seen or heard before, the selection of the typical in it, and at the same time the processing of all this material on the basis of creative imagination. So, in a developed, mature form of productive artistic creativity, its result and the processes accompanying it are important. According to the psychologist N.N. Poddyakov, the creativity of children is deeply personal in nature - it is determined by the uniqueness of the child's personality, the uniqueness of the accumulated experience of activity. Therefore, the process of creativity is extremely individual, and its development requires careful consideration of the individual characteristics of the child. Another important feature of children's creativity is that it is always saturated with bright positive emotions and thanks to this it attracts the attention of children who recognize the joy of their first "discoveries", the pleasure of their new drawings, buildings, etc. Vivid positive emotions become the basis for the formation of an acute need for children in one form or another of creativity. Thus, we can conclude that creativity is an integral part of society. After all, life is a process
creativity. We will understand creativity as a process of human activity that creates qualitatively new material and spiritual values. Creativity presupposes the presence of inclinations and abilities. Under the makings should be understood the necessary conditions for the development of abilities. Consequently, abilities are individual psychological characteristics of a person, which are a condition for the successful implementation of one or another productive activity. The creation of something new, valuable, non-standard, non-stereotypical occurs in various types of creative activity, this is facilitated by creative abilities. The ability to create not something alien to oneself, completely different from oneself, on the contrary, the ability to embody the idea that is in the person himself, determines the inner world, the state.
1.2. The problem of developing creativity in research
teachers and psychologists.
The problem of abilities is one of the most complex and least developed in psychology. Considering it, first of all, it should be taken into account that the real subject of psychological research is the activity and behavior of a person. There is no doubt that the source of the concept of abilities is the indisputable fact that people differ in the quantity and quality of the productivity of their activities. The variety of human activities and the quantitative and qualitative difference in productivity makes it possible to distinguish between types and degrees of abilities. A person who does something well and quickly is said to be capable of doing it. The judgment about abilities is always comparative in nature, that is, it is based on a comparison of productivity, the ability of one person with the ability of others. The problem of general and special abilities invariably attracted the attention of Russian psychologists back in the 1940s and 1960s. the last century. Well-known works in this area by prominent domestic scientists B.M. ten
Teplova, S.L. Rubinstein, B.G. Anan'eva, A.N. Leontiev, V.M. Myasishchev. F.N. Gonobolin, Kovalev and others (6, p. 37). N.V. Rozhdestvenskaya believes that “several ways are possible in the study of artistic abilities. One of them is related to the analytical approach to the problem. The task of the researcher in this case is to identify individual components that are effective for the development of this ability” (7, p. 52). The second way is the allocation of special psychological components of abilities, unknown in this type of psychology. For example, the eye is considered as a property of the abilities of an architect and artist, or empathy (a sense of empathy and understanding of the psychological state of another person) as a component of the ability to stage transformation. In this case, the researcher goes beyond the generally accepted psychological nomenclature and finds special processes and functions inherent in giftedness in any activity. The third way involves the allocation in the activity of individual operations or situations in which, perhaps, what is called “psychological qualification” (suitability for this activity) will predominantly manifest itself. A synthetic approach to the study of artistic abilities is also possible: one can direct efforts to find the relationship between the components of abilities. At the same time, abilities are studied as a whole, although consisting of components, but not reducible to their sum. B.M. Teplov in the article "Abilities and Giftedness" understands abilities as individual psychological abilities that distinguish one person from another. Abilities include only those features that are relevant to the performance of any activity. He believes that such manifestations as irascibility, lethargy, slowness, memory, etc. cannot be attributed to abilities. Abilities, Teplov believes, cannot be innate. At base 11
abilities "are some innate features, inclinations." Abilities exist only in development, and they are created and developed only in the process of activity. S.L. Rubinstein in his works "Fundamentals of General Psychology" and "Being and Consciousness". S.L. Rubinstein understands abilities as suitability for a certain activity. Abilities can be judged by achievements, by the pace of spiritual growth, namely: by the ease of assimilation and the speed of advancement. At the heart of abilities, according to S.L. Rubinstein, there are "hereditarily fixed prerequisites for their development in the form of inclinations." Inclinations are understood as the anatomical and physiological features of the human neuro-brain apparatus “Developing on the basis of inclinations, abilities are still a function not of inclinations in themselves, but of development in which inclinations enter as an initial moment, as a prerequisite.” Very valuable is the idea of S.L. Rubinstein that ability is a complex synthetic formation of a personality. N.S. Leites rightly emphasizes that "the more varied and meaningful the child's activity is, the fuller and brighter his abilities can develop." N.S. Leites also owns a chapter on abilities in the textbook "Psychology". It mainly reproduces abilities as conditions for successful performance of activities, combinations of abilities that ensure success, people's abilities as a product of history, the development of abilities in the process of activity, the relationship of abilities and inclinations, etc. B.G. Ananiev in his "Essays in Psychology" indicates that the ability is formed as a result of the development of higher functions, as a result of which the creative application of accumulated knowledge is possible. In the 70s. In the 20th century, two significant works were published summarizing the experience of theoretical searches in the field of studying abilities: “Problems of abilities” by K.K. Platonov and "Methodological aspect 12
ability problems” T.I. Artemyeva. The psychology of abilities is one of the important branches of psychological science. Research in this area is of great importance for the theory and practice of teaching and educating a creative person (6, p. 51). In modern psychology, various theoretical and methodological approaches to the study and formation of human abilities have been formulated, two of which are the most significant. In accordance with one, human abilities are considered as a prerequisite for successful learning, as a set of personal and other characteristics of a person, which allows the child to more successfully master a new system of knowledge and acquired activities, and solve creative problems. In accordance with another approach, abilities constitute the result, the result of training and education, based on the assimilation of special methods of intellectual activity (for example, heuristic techniques, methods of solving problems), which provide the possibility of successfully solving new problems in a given system of knowledge or in a given type of activity. Each approach has its own methodological and theoretical grounds. The first assumes that abilities to a greater extent form the basis of individual differences between people, the second is based on the position on the fundamental importance of the content and methods of organizing training and education for the development and formation of abilities. For research purposes, special problems are formulated in each of the approaches. However, for pedagogical psychology and for pedagogical practice, it is unlawful to oppose one approach to another, to oppose or ignore abilities as prerequisites for successful learning of abilities as a result of training.
1.3. Factors in the development of artistic and creative abilities.
For the development of artistic creativity, certain 13
conditions: a) experience of artistic impressions of images of art; b) some knowledge, skills in the field of various types of artistic activity; c) a system of creative tasks aimed at developing in children the ability to create new images, using the means of various types of art for this; d) creation of problem situations that activate creative imagination (“finish”, “think up yourself”, “finish the design yourself”); e) materially enriched environment for artistic activities. Using fine arts to develop the artistic and creative abilities of children, it should be remembered that fine arts have their own language, which helps the artist express thoughts, feelings, and his attitude to reality. Through the language of art, life is reflected by the artist in all its diversity. I.B. Astakhov writes that the pictorial language inherent in each type of art is not something external in relation to the specifics of the artistic image. Being a material form of expression, it represents one of the essential aspects of figurative specificity (18, p. 24). The language of fine art is diverse. It is necessary for the educator to know it, since in the classroom in kindergarten there is an active formation of artistic perception. Preschool children should be introduced to some features of the language of fine arts. In this regard, starting from the younger preschool age, the teacher first sets the task - to form children's emotional responsiveness to works of art (what feelings the artist conveys in the picture, sculpture) - then pays attention to how the artist talks about the surrounding reality, and already after that, he directs all attention to the means of figurative expression. Knowledge of the basics of art makes it possible to consider its place in 14
aesthetic education of children, taking into account their age and individual characteristics. However, one cannot mechanically transfer the features of the language of fine arts, characteristic of the work of professionals, into the activity of the child. Consider the means of expression specific to each type of fine art, and then turn to children's creativity. Among the arts, there are fine (painting, graphics, sculpture) and non-fine (music, architecture), although this division is conditional. This difference is not absolute, since all types of art express an attitude towards some aspect of life. And yet, the delimitation of the arts is decisive in the morphology (classification) of the arts, since it is based on the distinction of the object of display. Fine arts turn to reality as a source of the formation of the human world (V.A. Razumny, M.F. Ovsyannikov, I.B. Astakhov, N.A. Dmitriev, M.A. Kagan). Therefore, the basis is the image of the objective world. Thoughts and feelings are transmitted in them indirectly: only by the expression of the eyes, facial expressions, gestures, and the appearance of people can one learn about their feelings and experiences. In the course of the development of art, its pictorial and non-pictorial forms mutually nourish and enrich each other. For example, painting is distinguished by a tendency to increasingly use color to enhance the expressive beginning. In the drawing, there is a tendency towards characteristic lines, contrasts of dark and light. By teaching children to perceive works of art, we thereby make their pictorial activity more expressive, although it is quite obvious that in this process there is no mechanical transfer of the methods of an adult artist's activity into the activity of a child. Consider what relationships are established and how to act in order to help children create an expressive image in drawing, modeling. As a characteristic figurative and expressive means of painting, we 15
we consider color, thanks to which the artist has the opportunity to convey all the diversity of the surrounding world (the richness of color shades, the emotional impact of color on the viewer). At the same time, composition, the rhythm of color spots, and drawing matter in the picture. The artist can use all these means, strengthening or weakening their impact on the viewer. Color in a drawing is the most striking means that attracts the attention of children, emotionally influencing their feelings (E.A. Flyorina, N.P. Sakulina, V.S. Mukhina). The attraction of children to bright pure colors gives their drawings expressiveness, festivity, brightness, freshness. Children's perception of landscape, still life (in painting), graphic drawings, characteristic in content and expressiveness, contributes to the formation of imagery in their work. “Therefore, in the formation of the artistic and figurative beginning, the main attention, already from an early age, is directed to color as an expressive means with which you can convey the mood, your attitude to the depicted” (12, p. 31). So, in the first junior group, when drawing a pattern for cheerful nesting dolls, the teacher used pure colors of paints, drawing the children's attention to the combination of the background and the color of the bright spot: it was thanks to this that the perception of the image of cheerful elegant nesting dolls dressed in beautiful sundresses was formed. At every drawing or appliqué lesson, this method was the main one. Compared with kids, in the senior and preparatory groups, the teacher forms in children a more differentiated attitude to color, as a means of conveying mood, feelings (the color is sad, sad, gloomy; the color is cheerful, joyful, festive). This idea of color took place both in subject and plot drawing. For example, children were able to convey the mood of a cheerful Christmas tree holiday if they used a bright color palette. In each picture you can see a combination of contrasting bright, saturated 16
flowers that create a festive color in general. Another expressive means - the nature of the line, contour, the transfer of movement in the drawing of a preschooler - is the most specific. The nature of the lines of an adult artist is determined by the level of his skill, the ability to generalize. The drawing is most often concise, has the form of a sketch. Drawings can be line, color. Compared to painting, the language of a graphic work is more stingy, concise and conventional. The artist A. Kokorin writes: “Drawing always seems to me a miracle. The artist has a sheet of white paper, a pencil or ink. Operating only in black and white, he, like a magician, creates his own world of plastic beauty on this simple sheet of paper. Indeed, in drawing, color does not play such a role as in painting, since the drawing can be made with graphic materials: pencil, charcoal. However, the work done in watercolor, gouache, pastel can be very picturesque. Preschool children gradually, starting with the simplest strokes, move on to the most complete depiction of objects and phenomena. The desire to convey color gives brightness and juiciness to the drawings of older preschoolers. When introducing children to another type of fine art - sculpture, which conveys the three-dimensional shape of objects, people, animals, all attention is fixed on the nature of the image of the character. Mastering different methods of examining sculpture provides additional information about the image of a person, an animal. In the studies of N.A. Kurochkina, N.B. Khalezova, G.M. Vishneva shows the sequence of formation of the aesthetic perception of the sculptural image in preschoolers. In the work of G.M. Vishneva shows the specificity of the perception of the artistic image in sculpture, the possibility of enriching the work on modeling under the influence of examining sculptures of small forms. Analyzing the work of children, it should be noted the methods of mastering modeling from a whole piece (as a technique of sculptural modeling), modeling from different materials 17
(the motivation for the choice is dictated by the nature of the image). Artistic perception is formed most fully at the senior preschool age, when children can independently convey a sculptural image, give assessments, and express aesthetic judgments about it. The methods of forming artistic perception are different: the teacher uses conversations about art, sculptures, game situations in which children compare, recognize images that are different in artistic expressiveness. In addition, the use of sculpture in speech development classes, storytelling, inventing stories about these characters not only enriches children's knowledge, but also develops their imagination. The dictionary of children is replenished with figurative expressions, in which the volume of children's knowledge about this art form is manifested. The teacher, teaching children to consider works of different types of fine art, gradually introduces them to beauty. On the other hand, this has an impact on the ways of figurative expressiveness by which children convey their impressions of the surrounding reality in drawing, modeling. With the relationship between learning and creativity, the child has the opportunity to independently master various artistic materials, experiment, find ways to convey the image in drawing, modeling, and appliqué. This does not prevent the child from mastering those methods and techniques that were unknown to him (the teacher leads the children to the possibility of using variable techniques). With this approach, the learning process loses the function of direct following, imposing methods. The child has the right to choose, to search for his own version. He shows his personal attitude to what the teacher offers. Creating conditions under which the child emotionally reacts to paints, colors, shapes, choosing them at will, is necessary in the creative process. Thanks to the perception of artistic images in the visual arts, the child has the opportunity to more fully and vividly perceive the environment.
reality, and this contributes to the creation by children of emotionally colored images in fine art. In addition, art helps to form an emotional and valuable attitude towards the world. The need for artistic activity is connected, first of all, with the desire of the child to express himself, to assert his personal position (18, p. 44).
1.4. Classes in drawing with non-traditional techniques, as a medium
the development of creative abilities.
Experience shows that one of the most important conditions for the successful development of children's artistic creativity is the diversity and variability of work with children in the classroom. The novelty of the environment, the unusual beginning of work, beautiful and diverse materials, non-repeating tasks that are interesting for children, the possibility of choosing, and many other factors - this is what helps prevent monotony and boredom from children's fine arts, provides liveliness and immediacy of children's perception and activity. It is important that every time the educator creates a new situation so that the children, on the one hand, can apply the knowledge, skills and abilities they have learned earlier, and, on the other hand, look for new solutions, creative approaches. It is this that evokes positive emotions in the child, joyful surprise, and a desire to work creatively. T.S. Komarova points out: “However, it is often difficult for educators to bring variety to all moments of work and to free children's activities, to come up with many options for classes on topics. Drawing, sculpting, appliqué, as types of artistic and creative activity, do not tolerate a pattern, stereotyping, once and for all established rules, but meanwhile, in practice, we often encounter just such a situation (“A tree is drawn from the bottom up, because it grows like that, and the house is like this, ”etc.)”. So that children do not create a template (draw only on a landscape sheet), sheets of paper can be of different shapes: in the form of a circle (plate, saucer, napkin), square (handkerchief, box). Gradually baby start - 19
You need to understand that any sheet can be chosen for the drawing: this is determined by what is to be depicted (8, p. 18). It is necessary to diversify both the color and the texture of the paper, since this also affects the expressiveness of the drawings, applications and puts children in front of the need to select materials for drawing, think over the color of the future creation, and not wait for a ready-made solution. More variety should be introduced into the organization of classes: children can draw, sculpt, cut and paste, sitting at separate tables (easels), at two or more tables moved together; sit or work standing at tables arranged in one row, at easels, etc. It is important that the organization of the lesson corresponds to its content, so that it is convenient for children to work. Of particular interest to children is the creation of images on the themes of fairy tales. Children love fairy tales, they are ready to listen to them endlessly; Fairy tales awaken children's imagination. Each kid has his favorite works and fairy tale characters, so the offer to draw pictures for fairy tales or fashion magical characters always evokes a positive response from children. Nevertheless, drawing, applications, modeling according to the plots of fairy tales must be diversified. So, all children can create an image of the same character. In this case, when examining finished works together with the kids, one should pay attention to the difference in pictorial solutions, to some original finds. For example, if the children drew a cockerel from the fairy tale "The Fox and the Hare", you can then ask them to choose the largest cockerel, note who has the most beautiful, brave cockerel. You can hold a lesson in which children will depict different fabulous animals. Another time they draw illustrations for one fairy tale, and everyone decides for himself what picture he will draw. The lesson can go like this: the guys together create illustrations for their favorite fairy tale, and then take turns telling the episode that they depicted. Children with great pleasure respond to the suggestion of the educator to draw or cut and paste a general picture to some work, for example, “Dunno in the Sunny City” by N. Nosov, “Cheburashka and 20
crocodile Gena" by E. Uspensky, "Pot of porridge" by the brothers Grimm, etc. When offering children to create images on the themes of fairy tales, it is necessary to diversify the materials. The more diverse the conditions in which visual activity takes place, the content, forms, methods and techniques of working with children, as well as the materials with which they act, the more intensively children's artistic abilities will develop.
1.5. Types and techniques of non-traditional art drawing
materials.
Today there is a choice of options for art preschool education, and it is determined by the presence of variable, additional, alternative, author's program and methodological materials that are not scientifically substantiated and require theoretical and experimental verification in the specific conditions of preschool educational institutions. The accessibility of using non-traditional techniques is determined by the age characteristics of preschoolers. Given the age characteristics of preschoolers, mastering different skills at different age stages, it is recommended to use special techniques and techniques for non-traditional drawing. So, for children of younger preschool age, when drawing, it is appropriate to use the technique of "drawing with hands" (palm, edge of the palm, fist, fingers), imprint with stamps from potatoes. And at older preschool age, children can master even more difficult methods and techniques: 1. drawing with sand; 2. drawing with soap bubbles; 3. drawing with crumpled paper; 4. blotting with a tube; 5. screen printing; 21
6. subject monotype; 7. regular blotting; 8. plasticineography. Each of these techniques is a little game. Their use allows children to feel more relaxed, bolder, more direct, develops imagination, gives complete freedom for self-expression. Let's take a closer look at each of these techniques. PALCEGRAPHY. In the course of finger painting lessons, children reproduce various movements with their palms (slapping, slapping, smearing), fingers (smearing, sticking), which the teacher accompanies with words of approval. Acquaintance with the technique of "fingergraphy" begins after mastering the basics of drawing with palms: it is more difficult and requires more purposeful movements. Children with curiosity, joy and pleasure smear traces of paint on their palms and on a sheet of paper. After several training games, a motor rhythm appears on paper, as children repeat the movements with their palms and fingers many times. This rhythm attracts children, becoming an additional stimulus for actions with paint and increasing interest in them. In the process of learning, you can offer children to finish drawing images of animals (dipping a finger in paint, draw eyes, a nose, a mouth, a tail, while using jerky lines, horizontal, arcuate lines). When drawing with a palm - doshka, children first leave a handprint on a piece of paper, and then finish - draw the image of an animal according to the instructions of the educator. At the first stage, the teacher himself can finish drawing, showing by his example the principle of the image. In the middle group, children can independently depict an animal from their palms using their own memories and imagination. So, a bird, a cat, a cockerel, an elephant calf can turn out from the palm. PRINT. 22
Drawing with potatoes attracts children with its unusualness. Commonly used material is used to depict animals. To do this, the child presses the signet against the ink pad and puts it on the paper. To get a different color, both the boxes and the signet change. A signet is one of the most interesting ways for a child to make a drawing. Its origins lie in the ancient crafts of decorating fabric on a brindle, using gingerbread boards, etc. This technique allows you to depict the same object many times, composing different compositions from its prints. Before printing, it is necessary to make the tools themselves - seals. First, the teacher should help the child make prints. To do this, take a potato, cut it in half and put on a smooth cut with a ballpoint pen - a signet drawing - a certain animal, then carefully cut out the shape along the contour so that it rises above the handle to a height of 1 - 1.5 cm. The handle should be comfortable for the hand. One of the varieties of prints is tampon or imprint. For this exciting activity, you need to make a swab out of gauze or foam rubber, foam, crumpled paper. The stamp pad will serve as a palette. Children pick up paint, and with a soft touch on the paper draw something fluffy, light, airy, transparent or prickly. This technique is best suited for drawing animals, as it conveys the texture of the furry surface of the object. PUCKING TECHNIQUE. In the middle group, the technique of poking with a hard brush is also often used. The proposed drawing method does not require children to skillfully depict thin lines that carry an important artistic load. It is enough to know and be able to draw geometric figures in various combinations, and not necessarily of the correct form and thin straight lines. In the process of painting with pokes, these inaccuracies do not affect the perception of the drawing, and the drawn objects turn out to be closer to real ones. For coloring - 23
nia, thick gouache and a hard brush are needed. The method of drawing with a poke for younger preschoolers is as follows: the teacher draws a contour with a simple pencil in advance on a sheet of paper for children. Children first examine and trace the contour with their finger, naming its parts aloud: head, ears, eyes, tail, etc. Having begun to draw, they should poke with a brush along the contour line from left to right, leaving no gap between the poke; then, with arbitrary pokes, the surface inside the contour is painted over. Children draw the remaining necessary details of the drawing with the end of a thin brush. Older children should independently draw the contours of objects with a simple pencil or immediately with a brush, using geometric shapes in various combinations. The painting technique is the same. SPRAY. A rather complicated technique is spraying. Instead of a brush, you can use a toothbrush and a stack. With a toothbrush in the left hand, we will pick up a little paint, and with a stack we will draw on the surface of the brush - with quick movements, towards ourselves. The splashes will fly onto the paper. In this case, it is possible to change the direction of movement of the hand (vertically, horizontally, obliquely, wavy, in circles), change the size of the specks, bringing the spray closer or further away from the plane of the workpiece. Several paints are used at the same time, which helps to create a multi-color pattern. Using stencils, you can make images of a wide variety of animals: African residents, Zoo, Farm animals, etc. DRAWING WITH SOAP BUBBLES. One of the modern ways of non-traditional drawing is painting with soap bubbles. To do this, you need shampoo, gouache, water, a sheet of paper and a cocktail tube. Shampoo, a little water are added to the gouache, stir and blow into the tube until foam forms. Then attach a sheet of paper to the foam, draw the details. BLOTGRAPHY. 24
This technique developed from one interesting visual technique - blotography. This will require paper, ink or liquid gouache. In the center of the sheet you need to drop a blot, the paper needs to be tilted to one side, then to the other or blow on the blot. Thus, you can get the original image of the animal, the child's fantasy will tell you who it looks like. MONOTOPY. Monotype can also be used to depict animals. The first way is to fold the sheet in half symmetrically. On the sheet, you can depict the reflection of a bear cub in the mirror surface of the water. To do this, take an album sheet and fold it in half, tint the upper part with light yellow (sky), and the lower part with blue (water). After drying the sheet, we apply a drawing of a bear cub with a pencil, and then cover it with gouache, then fold the drawing along the fold line and iron it to make an imprint on the underside of the sheet, we get a mirror image of the bear cub in the water. The second way - we apply paint on a plastic board, then with a wooden stick or a brush handle we scratch the image of objects - figurines of birds and animals, put a sheet of paper on top, lightly press and remove, an imprint is obtained on the sheet DRAWING WITH SALT. An unconventional image of animals and objects can be obtained when painting with salt. First, you need to make sketches on paper, moisten it with water with a brush, sprinkle with salt, wait until it absorbs water, pour in excess salt. When everything is dry, draw the missing elements and color. Salt is good for drawing birds, insects (babos - check, bugs), marine animals (jellyfish, octopuses). Drawing with a stroke allows you to focus on the shape, structure of animals, their movements. With the help of a stroke, you can tell about the character of an animal, convey its pricklyness or softness, kindness or aggressiveness, you - 25
develop a personal relationship with the animal. Hatching is great for depicting hedgehogs and porcupines. QUILLING. Another rather interesting technique for drawing is quilling - a technique for making miniatures from double-sided colored paper. To work, it is necessary to cut strips of colored paper of the same width (approximately 0.5 - 0.7 cm, length, depending on the elements being performed, from 2 to 25 cm). We also need a small stick (toothpick or knitting needle) on which we will wind the strips, PVA glue, cardboard for the base (too thin cardboard will warp from the glue). We wind a strip of paper on a tooth-cleaning and remove it carefully, loosening it a little, glue the ends of the paper with glue. NITCOGRAPHY. There is also the technique of "drawing with threads" (nitkography). Simple threads, gouache of different colors, drawing paper, paint sockets, a container for used threads are used. It is necessary to make pieces of thread (2-5 pieces) 7-10 cm long. Dip one piece of thread in paint and drive it along a sheet of drawing paper in different directions. To use gouache of a different color, take a clean thread. DRAWING WITH A CARDBOARD EDGE. In the technique of “drawing with a cardboard edge”, strips of cardboard are used (height - 2 cm, length from 2 cm to 6 cm, it depends on the size of the object to be depicted; cardboard width is about 2 mm), drawing paper, gou - ash , sockets for paint, brush. Here, the edge of the cardboard needs to be painted with gouache, leaned against the paper and drawn over the sheet, leaving a trace of the paint. Depending on what object is depicted, the movement of cardboard can be straight, arcuate, rotational. CRUMPTY DRAWING. For the “crumpled drawing” technique, you need drawing paper, colored wax crayons, a large brush, gouache of different colors, paint sockets, 26
brush stand, water jar, sponge. Drawing technology: draw an object on a piece of paper with colored crayons, make a background around the object with wax crayons. The sheet of paper must be completely covered. Gently crease the drawing so as not to tear the paper, then straighten it, paint over the background and the picture with gouache. Without waiting for the paint to dry, wash off the gouache with a sponge under running water. The ink should remain in the cracks in the paper. Many of the above techniques can be used in one - collage. In general, the following is important: it is good when a preschooler is not only familiar with various image techniques, but also does not forget about them, but uses them to the point, fulfilling a given goal. For example, a child decided to draw summer in a village, and for this he uses a bitmap (grass), and the child draws the sun with his finger, draws fluffy animals with foam rubber, cuts out other animals from postcards, depicts the sky and clouds with fabrics, etc. There is no limit to improvement and creativity in visual activity. It should be noted that the success of teaching non-traditional techniques largely depends on what methods and techniques the teacher uses to convey certain content to children. So, when teaching drawing, a wide variety of techniques and a wide variety of materials can be used. Conclusion: Original, non-traditional drawing attracts with its simplicity and accessibility, reveals the possibility of using well-known objects as art materials. It can be said with confidence that the variety of techniques contributes to the expressiveness of images in children's works. Mastering the technique of image gives children true joy if it is built taking into account the specifics of the activity and age of children. They are happy to cover with spots, strokes, strokes one sheet of paper after another, depicting either autumn leaves swirling in the air, or snowflakes smoothly falling to the ground. Children boldly take up art materials - 27
ly, they are not afraid of diversity and the prospect of independent choice. They give great pleasure to the process of implementation. Children are ready to repeat this or that action many times. And the better the movement is, the more pleasure they repeat it, as if demonstrating their success, and rejoice, drawing the attention of an adult to their achievements. Many preschool institutions are experimenting with non-standard drawing techniques, this has its own plus, because then children can more easily hold their attention and gain a unique experience. But techniques and techniques should be chosen based on their simplicity and effectiveness. When using it, the child should not have any difficulties and difficulties. When using this technique, the process of creating an image and obtaining the final result should be interesting and attractive to the child.
CHAPTER 2. Experimental and search work on the development of creative
abilities of preschoolers in fine arts
2.1. Diagnostic study of the initial level of creative
28
abilities in children of primary preschool age
At the initial stage of experimental and search work, the following goal was set: to identify the basic level of creative abilities of children 3-4 years old in visual activity using non-traditional methods. To achieve the main goal, we carried out diagnostics according to the method of Komarova T.S. in two directions: analysis of products of children's activities; Identification of the level of creative development. 1. Criteria for the formation of skills: Transfer of the form. Structure of the object. Transfer of the proportion of the subject in the image. Composition. Transmission of motion. Color. 2. Criteria for creative development: Productivity. Development of the image. Originality. Quality. Pedagogical diagnostics of children's mastery of visual activity. Analysis of the product of activity: 1. Transfer of the form: the form is transferred accurately - 3 points; there are minor distortions - 2 points; significant distortion, the form failed - 1 point. 2. The structure of the object: the parts are located correctly - 3 points; 29
there are minor distortions - 2 points; parts of the object are located incorrectly - 1 point. 3. Transfer of the proportions of the object in the image: the proportions of the object are observed - 3 points; there are minor distortions - 2 points; the proportions of the object are betrayed incorrectly - 1 point. 4. Composition. a) location on the sheet: all over the sheet - 3 points; on the strip of the sheet - 2 points; not thought out, is random - 1 point. b) the ratio of the size of different images: proportionality is observed in the image of different objects - 3 points; there are minor distortions - 2 points; low level - the proportionality of different objects is transferred incorrectly - 1 point. 5. Transfer of movement: movement is transferred quite clearly - 3 points; movement is conveyed indefinitely, clumsily - 2 points; static image - 1 point. 6. Color. a) color scheme of the image: the real color of the objects - 3 points; there are deviations from the real color - 2 points; the color of the objects is conveyed incorrectly - 1 point; b) a variety of colors of the image, corresponding to the idea and expressiveness of the image: multi-color gamut - 3 points; the predominance of several colors or shades (warm, cold) - 2 points; indifference to color, the image is made in one color - 1 point. thirty
Analysis of the activity process: 1. The nature of the line: a) the nature of the line: continuous - 3 points; dashed line - 2 points; trembling (hard, rough) - 1 point. b) pressure: medium - 3 points; strong - 2 points; weak - 1 point. c) coloring: with small strokes that do not go beyond the contour - 3 points; large sweeping movements, sometimes going beyond the contour - 2 points; chaotic lines (strokes) that do not fit within the contour - 1 point. d) regulation of pressure force: regulates the force of pressure, coloring within the contour - 3 points; regulates the force of pressure, when coloring sometimes goes beyond the contour - 2 points; does not regulate the pressing force, goes beyond the contour - 1 point. 2. Level of independence: performs the task independently, without the help of an adult, if necessary asks questions - 3 points; requires little help from an adult, rarely asks an adult about questions - 2 points; support is needed, stimulation of activity by an adult, he himself does not turn to an adult with questions - 1 point. 3. Creativity: 1. independence of the idea; 31
2. originality of the image; 3. striving for the most complete disclosure of the idea. All estimates of indicators for each criterion are summarized. The highest number of points that a child can receive: in the second junior group - 30 points, in the middle group - 33 points, in the senior and preparatory group - 36 points. On the basis of the accumulated amount, children can be differentiated according to the level of mastery of visual activity. Criteria and assessments Low level 10-16 points. The average level is 17-23 points. High level 24-30 points. Diagnostic examination to identify the level of creative development. Task for drawing six circles: the children were given a standard landscape sheet of paper with circles of the same size (4.5 cm in diameter) drawn in two rows (three in each) on it. The children were asked to look at the drawn circles, think about what kind of objects they could be, finish drawing and coloring them so that it turned out beautifully. Tasks should reflect the level of richness of impressions, the complexity of the creative process, the level of development of the imagination in the aggregate of depicted images that have a common basis (circle). The performance of this task was assessed as follows: according to the criterion of "productivity" - the number of circles designed by the child into images, and was the number of points received by the child. So, if all six circles were formed into images, then a score of 6 was set, if 5, then the score was 5, etc. All points were summed up. The total number of points made it possible to determine the percentage of efficiency in completing the task by the pupils of the entire group as a whole. 32
The next criterion is “development of the image”, this criterion determines the completeness and variety of the signs and details of the depicted objects highlighted by the child and conveyed in the drawing and is evaluated on a three-point scale. 1 point - drawing with the transfer of one feature (either drawing or painting over); 2 points - drawing with the transfer of several (2-3) features; 3 points - drawing with the transfer of more than three features. 1 point can be added to the total score if the details that most clearly characterize the image are transferred. The results of the children's performance of the task according to the criterion of "originality" were evaluated according to a three-point system. The grade "3" - a high level - was given to those children who endowed the object with original figurative content, mostly without repetitions (for example, a yellow, red, green apple or muzzles of animals - a hare, a bear, etc.), or a close image. The grade "2" - the average level - was given to those children who endowed all or almost all circles with a figurative meaning, but whether almost literal repetition was allowed (for example, a muzzle) or they decorated the circles with very simple objects that are often found in life (a ball , ball, apple, etc.). Grade "1" - a low score - was given to those children who could not give a figurative solution to all circles, the task was not completed to the end and carelessly. Not only the originality of the figurative solution was evaluated, but also the quality of the execution of the drawing (variety of colors, thoroughness of the execution of the image: characteristic details were drawn or the child was limited only to the transfer of the general form, as well as the technique of drawing and painting), the use of color in drawing and coloring images can be evaluated on a 3-point system. 1 point - use when painting 1-2 colors; 33
2 points - the use of 3-4 colors in the drawings in general; 3 points - the use of more than 4 colors in the transfer of images, an expressive solution as a whole. The total number of points received by each child, all children in each group (total score) is calculated, then the average score for the group is displayed (the total number of points received by the group is divided by the number of children in it). These indicators for each group make it possible to compare groups as a whole and individual children among themselves. And the total number of individual images created by children is calculated. The evaluation of the test results was carried out in two directions: 1) individually for each child (highlighting the originality of the images created by the children); 2) for the group as a whole (displaying the total number of points, the average score, the total number of images), and this allowed us to assess not only the level of development of creativity, but also the level of educational work in the group. Analysis of the results of the task. High level - endows objects with original figurative content, mainly without repeating the same close image. Medium level - endows all or almost all circles with a figurative meaning, but allowed almost literal repetition (for example, a muzzle) or designed objects with simple objects that are often found in life (ball, ball, ball, etc.) Low level - not I was able to give a figurative solution to all circles, the task was not completed to the end and carelessly. The analysis of development and enthusiasm for the process of creativity was carried out on the basis of purposeful pedagogical observation. We tracked how the children reacted to the tasks, that is, their readiness for creativity, the creation of original ideas, the desire to bring what they started to an aesthetically significant result (observance of proportions, refinement of details, etc.) with a variety of emerging associations in the implementation of ideas. 34
After conducting a diagnostic study at the initial stage, we performed quantitative and qualitative data processing. Quantitative characteristics of the levels of development of creative abilities are presented in the following tables: Table 1
Pedagogical diagnostics of mastery of visual arts by children
activity (at the initial stage)
№ p / p F.I. child's shape color structure proportions composition Transmission of movement Total number of points 1 1 Egor Z. 1 1 1 1 1 1 1 7 2 2 Anton M. 1 1 1 1 1 1 1 7 3 3 Timofey M. 1 1 1 1 1 1 1 7 4 4 Sonya B. 1 1 1 1 1 1 1 7 5 Dasha N. 1 1 1 1 1 1 1 7 6 6 Bogdan K. 1 1 1 1 1 1 1 7 7 7 Liza N. 1 1 1 1 1 1 1 7 8 8 Varya P. 1 1 1 1 1 1 1 7 9 9 Masha Sh. 1 1 1 1 1 1 1 7 1 10 Serezha K. 1 1 1 1 1 1 1 7 1 11 Kira G. 1 1 1 1 1 1 1 7 1 Kolya Sh. 35
12 1 1 1 1 1 1 7 1 13 Liza P. 1 1 1 1 1 1 1 7 1 14 Alisa Z. 1 1 1 1 1 1 1 7 1 15 Sava S. 1 1 1 1 1 1 1 7 Total points according to criteria 15 15 15 15 15 15 15 1 05
Table 2 The results of the survey to identify the level of creative development No. Name of the child Productivity Originality Elaboration of the image Quality points 1 Egor Z. 1 1 1 1 4 2 Anton M. 1 1 1 1 4 3 Timofey 1 1 1 1 4 4 Sonya B. 2 1 2 2 7 5 Dasha N. 1 1 1 1 4 6 Bogdan K. 1 1 1 1 4 7 Liza N. 1 1 1 1 4 8 Varya P. 2 1 1 2 6 9 Masha Sh. 1 1 1 1 4 10 Serezha K. 1 1 1 1 4 11 Varya G. 1 1 1 1 4 12 Kolya Sh. 2 1 2 2 7 13 Liza P. 1 1 1 1 4 14 Alisa Z 1 1 1 1 4 15 Sava S. 2 1 1 2 6 Total points 19 1 5 17 19 70 Thus, the initial stage of the experimental-search work showed that the development of the skills and abilities of children in the younger group is at a low level. Children can draw shaping objects, but they cannot correctly combine proportions and compose a composition. The use of colors in the drawing is weak. There is no creative application of various drawing techniques. Junior children up to - 36
of school age, they were not able to arrange all the circles into images; many children have a frequent repetition of images, the design of circles into very simple images that are often found in the life of objects (for example, the sun, a ball). From - here we can conclude that the level of development of the imagination of the children of the younger group is low. After the diagnosis, we found that children have insufficiently developed imagination, fantasy, children reluctantly draw pictures, use monotonous techniques. After carrying out diagnostics and observation, we made a plan - classes for a year in the section of fine art. Where they included an unconventional drawing technique to develop the creative abilities of children.
2.2. Formative stage of development of creative abilities
in preschoolers in visual activity
The purpose of this stage was to develop the creative abilities of children of primary preschool age in visual activity using non-traditional methods. The set of classes we developed was designed taking into account pedagogical conditions that stimulate the creative qualities of children: 1. the lesson should be based on cooperation, co-creation; 2. the teacher must respect the desire of the child to work independently; 3. the teacher must refrain from unnecessary at a particular moment of interference in the process of creative activity; 4. it is necessary to encourage maximum enthusiasm for joint activities; 5. The teacher must take into account the age and individual characteristics of children.
Organization of classes
. Art classes are usually held in the morning, when the workplaces can be well lit. 37
In the second junior group, classes are held for 15-20 minutes. The process of working on the image is associated with a more or less long stay of the child at the table, where his movements are limited. Therefore, the question of observing the correct landing at the table is of great importance. The preschooler should sit up straight without leaning his chest on the table, both forearms should lie on the table, especially while drawing. The legs should be bent at the knees at a right angle. Furniture in the study room must be selected in accordance with the growth of children. Tables and chairs should be correctly placed in relation to the light source, at a distance of about half a meter from the windows. With good lighting, visual acuity improves, that is, the ability to clearly distinguish the shape, details of an object at a distance. From a medical point of view, daylight sunlight falling from the left side is considered the best lighting so that the shadow from the hand does not obscure the work. The chairs are arranged so that the children, when explaining, see the face of the teacher. The teacher should think over the place where he will be during the explanation. You should not stand in front of a window or a lamp, as the light falling into the children's eyes will prevent them from seeing clearly. The room before class should be well ventilated, then the children will not get tired quickly. The drawing process is associated with a fixed static posture and limited movements, which causes rapid fatigue in children. Classes with children in fine arts often take place at the table, in a motionless state. But a long stay in one position, one position for children, especially preschool and primary school age, is a very heavy load, since they are characterized by instability of nervous processes. They quickly get tired, attention decreases, interest in the lesson is lost, which, of course, negatively affects their effectiveness. Especially tiring for children of this age is long-term monotonous work or tasks that do not arouse their keen interest, and the volitional efforts necessary for their implementation are not yet sufficiently developed. 38
During classes with children, you should often change activities, interest them in some bright, unusual subject, or diversify frequently repeated actions, tasks with some new element that is attractive to the child. Therefore, it is important to prevent the occurrence of fatigue, to detect signs of its occurrence in a timely manner and to remove them as quickly and efficiently as possible, since fatigue, accumulating, can develop into overwork and cause various nervous disorders. Signs of fatigue in children 3-4 years old appear after 7-9 minutes of class. They can be expressed in different ways: yawning, distracted attention, distractibility, irritability, the appearance of automatic, involuntary side movements (scratching, tapping, rocking in a chair, sucking fingers, etc.) One of the effective ways to prevent fatigue, improving the general condition of children, changing their activities are short-term physical exercises, the so-called physical minutes. They relieve muscle tension caused by immobility, switch attention from one activity to another, giving rest to the nerve centers involved in it, and restore children's working capacity. Physical minutes are held in the middle of the lesson for 1-3 minutes in the form of game actions. Preparation for the lesson began with the preparation of a plan. Having determined the topic and program material, the educator considers what methods and methods he can use to ensure the best assimilation of the educational material. When planning classes, the teacher determines what preparatory work should be done with the children - observations, conversation, reading a story, looking at pictures, etc. On the eve of the lesson, the teacher prepares the necessary material for work: the selection of colors and the preparation of colors and shades necessary for this lesson. Pouring prepared paints into cups and placing them in palettes. All paints in bottles must be checked in advance and, if necessary, filled with water. Water in jars should be poured in the morning of the day for - 39
notions. The water level should not exceed the upper bend of the jar, i.e. be approximately 3-4 cm below the upper edge of the neck of the jar. If more water is poured, up to the very neck, then the children, when washing the brushes, will involuntarily splash it, soiling the drawings and tables; with a small amount of water, it quickly becomes contaminated from paints and has to be changed. The preparation of material for demonstration during the teacher's explanation should be well thought out and carefully prepared in advance. The preparation of material for such activities as painting with paints requires a lot of time, and therefore it cannot be left "in the morning, immediately before class, especially since these hours are usually occupied with morning exercises, individual work with children or a walk. Therefore, you need to prepare the material as usually the day before, and sometimes even earlier. In the morning, you can leave only such minor things as signing sheets of paper, pouring prepared paints into cups. In the younger groups, the teacher lays out the material, sometimes he asks the children to take pencils, brushes to the table, sheets of paper, rags or napkins, etc. Such help creates a certain mood in them, interest in the lesson.All demonstrations of drawing techniques should be carried out slowly, with precise, clear movements, accompanied by an appropriate explanation.Neither in words, nor in movements should not be anything superfluous.The words with which the teacher will address the children should be simple and accurate.The text of the appeal should work out very It is not clear that it contains only the necessary, guiding words. Therefore, it is recommended, having thought through the entire course of the lesson and your appeal to the children, write it down, and after a while look at the record and, perhaps, replace some words with more accurate and figurative ones. The first words of the teacher should interest the children, draw their attention to the task. Such an emotional moment can be looking at pictures, using a game situation, reading a poem, a fairy tale, an interesting story, etc. In younger groups, the lesson often begins with a game: a doll (bear, bunny) enters, greets the children, sits down , from 40
which all children see. And the guys either sculpt treats for the doll, or draw ribbons for her. Sometimes the lesson is organized as a collective performance of the task. For example, children perform drawings on the theme "House". Then the works are hung in a row - it turns out the street. A more difficult task is when the children individually do part of the work, knowing in advance the general theme, and then combine their images into one composition. For example, when performing an application on the theme "Aquarium", each child cuts out several fish or plants. Instructions for the collective performance of the task should be clearly stated at the beginning of the lesson so that children can consciously work on it. During the lesson, the teacher observes a group of children, but his instructions and advice, as a rule, are individual. Individual instructions should be given, first of all, taking into account the characteristics of the child's personality, the level of development of his visual abilities. Only occasionally does he give explanations to the whole group if the error in the performance of the task is general. In some cases, the teacher plans in advance the explanation of the stages of work in parts, which is given during the lesson. You should not make many general comments during the lesson, as they interrupt the train of thought of the children, interfere with their creative process. If the lesson lasted longer than usual, the children were tired, it was time for a walk, the teacher limited himself to a general approving assessment: “Today everyone worked well, many got very interesting drawings, we will see them later.” Before lunch or after a nap, the children's work is hung on a stand and discussed by the whole group. It is not recommended to postpone evaluation for a long time, as children will lose interest in the results of their work. The forms of analysis can be different: the teacher shows the drawing and offers to evaluate whether everything is correct in it, how the task was completed, what the child came up with interesting things; one of the children is instructed to choose the best job, in his opinion, and 41
justify your choice; the child analyzes the drawing, comparing it with nature, a model, evaluates it; children, together with the teacher, consider one work after another and give them an assessment.
Table #3
Comprehensive thematic plan
Month Topic of the lesson Program content October “Cheerful peas” Introduce children to the “finger painting” technique. Teach children how to pick up paint on their fingers. “Berries and apples on a plate” Continue to teach children how to pick up paint on their fingers. Learn to rhythmically apply dots without going beyond the contour. “Harvesting” To introduce children to the “freehand printing” drawing technique. To teach the children to apply paint on part of the palm and leave an imprint - current on paper. "Rowan" To teach children to draw berries on a branch (with fingers) and leaves (by sticking). Fix these drawing techniques. Develop color perception - tie, a sense of composition. 42
november "Autumn Landscape" Introduce children to a new technique of drawing on polyethylene film. To teach children to apply gouache on film. Reinforce children's knowledge of colors. “The little Christmas tree is cold in winter” Introduce children to the new “monotype” technique. Teach children to apply paint without leaving the outline. "Trees by the Lake" Continue to introduce children to the "monotype" technique. Continue to teach children how to draw gouache on a brush “Lilacs in a Basket” Continue to teach children to draw with their fingers. Encourage children to be independent. Arouse interest in drawing and a sense of job satisfaction. December "Funny Chickens" Continue to introduce children to the "monotype" technique. Encourage children to complete the picture with details. Develop children's sense of color and shape. 43
“There lived two merry geese with a grandmother” Continue to use the palm as a visual tool. Stimulate the desire of children to complement the image with details. Develop the imagination "Swans on the lake" Continue to teach children to draw birds with the palm of their hand. Develop tactile sensitivity and hand-eye coordination. To form in children a conscious attitude to the order in which work is done. “Lyuli, lyuli, lyuli, ghouls have arrived ...” To improve in children the ability to make prints with two fingers at the same time. Fix the idea of colors. Develop orientation in space, coordination January "Kitten" Introduce children to a new way of coloring "paper tube". Develop children's creativity through color selection. Teach children to draw with a tube. 44
"Hare" Continue to teach children to use the straw as a visual tool. Develop fine motor skills. Continue building your drawing skills. "Hedgehog" To improve the ability to draw with the palm of your hand. Strengthen the ability to finish drawing with your fingers. Cultivate - vat imagination. “Pussy, pussy, pussy, shove…” Continue to teach children to draw with their fingers. Encourage children to draw their own path. Cultivate a joyful mood in the children. February "Fish swim, dive" Continue to teach children to draw the sea with plastic wrap. To consolidate the ability to draw fish with the whole palm. Development of creative imagination. 45
“Tili-bom, tili-bom, the cat's house caught fire” Drawing + appliqué. To consolidate drawing skills with plastic wrap. To improve the technique of owning a brush: move the brush freely and confidently along the pile. Develop observation, a sense of color and shape "Brave Cockerel" To consolidate the skills of drawing with the palm of the hand. To acquaint children with a new method of drawing with a “stamp”. Develop aesthetic perception. “Shadow, shadow, sweating” To consolidate children's skills in using non-traditional drawing techniques - fingerography. Develop fine motor skills. Cultivate a joyful mood from the result. March
«
Mimosa for Mom» To improve the technique of drawing with fingers. Develop a sense of rhythm and color. Raise interest in the reflection in the drawing of one's impressions and ideas about nature. 46
“The flower rejoices in the sun” Exercise children in the technique of drawing with the help of stamps. Develop a sense of composition. Cultivate a joyful mood in children. "Flower-seven-flower" Improving the "monotype" technique. To consolidate the skill of owning a brush - stu. Develop thinking and creative imagination. "Flower" To consolidate the ability to draw with fingers. Improve the ability to draw with two fingers at the same time. "Flowers in a vase" To improve the skills and skills of drawing with the palm and fingers. To consolidate the knowledge of colors in children. Cultivate a joyful mood. 47
April
«
A zealous horse, with a long mane ”To teach children to make fingerprints without going beyond the contour. Continue to improve drawing skills with two fingers at the same time. Cultivate accuracy.
«
Multi-colored spinning top "To teach children to draw with the help of different types of paper tubes. To consolidate the ability to decorate objects that are simple in shape, applying prints with a tube evenly over the entire surface of the pattern. Cultivate interest in work. “Airplane, airplane, you take me on a flight” Teach children to draw spots, rolled up balls of napkins. Fix the name of the color scheme. Develop the creative imagination of children. 48
"Balls" To introduce children to the technique of printing with a cork, a potato print. Show how to get a fingerprint. “Magic Pictures” To improve skills and abilities in free experimentation with materials necessary for working in non-traditional fine art techniques. Develop color perception in children. “The sun woke up, smiled at the children” To improve children's skills in using non-traditional drawing techniques. Consolidate the knowledge and skills acquired during the year. To educate children in responsiveness, kindness, to bring what has been started to the end, following the game motivation of the lesson. 49
“So summer has come” To consolidate the ability to make palm prints and draw them to a certain image, using material: tubes, prints. To consolidate the ability to create a composition, independently select colors. Develop imagination and creativity. "Exhibition of drawings of children of this group" To teach children to consider drawings. Encourage emotional manifestations and statements. Practice choosing the drawings you like.
2.3. Diagnostic study of creativity in
children of primary preschool age at the final stage experimentally
search work
At the final stage of the study, a control cut was made. Purpose: To test the effectiveness of the developed system of classes aimed at developing the creative abilities of children of primary preschool age. At the control stage of the research work to determine the level of mastery of visual activity, we used diagnostics according to the method of Komarova T.S., as well as at the initial stage of experimental and search work, in two areas: - analysis of the products of children's activity; - identification of the level of creative development; fifty
Table 4
Quantitative analysis of diagnostic results at the final stage
F.I. child's shape color structure proportions composition movement transmission Total number of points Egor Z. 2 3 2 2 2 2 2 15 Anton M. 2 2 2 2 2 2 2 14 Timofey M 3 3 3 2 2 2 2 17 Sonya B. 3 3 3 2 3 2 2 18 Dasha N. 2 2 2 2 2 2 2 14 Bogdan K. 2 2 2 2 2 2 2 14 Liza N. 2 2 2 2 2 2 2 14 Varya P. 2 2 2 2 2 2 2 14 Masha Sh. 2 2 2 2 2 2 2 14 Serezha K. 2 2 2 2 2 2 2 14 Varya G. 2 2 2 2 2 2 2 14 Kolya Sh. 3 3 2 3 3 3 2 19 Liza P. 2 3 2 2 2 2 2 15 Alisa Z. 2 2 2 2 2 2 2 14 Sava S. 2 2 2 2 2 2 2 14 Total scores according to criteria 33 35 32 31 32 33 30 226 Table 5
The results of a survey to identify the level of creative development on
final stage
F.I. child- Productivity Original- Designed- Quality points 51
Egor Z. 2 2 2 2 8 Anton M. 3 2 2 2 9 Timofey 3 2 2 2 9 Sonya B. 3 3 3 3 12 Dasha N. 2 2 2 2 8 Bogdan K. 3 2 2 2 9 Liza N. 2 2 2 2 8 Varya P. 3 3 2 2 10 Masha Sh. 2 2 2 2 8 Serezha K. 2 2 2 2 8 Varya G. 2 2 2 2 8 Liza P. 2 2 2 2 8 Alisa Z 2 2 2 2 10 Sava S. 2 2 2 2 9 Kolya Sh. 3 3 3 3 13 Total points 36 33 32 32 133 skills in drawing have improved a lot, children have learned to draw shaping objects, correctly combine proportions. In the drawings, they use different colors, work with different materials, master various techniques and methods of drawing. The results improved significantly - 80% average, 20% high. Compared with observations at the ascertaining stage of the study, there is a greater interest in visual activity. An analysis of the tasks performed by the children at the control stage shows that the children have moved to a new level of development of creative abilities. Children independently use non-traditional visual material and experiment with it. Find non-standard ways of artistic representation, 52
they are able to convey their feelings and emotions in their works with the help of non-traditional means of expression. The results obtained indicate that the developed system of classes aimed at developing the creative imagination of children of primary pre-school age in visual activity using non-traditional drawing techniques turned out to be effective. The hypothesis of the study was fully confirmed, the objectives of the study were fully completed, the goal was achieved, which is confirmed by the children's work.
Conclusion
Classes "Unconventional ways of drawing for children" are aimed at developing creative imagination in children of primary preschool age through the use of unconventional drawing techniques. Visual activity is perhaps the most interesting activity for preschoolers. It allows the child to express in his drawings his impression of the world around him. At the same time, visual activity is of inestimable importance for the comprehensive development of children, the disclosure and enrichment of their creative abilities. An unconventional approach to the implementation of the image gives impetus to the development of children's intellect, encourages the creative activity of the child, teaches to think outside the box. An important condition for the development of a child is an original task, the very formulation of which becomes an incentive for creativity. Children are very attracted to non-traditional materials, the more diverse the art materials, the more interesting it is to work with them. Therefore, familiarization of preschoolers with non-traditional drawing techniques allows not 53
simply increase children's interest in fine arts, but also contributes to the development of creativity. At present, the guys master many non-traditional techniques: poking with a hard semi-dry brush, drawing with fingers, drawing with palms, prints with cork, crumpled paper, foam rubber, vegetable seals, polystyrene foam, a candle or wax crayons with watercolors and others. Children really like the variety of techniques, children's works have become more interesting, diverse and decorate not only our kindergarten, but also take part in All-Russian creative competitions. LIST OF USED LITERATURE 1. Plato "Feast" General ed. Losevoy A.F. Thought.1999.528c. 2. Wenger N.Yu. The path to the development of creativity. Preschool education - 1982. No. 11 p. 32-38. 3. Lilov E.S. The nature of artistic creation. 1983.345c. 4. Nemov R.S. Psychology. Book 1. General foundations of psychology. M: Vlados.1995. 5. Teplov B.M. Christomatia in developmental and pedagogical psychology. M: 1981. 6. Rubinstein S.L. Fundamentals of General Psychology - St. Petersburg: Publishing House "Peter", 2000-712s.: IP.-Series "Masters of Psychology". 7. Anafiev B.G. Essays on psychology - 1945. 8. Komarova T. Visual activity of children in kindergarten - M, 2006. 9. Teplov B.M. Ability and talent. - M., 2002. 10. Sakkulina N., Komarova T. Visual activity in kindergarten. - M., 1982. 11. Kotlyar V. Visual activity of preschoolers. - Kyiv, 1986. 54
12. Donin A. Introduction to art history. – N. Novgorod, 1998. 13. Kazakova R.G., Saiganova T.I., Sedova E.M. Drawing with children of pre-school age: non-traditional techniques, planning, class notes. - M.: Sfera, 2005. 13. Kvach N.V. Development of figurative thinking and graphic skills in children 5-7 years old: A manual for pedagogical preschool institutions. - M.: VLADOS, 2001. 14. Pastukhova G.V. Non-traditional drawing techniques in kindergarten. (parts 1 and 2). Publishing house "Center for Childhood Problems", 1999. 15. Davydova G.N. Non-traditional drawing techniques in kindergarten. Part 1 and 2. - M.: "Publishing house Scriptorium 2003", 2008. 16. V. B. Kosminskaya et al. "Theory and methods of visual activity in kindergarten." M., "Enlightenment", 1977. 18. Komarova S. How to teach a child to draw. - M., 1998. 17. Preschool education No. 6 2012. 19. Shvaiko G.S. Art class in kindergarten. – M.: VLADOS, 2001. 20. Sokolnikova N.M. Visual Arts: Fundamentals of Painting. - O.: TITUL, 1996. 21. Solomennikova O. The joy of creativity. - M., 2005. 22. Theory and methods of creative activity in kindergarten. - M.: Education, 1977. 23. Komarova T.S., Savenkov A.I. Collective creativity of children. - M., "Psychology", 1998. - 344 p. 24. Nikitina A.V. Non-traditional drawing techniques, St. Petersburg: publishing house "Karo", 2008-p. 25. Kozhokhina S.K. Journey into the World of Art: Child Development Program. M, 2002. 26. Dorfman L. Emotions in art. M.: 1997. 27. Kosterin N. Educational drawing. - M., publishing house "Nauka", 1980. - 234 p. 55
28. Pantikov V.P. Dialectics of drawing in the content of classes in fine arts. Krasnoyarsk, 1992. 29. Brief psychological dictionary. Ed. A.V. Petrovsky. M.: Enlightenment. - 1998. 30. Endovitskaya T.O. Development of creative abilities // Preschool education. - 1967. 56
TABLE OF CONTENTS
Introduction
1. Theoretical foundations for the development of visual activity of children of senior preschool age
1.1. The concept of visual activity of children of senior preschool age
1.2. Features of the development of visual activity of children of senior preschool age
1.3. Conditions for the development of visual activity of children of senior preschool age
2. Features of the development of creative abilities of children of senior preschool age in visual activity
2.1. The concept of creative abilities of children of senior preschool age
2.2. The value of creative abilities in the development of children of senior preschool age
2.3. Conditions for the development of creative abilities of children of senior preschool age
2.4. Features of work on the development of creative abilities with older preschoolers in fine arts
Conclusion
Bibliography
INTRODUCTION
One of the important tasks in the field of education is the aesthetic education of children, the creation of conditions for the manifestation of the creative abilities of each child. From an early age, a child should develop a sense of beauty, high aesthetic tastes, the ability to understand and appreciate works of art, the beauty and richness of folk crafts. This contributes to the formation of a spiritually rich harmonious development of the individual. The development of creative abilities in children is a complex and lengthy process, children get their first artistic impressions, become familiar with art, and master various types of artistic activities.
Visual activity, including drawing, modeling, and appliqué, is of great importance for the comprehensive development of preschool children. The interest in visual activity that arose during this age period, supported by adults (parents, teachers), can successfully develop in the subsequent years of preschool childhood. As studies conducted under the guidance of the famous scientist V. I. Slobodchikov in the early 1990s showed, drawing contributes to the formation of figurative representations in preschoolers, which are an important psychological basis for mastering the ability to learn. It is at this age that children develop the ability to visual activity.
Foreign scientists (B. Jefferson, E. Cramer, V. Lounfeld, W. Lambert) also note the importance of visual activity, visual creativity of children in the upbringing and development of various aspects of the personality. This is how V. Lounfeld (USA) calls fine art an intellectual activity, also pointing out its important role in the emotional development of a child. In recent years, more and more attention has been paid to the development of aesthetic and emotional perception of art, which gradually turn into aesthetic feelings, contribute to the formation of an aesthetic attitude to reality. The use of various types of art in the aesthetic development of a child provides an opportunity for personal development, activates the creative process, deepens emotions, develops feelings, intelligence (S.M. Vainerman, A.A. Gribovskaya, T.N. Doronova, A.V. Dubrovskaya, O. P. Karachunskaya, T. S. Komarova, O. A. Lebedeva).
Preschool age is most favorable for improving the work of the senses, the accumulation of information about the qualitative diversity of the world around. The sooner we develop the emotional-sensory world of the child, the brighter he himself and the products of his creativity will be. One of the main features is that the development of children's creativity is considered in the relationship between training and education. Much attention is paid to the development of children's independence, providing ample opportunities for expressing their own ideas and reflecting personal experience. The formation of children's creativity is impossible without the development of children's perception, enrichment of their ideas about the environment, development of imagination. Creativity is an integral activity of the individual, necessary for every modern person and the person of the future. And it is possible and necessary to begin its formation in the preschool period.
The relevance of this topic is that the formation of a creative personality is one of the most important tasks of modern education. The transformations taking place in society give rise to new requirements in education. One of them is the development of creative abilities in children of senior preschool age.
So, the object of our study is the visual activity of preschool children.
The subject is the creative abilities of preschool children in the process of visual activity.
The purpose of our study: to reveal the features of the development of creative abilities of preschool children in visual activity.
Tasks:
1. Study the theoretical and methodological literature on the research topic;
2. Describe the features of the development of visual activity of preschool children.
3. To identify the features of the development of creative abilities in the visual activity of preschool children
Research methods: literature analysis, analysis of the conceptual and terminological system, generalization, comparison, opposition, pedagogical observation.
The structure of the work: the work consists of an introduction, two chapters, conclusion. In the introduction, the relevance of the problem is substantiated, the theoretical significance of the study is determined, the object, subject, tasks, purpose of the work are formed.
The first chapter reveals the theoretical foundations for the development of visual activity of children of senior preschool age.
The second chapter is devoted to the study of the features of the development of creative abilities of children of senior preschool age in visual activity.
The work is presented on 33 pages of computer layout, written using 15 literary sources.
1. THEORETICAL FOUNDATIONS OF ART ACTIVITY OF CHILDREN OF THE OLDER PRESCHOOL AGE
1.1. The concept of visual activity of children of senior preschool age
Visual activity is the most important means of aesthetic education. In the process of drawing, modeling, designing, application, favorable conditions are created for the psycho-emotional development of pupils, a positive perception of art, which contributes to the formation of an aesthetic attitude to reality. Visual activity is a creative activity, aimed not only at reflecting the impressions received in life, but also at expressing one's attitude to the depicted.
Visual activity is a specific figurative knowledge of reality. And like any cognitive activity, it is of great importance for the mental education of children. Mastering the ability to depict is impossible without the development of purposeful visual perception - observation. In order to draw, sculpt any object, you first need to get to know it well, remember its shape, size, design, color, arrangement of parts. For the mental development of children, it is of great importance to gradually expand the stock of knowledge based on ideas about the diversity of forms of the spatial arrangement of objects in the world around them, various sizes, and a variety of shades of colors. When organizing the perception of objects and phenomena, it is important to draw children's attention to the variability of shapes, sizes (child and adult), colors (plants at different times of the year), different spatial arrangement of objects and parts (a bird sits, flies, pecks grains, a fish swims in different directions etc.). Learning visual activity is impossible without the formation of such mental operations as analysis, comparison, synthesis, generalization. The faculty of analysis develops from a more general and coarse discrimination to a more subtle one. Knowledge of objects and their properties, acquired in an effective way, is fixed in the mind.
In the classroom for visual activity, children's speech develops: the assimilation and name of shapes, colors and their shades, spatial designations contributes to the enrichment of the dictionary; statements in the process of observing objects, when examining objects, buildings, as well as when looking at illustrations, reproductions from paintings by artists, have a positive effect on expanding vocabulary and forming coherent speech. As psychologists point out, for the implementation of various types of activities, the mental development of children, those qualities, skills, abilities that they acquire in the process of drawing, application and design are of great importance. Visual activity is closely related to sensory education. The formation of ideas about objects requires the assimilation of knowledge about their properties and qualities, shape, color, size, position in space. Children define and name these properties, compare objects, find similarities and differences, that is, perform mental actions. In the process of visual activity, mental and physical activity are combined. To create a drawing, it is necessary to make efforts, to carry out labor actions, to master certain skills. The visual activity of preschoolers teaches them to overcome difficulties, to show labor efforts, to master labor skills. At first, children have an interest in the movement of a pencil or brush, in the traces they leave on paper; gradually new motives of creativity appear - the desire to get a result, to create a certain image. Preschoolers acquire many practical skills that will later be needed to perform a wide variety of jobs, acquire manual skills that will allow them to feel independent. The development of labor skills and abilities is associated with the development of such volitional qualities of a person as attention, perseverance, endurance. Children are taught the ability to work, to achieve the desired result. The participation of children in preparing for classes and cleaning jobs contributes to the formation of diligence and self-service skills.
According to L.A. Wenger in each type of activity there is an indicative and performing part and, accordingly, indicative and performing actions; indicative actions - this is an assessment of the problem that has arisen, the study of the conditions for its solution, correlation with one's capabilities, with known methods of solution, the choice of a method of implementation; performing actions - performing actions and achieving results. Knowledge, skills and abilities relate to the performing part of the activity, whether it is a practical or cognitive activity. The tasks of orienting actions are not independent, but they are subordinated to the solution of more general cognitive or practical tasks. When performing actions are formed, indicative ones are curtailed. When it is necessary to master new actions, the speed and quality of mastering depend on the nature of the orientation in the task.
G.V. Labunskaya and N.P. Sakulina believe that the process of creating an image consists of two parts: the formation of a visual representation and its reproduction. According to N.P. Sakulina, the first part of the activity is called indicative, and the second - performing. Different in character, they require from a person the manifestation of various qualities (properties) of the personality.
In the study by Yu.A. Poluyanov, the following periods of development of pictorial activity were identified, covering the entire period of childhood: the pre-pictorial period (or the stage of "doodles"), and the pictorial period: the stage of shapeless images, the stage of pictorial schemes, the stage of plausible images, the stage of correct (or realistic ) images. At preschool age, one can observe the development of pictorial activity from the pre-pictorial stage to the stage of plausible images, which does not apply to preschool childhood, but is observed in some cases.
In preschool institutions, the types of visual activity are:
1. Drawing- one of the favorite activities of children, giving great scope for the manifestation of their creative activity. Drawing is a type of visual activity, the main purpose of which is a figurative reflection of reality. Drawing is one of the most interesting for preschool children: it deeply excites the child, causes positive emotions.
2. Modeling- is a kind of sculpture, the originality of modeling lies in the three-dimensional way of depicting. Modeling is necessary for the development of sensations, perceptions and visual representations in children. It is believed that vision is the leading one in the cognition of objects of the real world, but at the first stages of the formation of an image in children, the support for vision is the touch of an object.
3. Application- children get acquainted with simple and complex forms of various objects, parts and silhouettes of which they cut and paste. Application (from the Latin word applicato - application) is one of the types of visual technique based on cutting out and overlaying various forms and fixing them on another material taken as a background. The concept of "application" includes ways to create works of art from materials of different properties and texture, united by the similarity of the execution technique.
4. Design- this type of activity is more than others associated with the game. Construction (from the Latin word construere) means bringing various objects, parts, elements into a certain mutual position. By its nature, children's design is more similar to visual activity. Under children's design, it is customary to understand the creation of various designs and models from building materials and parts of designers, the manufacture of crafts from paper, cardboard, various natural (moss, branches, cones, stones, etc.) and junk (cardboard boxes, wooden coils, rubber tires, old metal items, etc.) materials. There are two types of design: technical and artistic. Construction is a productive activity that meets the interests and needs of preschoolers.
Thus, visual activity is understood as an artistic and creative activity aimed not only at reflecting the impressions received in life, but also at expressing one's attitude to the depicted.
1.2. Features of the development of visual activity of children of senior preschool age
Artistic creativity is a complex process of cognition and figurative reflection of the surrounding reality.
Children, getting acquainted with the world around them, try to reflect it in their activities - games, drawing, modeling, stories, etc.
In this regard, visual activity presents rich opportunities, since in essence it is transformative and creative. Here the child gets the opportunity to reflect his impressions of the world around him, to convey images of the imagination, turning them into real forms with the help of various materials.
In the older preschool age, perceptions become purposeful. Most of them are based on visual sensations; with their help, the child can perceive the color, size, shape. But since his experience is still small, sight alone cannot give him completeness of perception, it is necessary to include touch and other sensations in perception, helping to form a more complete representation.
Teaching a child to see the world is one of the tasks of an educator. And this means developing in children observation, the ability to be aware of what they see, that is, developing in children the ability to think, reason, analyze, and draw conclusions. A child of 5-6 years old, perceiving the surrounding objects, is already trying to highlight their features, analyze, generalize, and draw their own conclusions. But so far they are superficial. Children are often attracted to bright, dynamic, but minor details, often not essential in working on a drawing. This is reflected both in the nature of their ideas about the subject, and in the image in the drawing or modeling.
By the older preschool age, the child develops more and more the level of analytical-synthetic thinking, which is important for the image process. Imagination begins to play an increasingly important role in activity. But the images of the younger preschooler's imagination are still unstable, fragmentary, which also affects his drawings. With age, the imagination becomes richer, children can independently think through the content of their work, introduce new images.
An important role is played by emotions that contribute to the manifestation of interest in visual activity, the concentration of attention and feelings of the child on the image being created, and enhance the work of the imagination.
Preschoolers can master visual skills and abilities. By the age of six, he has a sufficient stock of skills and is able to use them consciously, independently choosing the necessary techniques when depicting new objects.
In scientific research on children's creativity, a number of features are noted that characterize the presence of creative principles in a child's activities. This is a manifestation of activity, independence and initiative in the application of already mastered methods of work to new content, in finding new ways to solve problems, in the emotional expression of one's feelings using various visual means.
At first, the knowledge of the environment in the visual activity of the child is not associated with creative manifestations and consists in the knowledge of the properties of the material with which the child acts: pencils and paints leave marks on paper, clay is soft, you can sculpt from it.
For further visual activity in the development of creative principles, this period plays an important role, as the child gets acquainted with the material with which he can embody his ideas in images. When he begins to understand that the traces left by a pencil can mean something, and, at his own request or at the suggestion of an adult, he tries to draw some kind of object, then his activity becomes pictorial in nature. The child has a plan, a goal that he seeks to implement.
In the process of work, the child implements this plan, supplementing it in accordance with the content. Children can convey the psychological state of the characters depicted in a simplified way, with simple details: crying with tears, laughter with the corners of the mouth raised up, fear with hands raised up, etc. More complex means of expressing feelings, such as eye expression, are not available to preschoolers. But along with these main expressive features of the image for children, they often draw grass, an airplane in the air, trying to fill empty spaces on paper.
The most accessible expressive means for a preschooler is the use of color. Color in the visual arts (painting, graphics) is an important means of expressing the artistic intent, the idea of the work. Its use is closely related to the content of the work, since it has no independent meaning. Color contrasts are used to highlight the main thing in the picture; color conveys the mood: dark, muted tones - in paintings with a sad content, bright, saturated - in joyful ones. A child of preschool age, of course, cannot use color in such a diverse way, and at first perceives it as an independent value, without connection with the real coloring of the object. The child enjoys any color of pencil, paint, painting over everything with them. Having become acquainted with many colors, children often use them as an expressive tool that helps to make the image more beautiful, more elegant, that is, they use it decoratively. Here, too, there is a violation of the real color, since at first the child is attracted to bright contrasting combinations of colors. This decorativeness can sometimes contradict the characterization of the image. Gradually, children of older preschool age move away from decorative coloring, mastering different shades. With the development of perceptions and aesthetic feelings, they begin to use color to convey the mood of the image. Although they still use color in an emotional way: what they like is painted in bright colors, unloved, scary images - in dark ones. This is very clearly manifested in drawing on fairy-tale themes. For example, children draw Baba Yaga in brown, black, and goodies - Vasilisa the Beautiful, Ivan Tsarevich with a variety of bright colors.
Preschoolers also convey their attitude to what they are depicting by other means that also violate reality. But this violation occurs as a result of the desire to enhance the significance, expressiveness of the image. So, sometimes they change the correct proportions in order to highlight something, for example, in the picture of a butterfly, the size is larger than the children themselves. The transfer of the dynamic state of the depicted object is also one of the expressive means used by the child. If at a younger age the movement is not depicted, then the image of objects in motion is available to older children, which can make the image expressive.
Children's creativity is also characterized by the use of compositional means, primarily rhythm and symmetry. They not only give harmony, harmony to the image itself and the whole picture, but also facilitate the image, which is especially important for children who have not yet mastered fine arts. Since rhythm is inherent in human movements in general, the child quickly begins to use it consciously in order to do the job beautifully. In older preschool age, a sense of rhythm helps to create a compositionally complete picture.
A peculiar moment in the performance of the composition is the non-shielding of one object by another, the violation of proportional relationships between them. These moments, as if violating the veracity, speak of the child's desire to convey his real impressions of the life around him, where each object has its place in space, all the details of its form can be considered. On the other hand, this is due to the inability to convey life ideas by those conditional means with which all compositional techniques in the drawing are associated. Rhythm and symmetry are especially used in decorative works, where expressiveness largely depends, besides color, on the rhythm of construction.
The development of abilities and creativity in children are two interrelated tasks of artistic education, based on familiarizing children with the surrounding reality. The symbolic image is not available to preschool children. It involves the image of the subject with the maximum degree of generalization. A child's drawing is always specific. As soon as some details appear in an indefinite form, this is already an image, since the child thinks the object in action, adding the missing sounds, with his own movement. Gradually, the amount of detail in the image increases, the image becomes richer. Children almost always put their attitude into the work, conveying it through pictorial or other means. This allows you to call the child's drawing original, expressive.
Thus, the means of expression used by children are quite diverse: color, shape, composition. They help to convey the characteristic features of the image, the attitude towards it. The degree of expressiveness depends primarily on the development of the child's figurative vision, the stock of impressions and the level of development of visual abilities.
1.3. Conditions for the development of visual activity of children of senior preschool age
The main significance of visual activity lies in the fact that it is a means of aesthetic education. In the process of visual activity, favorable conditions are created for the development of aesthetic perception and emotions, which gradually turn into aesthetic feelings that contribute to the formation of an aesthetic attitude to reality. The direct aesthetic feeling that arises when perceiving a beautiful object includes various constituent elements: a sense of color, a sense of proportion, a sense of form, a sense of rhythm. For the aesthetic education of children and for the development of their visual abilities, acquaintance with works of fine art is of great importance (Appendix 1). The brightness, expressiveness of images in pictures, sculpture, architecture and works of applied art evoke aesthetic experiences, help to perceive the phenomena of life deeper and more fully and find figurative expressions of their impressions in drawing, modeling, appliqué .. Gradually children develop artistic taste.
A necessary condition for the development of the visual activity of a preschooler is the presence of a conscious goal: the desire to create an original image and master the system of visual skills and abilities.
A preschooler in his aesthetic development goes from an elementary visual and sensory impression to creating an original image with adequate visual and expressive means. To do this, it is necessary to create a basis for his creativity, namely, in the group there should be methodological literature appropriate for the age of the children and visual demonstration material, drawing and application samples, handouts. The more the child sees, hears, the more significant and productive the activity of his imagination will become, therefore, much attention is paid to creating a subject-developing environment. Islands of visual activity in groups should be equipped with visual materials and equipment, children should have at their disposal paper of different colors and formats, colored pencils, felt-tip pens, colored wax crayons, chalk, paints, natural and “waste” material, clay, plasticine. The quality and quantity of materials vary by age group. The environment should be organized so that the materials and equipment children need to carry out any activity are either in the child's field of vision or available so that he can take them without seeking help from an adult, and should also be constantly updated. To place visual material, cabinets or shelves are needed that children have free access to, its correct location, a well-lit place, there should be a place for demonstrating children's work. Particular attention should be paid to creating conditions for the independent visual activity of children, providing them with as much as possible of the most diverse material. Given that the formation of the image is influenced by the artistic word, music, it is necessary to enrich the content of the relevant corners, make didactic games, manuals, a series of reproductions from paintings by artists, a slide projector, slides, audio cassettes with music, books for children about art. Immersing them in such a diverse aesthetic environment through the practical activities of creating various crafts, decorations for the group allows them to instill in them a sense of beauty. Before the child proceeds to the direct image of any object or phenomenon, while expressing his personal attitude towards it, he must develop a concrete image of it. The preschooler receives these ideas from the surrounding reality in the process of observation, communication, and research. Therefore, it is necessary to use such forms of preliminary work as walking and joint activities with children, viewing reproductions of paintings and talking about the painting. Pay attention to evoke in children an emotional response to the content of works of fine art, a desire to get acquainted with the work of artists. The use of didactic games, game tasks, dramatization games, psychological studies helps to create images. It is necessary to have works of fine art, as well as products of decorative and applied art: Gorodets painting, Khokhloma, Dymkovo toys.
Thus, the conditions should be age-appropriate and promote the development of creative abilities.
So, in the process of drawing, modeling, application, the child experiences a variety of feelings: he rejoices at the beautiful image that he created himself, he is upset if something does not work out. But the most important thing: by creating an image, the child acquires various knowledge; his ideas about the environment are clarified and deepened; in the process of work, he begins to comprehend the qualities of objects, memorize their characteristic features and details, master fine skills and abilities, learns to use them consciously. Therefore, it is so important to widely include a variety of artistic and visual activities in the pedagogical process (Appendix 2). Here, every child can express himself most fully without any pressure from an adult.
2. FEATURES OF THE DEVELOPMENT OF THE CREATIVE ABILITIES OF OLDER PRESCHOOL CHILDREN IN ART ACTIVITIES
2.1. The concept of creative abilities of children of senior preschool age
Creativity (creativity) is an active, purposeful human activity, as a result of which something new, original appears. Creativity is the most important characteristic of a personality - and it is necessary to form it in a child from a very early age. The preschool period of development has a special place in the development of creativity.
Domestic psychologists and teachers - L. S. Vygotsky, V. V. Davydov, A. V. Zaporozhets, N. N. Poddyakov, N. A. Vetlugina and others - proved that the creative abilities of children appear already at preschool age. This is confirmed by many discoveries, the creation of interesting, sometimes original drawings and designs. According to the definition of S. I. Ozhegov, creativity is a conscious goal-setting, active human activity aimed at understanding and transforming reality, creating new original, previously non-existent objects. Ability - natural giftedness, talent.
Preschool age is a bright, unique page in the life of every person. Preschool childhood is the time of the initial formation of the personality, the formation of the foundations of self-awareness and the individuality of the child.
Creativity gives birth in a child to a living fantasy, a living imagination. Creativity, by its very nature, is based on the desire to do something that no one has done before you, or - although what existed before you, to do in a new way, in your own way, better. In other words, the creative principle in a person is always a striving forward, for the better, for progress, for perfection and, of course, for beauty in the highest and broadest sense of this concept.
In order to ensure the full development of the creative abilities of children in a timely manner, you need to imagine what it is. This is a complex concept that includes several components that parents should focus on: the desire for discoveries; the ability to know; activity; fantasy; initiative; desire for knowledge; the ability to find non-standard in familiar phenomena and things; mental alertness; the ability to invent and discover; freedom of imagination; intuition; the ability to put into practice the acquired knowledge and experience; discoveries and inventions.
The upbringing of a creative attitude to work (the ability to see beauty in everyday things, to experience a sense of joy from the labor process, the desire to know the secrets and laws of the universe, the ability to find a way out of difficult life situations) is one of the most complex and interesting tasks of modern pedagogy. It is very important not to miss that period in a child's life when the basic skills and abilities are formed, among which the central place is given to imagination, fantasy, and interest in the new. If these qualities are not developed in the preschool period, then in the future there is a rapid decrease in the activity of this function, which means that the personality becomes impoverished, the possibilities of creative thinking decrease, and interest in art and creative activity fades.
Some authors believe that learning abilities are, first of all, general abilities, and creative ones are special ones that determine the success of creativity.
Candidates of Psychological Sciences V.T. Kudryavtsev and V. Sinelnikov identified the following universal creative abilities:
1. Imagination realism - a figurative grasp of some essential, general trend or pattern of development of an integral object, before a person has a clear idea about it and can enter it into a system of strict logical categories.
2. The ability to see the whole before the parts.
3. Supra-situational - transformative nature of creative solutions - the ability, when solving a problem, not just to choose from alternatives imposed from the outside, but to independently create an alternative.
Thus, creative abilities are the individual characteristics of a person's quality, which determine the success of his performance of various creative activities.
2.2 The value of creativity in the development of children of senior preschool age
The development and upbringing of a child's abilities is a very responsible and difficult task, it can be done only with an attentive attitude towards children, only knowing their needs, interests, hobbies. The natural prerequisites for the development of abilities are inclinations, that is, genetically fixed anatomical and physiological features of the body.
Already at an early age in children, one can notice the very first manifestation of abilities - a tendency to any type of activity. Performing it, the child experiences joy, pleasure. The more the baby is engaged in this type of activity, the more he wants to do it, he is interested not in the result, but in the process itself. The child likes not to draw a picture, but to draw; not to build a house, but to build it. The abilities begin to develop most intensively and vividly from the age of 3-4, and in early childhood the general prerequisites for their formation are laid. During the first three years of life, the child masters the basic movements and objective actions, he develops active speech. The listed achievements of early childhood continue to develop in preschool age. General abilities are divided into two groups - cognitive and practical. The formation of cognitive ones is included in the formation of figurative forms of cognition of reality: perception, figurative memory, visual-figurative thinking, imagination, i.e. in the creation of a figurative foundation of intellect.
The central place in the structure of cognitive abilities is occupied by the ability to create images that reflect the properties of objects, their general structure, the ratio of the main features or parts and situations. Cognitive abilities include sensory, intellectual and creative. Sensory abilities are associated with the child's perception of objects and their qualities; they form the basis of mental development. Sensory abilities are intensively formed from 3-4 years. The assimilation of standards by a preschooler leads to the emergence of ideal samples of the properties of an object, which are indicated in the word. Children get acquainted with the varieties of each property and systematize them when, for example, they master the ideas about the colors of the spectrum, the phonemes of their native language, and the standards of geometric shapes.
The basis for the development of intellectual abilities is the actions of visual modeling: substitution, the use of ready-made models and the construction of a model based on establishing relationships between a substitute and a replaced object. So, as a finished model, a plan of a playroom or a site can be used, according to which children learn to navigate. Then they themselves begin to build such a plan, designating objects in the room with some conventional icons, for example, a table with a circle, and a closet with a rectangle.
Creativity is associated with imagination and allows the child to find original ways and means of solving problems, come up with a fairy tale or story, create an idea for a game or drawing.
A preschooler is included in a variety of activities - play, design, work, and others. All of them have a joint, collective character, which means that they create conditions for the manifestation and development of practical abilities, primarily organizational ones. In order to successfully interact with each other, children need a number of skills: setting a goal, planning content, choosing means to achieve a goal, correlating the result with the intended result, taking into account the opinions of partners, distributing responsibilities in accordance with the capabilities and interests of each, monitoring compliance rules, order, the ability to resolve controversial issues and conflicts without the intervention of an adult, evaluate the relationship of partners to the task assigned.
The practical abilities of preschoolers also include constructive and technical ones: spatial vision, spatial imagination, the ability to represent an object as a whole and its parts according to a plan, drawing, diagram, description, as well as the ability to independently formulate an original idea. These abilities are the basis, and later with their help, children learn such school subjects as drawing, geometry, physics, chemistry, where the ability to imagine the essence of the process, the structure of the mechanism is required. Rich opportunities for the development of constructive and technical abilities in preschool age are created by designing from different materials, constructors, and the use of technical toys.
At preschool age, special abilities, especially artistic ones, are actively developed. Preschool childhood, like no other age period, creates favorable conditions for their formation. The preschooler is included in all the variety of artistic activities. He sings, dances, sculpts, draws. A child of preschool age manifests such abilities as pictorial, arts and crafts, including a sense of composition, color, shape; musical, which make up melodic and rhythmic hearing, a sense of harmony; theatrical and speech, which include poetic ear, expressive intonation and facial expressions. Any special ability includes the main components: a certain level of development of cognitive processes, technical skills, as well as emotional susceptibility.
So, the older preschool age is favorable for the development of creativity, since it is at this time that the psychological basis for creative activity is laid. A child of this age is capable of creating a new pattern, design, image, fantasy, which are distinguished by originality, variability, flexibility and mobility. An older preschooler is characterized by an active activity position, curiosity, constant questions to an adult, the ability to verbally comment on the process and result of one's own activity, persistent motivation, a fairly developed imagination, and perseverance. Initiative is associated with curiosity, ability, inquisitiveness of the mind, ingenuity, the ability to volitional regulation of behavior, the ability to overcome difficulties.
2.3. Conditions for the development of creative abilities of children of senior preschool age
An important condition for the development of creative abilities of a preschooler is the organization of purposeful leisure activities of older preschoolers in a preschool institution and family: enriching it with vivid impressions, providing emotional and intellectual experience that will serve as the basis for the emergence of ideas and will be the material necessary for the work of the imagination. The unified position of teachers, understanding the prospects for the development of the child and the interaction between them is one of the important conditions for the development of children's creativity. The development of creative activity is unthinkable without communication with art. With the right wagging of adults, the child understands the meaning, the essence of art, visual and expressive means
The next important condition for the development of creative abilities is taking into account the individual characteristics of the child. It is important to take into account the temperament, and character, and the characteristics of some mental functions, and even the mood of the child on the day when the work is to be done. An indispensable condition for creative activity organized by adults should be an atmosphere of creativity: “I mean the stimulation by adults of such a state of children when their feelings, imagination are “awakened”, when the child is passionate about what he is doing. Therefore, he feels free, comfortable. This is not possible if an atmosphere of confidential communication, cooperation, empathy, faith in the child, support for his failures reigns in the classroom or in independent artistic activity.
Also, a condition for the development of creative abilities is training, in the process of which knowledge, methods of action, and abilities are formed that allow the child to realize his plan. For this knowledge, skills must be flexible, variable, skills - generalized, that is, applicable in different conditions. Otherwise, at the senior preschool age, the so-called "decline" of creative activity appears in children. So, a child, realizing the imperfection of his drawings and crafts, loses interest in visual activity, which affects the development of the creative activity of a preschooler as a whole.
The most important condition for the development and stimulation of creative abilities is the complex and systematic use of methods and techniques. Task motivation is not just motivation, but a suggestion of effective motives and behavior of children, if not for independent setting, then for accepting the task set by adults.
To optimize the creative process, it is necessary to form an individual zone for each child - a situation of creative development. The zone of creative development is the basis on which the pedagogical process is built. L.S. Vygodsky noted that "creativity exists not only where it creates great works, but also wherever a child imagines, changes, creates something new." Any child is capable of such activities. Therefore, it needs to be organized. The educator here acts not just as a teacher who teaches, but as a sincerely enthusiastic creative person who attracts his younger colleague to work.
The environment plays a huge role in the development of a child's creative abilities. Until now, the decisive role is assigned to the special microenvironment in which the child is formed, and, first of all, the influence of family relations. Most researchers identify the following parameters when analyzing family relations: 1) harmony - not harmony in relations between parents, as well as between parents and children; 2) creative - non-creative personality as a role model and subject of identification; 3) community of intellectual interests of family members or its absence; 4) expectation of parents in relation to the child: expectation of "achievement or independence".
All these conditions are not enough for raising children with highly developed creative abilities. Directed work is needed to develop the creative potential of children. The system of education in our country does not contain measures aimed at the consistent creative development of children's abilities. Therefore, abilities develop mostly unexpectedly and as a result, do not reach a high level of development of children. Qualities are of great importance: memory, imagination, attention for the development of creative abilities. It is these qualities that are the basis for the development of productive thinking, the creative abilities of children and increases creative search activity.
Thus, the upbringing of the creative abilities of children will be achieved only if it is a rapid and purposeful process, in the course of which a number of particular pedagogical tasks are solved, aimed at achieving the set task.
2.4 Features of work on the development of creative abilities with older preschoolers in fine arts
All teachers know how important it is to make art classes interesting. An analysis of the literature and pedagogical experience shows that one of the most important conditions for the successful development of creative skills through visual activity is the diversity and variability of working with children in the classroom. The novelty of the environment, the unusual beginning of work, beautiful and diverse materials, non-repetitive tasks that are interesting for children, the possibility of choice and many other factors - this is what helps to prevent monotony and boredom in the formation of creative skills through visual activity, ensures the liveliness and immediacy of children's perception and activity . It is important that the teacher every time creates a new situation so that children, on the one hand, can apply the previously acquired knowledge, skills, abilities, and on the other hand, look for new solutions, creative approaches. This is what causes positive emotions in children, joyful surprise, a desire to work creatively. However, it is often difficult for educators to bring variety to all moments of work and to free children's activities, to come up with many options for classes on topics. When managing visual activity, it is necessary to remember its specifics - this is not an ordinary training session in which children just learn something, learn something, this is an artistic and creative activity that requires a positive emotional attitude from the child, the desire to create an image, a picture , applying the efforts of thought and physical conditions. It is necessary to purposefully teach children about artistic creativity; for most preschoolers, creativity itself does not develop and does not manifest itself.
For the full aesthetic development and the formation of the artistic and creative abilities of children, certain conditions are necessary, namely:
- priority attention should be given to playing, drawing, constructive, theatrical and musical activities, which contribute to the comprehensive development of the child's personality, allows you to create an atmosphere of emotional well-being, fill the life of children with interesting content;
- use of various methods and techniques;
- it is necessary to create an artistic and aesthetic environment in the kindergarten, while children take an active part in the design, systematically organize exhibitions;
Everything should have variability. (it is necessary to diversify the forms, means and methods of teaching, materials for work presented to children).
- the teacher must exclude from the classes excessive didacticism, the imposition of his own idea of solving the image, the plot.
- every child deserves an attentive, tactful attitude, respect for his creativity and for the results of his activity. Create a creative and friendly atmosphere.
- the educator must demonstrate trust in the child, exclude excessive guardianship.
The pedagogical process also includes individual lessons with lagging behind children and classes with gifted children. Group work can be carried out with gifted children twice a week. In circle classes, gifted children receive additional, deeper information about the visual program, and most importantly, they acquire the possibility of unlimited creativity. In the classroom, close links are established between all types of visual activity - drawing, modeling, appliqué, as well as arts and crafts.
Usually classes are held according to the structure that helps to complete all tasks as much as possible.
At the beginning of the lesson, a psychological entry is mandatory. It can be musical in the form of listening to music or singing a song, or children silently look at a picture, in the form of a game, or telling a fairy tale.
At the next stage, the topic of the lesson is revealed in a playful way, a learning task is set or a problem situation is created. During the explanation or repetition of the past, models and algorithms, schemes and designs are used, educational games and exercises are offered, which not only helps to remember the process of the image, but also brings children into a state of creative upsurge and desire to create.
At the end of the lesson, a game is played, or a fairy tale ends at the beginning of the lesson, illustrating it with the work of children. There is a logical conclusion of the problem created at the beginning of the lesson. You can carry out psychological unloading by monitoring the mood of children. For example, singing a cheerful song, listening to a cheerful or calm melody while looking at finished works.
Each work is evaluated only positively, correct comments are possible only during work, sometimes coming from the game character. An important point at the end of the lesson is the mood of the child, his emotional state. To find out if the child liked the lesson, whether he is satisfied with his creativity, his work. He slips a mood card into the mood pocket. And the teacher must analyze the emotional state of the children and draw conclusions.
An important point in the structure of classes is the use of finger gymnastics, relaxation to relax muscles, physical education minutes, games for the development of fine motor skills of the hands and imitative motor exercises that resonate with the theme of the lesson, which contribute not only to physical unloading, but also to the maximum assimilation of the material and the development of creativity.
Thus, the necessary conditions for the development of artistic creativity in children is a creative approach to the organization of classes with children and the use of various methods and techniques of work in this direction.
So, the inclusion of various games, game techniques or game situations in the pedagogical process, maximally contributes to the creation of personally significant learning motivation for the child, the assimilation of knowledge, mastery of skills and abilities, and the development of creativity. The following will help to form creative skills through visual activity: variability in the organization of the situation (its novelty and diversity), the choice of topics, forms, means, methods of work, materials presented to children, careful tactful attitude towards each child, respect for the creative process and the results of his creative activity , creating a friendly atmosphere at each lesson, the formation of the same relationship on the part of parents.
CONCLUSION
Visual activity, provided it is led by adults (teachers, parents), is invaluable for the comprehensive development of preschoolers. The main task is to form in children an interest in artistic and creative activities, the ability to draw, sculpt, and apply. When directing visual activity, the educator must remember the conditions common to all age groups that are necessary for the successful mastery of it and the development of children's creativity.
The formation of children's creativity is not possible without the development of aesthetic perception, figurative representations, and imagination. This is based on the formation of sensory processes and the constant enrichment of the sensory experience of children. A necessary condition for the formation of artistic creativity is the integration of the various content of upbringing and educational activities, which is based on the knowledge of reality. Successful work with children requires a creative approach of teachers to the selection of the content of education built on the basis of integration, as well as to the organization of classes for children, to the use of various methods and techniques of work, especially games.
Thus, the inclusion of a variety of games, game techniques or game situations in the pedagogical process contributes to the maximum creation of personally significant learning motivation for the child, the assimilation of knowledge, mastery of skills and abilities, and the development of creativity. The following will help to form creative skills through visual activity: variability in the organization of the situation (its novelty and diversity), the choice of topics, forms, means, methods of work, materials presented to children, careful tactful attitude towards each child, respect for the creative process and the results of his creative activity , creating a friendly atmosphere at each lesson, the formation of the same relationship on the part of parents.
In creative activity, the task of adults is not so much in teaching children the fine arts, but in providing the foundations for the development of each child into a competent person capable of adequately thinking, feeling and acting in a cultural society.
The purpose and objectives of the course work are fulfilled.
BIBLIOGRAPHY
1. Bogoyavlenskaya D.B. Psychology of creative abilities: Proc. allowance for students. higher textbook institutions / D.B. Epiphany. - M.: Academy, 2002. - 320s.
2. Vaynerman S.M. Sensorimotor development of preschoolers in the classroom for fine arts / S.M. Weinerman. - M., 2001.
3. Gribovskaya A.A. Folk art and children's creativity / A.A. Gribovskaya. - M.: Enlightenment, 2004.
4. Doronova T.N. The development of children from 3 to 5 years in visual activity / T.N. Doronova. - St. Petersburg: Childhood-PRESS, 2002.
5. Doronova T.N. Nature, art and visual activity of children. / T.N. Doronova. - M.: Education, 2007.
6. Dubrovskaya A.V. An invitation to creativity / A.V. Dubrovskaya. - St. Petersburg: Detstvo-Press, 2002.
7. Karachunskaya O.P. Museum Pedagogy and Fine Arts in Preschool Educational Institutions / O.P. Karachunskaya. - M.: Creative Center, 2005.
8. Komarova T.S. Children's art work / T. S. Komarova. – Mosaic-Synthesis, 2005
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10. Komarova T.S. Teaching drawing techniques / T. S. Komarova. - M .: Pedagogical Society of Russia, 2005
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Attachment 1
Types and genres of art in kindergarten:
sculpture portrait
animalism still life Domestic genre
Painting portrait household
Still life
animalism landscape
Decorative and applied art
Annex 2
ENTERTAINMENT IN THE SENIOR GROUP "JOURNEY TO THE LAND OF ART"Purpose: To form the knowledge and skills of children in the field of fine arts. Give children joy and pleasure. Maintain interest in visual activities, the desire to play games with visual content. Learn to draw with stamps.
Material and equipment:
Parcel (cut portrait of the King of the Palette, pictures of riddles), colored arcs, umbrellas, easel - 2 pcs., flannelograph, sun with colored rays, panels with palettes and girl-paints, stamps 2 pcs. for each child, carved houses for each child, costumes for Izoychik, Klyaksich and the King of the Palette., audio recording "Rain Noise" and the song "Rain" and Mozart's music for children.
Stroke:
An envelope containing an image of Izoychik cut into 4 parts and a letter is brought to the hall, in which it is written: “Dear guys, we invite you to make an exciting journey through an extraordinary country.
Teacher: From whom is this letter? Who invites us and where? There are some colored pieces in the envelope here. What to do with them? (children collect the picture on their own). Now we know who sent the letter! But I wonder what country Izoychik invites us to? The name is hidden in these pictures. (Children need to make the word FINE from 3 pictures of Chineward).
What does the word ISO mean? What words are hidden in it? Correct fine art - from the word depict, it means to draw. Well, do you agree? So on the road?
We need to take the necessary items to the country of fine arts. But first, guess the riddles, and the riddles on the table are various necessary things for drawing.
1. If you sharpen it,
Draw whatever you want!
Sun, sea, mountains, beach.
What is this? (Pencil)
2. Huddling in a narrow house
colorful kids
Just release it -
Decorate a clean field
Where was the void
There you look - beauty! (Colour pencils)
3. If you give her a job,
The pencil worked in vain. (Elastic)
4. The white stone has melted,
Left footprints on the board. (Chalk)
5. Your pigtail without fear
She dips herself in paint. (Tassel)
6. Multi-colored sisters
Were bored without water. (Paints)
Well done, you guessed it. So you can hit the road!
Pay attention to the arcs.
Let's go across the rainbow bridge.
Children collect rainbows.
- Hello, rainbow-arc,
Taking us for a visit.
We ran barefoot along the rainbow,
Through the rainbow - we will jump over the arc on the run
And again run, run, ran barefoot.
They go to the center of the room.
- It's dark in here!
The sound of rain sounds. And music with the song "Umbrellas".
Children dance with umbrellas.
Isoychik comes out.
- Hello, Isoychik! Why are you so sad?
Izoychik: It has always been raining in our country lately.
Educator: Why? Where is the sun?
Izoychik: This is Klyaksa. Klyaksich mixed all the colors on the palette and they became dirty, gray. The sun has lost its brightness, its multi-colored rays have gone out. Help light the sun!
Music sounds and Klyaksich runs in.
Klyaksa: Who here wants to light the sun? You, guys? Don't you like rain? Don't you like mixing colors? Love? Well, and I love it! Here, look how easy it is!
Approaches the easel, mixes paints red + blue + black + brown + yellow.
Klyaksa: That's what happened!
Izoychik: It turned out to be mud! Do you kids like it? How should paints be mixed?
Children: You need to take only 2 paints.
The teacher shows examples, the children verbally solve them for her.
Educator: Well done, now come and help light the sun.
Children remember the magic phrase: "Every Hunter Wants to Know Where the Pheasant Sits."
As soon as the children collect the sun, it smiles and the light flashes.
Blot: Well, the sun is shining, the rain has stopped, I'll go from here! (leaves)
(Children sing a song 1 purchase.)
Izoychik: I know that children in your garden love to draw. I want you to become real artists.
Teacher: And what is needed for this?
Izoychik: Colors and the desire to draw!
Educator: Well, let's check, you draw, and we will give you tasks. First, draw a bagel.
Izoichik pretends to draw.
Educator: Where is the bagel?
And I ate it.
Educator: Okay, now draw a glass.
Izoychik draws with milk! Here!
Teacher: Again, nothing. Well, suppose you drank milk, but where is the glass?
Izoychik: The glass is transparent, you can't see it!
Educator: Then draw a red dog!
Isoychik draws. All!
Educator (brings to the eyes). Dot on sheet. This is a dog?
Isoychik: Yes. At first I imagined a big dog, then I got scared and climbed a tree, and from there the dog seems small!
Educator: Well, you have a fantasy! But you, Izoichik, have not yet introduced us to the inhabitants of the country of fine arts.
Izoychik: Please. Colors live in our country. There are with cold shades, and with warm ones, and each has its own house. And our country is ruled by King Palette!
Educator: Something your paints all ran away, how can our children draw? Help the guys put the paints in their place. To your houses. Warm colors - to warm, cold - to houses of cold tones.
(Children do the task).
- And where do we define green?
Children answer:
The Palette King appears!
Palette King: Hello guys! They say that you are good at drawing? Then please paint the houses for the rest of the inhabitants of the country of fine arts.
Educator: Paint the houses with the help of stamps.
What paints do you think you will paint with if cold paint lives in the house, for example, blue or green?
And if warm red or yellow?
Children answer questions. Then, with the help of stamps, the houses are painted to the music.
At the end of the lesson, Izoichik examines children's work, praises them, and gives beautiful pictures as a keepsake.
The creative abilities of a preschooler are individual qualities that determine the success of any creative activity. Creativity can be called an alloy of many qualities of a preschooler, including:
notice what others do not see (for example, first see the whole, and only then fix the details);
produce a wide variety of original ideas in a short amount of time;
easily associate distant concepts;
the desire to know;
apply the skills acquired while solving one problem to solving a completely different one;
purposefully organize the conditions in which the object most clearly reveals its hidden essence;
independently create an alternative solution to the problem instead of searching for the necessary one among the proposed solutions;
figuratively grasp a certain regularity in the development of an object before getting to know it and acquiring a clear concept of this object.
The basis of all these qualities are imagination and creative thinking, the development of which leads to the improvement of creative abilities in preschoolers.
The development of creative abilities in children is favorably influenced by various types of children's activities, which are given sufficient attention in kindergarten, but if your baby does not attend this institution, then this is also not a problem. You can do it yourself at home too. And it is not at all difficult, but on the contrary, it is very exciting and interesting.
The upbringing of the creative abilities of children will be effective only if it is a purposeful process, during which a number of particular pedagogical tasks are solved, aimed at achieving the ultimate goal.
One of the techniques aimed at creating conditions for the creative self-expression of the child is the organization of work with children using non-traditional drawing methods.
In the classroom for fine arts, non-traditional image techniques are rarely used, their corrective significance is not taken into account, meanwhile, the use of non-traditional techniques helps to enrich children's knowledge and ideas about objects and their use; materials, their properties, ways of working with them.
Non-traditional technique does not allow copying a sample, which gives an even greater impetus to the development of imagination, creativity, independence, initiative, and the manifestation of individuality.
The child gets the opportunity to reflect his impressions of the world around him, to convey images of the imagination, turning them into real forms with the help of various materials.
And most importantly, non-traditional drawing plays an important role in the overall mental development of the child.
Creativity is increasingly seen as the most meaningful form of mental activity, a universal ability that ensures the successful implementation of a wide variety of activities.
One of the important points for the development of children's creative abilities is the integration of types of visual activity, which makes it possible to find their own options and ways of depicting. The relationship of types of visual activity (sculpting, application, drawing) is one of the ways to implement an integrated approach to artistic education, the conditions that ensure the combination of different types of classes. The integration of creativity is closely related to the game. The game is the basis of the activity of a preschooler and it is it that makes it possible to combine types of visual activity in the classroom, the abundance of visual materials in one lesson makes it possible to create a “live” image. Experience shows that one of the important conditions for the successful development of children's artistic creativity is the diversity and variability of work with children on fine arts.
Methodologically important in this regard is that in the process of interaction with an adult, the child must have the necessary degrees of freedom both in the manifestation of the spiritual and practical foundations that have already developed in him, and in achieving new development opportunities.
Visual activity, provided it is led by adults (teachers, parents), is invaluable for the comprehensive development of preschoolers. Visual activity is included in the pedagogical process of a preschool institution from the first junior group. The main task is to form in children an interest in artistic and creative activities, the ability to draw, sculpt, and apply. When directing visual activity, the educator must remember the conditions common to all age groups that are necessary for the successful mastery of it and the development of children's creativity.
Based on the position of Russian psychology on the role of activity in the formation of personality and Vygotsky's position that learning leads to development, an important condition for the successful mastery of visual activity by children is the relationship between education, training, and creativity. In this regard, much attention should be paid to the development of independence, providing them with wide opportunities for expressing their own ideas and reflecting personal experience. The formation of children's creativity is not possible without the development of aesthetic perception, figurative representations, and imagination. This is based on the formation of sensory processes and the constant enrichment of the sensory experience of children. A necessary condition for the formation of artistic creativity is the integration of the various content of upbringing and educational activities, which is based on the knowledge of reality. The image is the core of all educational work built on the basis of integration. One of the main conditions for a full-fledged aesthetic education and the formation of artistic abilities is priority attention to specific children's activities: play, visual, artistic and speech, theatrical, constructive, musical, which, provided they are optimally organized, can ensure the comprehensive development of the child, create an environment of emotional well-being, fill his life interesting content. Successful work with children requires a creative approach of teachers to the selection of the content of education built on the basis of integration, as well as to the organization of classes for children, to the use of various methods and techniques of work, especially games.
For the most part, the child's idea is formed in the process of drawing. Even in those cases when the idea is proposed by the educator, its embodiment in the drawing does not give exactly the same result for all children. Drawings are individual, reflect the creative potential of each child.
Creativity in the transfer of images also depends on how well children master the drawing technique available to them.
Thus, learning the techniques of artistic and creative work can be a very real thing. Based on the teaching of visual and technical skills, it achieves the main goal - to give children the means of figurative expression, to lead them through the stages of the creative process, to enable them to experience the joys and difficulties associated with creative achievements.