Consultation for teachers: "Analysis of children's work on visual activity».
Prepared and conducted by the senior educator
January 2015
The analysis of children's work is a very important part of the direct educational activities of children in visual activity. The analysis should be based on the implementation of the program content, the implementation of its main goals.
During the direct educational activities the educator sets the task for the children not only to strictly follow this model, but mainly to show independence in the performance of work. For example, in a lesson on decorative drawing the teacher offers to depict one of the patterns this sample, or make a combination of two or three patterns, or come up with your own based on the same elements, new pattern.
By the end of the work, the teacher already knows approximately what work will need to be paid attention to. In the analysis, it will show the execution exactly according to the model, and combined, and made independently.
The teacher must place the work in a pre-selected place. Before proceeding to the analysis, the educator should give the children the opportunity to consider the work, to discuss them. The statements of the children will help the teacher in assessing children's creativity. The questions that the teacher will ask should be varied and aim children at a specific answer.
In some cases, the teacher offers the children to tell in detail about the content of the work, about its composition, about the use of certain techniques, offers to critically evaluate the work, select appropriate epithets, stocks from poems.
It is not recommended, of course, to take the work of the same children for analysis, as this can lead to praise, to convince children that they always do the best. The teacher must find in each work something worthy of attention, so that each child is sure that he can do it no worse than others.
When analyzing, it is important not only to note whether the child completed the task correctly or incorrectly, but to emphasize the expressiveness of the solution, the beauty of color combinations, note the nature of the composition, and pay attention to the drawing technique.
If, for example, children are faced with the goal of conveying resemblance to nature, then the analysis will be comparative. The questions of the educator should prompt the children to compare the work with nature, help to find out whether the structure of the object, its coloring, and whether its component parts are depicted correctly.
When evaluating subject drawings, the teacher pays attention to the correctness of the image (shape, size of parts, structure, color), imagery, the ability to convey a variety of poses, movements.
In plot works, the teacher pays attention to the composition, to the expressiveness of the images, notes the manifested taste, sense of color, rhythm, and the ability to act independently.
The analysis of works according to the plan should begin with the question “What is depicted?”, And then pay attention to the content, execution technique, decoration, design. At the same time, the diversity of ideas must be emphasized.
IN decorative works it is important to note their brightness, colorfulness, ability to combine colors, variety of composition.
The analysis of collective work should begin with a general assessment: say how the children coped with the work, emphasize the ability of individual children to act in concert, help each other, and the ability to independently distribute work among themselves. Then it is already necessary to consider individual, most interesting works.
In all cases, it is important to pay attention to the cleanliness and accuracy of the work, the ability to complete it on time.
Depending on the type of visual activity, the following forms of analysis can be used:
1. Give overall score children's activities.
2. Among the selected works, select two - the Tories are the best and explain why they were selected.
3. Arrange all the works in a certain sequence in accordance with the content of the topic. For example, drawing based on the fairy tale "Gingerbread Man".
4. Offer to talk about any work you like.
5. Tell about the work indicated by the teacher.
6. Offer to find a job similar to the sample.
7. Compare the work with the sample.
8. Find two various works.
9. Find similar works.
10. Find a job with a mistake.
11. Find a job that shows creativity.
12. Find unfinished work.
13. Tell about your work (introspection).
14. Invite two children to talk about each other's work.
15. Invite one of the children to pick up nature, examine and find work by nature.
16. Offer to find nature for work.
17 Select two or three most accurate works.
18. Find the most interesting drawing.
19. Select works with a beautiful color combination.
20. Find jobs with the most expressive images.
This is not the whole list of possible forms of analysis. For each specific activity, based on the program content, you can come up with new options for analysis, diversify those already tested.
Diagnosis of children's activity
It is known that children's drawing can be used as a means of diagnosing intellectual and aesthetic development child. In this regard, it is important to know the criteria for assessing the level of a child's mastery of the skills of visual activity.
To identify the degree of mastering the skills of visual activity by students, a method for diagnosing children is proposed.
A complete set of relevant criteria and indicators can be used to better characterize the level of children's mastery of visual arts skills; for more rapid diagnosis, some of them should be selected.
The selected criteria are combined into two groups:
the first is used in the analysis of products of activity;
the second - in the analysis of the process of activity.
1.Picture content (fullness of image image)
The analysis of children's work is short description image created by each child.
2. Form submission:
the form is conveyed accurately;
significant distortion, the form failed.
3. The structure of the subject:
parts are located, right;
there are minor distortions;
parts of the object are located incorrectly.
4. Transferring the proportion of the subject in the image:
the proportions of the subject are respected;
there are minor distortions;
The proportions of the subject are incorrect.
5.Composition (for a more complete and accurate description of children's mastery of the composition, two groups of indicators are distinguished):
a) the location of the images on the sheet;
throughout the sheet;
on the strip of the sheet;
not thought out, is random;
b) the ratio in size of the different images that make up the picture:
proportionality in the image various items;
there are minor distortions;
the proportionality of different objects is conveyed incorrectly.
6.Movement transmission:
the movement is conveyed quite clearly;
the movement is conveyed indefinitely, clumsily;
the image is static.
7.Color (in this criterion, two groups of indicators are also distinguished: the first characterizes the transfer of the real color of objects and samples decorative arts, the second - creative attitude child to color, free handling of color):
a) color scheme of the image:
the real color of the objects is transferred;
there are deviations from the real color;
the color of the objects is transferred incorrectly;
b) diversity colors image corresponding to the intent and expressiveness of the image:
multi-color or limited gamut - the color solution corresponds to the idea and characteristics of the depicted;
the predominance of several colors or shades is more random;
indifference to color, the image is made in one color (or randomly taken colors).
Analysis of the process of visual activity.
1.Nature line (in accordance with the study on the formation of manual skills in children, this criterion includes four groups of indicators):
a) the nature of the line:
continuous;
dashed line;
trembling (hard, rough);
b) pressure:
average;
strong, energetic (sometimes pushing through the paper);
weak (sometimes barely visible);
c) coloring (swipe):
small strokes that do not go beyond the contour;
large sweeping movements, sometimes going beyond the contour;
chaotic lines (strokes) that do not fit within the contour;
d) regulation of pressure force:
the child adjusts the force of pressure, paints within the contour;
the child does not always regulate the force of pressure and scope;
the child does not regulate the force of pressure, goes beyond the contour.
2. Regulation of activity (in this criterion, three groups of indicators are distinguished for a more detailed description of the attitude of children to activities):
a) attitude to the assessment of an adult:
adequately responds to the comments of an adult, strives to correct mistakes, inaccuracies;
emotionally reacts to the assessment of an adult (with praise, he rejoices, the pace of work increases, with criticism, it slows down, activity slows down or stops altogether);
indifferent to the assessment of an adult (activity does not change);
b) assessment by the child of the image he created:
adequate;
inadequate (overestimated, underestimated);
absent;
c) emotional attitude to activity: how brightly (strongly, moderately, indifferently) the child relates to:
to the proposed task;
to the process of activity;
to the product of their own activity.
3.Level of independence:
performs the task independently, without the help of a teacher, if necessary, asks questions;
little help is needed, rarely addresses an adult with questions;
support and stimulation of activity from an adult is necessary, he himself does not turn to an adult with questions.
4.Creativity:
a) independence of thought;
b) the originality of the image;
c) striving for the most complete disclosure of the idea.
Evaluation of children's work according to the criterion of "creativity" and the indicators named in it is not quantitative, but qualitative in nature and is given in a descriptive form.
For all criteria that have one or two or three groups of indicators, the assessment is given according to a three-point system: 1st - 3 points; 2nd - 2 points; 3rd - 1 point.
All assessments of indicators for each criterion and for each child are summarized. highest number points that a child can get - 45, the lowest - 15 points. Based on the amount collected, children can be differentiated by the level of mastering the skills of visual activity. To do this, you need to create a ranking series, that is, make a list of children in sequence from the highest number of points scored by the child to the lowest. Such a ranking series can also be constructed for each criterion separately. The ranking series can be conditionally divided into three parts. So, if 20 people were diagnosed in a group, then in each subgroup, on average, 6-7 children can turn out, but there can also be sharp differences. Each of these subgroups will be assigned to the highest, middle and lower level(according to the number of points scored).
Following diagnostic examination, carried out after targeted activities with children, should change the number of children in each subgroup by increasing the number of students in subgroups of high and medium levels and reducing the number of those who performed the image at a low level, which will indicate the effectiveness of the educator.
For current diagnostics, we can restrict ourselves to the first group of criteria, built on the analysis of activity products and allowing to determine the level of children's mastery of skills in drawing, modeling, and application (omitting those criteria that are not typical for some types of activity, such as color for modeling). To determine the level of development of creativity, diagnostics with drawing circles should be added to these indicators.
You can create a summary table that will present all the scores received by children for each criterion and indicator. Let us take as a basis the data of indicators of the analysis of the product of activity (there are eight of them). In order to identify the results of experimental - experimental work and the level of development of artistic - creativity in preschool and younger children school age at the end school year the following diagnostic tests can be performed.
All children are offered the task of drawing six circles: children are given a standard landscape sheet of paper with circles of the same size drawn on it in two rows (three in each) (4.5 cm in diameter). Children are invited to consider the drawn circles, think about what kind of objects they could be, draw and color them.
The performance of this task is assessed as follows: according to the criterion of "productivity" - the number of circles designed by the child into images, and the number of points received by the child is compiled. So, if all six circles are formed into images, then a score of 6 is given, if 5, then a score of 5, etc. All scores are added up. Total number points allows you to determine the percentage of productivity of the task by the pupils of the whole group.
The results of the children's performance of the task according to the criterion of "originality" are evaluated according to a three-point system. Grade "3" - high level- is given to those children who endowed the object with original figurative content, mostly without repetitions (for example, an apple or the faces of little animals). Grade "2" - the average level - is given to children who endow all or almost all circles with a figurative meaning, but allow almost literal repetition (for example, a muzzle) or decorate circles with very simple objects that are often found in life (ball, ball, etc. .). Grade "1" - a low score - is given to those children who could not give a figurative solution to all circles, the task was not completed completely and carelessly.
Not only the originality of the figurative solution is evaluated, but also the quality of the drawing (a variety of colors, the thoroughness of the execution of the image: characteristic details are drawn or the child was limited only to the transfer general form as well as drawing and coloring techniques). Counted up total points received by the children of each group (total score), then the average score for the class is displayed (the total number of points received by the class divided by the number of children in it).
Analysis of products of visual activity.
F.I.
child
form
structure
proportions
Composition
broadcast
movements
color
General
quantity
points
Total
points according to the criteria
possible highest number
Ranking series built on the basis of the amount of points received by children
(from highest number to lowest).
№ p/n
Surname, name of the child
Total points
Highest score
Total
points according to the criteria
possible highest number
The analysis of children's work is a very important and responsible part of the visual activity class. The analysis should be based on the implementation of the program content of the lesson, the implementation of its main ideas. During the lesson, the educator sets the task for the children not only to follow this model exactly, but mainly to show independence in the performance of work. For example, in a decorative drawing lesson, the teacher suggests depicting one of the patterns of this sample or making a composition of 2, 3 patterns, or, based on the same elements, come up with your own new pattern. By the end of the lesson, the teacher already knows approximately what work should be paid attention to. In the analysis, he will show both made exactly according to the model, and combined, and made independently.
Works for analysis should be placed in a pre-prepared place. For example, drawings and applications can be placed on a board - a stand (see "Methods of teaching drawing, modeling, applications in kindergarten» ed. Sakulina), wet drawings and voluminous works (made of clay, plasticine, natural and waste materials) are laid out on tables or stands. At the stand, the works are hung on a ribbon.
Before proceeding to the analysis, the educator should give the opportunity to review all the work, to discuss them. The statements of the children will help in determining children's creativity.
The questions that the teacher will ask should be varied and aim children at a specific answer.
In some cases, the educator invites the children to tell in detail about the content of the work, about the expressive means, offers to critically evaluate the work, pick up lines from the poem.
It is not recommended to take the work of the same people for analysis, because this can lead to the capturing of the child; convince children that they are always doing better than in the previous lesson. The teacher must find something worthy of attention in each work, so that each child is sure that he can do it no worse than others.
When analyzing, it is important to note not only the child completed the task correctly or incorrectly, but to emphasize the expressiveness of the solution, the beauty of color combinations, note the nature of the composition, and pay attention to the drawing technique.
So, having given the children the opportunity to consider their work, the teacher begins the analysis, using various forms of it. Their choice depends on the type of activity. If, for example, the children were faced with the task of conveying resemblance to nature, then the analysis would be comparative. The questions of the educator should prompt the children to compare the work with nature, help to find out whether the structure of the object, its coloring are correctly conveyed, whether its constituent parts are depicted proportionally.
When evaluating subject drawings, the teacher pays attention to the correctness of the image (shape, color, proportions, structure - to the transfer of expressive means).
In plot works, the teacher pays attention to the transfer of composition, movement, how the child conveyed his attitude to the drawing with color, to relative value between items.
In decorative works, it is important to note their brightness, colorfulness, ability to combine colors, variety of compositions.
The analysis of collective work begins with a general assessment: to say how the children coped with collective work, to emphasize the ability of some children to act in concert, to help each other, the ability to independently distribute work. Then consider some of the most interesting work. In all cases, it is important to pay attention to the cleanliness and accuracy of the work, the ability to complete it on time.
Depending on the type of lesson, the following can be used forms of analysis:
- Give an overall assessment of the lesson.
- Among the selected works, choose 2-3 best ones and explain why they were selected.
- Arrange all the works in a certain sequence in accordance with the content of the topic (for example, according to the fairy tale "3 Bears". So you can find out which episode is not in the drawings, which of the 2-3 works is done better.
- Offer to talk about any work you like.
- Tell about the work indicated by the teacher.
- Offer to find a job similar to the sample.
- Compare your work with a sample.
- Find 2 different jobs.
- Find similar jobs.
- Find a job with a mistake.
- Find a job that shows creativity.
- Find unfinished work.
- Tell about your work.
- Offer to talk about a friend's work.
- Find nature at work.
- Select the most accurate work.
- Find the most interesting work justify why.
- Find works with a good color combination.
- Find works with the most expressive images (crying hare, cunning fox).
- In one lesson, you can come up with 2-3 options for analysis. Their choice depends on the topic and program content.
Drawing for a child is not art, but speech. Drawing makes it possible to express what, due to age restrictions, he cannot express in words. In the process of drawing, the rational fades into the background, prohibitions and restrictions recede. At this moment, the child is absolutely free. Children's drawing most often clearly demonstrates the sphere of interests of the smallest artist. On early stages development (up to three years) - these are dashes, lines, circles. The kid "tryes" a pencil or a brush, experiments. Usually he first makes a drawing, and then comes up with what he depicted, on what This it might look like. Later (by the age of four) appears drawing idea . From a certain age (at 3.5 - 4 years), a person becomes the object of close attention and study. From the point of view of psychodiagnostics, a drawing of a person is one of the most accurate and reliable sources of information. The difficulty lies only in the fact that the information contained in such a message is, figuratively speaking, “encoded”, and the drawing must be correctly “read”. Psychologists who use drawing techniques in their work must have sufficient qualifications and experience working with children. However, attentive parents can always notice in creative works child something unusual, to feel his mood, to catch the hidden tension. Therefore, as a "first aid" we offer several lessons of analysis children's drawing.
Details of children's drawing depend on age
The child should be asked to draw his family. Moreover, so that everyone was busy with some business. Let him have a choice of colored pencils and enough paper - a regular landscape sheet (A4 format) is fine. Do not rush the baby or comment on his drawing in the process of drawing. And when he finishes the family portrait, it's time to ask questions: who exactly did he draw and what are all these characters doing. When starting to analyze a drawing, adults should take into account that its content and, relatively speaking, quality depend on age. young artist. In three-year-old children, people most often look like "cephalopods": some creatures whose body and head are a single "bubble" with legs. A face may also appear. But, strictly speaking, analyze the drawing in terms of personal development and psycho-emotional state will be more correct from 4-5 years . By the age of four, a child usually already depicts a person in the form of two ovals with arms and legs - sticks. The head, eyes, torso, arms, legs appear in the drawings of five-year-old children. At six years old, the nose, mouth, fingers are added to the above (their number is insignificant). By the age of seven, "painters" no longer lose sight of such details. human image, like a neck, hair (or a hat), clothes (at least in a schematic form), and arms and legs depict double lines. Usually, these criteria are guided by the assessment of the mental development of the child.
Analysis of a child's drawing according to ... own feelings
Home hierarchy
Particular attention is paid to the analysis of the structure of the family pattern. It needs to be compared real composition with the one depicted by the child on paper. You should also evaluate the drawing order, the size of the shapes, and their placement on the sheet. The first and largest, as a rule, depicts the most significant member of the family in the understanding of the young artist. Children usually draw themselves next to those to whom they feel the greatest affection. And farthest in the figure is the most unsympathetic relative to the baby. The image in profile or with the back also indicates a tense relationship between this family member and the author of the drawing. Children live in the moment. And often emotional relationships with someone close (a recent quarrel, resentment) can make their own adjustments to the drawing. In this case, the baby may even “forget” someone. For example, 6-year-old Alyosha does not draw his father, who pays him little attention and is rude. And he explains his absence in the figure by the fact that "dad went on a business trip." Alice (4 years old) did not draw her little sister Ksyusha, explaining her absence by the fact that the baby is “sleeping in another room”. The girl cannot come to terms with the fact that her mother, because of her sister, does not give her as much attention as before. There are also reverse situations, when the child depicts in the picture really non-existent family members. Sasha (5 years old) surprised his mother a lot when he drew a playing baby next to him and announced that he finally had a brother! Such “adjustments” to the composition of the family are made by children who are dissatisfied with their emotional situation. They need more benevolent attention from adults and games "on an equal footing", or better - entertainment in the company of other kids of the same kind. An important role in the analysis of children's drawings is played by what family members are doing. If they are connected somehow common cause, most often this indicates a favorable family climate. very meaningful an indicator of psychological proximity is the real distance between the depicted figures . By drawing himself apart from the rest, the child can “signal” his isolation in the family. If he separates his relatives from each other with partitions or puts them in different "rooms", this may indicate problems in communication. The size of the image tells what place this person occupies in emotional life families. For example, if a child draws a younger brother or sister larger than himself, then we can assume exceptional attention to him from relatives. He "takes up a lot of space in their lives." The absence of the smallest artist in the drawing is a frequent sign that the child feels lonely in the family, and there is “no place” for him in relationships between loved ones. You can check this by asking the kid the question: “Maybe you forgot to draw someone?” It happens that even a direct indication: “you forgot to portray yourself” the child ignores or explains: “there is no space left”, “then I will finish it”. This situation is a serious reason to think about family relationships. A very dense image of figures, as if overlapping each other, speaks of an equally close relationship between people close to the baby or about his need for such connections.
Evaluation of "manner of writing"
A fairly common sign of increased anxiety in a child is self-correction. Especially those that do not improve image quality. There are drawings from individual small strokes - the baby seems to be afraid to draw a decisive line. Sometimes the whole drawing or some of its parts is hatched. In such cases, one can also assume the increased anxiety of the young artist. It is worth paying attention to the exaggerated big eyes in a portrait, especially if the pupils are heavily shaded in them. Perhaps the baby is experiencing a feeling of fear. numerous decorations, the presence of additional details and elements of the costume by the author of the drawing indicates the demonstrativeness of the child, his desire to be noticed, craving for external effects. This is more common in girls. Very weak pencil pressure, low (not for age) detail pattern occurs in asthenic children, prone to rapid fatigue, emotionally sensitive, psychologically unstable. And children who easily, for no apparent reason, change their mood, usually in the process of drawing they often change pressure: some lines are barely noticeable, others are drawn with noticeable effort. give the impression of careless, uncontrolled. Here attention is drawn to strong pressure and gross violations symmetry. Sometimes the drawing "does not fit" on the sheet. There are drawings where everyone figures are depicted very small. Usually the entire composition is oriented towards some edge of the sheet. This means that the baby feels weak and does not believe in his own strength. Perhaps one of the relatives is very strict with him or the requirements for the child do not correspond to him. real opportunities. If baby portrays himself in an open pose (arms and legs are widely spaced, the figure is large, often rounded), this indicates his sociability and cheerfulness. And on the contrary, a “closed” posture (hands pressed to the body or hidden behind the back, the figure is elongated, angular) rather indicates a closed person, inclined to restrain his feelings and thoughts. Both in the drawings of boys and in the drawings of girls one can often notice symbols of aggressive tendencies behaviors: large accented fists, weapons, intimidating posture, clearly traced nails and teeth. Despite seeming hostility, they can be an expression of a protective form of behavior. . Adults should figure out what is a source of increased emotional danger for their child, and why he needed such a demonstration of his strength. A special place is occupied drawings in violation of accepted image standards . In particular, the image of the genitals. For young children (up to 4 years old), this is rather a frequent occurrence. This reflects the tendency towards the naturalness of life in all its manifestations. In older preschoolers, such a drawing speaks of demonstrativeness, the desire to attract attention in a provocative way, and serves as an expression of aggression.
Is the palette a mirror of the soul?
Children very early begin to "feel" the color and select it according to their mood and attitude. Dr. Max Lüscher, psychologist and color researcher, studied the selection of shades from the color spectrum. different people. He came to the conclusion that the choice of color reflects the psychological qualities of a person and his state of health. Number of colors used by the child can be viewed from several perspectives. First of all, it is a characteristic of the level of development of the emotional sphere as a whole. Usually children use 5-6 colors. In this case, we can talk about the normal average level emotional development. A wider palette of colors suggests a sensitive nature, rich in emotions. If a child older than 3-4 years old draws with 1-2 colored pencils, this most likely indicates his negative state in this moment: anxiety (blue), aggression (red), depression (black). Use only simple pencil(if there is a choice) is sometimes interpreted as the "absence" of color, so the child "reports" that his life lacks bright colors, positive emotions. The most emotionally significant figures are distinguished by a large number of colors. And openly not accepted characters are usually painted in black or dark brown. Colors can also convey certain character properties and state. Each color has its own symbolic meaning. :
- Navy blue - concentration, focus on internal problems, the need for peace and satisfaction, introspection;
- green - balance, independence, perseverance, stubbornness, striving for security;
- red - willpower, eccentricity, outward orientation, aggression, increased activity, excitability;
- yellow – positive emotions, spontaneity, curiosity, optimism;
- violet - fantasy, intuition, emotional and intellectual immaturity (children often prefer this color);
- brown - sensual support of sensations, slowness, physical discomfort, often - negative emotions;
- black - depression, protest, destruction, an urgent need for change;
- grey - "absence" of color, indifference, detachment, desire to leave, not to notice what disturbs.
From theory to practice
So, the kid spent several minutes over a sheet of paper with pencils in his hands, and the picture is ready. How much that is important for him and for his parents is hidden in this picture! Let's try to read it? Here the child has portrayed himself, but the pose is unstable, and there is no face. How do you communicate without a face? - Difficult! Here is the baby in the crib - lay down to rest. Perhaps he is tired. Or maybe sick? And I chose brown. Yes, that's right - the temperature! Why do all the girls draw princesses? That's how they feel or...really want it. Just to be in the spotlight, to be the very best ... And what is the demand from the princess? Here's a boy armed to the teeth. He needs protection. Maybe someone offended him.
Examples of analysis of specific drawings:
Children's drawing 1
The author of this family portrait»- Alyosha (6 years old).
Age criterion The child's behavior contains traits that are more early age, the emotional-volitional sphere is characterized by immaturity. All the characters in the picture are depicted in the same way. Clothing, with its inherent details, is missing. The hairstyle is a symbolic sign of gender. The characteristic absence of a neck in the depicted people in this case indicates the difficulty of controlling the mind over bodily impulses, that is, Alyosha's behavior shows high mobility, at times - disinhibition, impulsivity. Emotional characteristic The drawing is bright, light, cheerful, orderly, rather benevolent. Features of the family image The family in the figure is reflected in in full force. In the center of the composition is the father as an important subject in the domestic hierarchy. It can be assumed with sufficient certainty that the mother is physically and emotionally closer to Alyosha. The resulting couples are noteworthy: mother - son (the youngest in the family), father - daughter. Sister Lena is farthest from the author of the drawing. Probably not everything is going well in their relationship. It is significant that of all family members, only dad "stands firmly on the ground." The rest - soar, a little "hovering in the clouds." In general, we can talk about fairly warm and close relations between family members. This is evidenced by the slight distance between them, the choice of a common color and the image in the same range of a house with smoke from a chimney, symbolizing the “warmth of a family hearth”. "Writing Style" All lines of the drawing are made with confident, decisive movements. It is probably this style of behavior that is most characteristic of Alyosha. But the strong pressure and accentuated shading of the boy’s body speak of inner restlessness, anxiety, perhaps physical (literally bodily) malaise. The hairstyle gives out an active nature, at times, perhaps aggressive. Interesting detail- peculiar antennas (according to Alyosha), which in the figure "grow" from the boy's ears. They symbolize the need for information in order to compensate for difficulties in communication (the child in the image does not have a face). The poses of all the characters are open, the figures are rounded, which suggests cheerful, sociable people. In the case of Alyosha, this seeming contradiction can mean: “I want to communicate, play, but they don’t always understand me.” Palette Color solution drawing is very symbolic. The little artist opted for a signal red color for all family members, especially for himself. This indicates an outward orientation, sociability, increased activity of the author of the drawing. Additional green emphasizes the desire for independence and the desire to insist on one's own as a habitual way of behavior. important detail The figure is a clearly traced surface of the earth. If Alyosha spent a lot of time on her image, this is probably something important for him. In this case, you can consider the earth as a need for support, greater stability and stability. The purpose of drawing analysis is always a deeper understanding of the child, looking at the family through his eyes and identifying ways to positive changes. In this case, I would like to recommend Alyosha's parents to pay more attention to deep, confidential communication with their son, to talk to him more often just like that, to be interested in his opinion on various issues. They should also consider what is the difficulty of contact between son and daughter. A leisure, playing outdoors can significantly reduce emotional and physical stress.
Children's drawing 2.
Its author is Maxim (4 years 10 months)
Age criterion
This pattern is more typical for six-year-old children. We can say that the boy develops intellectually ahead of his age. Emotional characteristic
The drawing is bright, dynamic, but restless. Features of the image of the family.
The family is shown in its entirety. Attention is drawn to the sexual identification of the young author with his father (see clothes). However, emotionally the child is still closer to the mother, which is typical for a preschooler. It is interesting that the boy does not seem to have enough space in the drawing, he is unsteady on his feet. His position is unstable and changeable. Palette
The child has chosen purple, which, combined with his uncertain position in the family (this was mentioned above), indicates a possible psycho-emotional instability, frequent mood swings. For Mom little artist chose energetic somewhat chaotic, yellow. Dad is brown. His image focuses on physical body. This is how a child sees his parents. "Writing Style"
The figures are large, angular - most likely, in the communication of the child there is some straightforwardness and a tendency to conflict ( sharp corners). Noticeable shading and clearly traced pupils suggest the presence of hidden anxiety.
Children's drawing 3
Petya, 6 years old.
The drawing is bright, saturated, energetic, well organized. It is consistent with the age of the artist. In the structure of the family, there are "adult" and "children's" groups. Younger brother and sister strive emotionally and physically to be closer to Petya. Probably in the family psychologically close, equal relationship. Mom is the most vivid, emotional image. The child highlights the image of the mother with the help of color and draws it first. Petya portrays himself as an adult. The arms are somewhat shortened compared to other images. This is usually found in the drawings of children who consider themselves insufficiently skilled, critical of their practical skills and capabilities. The sun and flowers are very common in children's drawings. It is worth paying attention if their appearance is unjustified by the situation. For example, the sun appears in a drawing of a room. Then we talk about the need for warmer relationships in the family. In Petya's drawing, these symbols most likely indicate a positive attitude towards his family.
Children's drawing 4
Polina, 7 years old.
Often children draw arbitrarily, without a special task, asking: "I draw a girl like me." In this case, we observe a somewhat idealized representation of the child about himself. Let's pay attention to the picture of Pauline. It is located at the top of the sheet, quite large and bright. We can talk about the positive self-esteem of the child, activity, emotionality. Probably the girl has high self-control, developed intellect, sociability. But she lacks stability (pay attention to the accentuated line of the earth and the small legs of the child). WITH psychological point vision we are talking about self-doubt. Usually this happens in a family where one child is brought up: he is given, paradoxically as it sounds, too much attention, they control and direct every step. Thus, the child is deprived of the opportunity to somehow show independence. Gradually getting used to this situation, the child is afraid to take the wrong step and waits for "valuable instructions." Maybe Polina should sometimes make her own mistakes and learn from them?
Children's drawing 5
Alexandra, 4 years old.
The drawing is dynamic, bright, somewhat chaotic. The emotional center of the family, of course, is the mother: heat (the sun), the child, the dog are concentrated around her. Her dress is decorated with a pattern. Please note that Sasha draws herself as an equal with adults and only her legs do not reach the ground. The character of the girl is probably fighting, impulsive, boyish. The lines of the drawing are sweeping, with strong pressure suggest a low level of self-control. For such children, games with simple rules that involve several players are useful. Active sports will also teach you to better understand yourself and correlate your desires with the interests of the team.
Children's drawing 6
Petya, 4 years 6 months
Absolutely unusual drawing for a 4.5 year old child. The cephalopods immediately turned into mature drawings. This is especially true for images of adults. Undoubtedly, this is a drawing of a very observant, developed and at the same time anxious child. Abundant shading, density, tightness of the image, emphasized traced eyes indicate the presence of anxiety. the brightest, significant figure is dad. Pay attention to how the shading of clothing varies among family members. Dad's - in a strictly defined direction, the suit is official. Probably in life, dad is very organized, business man. The figures in the figure are depicted very tightly. This may indicate an equally close relationship in reality. But our main character seems to need to active life more physical and psychological space. At first glance, it may seem that the analysis of children's drawings is not such a difficult task. However, I would like to warn parents against harsh formulations and making a psychological diagnosis. Indeed, behind the seeming simplicity and elegance of the method, there are many nuances, interrelations of individual manifestations and features. In addition, the person analyzing the drawing views it through the prism of his personal experience and state at the moment. Therefore, you should not draw far-reaching conclusions on your own. And if something in the child's drawing alerted or puzzled the parents, it is better not to postpone the visit to the specialist. Let us help you figure it out!
Visual activity is one of the first and most accessible means of a child's self-expression, in which the originality of many aspects of the child's psyche is manifested. Drawing is a powerful means of cognition and reflection of reality, the drawing reveals the features of thinking, imagination, emotional-volitional sphere. Just like a game, it allows you to more deeply comprehend the subjects of interest to the child.
Thus, drawing classes contribute to the optimal and intensive development of all mental processes and functions, teach the child to think and analyze, measure and compare, compose and imagine.
STAGES OF THE NORMATIVE DEVELOPMENT OF THE DRAWING
Prepictorial period - this is the period of "doodles", "scribble", which, starting at the age of 1.5-2 years, lasts up to 3-3.5 years. This stage is long and uneven.
Distinguish between the stage of "scribbling", the stage of rhythmic doodles, the associative stage.
The third and last stage of the pre-figurative period of drawing occurs when the image of an object involuntarily arises from scribbles and is prompted only by the child's imagination. That is, the child first draws, and then, "seeing" the image of the object in the drawing, calls it.
This path - from the initial strokes to the first images, which took tens of thousands of years from a primitive person, has a very short segment for a child: at 3–3.5 years, he moves on to the next period - fine. It can conditionally be considered the beginning of the moment when the child first has a “plan” (that is, an arbitrary intention, goal-setting, the beginning of purposeful activity) to draw something. And only then the drawing itself is made.
First stage pictorial period make drawings with primitive expressiveness(3–5 years). The child tries to express emotions and movements through the line (for example, the jumping of a girl is depicted as a zigzag line). These drawings, the researchers say, are "mimic" rather than "graphic." True, children after a while forget what they depicted (for them, a zigzag can be associated, for example, with a fence).
Thus, the first doodles of a child do not belong to the area Images, but rather to the area representation. At this stage in the development of children's drawing, the connection between the expressive and pictorial functions is still insufficient. At the next (second) stage of the visual period (6–7 years) children's drawings become even more sketchy. The child distinguishes between movement, emotions and facial expressions.
In the future, as the drawing developed (in a kind third stage) in children's works there is a sense of form and line. The child feels the need not only to list the specific features of the described object, but also to convey the formal relationships of the parts.
Final stage pictorial period - these are believable images. The figures are becoming more proportional and detailed. The theme of the drawings is expanding.
Of course, the theme of children's drawings is due to belonging to a certain gender and appropriate identification. So, boys most often draw cars, planes, ships, war, and girls - families, princesses, flowers, small animals, patterns of beads, fabrics.
It is extremely important to know the laws of development of children's drawings. They can be summarized as follows:
1) visibility;
2) vision depicted in a horizontal plan;
3) transparency (for example, when roundness of the body remains visible under the dress);
4) late emergence of perspective.
Thus, the youngest children (4–5 year olds) place images next to each other without connecting them with any intention. This is the so-called phase juxtaposition.
Then the central plot appears (after 5 years). Here, the images are already united by a plot, and the child distributes objects, drawing a more distant one over a closer one. This phase of perspective development in a drawing is called the phase superpositions.
Only later (normally not earlier than 7 years) does the child begin to depict more distant objects as objects smaller in size than close objects. Thus, the image appears true perspective.
Similarly, the normative emergence can be considered step by step. "colors" children's drawing.
The child emotionally perceives colors and often paints the object he likes with his favorite color, which may not be typical for him. At the same time, not only color, but also the thoroughness of the drawing will express the very attitude of the child to the content of the drawing.
During this period, everything is painted in rich colors and "variegated" painted: houses and roofs, flowers and animals, cars and fences. At the same time, a special place for the actualization of color belongs to the clothes of the depicted people.
Such a division of children into groups allows, to a certain extent, to carry out an individual approach in the development of creative abilities. It should be emphasized that in this case it is important not to impose image stereotypes on the child, but to support his creative impulses, to rejoice with the child even in the most insignificant manifestations of his individuality.
Literature:
1. Arnheim R. Art and visual perception. Per. from English. V.N. Samokhin. Tot. ed. and intro. article by V.P. Shestakova. - M.: Progress, 1974.
2. Zenkovsky V.V. Psychology of childhood. - Leipzig: Employee, 1924.
3. Ignatiev E.I. Psychological features of visual activity of a younger schoolchild // Psychology of a younger schoolchild. - M., 1960.
4.Mikhaleva O.Yu. Development of children's creativity in leisure conditions (on the example of visual activity). Diss. for the title of Cand. ped. Sciences. M., 2003.
5. Mukhina V.S. Child psychology: A textbook for ped students. in-tov / Ed. L.A. Wenger. - M.: Enlightenment, 1985.
6. Mukhina V.S. Visual activity of the child as a form of assimilation of social experience. - M.: Pedagogy, 1981.
7. Obukhova L.F. Child (age) psychology: Textbook. - M.: Russian Pedagogical Agency, 1996.
