Modeling subject from salt or custard dough
Tasks.
1. Teach children to create volumecompositions (still lifes) from saltth test. 2.Improve the imagenew technique (choose your ownmethod and techniques of modeling).
3.Develop compositional skills - place nothow many objects, creating a harmoniouscomposition (large in the center or in the foreground, small on top or side).
Integration different types activities
Material preparation.
Salty dough. Mix ingredients inthis ratio: for 150 g of flour - 300 gsalt, 3 tablespoons of any wallpaper paste (suhogo), 100 ml of water - stir until obtainedtough test. Add to part of the mixturecolor dye. good to do it right nowsome desired colors. Store dough inplastic bags or plastictightly closed boxeslids (a piece of dough of each color inseparate bag) in the refrigerator.
crafts from salt dough must be dried very well in the oven at temperature 100-110 degrees. It will take quitebut a lot of time - 5-6 hours. crafts fromsalt dough are like real culinary masterpieces, with the exception thatthey cannot be eaten. But theycan be varnished and stored for many years.
Choux pastry. Mix thoroughly300 g flour, 100 g salt, 200 ml water, 1 teanew spoon vegetable oil. Transfer the mixture to a saucepan and heat with constant stirring over low heat until a dense lump forms. Let the dough cool and knead well with your hands. To obtain dough of different colors, divide the dry mixture into parts, add to eachfood coloring of desired color (orat least cocoa powder) and only thenmix with water. Store custardthen in the refrigerator, placing in denseplastic bags or plasticboxes with sealed lids. Behindboiled dough can be used a lotmultiple like plasticine.
Materials, tools, equipment
Material prepared in advanceflaky or custard dough. Swiveldisks, planks or oilcloths, stacks (orpointed sticks), paper and cloth napkins, plastic plates orramic for composing compositions.
Lesson progress:
Educator:
Our beautiful autumn garden:
It has plums and grapes,
On branches like toys
Both apples and pears...
We'll go to the garden early in the morning
And call all the neighbors.
And wave the sun
Thank you autumn! - let's say.
(W. Rashid)
From cofruits and berries picked in the garden can be madebeautiful still life. Guys,still life is a composition compositionware.
Slowly walk around the still life andlook at it from all angles.
(Children look at a beautiful still life of fresh fruit, which is placed on the teacher's table or in the center of the room if the children can sit around.)
Educator:
Let's and welet's build unusual still lifes- stucco.
Need to distributeinto 4-5 groups (optional), sit down from differentsides of the still life and mold it likepicture,laying outfashioned fruityou on a plate.To do this, it is necessary to agree on who will sculpt what, so that the still life is like a real one.
(Help the children divide into groups and set upto discuss the collective idea).
Educator:
Guys, how can you blind apple with a ruddy side? (Answer options are discussed.)
There are 2 ways to buildings with two and three colors and I
1st way is that 2-3 comosa cup of salt dough of different colorsthey mingle into one and from it the conceivedform;
2nd way: shape is molded froma lump of one color, and then a small lump of another color is attached to iteta.
Before starting work, we recall once again that from differentoron still life looks
differently.
Outcome:
Let's go nowwe will put the workon one table and considertheir. What is the name ofcomposition compositionlinen from flowers, vegetables, fruits andother items of utensils? (Still life)
What beautiful compositions you have! In thatstill life of the largest fruits (for example, an apple and a pear)lie in the middlethere are plates, and around it is beautifully placedsmaller fruits and berries (abrikwasps, cherries and grapes).
Tasks. To teach children to create three-dimensional compositions (still lifes) from salt dough. To improve the visual technique (to independently choose the method and techniques of modeling). Develop compositional skills - place several objects, creating a harmonious composition (large ones in the center or in the foreground, small ones on top or on the side).
Preliminary work. Material preparation.
Salty dough. Mix the components in the following ratio: for 150 g of flour - 300 g of salt, 3 tablespoons of any wallpaper glue (dry), 100 ml of water - mix until a stiff dough is obtained. Add a color dye to part of the mixture. It is good to immediately make several desired colors. Store the dough in plastic bags or plastic boxes with tight-fitting lids (a piece of dough of each color in a separate bag) in the refrigerator.
Salt dough crafts need to be dried very well in the oven at a temperature of 100-110 degrees. It will take quite a long time - 5-6 hours. Salt dough crafts are like real culinary masterpieces, with the exception that they cannot be eaten. But they can be varnished and stored for many years.
Choux pastry. Thoroughly mix 300 g of flour, 100 g of salt, 200 ml of water, 1 teaspoon of vegetable oil. Transfer the mixture to a saucepan and heat with constant stirring over low heat until a dense lump forms. Let the dough cool and knead well with your hands. To obtain dough of different colors, divide the dry mixture into parts, add food coloring of the desired color (or at least cocoa powder) to each and only then mix with water. Store the custard dough in the refrigerator, placing it in tight plastic bags or plastic boxes with airtight lids. Choux pastry can be used repeatedly.
Materials, tools, equipment.
Material prepared in advance - salted or choux pastry. Turntables, planks or oilcloths, stacks (or pointed sticks), paper and cloth napkins, plastic or ceramic plates for composing compositions.
The teacher reads to the children a poem by W. Rashid:
Our autumn garden is beautiful:
It has plums and grapes,
On branches like toys
Both apples and pears...
We'll go to the garden early in the morning
And call all the neighbors.
And wave the sun
Thank you autumn! - let's say.
The teacher informs the children that a beautiful still life can be made from fruits and berries collected in the garden, and explains that a still life is a composition made up of flowers, vegetables, fruits and various utensils.
Children look at a beautiful still life of fresh vegetables or dummies, which is placed on the teacher's table or in the center of the room if the children can sit around. The teacher invites the children to slowly go around the still life and examine it from all sides.
Then the teacher invites the children to create unusual still lifes - stucco. Shows 2-3 variants of stucco paintings. Explains the task: you need to be divided into 4-5 groups (optional), sit down with different sides from a still life and mold it like a picture, attaching the molded fruit to cardboard or laying it out on a plate. To do this, it is necessary to agree on who will sculpt what, so that the still life is like a real one. Helps children to divide into groups, choose a basis (background) and sets up a discussion of the collective plan. Creates a creative problem situation: shows an apple with a ruddy side and asks how such an apple can be molded? Answer options are discussed. The teacher shows 2 ways to create a two- and three-color image (the 1st method is that 2-3 lumps of salt dough of different colors are combined into one and the intended shape is molded from it; 2nd method: the shape is molded from a lump of the same color, and then a small lump of a different color is attached to it.It reminds me once again that the still life looks different from different sides.
At the end of the lesson, the teacher suggests putting the still lifes on one table and examining them. He notes successful compositions, commenting, for example, in this way: in this still life, the largest fruits (for example, apples and pears) lie in the middle of the plate, and smaller fruits and berries (apricots, cherries and grapes) are nicely placed around.
After class. Reading the poem by V. Nabokov “Who will come out in the morning?”:
Who will come out in the morning?
Who will notice the ripe fruit?
How tightly the apples hang!
As if through them
blissfully the sun shines
Flowing into the garden.
And, sleepy, sweet,
in the alleys babble is heard:
That, like a drop on the sand
heavy pears,
purple late cherries
Smelly juice.
On curved trunks
colored shadows melt,
Sunshine on the leaves...
Trees sleep and wasps don't fly
From purple plums.
ALL ABOUT WORKING WITH SALT DOUGH AND EVEN MORE -
This methodological development are the study of interdisciplinary relationships between sculpture, drawing and composition. Volumetric image objects in relief, the development of observation, visual memory and the ability to use composition, including decorative composition. Also, the purpose of this methodological development is to summarize the analysis of the work on the subject "Sculpture" for the last four years of the art class of the Duminich children's art school. As well as the transfer of accumulated experience to colleagues, teachers of art classes of art schools.
The objectives of this methodological development is to teach students of the art class of the art school how to sculpt a relief. It is necessary to take into account the limitation of the hourly load on the subject "Sculpture". In addition to the classic still life, the task is decorative composition. In this case, the task of sculpting a decorative frame is being performed. As a result, the connections between sculpture, drawing, composition, including decorative ones, are studied. Very important is the combination of work, both from nature, and the performance of compositional tasks.
Still life modeling
Still life modeling is impossible without basic knowledge of drawing and linear perspective.
A lesson in sculptural relief should be held in the upper grades of an art school. By this age, the final setting of the hand occurs and develops fine motor skills fingers. Students master sculptural clay and have sufficient skills in working with stacks.
At the beginning of the process of performing a still life, an installation conversation is held. The concept of relief is given. Examples of relief, bas-relief and high relief are studied. In addition to the blackboard and chalk, a cool computer is used, both educational photos and masterpieces of world sculpture from different times are considered on it.
After that, an analysis of the still life fund is carried out. The objects from which the still life is composed are selected. Performances are selected differently. It is necessary to take into account the age and level of training of students. It is very interesting to carry out this exercise in a complex. Drawing, "grisaille", modeling.
The dimensions of the future plinth and pattern are the same. A3 format or, roughly speaking, 30x40 centimeters. The performance itself is placed below the level of the eyes, the "horizon", the lowest student. As a rule, this is a stool or a chair. A simple drapery with a minimum of folds is used.
Runs first pencil drawing. Attention is paid to the design of the still life. The plane of the table is carefully built, and all the rules of perspective are observed. Then, the drawing is translated through the glass. All this is done solely due to the fact that the limit of hours for sculpture is very small. Therefore, drawing and grisaille can be done in the lessons of drawing and painting. Grisaille is made using the multi-layer technique watercolor painting. The main thing at that stage is to analyze the volume and depth of the setting. Of course it's not traditional technique"grisaille" but something more conditional adapted to school conditions and requirements. Rather, it is an architectural hillshade using black watercolor.
After preparatory phase Let's move on to the preparation of the plinth. On a piece of hardboard, plywood or linoleum, we apply a layer of sculptural plasticine with a thickness of two to three millimeters. The size of the plinth, as mentioned above, is equal to the drawing. We have a construction drawing, "grisaille", on which we worked out the future volume, we proceed to the creation of the so-called "cardboard".
The very concept of cardboard, its origin and application is given in the orientation lesson. A tracing paper made through glass on a 1:1 plinth scale is applied to the surface, where sculptural plasticine is applied in an even layer. Then with a stylus, it is the old ball pen. On tracing paper, through holes are made. The technique is still known from medieval frescoes. Approximately the same drawing was applied under the reliefs. Only instead of punching, charcoal sprinkling was used. A step is applied every 3-4 millimeters. We remove the "cardboard". We connect the points with lines. On the plinth we get a diagram of the future still life.
Now you need to finalize the structural drawing, or "grisaille" to choose from. But drawing is better. It is better to work using both preparatory work. In the figure, we begin to work out plans for the future relief. For these purposes, a thin marker is better suited. We make the foreground lines bold, the middle and background lines thinner, respectively. For greater care, we tick the boxes "more" "less", as in mathematics.
Let's start sculpting. For these purposes, flesh-colored sculptural plasticine is better suited. It is softer for children's hands. Of course, it would be better to use clay. But according to the special requirements of the school, plasticine is preferable. He can easily take a break between classes. We apply plasticine to a more massive foreground. For greater transmission we sculpt depths and perspectives from the corner of a table or stool. The main tool of the sculptor are the hands. But metal stacks are also widely used in the work. The main condition is that they be blunt enough to avoid injury. We apply plasticine in mashed lumps, giving the necessary volume to the foreground. We level with steel stacks in the form of a carving or shoe knife. We pass to the average plan. We start modeling with the largest object, a jug, a bottle, geometric shape. When sculpting figures of rotation, it is necessary to pay attention to the clarity of arcs along the axes. To do this, you can cut out small patterns. We carefully perform the transition between objects and the lines of the plane of the table. The main thing is to follow the rules of perspective and avoid "hanging" of objects above the plane.
Here we are just faced with the features of relief modeling. It is useful to make a "handwriting" of relief views from below, from above, from the side. That is, to study, once again, how objects of rotation behave on a plane. It is very useful to conduct a demonstration experiment with objects submerged in water. For this, an ordinary bowl is suitable. It is very valuable to periodically conduct a photo timing of the work. What's more, it's now available. Almost everyone has a camera on their phone. Let's get back to molding. Plans in relief convey the depth of work and linear perspective. Therefore, the drapery cannot be convex, for example, a jug or a stool on which it stands. Therefore, moving on to the final stage of modeling, it is necessary not only to combine the still life plans, remove the excess and add the necessary. Make a final finish. Bring gloss. To do this, students use water and their fingers. At the end of the work, an analysis of the completed still life is carried out. The reliefs are taken to the drawing class, where they are compared with initial setting. The work is being discussed. Analysis of mistakes and successes. Since it is easier and more pleasant to find someone else's mistake.
Sculpting a decorative frame
Decorative sculpture in art classes Children's art schools, as a rule, follow the path of creating round sculptures using fairy-tale or genre scenes. In terms of the new requirements for an additional pre-professional program in the field of arts and crafts, this is not enough. modeling decorative ornaments needed by future woodcarvers and ceramists.
Preparatory work on sculpting a decorative frame begins with the study of historical heritage. IN primary school School of arts at the lessons of decorative composition studied the ornament. The concept of rappoport of static and dynamic composition in ornament. In high school, time is allotted to study the stucco pattern. Historical digression begins with the study of ornament through the ages. From ancient egypt, Greece, Rome to Europe of the Renaissance, Baroque, Art Nouveau. Domestic wood and stone carving is studied separately. Ship, brownie, temple. For introductory conversation both the teacher's literature and printouts from the Internet are used. On the example of a still life fund, sketches of acanthus are made, etc.
The next step is the compilation step. Students are given the task, based on the studied material, to make several sketches in a free manner. They are not put in front of a specific imitation of one of the styles seen. Rather, the freedom of creativity is encouraged in every possible way. As a rule, the work is done in bilateral symmetry, but there may be asymmetric options.
After the sketch stage is completed, "cardboard" is performed. In the event that the work is symmetrical, one side can be made, which is then copied through the glass.
Works in progress sculptural clay on a plinth made of hardboard, plywood or linoleum. A layer of plasticine from two to three millimeters is applied to the plinth. A drawing is pricked on it from the "cardboard".
The modeling technology does not present great difficulties, since the plasticine is selected for softness, and the room is warm. The opposite can happen, the plastic mass is too soft and sticky. But here we must take into account the strength of children's hands. In extreme cases, plasticine is heated in hot water, and then wrapped in canvas. Thus, its plastic properties can be improved.
In the process of modeling itself, it is important that the student catches the algorithm of work. There are two molding options. The first consists of the manufacture of parts "semi-finished products", which are then assembled according to the principle of the designer. The disadvantage of this method is that in a hurry, the parts are poorly attached to the plinth. After some attempts, the student understands that they need to be fixed more securely, "lubricated". The second option is more labor intensive. It implies the widespread use of all sorts of stacks. On the finished drawing, on the plinth is applied, a layer of plasticine about three centimeters. And then trimmed with stacks and loops.
The complexity of this method is that the plasticine "sole" closes the drawing transferred from the cardboard. And the student may become confused, panic. Therefore it is important that preparatory drawing was always at hand. And the work itself was carried out in parts. Do not immediately make a thick plinth for trimming. No more than a quarter of the drawing.
Because total hours on the subject of "Sculpture" is not enough, then it is advisable to carry out these exercises in the third, largest quarter. The assessment can be taken into account when summing up the annual results.
The use of these exercises greatly diversifies educational process and arouses the genuine interest of students ....
MKOU DOD "Duminichi Children's School of Arts"
Methodical development on the subject of DPOP "Sculpture"
On the topic: "Sculpting relief in high school art department art schools"
Completed by teacher MKOU DOD Sergey Karpikov
Duminici 2012
List of used literature:
P.P. Gnedich "History of Arts". M. Eksmo 2007
E. Lanteri "Lepka" M. 1963 "Publishing House of the Academy of Arts of the USSR"
B.R. Whipper "Introduction to historical development art. Sculpture section. M. 2004 Ast-Press
A.A. Melnik "Basic patterns of construction of sculptural relief" M. 1985. " graduate School"
Review
Farnieva S.I.
After reviewing educational material, I note its methodological fullness, interdisciplinary connection, as well as the teacher's real concern for the safety of performing educational tasks for students. For my part, I want to add a couple of professional recommendations. They relate to achieving a sense of volume of objects. To prevent objects from appearing cut in half and glued to the background, it is necessary to make a separation from the background along the silhouette on the line of the horizontal axis of the base, and the height of the most convex part is not higher than this size. This creates a feeling of roundness of the object on the invisible side and, in general, makes the object voluminous.
Once again, congratulations on a good and necessary methodological development.
SUMMARY OF THE LESSON ON MODELING FROM SALT DOUGH: "AUTUMN STILL LIFE"
Tasks:
- Teach children to think about the content of their work based on personal experience.
- Clarify and consolidate children's knowledge about fruits and vegetables.
- To form the ability to convey the shape of familiar objects, their proportions, using previously learned modeling techniques.
Stroke:
Part one
- Organizing time
V .: Guys, today we will sculpt a real autumn still life. Listen to the poem:
If you see a cup of coffee on the table in the picture,
Or fruit drink in a large decanter, or a rose in crystal,
Or a bronze vase, or a pear, or a cake,
Or all objects at once, know that this is a still life. (Grigory Gladkov)
Have you already guessed what it is, a still life?
D.: answer options
V .: Well done guys, a still life is a vase of flowers, sweets, and fruits. What do you think "autumn" still life means?
D.:
V .: That's right, an “autumn” still life can include all the gifts of autumn, everything that we collect when the golden time comes: vegetables, fruits, mushrooms, etc.
- Knowledge update.
Where do vegetables, fruits, mushrooms grow? (in the field, in the garden, in the greenhouse, in the forest, on the trees)
What are the people who grow fruits and vegetables called? (gardeners)
What do they do with vegetables, fruits, mushrooms? (collect, salt, preserve, make jam, dry, salt)
Riddles on the theme of the gifts of autumn:
Leaves are collected in a head
In the garden of the villagers.
Without it, the cabbage soup is not thick.
What is her name? (Cabbage)
He grows in the garden
Doesn't offend anyone.
Well, everyone around is crying,
Because they clean ... (onion)
Similar to watermelon
Also thick skinned.
I'm used to the yellow dress
Basking in the sun ... (pumpkin)
He lived in a greenhouse in the summer,
Friendly with the hot sun.
With him fun and enthusiasm.
It's red... (tomato)
round, ruddy,
I grow on a branch.
Adults love me
And little kids. (apple)
All boxers know about her
With her, they develop their blow.
Even though she's clumsy
But it looks like a fruit. (pear)
He's almost like an orange
Thick skinned, juicy
There is only one drawback -
Very, very sour. (lemon)
- Physical education "Leaves"
We are autumn leaves
We are sitting on branches. (sit down)
The wind blew - flew
We flew, we flew (easy running in circles)
And they sat quietly on the ground. (sit down)
The wind came up again
And lifted all the leaves. (easy running around)
Twirled, flew
And they sat quietly on the ground. (sit down)
- We pay attention to the box standing on the table. We invite each child to come up in turn and get a vegetable or fruit (model) out of it - this is what the child will do today. We sit down and get to work. The model of a vegetable / fruit is used as a hint; in case of difficulty, we help the children.
- At the end of the lesson, the crafts are sent to the oven to dry, and the attendants help clean the tables.
Part two
Dried crafts are covered with gouache paint. Models for the sample are also distributed to children. At the end of the lesson, the attendants help clear the tables, the crafts dry.
