Elena Panina

Target: introduce children to non-traditional drawing techniques: crumpled paper drawing.

Tasks: develop creativity, interest in drawing, develop imagination, thinking, fine motor skills and coordination of hand movements. Develop aesthetic perception, fantasy. Cultivate independence, activity and accuracy in work.

crumpled paper drawing- it is very interesting and unusual drawing technique. It gives kids a lot of room for imagination and great gymnastics for children's hands and fingers.

Even the process of preparing for the lesson becomes unusual, interesting and exciting.

Cooking paper lumps is a fascinating action and children can easily and with pleasure cope with it themselves.

After you have prepared all the accessories for occupation: paints, jars, paper, containers in which you can dilute paints, brushes, rags. It is necessary to think over the details of the future drawing. Try to reproduce the drawing.

The most important thing in this kind of creativity is fantasy. It depends on the imagination how the final result of the drawing will look like.

Discussing the upcoming work, the children and I discuss the small and large details of the drawing, which means paper we need lumps of large and small sizes. Accordingly, the prints from them will vary in size.

As a result looms invented by children painting:

In our work we use brushes to draw or add elements of the picture. Therefore, the drawings turned out to be combined.

Now let's take a look at some of our work:

So we got to know non-traditional drawing technique -"crumpled paper".

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Master class on circle work "Non-traditional drawing technique" Master class on circle work "Unconventional drawing technique" I, Parnacheva Tatyana Leonidovna, teacher of Kindergarten No. 1 was engaged.

Purpose: to expand the knowledge of teachers about non-traditional ways of drawing, namely, drawing with crumpled paper. Tasks: - to acquaint with special knowledge and practical skills in the field of visual activity using non-traditional methods of drawing; - to improve the skill level of teachers.

Non-traditional drawing attracts with its simplicity and accessibility, reveals the possibility of using well-known objects as art materials. And most importantly, non-traditional drawing plays an important role in the overall mental development of children. After all, the main thing is not the final product - the drawing, but the development of the personality: the formation of self-confidence, in one's abilities, the purposefulness of activity. Non-traditional techniques allow you to express feelings and emotions in a 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.

Visual activity using non-traditional materials and techniques contributes to the development of the child: Fine motor skills of the hands and tactile perception; Spatial orientation on a sheet of paper, eye and visual perception; Attention and perseverance; Thinking; Visual skills and abilities, observation, aesthetic perception, emotional responsiveness; In addition, in the process of this activity, the skills of control and self-control are formed.

We draw with crumpled paper The first way: crumple a sheet of paper, straighten it, draw a conceived drawing with any paints. On the folds, the paper absorbs paint more strongly, due to which an interesting mosaic effect is obtained. The second way: crumple a piece of paper, dip it in paint and draw using the "baiting" method.

Non-traditional drawing techniques for older preschoolers.

Crumpled paper drawing technique.

Alekseeva Anastasia Igorevna, social teacher MBDOU No. 20, Vladimir
Purpose:drawing can be used as interior decoration. This master class is intended for kindergarten teachers, parents and children. The age of children is 5-7 years.

Target:introducing children to the technique of drawing with crumpled paper.
Tasks:
- Development of creative abilities in preschool children;
- To develop respect for nature;
- Development of attention, thinking and taste;
- Education of accuracy.
Material:sheets of paper, gouache, brushes, jars of water.

Drawing with crumpled paper is a very entertaining drawing technique that gives room for imagination and freedom for small hands. Even the process of preparing for the lesson is fascinating. Paper lumps, with which the work will actually be carried out, children can gladly knead themselves.

Stages of work:

1. We take several sheets of paper and crumple into lumps.

2. Having previously applied water to a sheet of paper, we begin to set the background.

3. We dip the lumps into the plates with paint and press the lumps to a sheet of paper, leaving prints in the form of clouds and grass. You can draw the outlines of the desired image in advance, and then seal it.

4. We dip the lumps in red paint and leave marks on paper in the form of poppies.

5. We give a contour to the blades of grass in the field.

6. We finish our work.

Work is ready!

How to draw a crumpled sheet of paper ..... Well, dear admirers of such an interesting, but rather demanding science - drawing, now the task will not be pleasant, but very, very useful. I really understand how you're going to feel right now. This exercise is simply highly recommended to be done from time to time and students of art schools go through it more than once. The exercise allows you to develop an eye, to consolidate the material covered, well, it is very clearly visible from it at what stage of the “development of the drawing” you are now. Simply put, see what you already know. Today you are doing the exercise for the first time, I hope not the last, it's up to you.

Well, are you ready? Tune in very strongly. We will make a drawing of a crumpled sheet of paper, cardboard, with an analysis of the fracture planes. Simply put, we will analyze the fracture planes of the volume of paper.

For those who find it difficult, you can draw crumpled cardboard for a start. There will be fewer kinks and the kink planes themselves are not small.
Slightly crumple a sheet of A3 cardboard and lay it nicely in front of you. Look: each face resembles a face of a cube - and we have already learned how to draw the cube itself and rotated it in space at different angles. When you understand this, the task does not seem so difficult. But on the other hand, this exercise is very, very useful for the development of the eye.

Let me tell you a little more, before starting work, what an eye is. In a nutshell, very simple. When you look at a still life with the pencil held out in front of you, turning it horizontally and vertically, you take measurements relative to the "line" of the pencil. Define conditional angles. So your eye gauge doesn't work. The eye is your visual skills, something that only your eye remembers and analyzes. Your eye notices the ratios in front of you and helps you transfer them to paper. But with the help of a pencil or other handy means, you only check yourself. Additionally, there is more material - how to develop an eye.

Here is a photo of what we have to hand over on paper. Let's get to work. And, probably, we will try to make everything as clear as possible and start, after all, again, with a simple one. Let's first take a small sheet of white cardboard, I take a thick drawing paper. Crumple it as much as you like, but do not make it too crumpled. Now let's take a soft material - charcoal and start drawing. You can draw on a piece of wallpaper approximately A3-A2. While you do not need to stretch the paper on the tablet, just fix it on the easel. And yet, you should sit so that the easel is to the right of what you are going to portray. Otherwise, you will block the picture with your hand (for right-handers). For lefties it's the other way around.

So, compose a sheet of paper in paper space. Since we are already starting to draw such a "still life", that is, to draw from nature, it is imperative to show object plane. Our sheet of paper is not hanging in the air, is it? It is located on the table-object plane. Find the place of the sheet on the object plane with a total volume - height, width, general outlines. After that, designate our experimental person in more detail, checking the volume of paper on the table and in your sheet for compliance, and find a place for the largest planes and corners - along the bends of your cardboard. It is best to find proportional relationships using conditional three points. Draw without pressing hard with the charcoal on the paper, take care of the light - learn to make a clean drawing little by little.

After you have found the main volumes and the main proportional ratios of the planes and faces of the crumpled cardboard, you can select smaller breaks and planes.

Only after all this work has been done, we begin to lay down the stroke - to separate the light from the shadow with the help of hatching. As well as with the cubes that we rotated in space, the same drawing principle remains here. Separate the shadow from the light. Give the entire shadow part of the crumpled cardboard with a stroke - you have already learned how to lay down a little. I'm starting to designate the darkest shadows - falling and the shadow of the object plane, since it will be closest to us, and therefore darker. There will be no darker tones in the picture. Then I put a stroke on the rest of the shadow part. Here, we marked the shadows, separated the light from the shadow. There is always tension at the corners and intersections of planes - make accents in these places.

Next, analyze the light-and-shadow relations in the same way as with the cubes in lessons 1, 2, 3. The nearest faces and planes to us will be highlighted more strongly, the far ones - weaker. The kinks that are closer to us will be highlighted more strongly. Likewise with shadows. The shadows closest to us are darker, those that go into the air, into space are weaker. Draw. A special attitude towards the falling shadow - it will be stronger than its own, but also, receding into space, it will weaken.

Try to work slowly, do not press hard on the coal rod. Don't redo your work. If you blacked out, smeared the work and don’t know what to do next, try again, taking into account past mistakes.

The object plane is illuminated, moving into the air it will lose its activity and will become darker. And the farther from the lighting, the less active its light will be. In relation to the wall, the object plane will be lighter. Remember the cube: the vertical object plane is lit, the background wall will be in shadow. But not in such an active as the shadow of the object plane - the table breaks. If projected onto a cube, then the darkest shadow of the object plane will be the shadow side of the cube.

With a crumpled sheet of paper will happen exactly the same. Kinks - how the faces of the cube will be highlighted, the corners are active, the planarity of the faces is clearly defined - the near ones are more active, the far ones are weaker. Chiaroscuro will be distributed according to the shape of the object - a crumpled sheet. The light on the object plane will be the most active, as it is closest to the mothers. Moving deeper into the space of the sheet, the light becomes weaker, but will always be lighter than any shadow.

Now let's see what I got:

So with a soft material, in this case, with charcoal, you can draw a crumpled sheet of paper. Now let's analyze what happened to me .....
Do you see errors? Who said I can't see? The foreground is highlighted, this is understandable. Facets and sides are visible, accents are placed. But that's not all.
Let's sort out the mistakes! I want you to learn to see mistakes. In this case, mine, and then you will analyze yours using the example of mine. Look at the pictures below and analyze:

Here is what we captured at the very beginning. Let's see what happened:

Well, how does it look like? How are things with my eye gauge? No way. Parsing:
1. Blue indicates that the object plane was not found.
2. Red shows that I have problems with the transmission of light (light gets darker moving into space).
3. Green shows how the base planes are found.
4. Yellow shows how the most visible near and active corner is found.
5. Well, brown for a snack - a drop shadow. Enough for now.

The eye in this case worked very, very little. The primary task has not been solved either - to find the object plane and the main proportional relationships of the crumpled sheet (height-width). Everything else has already gone wrong. Yes, and the conduct of the work itself is not correct.

Now take a break and look at your work. Analyze everything the same way. You can use handy tools (pencil, ruler) to determine the correspondence of sizes and proportional ratios. It is possible to control and correct the work of the eye.

We draw another crumpled sheet of paper - we think, analyze and try

Now let's work more seriously and responsibly, taking into account all the previous mistakes. I hope you remember them once and for all.

1. Prepare paper stretched over a tablet and graphite pencil. Place a crumpled sheet at a distance of 1.5-2 meters from you, sit down at the easel. Then everything is as usual - find the place of your "crumpled guinea pig" in the space of the sheet-tablet, determine the main proportions - height and width, angles and place for the largest planes.

When you determine the place in the space of the sheet for all planes and bends-kinks, in other words, you find the design of the "experimental", a constructive beginning, then take a break. After a while, look at the work again - maybe you need to fix something. Proportions, proportions and more proportions! Until the proportional ratios of the main parts of the composition and their details are found, it is impossible to proceed to shading.

2. Already the second stage will be the shading of all the shadows present in our composition with one character - a crumpled sheet. We take and separate all the shadows from the light. With a stroke of one key, lightly, analyzing the shape - on which planes the light will fall, and which will be in shadow. If the stroke is difficult to lay down, then you can make short strokes, like mine. Fill with them all the surfaces that are somehow stronger or weaker, but will be in the shade.

Here I start to lay down the stroke on the largest surfaces - the wall, that part of the object plane that is in shadow. Note that this resembles the structure of a cube. The object plane is the face of the cube that is in the light. The wall is in partial shade, then there is a break in the object plane, which will be in the shade.

Now I put a stroke on that part of the crumpled sheet, which will be in the shadow. Absolutely all the necessary areas that will be in the shadow part, I cover with hatching. If it is difficult to evenly lay down a stroke, lightly lean your little finger on the tablet or support your arm under your elbow, but do not lean on the paper with the back of your hand.

3. Next, we will try to show how light will behave in our conditional leaf space. Let us again take the largest and most basic surfaces. Our table is the object plane. She will be in the light. But we still need to convey its horizontal position. Let's also take into account the factor that, moving away into space, the light gradually goes out, fades away. So we leave the lightest thing that will be closest to the light source. And everything else will go out, darken. Moving away from us to the wall, the object plane will go into the air and lose the power of light. Moving away from the light source, the subject plane will also receive less light and, of course, darken.

Then we move on to the wall. The wall is in partial shade. In any case, if no side factors influence, its tonality will be darker than the object plane. And, just as in the situation with the object plane, moving away from the light source, the degree of its illumination will also decrease - it will receive less light.

Now let's move on to the darkest and most saturated shadow - a break in the front plane. This area will be unlit, in complete shade. But black, of course, we will not do it. This is not possible, this very dark shadow can be influenced by a lot of factors that allow the darkest shadow in our composition to be lively, airy, transparent. But still the darkest. And let that part of it, which is opposite our eyes, be the darkest tone, and those parts of it that go away from us to the sides, lose their strength a little. The most contrasting part will also be in front of us, closer to us.

Note: Surely you are holding the pencil in your hand properly now? Well, it is difficult, especially at first, to create such dark shadows with such a position of the hand. For this very purpose, I permit you to take a pencil, so to speak, "in a natural way", as you write, and put a stroke of such power as this shadow deserves. But I will, of course. Don't make holes ;)

I also want to add something. If you have visited the color science page, you already know how color behaves in space. We don't have color here. But there are clear unshakable laws both in painting and in drawing: the light is moving away darkens, goes out. The shadow fades away. But! The darkest midtone in the light is still lighter than the lightest midtone in the shadow.

In general, as it is considered better, work must be carried out immediately "on all fronts." How to disperse one's vision, immediately feeling all the work, and to draw not in detail, but to draw, affecting the subject plane, and still life objects, and drapery ... This way the drawing will turn out to be solid and it will be more correct to convey light and shade relations. But here for now we will set the main "atmosphere" in the sheet, and then we will subordinate our hero - "experimental" to it. So it is easier to understand in what tonal "framework" it will be.

Here, now we outline the falling shadows. There will be two of them, one from the top lighting, the second from the side lighting, and they beautifully overlap each other, reinforcing themselves. Look - when the shadow is closer to us, where it begins, there I make it darker, more active. As it moves away, it becomes softer, a little lighter. By the way, this is how it turns out to "put" it on a plane.
The falling shadow will be dark, darkest of all, except for the shadow of the object plane, where both the falling shadow and its own are superimposed on one another.

4. The space in the sheet is set, the power of the pencil is exhausted, we understand what tonal gradation the subject will be in. Next, we deal with the crumpled sheet itself. Note that the overall own shadow of the crumpled piece of paper will be darker than the halftone of the wall. But in any case, lighter than the drop shadow. We are working within this framework.

Do not forget that the crumpled sheet is the same sides, edges, corners. But to find their sizes, turns, inclinations is our task. We just try to constructively analyze the subject, conveying all its nuances with chiaroscuro.

We make accents on the breaks of the forms, highlight the corners, mark the intersections of the planes. Since the light follows the form, we also try to lay the stroke according to the form. And in general, we analyze more, copy less.

This is the drawing we get. Much better than the first time, right? The only thing that I have not touched here at all is glare. But now you don't have to. To be honest, this is not an easy task for a beginner. But the one who endured and finished it, even if it didn’t work out very well, received very necessary skills and grew one step, no doubt.
Well done!!!

Hi all! We continue to give interesting ideas for educators, parents and teachers. And today we will talk about non-traditional drawing techniques. These ideas are suitable for kindergarten and school. Unconventional drawing does not mean something difficult. On the contrary, it is the non-traditional technique that turns art classes into simple and fun fun. No need to draw complex elements, no need to masterfully master the brush. This is why non-traditional techniques were created, because they SIMPLIFY the work of the child, EASIER the task of the teacher in methodological terms and give the child an amazing creative experience with an excellent end result. You will see what beautiful paintings and drawings you can make with simple non-traditional drawing techniques. The child will love your activities - he will be drawn to art when he feels that he can create beauty with his own hands.

I have sorted all the non-traditional drawing techniques into SEPARATE GROUPS - and I will explain and show everything in order.

unconventional drawing

PALM PRINTS

In kindergarten, in the classroom for fine arts, it is important to choose a job that will be feasible for young children. In the second younger group, children do not control the brush well, it is difficult for them to make the brush draw a line, an oval, a circle ... Therefore, at this age, quick and beautiful drawings using the technique of painting with palms are interesting.

You can draw such a cute family of chickens and chickens with children's hands.

Green paint will give you a print that can be played with a frog. The eyes can be drawn separately on white circles of paper (by the teacher themselves) and the children simply stick the eyes on the drawing with PVA glue.

Here is another example of an appliqué drawing in this non-traditional do-it-yourself painting technique. If we add lateral wings and sharp tips of the ears to the palm print, then we will get the silhouette of an owl. The background for such crafts can be chosen from black cardboard, stick a large circle of yellow paper (moon) on it. And already against the background of the lunar disk, make an imprint of an owl-palm. And then when the print dries, add a long branch on which this owl sits.

The palm acts as a template - first a sketch, circle the palm on a piece of paper, and then try to draw an eye here or there. And look closely, you will see which character is looking at you.

Same for crafts in non-traditional technique "Palm + paint" you need to prepare the background in advance. Or create a green lawn and a pond for ducks from colored paper. Or draw in advance - tint the sheet in blue and green paint, dry it and prepare for the lesson (hold it under a heavy press from books).

As you can see in the photo below, overhead parts can be added to the palm element of the picture - applications made of paper and other materials. Below is an example of how ordinary gray paper from a box can become a prototype for crafts. To make it easier for a small child to draw circle-face of a lion- Give him a jar lid template. Let the children trace the round cap around the center of the “cardboard mane” with a pencil and then carefully paint over the circle with paint - first stroke with a slow brush along the edge of the line, and then paint over the middle. We finish the black details of the mustache, nose and ears with a marker (the teacher himself when the craft dries).

In non-traditional palm painting, images of birds are often used. Here is a simple idea for drawing a sparrow in kindergarten. Easy and quick to draw with your own hands for children in the middle group.

And here are the ideas of non-traditional palm drawing for children of the middle and older groups. Craft MONKEY. Here you need to already correctly position the palm - so that the fingers are turned towards the vine, on which the monkey will hang. Then with a brush draw a beautiful curl of the tail. And already lay out the head from the paper application.

But the lesson on non-traditional drawing of the older group - here you first need to draw a tree (trunk, branches, leaves). The leaves are just marks from the brush (they pressed the brush sideways. They lifted it sharply up so that the mark would not be smeared). While the children are busy drawing the leaves, the trunk will dry out well and on it, as against a dry background, the imprint of a koala bear cub will already lie perfectly. A beautiful craft for both kindergarten and school (grades 1-4).

And here is a beautiful bright craft-drawing GIRAFFE. Here we also see the base of the handprint. But a long neck element with a head is added to the drawing. Before applying the spots and strokes of the mane, you must wait until the red base is completely dry. The mane is placed with the imprint of the brush - we put the brush on the side and sharply lift it up, we get a trace-imprint like a patch of mane hairs - we still give a lot of prints along the entire cervical spine of the giraffe. .Round spots are easier to draw with a cotton swab (the circles will not turn out even with a brush - not all children know how to draw a circle with a brush - this is a complex technique that they will master after they learn how to write letters).

For the older group of kindergarten, a palm drawing in the form of a rainbow magical unicorn is suitable. Great craft for girls. The horn will be drawn by the teacher.

And the boys will like the drawing in the form of a dragon - also in this technique.

Also, small children are very fond of collective crafts. Where the whole kindergarten group participates in one common art work. For example, on a large sheet of paper, outline the outlines of the future body of a peacock - and build around it the prints of the feathers of its magnificent tail. And then when the tail dries, you can stick the body itself along the center.

Drawing with FORKS.

non-traditional technique in kindergarten.

Disposable plastic forks are a tool that can create an interesting non-traditional drawing technique for you. All drawings where needed characteristic shaggy smear, it will become easy and fast to draw even a small child.

Here is an example of such work for children in kindergarten. On a sheet of paper, the teacher draws a stump. From the stump comes up line is the AXIS of the future Christmas tree. We scoop up thick paint with a fork and apply prints in the direction from the side of the axis down. First, we process the right side of the axis, then the left side of the central rod of the Christmas tree.

And already the third stage - we put another layer of CENTRAL STROKE on top of these strokes - already more vertically down from the center, slightly diverging to the sides.

For comfort pour paint into bowls - jar lids are perfect.

AND to reduce paint consumption , gouache can be diluted with PVA glue - one to one, or in a different proportion. Valuable advice - do not buy SCHOOL PVA in small tubes - go to a hardware store and buy a liter (or half-liter) bucket of PVA glue there. It will be called universal PVA, or construction PVA - don't let that bother you. In terms of chemical composition, it is exactly the same as school PVA glue. But at a price of 5 or 10 times cheaper. And in a bucket, the glue does not lose its freshness, as in a tube. And a liter bucket is enough for a kindergarten group for 3-4 months of active classes.

In such an unconventional technique, you can draw any SPIKED elements of the picture - for example, a Hedgehog or a CACTUS.

Also, a fork will help draw furry characters. For example, a yellow fluffy CHICKEN, or a kitten, or a bear cub.

Since the paint already contains PVA glue, any paper parts (beak, eyes, ears, tails, etc.) can be glued onto wet paint that has not yet dried.

Also, the fork smear is similar to the plumage of birds. Therefore, you can draw any bird using this technique. This is how it happens you can see in the photo of the craft below - COCK..

METHODOLOGY OF TRAINING - classical.
On two sample drawings.

What is the best way to TEACH DRAWING in kindergarten. Here is a technique that has been working great in kindergarten for several years now. This technique allows you to get the CORRECT children's drawing the first time. Let's analyze it using the example of the same COCK from the picture above.

STAGE 1

We seat the children on a high chair (in 2 rows) in front of one table. On it, the teacher will make a show. On a piece of paper there is already the outline of a rooster, drawn in pencil. In three bowls different paint is poured - yellow, red, blue. Each color has its own fork.

In front of the children, we begin our work - we draw feathers with a fork, freely mixing paints. We show what is wrong and what is right. Let the children make sure in your example that it is better to draw lines ALONG the neck, and ALONG the lines of the tail, and not across.

STAGE 2

They drew plumage for one rooster in front of the children. Now we make him a friend - we take another sheet with a pencil rooster, and ask the children, “What should be done?”. Children prompt, you "mow", children correct you, prompt as it is necessary - you are corrected and continue to make mistakes, then correct. Now already children act as a “knowledgeable teacher”. After this game on drawing the second rooster. The children themselves sit down at the tables, where the same pencil rooster is waiting for them and, already with knowledge of the matter, each perform their craft.

As you can see, the demonstration technique always works better on 2-way training drawings by the teacher's hand.

• The first drawing, where the teacher does everything himself (teaching and explaining to children)
• The teacher performs the second drawing at the prompts of the children (“mistaking” and correcting).
• The third drawing is already done by each child himself, at his desk, with an intelligent, learned look.

Unconventional DRAWING

FOOT PRINTS

The imprint of a child's foot, like the palms, can be turned into an interesting drawing. A variety of characters can hide in a child's footprint.

These paintings can be created using the technique of unconventional drawing from the usual print of a child's foot.

I will say right away that in the realities of a kindergarten (where there are 30 children in a group) such foot painting is difficult to organize. In the case of drawings with palms, everything is simple: children wipe their palms with a wet cloth (remove the main layer of paint), and then go to the washbasin and wash their hands with soap. When drawing with his feet, the child cannot go and wash his feet in the washbasin. A gentle man with soap and several basins to wash his feet. You can't do this kind of work with a whole kindergarten group. But…

Such drawing can be done as a specially organized individual lesson. Children are divided into groups of 4 people. One child gives his legs for a print, the second draws eyes, ears, tails, the third child draws grass, the sun, the fourth a tree, a bird, and so on ... (depending on the theme and plot of the picture).

You can try this option for organizing the whole process. Before going to bed when the children are barefoot. Let the child step on a piece of foam rubber soaked in paint. And then immediately onto a piece of paper. And then immediately not a thick wet soapy terry towel, then into a basin of water ... and sleep in a crib.

That is, you need to buy a sheet of foam rubber(it is cheap in the construction department, sold by the meter). Wet the foam rubber, dilute the paint lightly with water so that it is well absorbed into the foam rubber (like ink in printing), put the foam rubber sheet on a plastic tray. Nearby, on the second plastic tray, there is a wet soapy towel (for wiping the paint), then there is a bowl of water, and a dry towel. There is a chair next to each tray and basin. Three chairs + three elements (coloring, soapy, rinsing, wiping).

It turns out the conveyor- the child sits on the first chair (steps on foam rubber with paint, hop - raises his leg), move the tray with foam rubber, put a sheet of paper in its place (hop - printed). The child moves his ass to the second chair, next to which is a tray with a soapy towel (hop-soaped his leg, wiped off the paint). The child moves his ass to the third chair, next to which is a basin of water, a rag floats in it (hop - we wash off the soapy foot, where we need three rags). And wipe with a dry towel.

Everyone is happy. Except for the sanitation station. It does not allow collective rinsing in one basin. The sanitary station requires 20 basins for 20 children, and 20 soapy towels ... 20 dry towels)))

unconventional drawing

HATCH method

And here is another beautiful technique for kindergarten. Where the drawing elements are created by hatching. It turns out an interesting texture of the image. This method is convenient to draw everything fluffy and furry.

The technique is well shown by the example of such a craft-HARE.

The drawing of a hare is divided into SERIES-SECTORS, each of which is shaded. We get even rows of hatching.

Here is a life size template for this craft.

You can modify this craft and present it as an appliqué. Where each element is cut out separately (ears, forehead, cheeks, nose, neck). Then each element is shaded. And then everything is assembled into a single whole application.

The ZONE HATCH method can be used to create any other furry character. For example, a fluffy ostrich.

That is, the teacher gives the child a sheet of paper - on which the eyes and beak of an ostrich are drawn. The task of the child around the eyes is to draw a fluffy cloud of strokes with a pencil or wax crayons. And then under the resulting fluffy ball, draw the neck, too, in rows of strokes. The teacher can help the children by drawing the circumference of the ball of the head and the lines of the future neck, and dividing the neck into sectors for striped multi-colored shading.

You can come up with any character and arrange it in the form of SECTORS for hatching - a cat, a parrot, a dog, and so on.

DRAWING in kindergarten

COTTON STUD

(unconventional technique).

All of us in kindergarten drew a FLUFFY DANDELION craft - using cotton swabs. Here it is (photo below). Let's think about what other pictures you can draw with a cotton swab.

Although even from a simple DANDELION theme, you can create an unconventional pattern - BRIGHT JUICY, as in the photo below.

For young children, it is best to use the technique of PUMPING WITH COTTON STICKS, to offer to draw only SOME ELEMENTS of the characters - only the tail of the fox, only the needles of the hedgehog.
That is, a teacher in a kindergarten combines the work of drawing a wadded stick with an application. First, on a piece of paper, the child makes an applique of a hedgehog muzzle (made of brown paper) and a hedgehog back skin (made of white paper). And then this skin-back needs to be completely stuck with multi-colored prints of a cotton swab. A fun children's drawing and sticking activity.

You can use cotton swab drawing using the ZONE FILL technique. On a sheet of paper, the outlines (silhouette) of a character are drawn with a pencil - for example, a seahorse. The child must fill this entire area, leaving no empty spaces and not crawling out of the pencil border. This is difficult, the child does not always see where it is thick and where it is empty. The teacher needs to repeat all the time looking for empty holes, filling the holes with different colors of dots, and not with dots of the same color.

Here the brain works, and attentiveness, and fine motor skills of the hands, and a sense of color. After all, you need to feel how you distribute the color over the zone - evenly or everything is yellow at the top, and everything is blue at the bottom.

Such a task can begin to be given in the younger group and then in the older one - and even an adult will learn something in such training for a sense of color and composition.

You can also make CHAIN ​​PATTERNS with a cotton swab. Like the rows of rings on the cacti below.

And also with dots you can draw whole pictures. This technique of non-traditional drawing can be called POINT-GRAPHY.

The most interesting thing is to select dots of different shades and place them in different ways on the objects of the image.

You can start this kind of drawing with small tasks. Pieces of landscape, elements of architecture.

There is an artist Angelo Franco who paints pictures using the POINT TO POINT technique. Here are large dots, contain smaller ones inside.

With a cotton swab and paints, you can draw beautiful MANDALA (photo below). Mandalas are circular patterns, symmetrical and multicolored. The birthplace of mandalas is the East. There are still laid out patterns of colored pebbles, colored sand, or flower petals.

For children, we must give ready-made graphic mandala templates with a given pattern. And the child's task is to REPEAT EXACTLY EXACTLY in each of the symmetrical zones of the mandala with a stick. That is ... if in one zone you made 2 yellow poke on a petal, then in the remaining zones you need to make 2 yellow poke, on the same petal, in the same place on the petal.

You can find many round mandalas for painting on the Internet. Choose the ones that are simple and easy to make for children of a certain age.

You can draw dotted mandalas and on plastic plates. As in the photo below.

You need to start drawing mandalas when the child has already mastered the elementary count up to 5. And he can count the number of TYKOVs in each ray or in each row of the mandala (if it is a row-ray mandala, as in the photo below).

Agree, this beautiful and unconventional drawing technique perfectly develops the child's mind, his mathematical abilities, constructive thinking, the ability to plan the result, calculate the drawing.

Drawing WITH A WET EFFECT.

(unconventional ways).

Here is another unconventional watercolor painting technique. Here we put a watercolor diluted with water on a sheet of paper and blow on it from a tube. We get watery stains and colorful streams. For such a drawing, it is not necessary to use watercolor, the same can be done with gouache diluted with water.

Below we see how this technique can be used in art activities classes in kindergarten and at school. We give the child a drawing of a face (boy or girl) and the task of the child is to blow out the HAIR HAIR for these characters.

You can use a board on which we attach a sheet of paper with a clothespin. We put a large drop of paint on the edge of the sheet and lift this edge of the board up - so that the drop flows down like a hill.

If part of the sheet is temporarily sealed with a piece of masking tape, then we will have an empty, unpainted place on the sheet. And then in this place you can place the application of someone under an umbrella. Here's how it's done in the photo below.

In the younger group of kindergarten, children will really like to draw cool monsters. Krakozyabra can be inflated from the tube in any direction. And then, after drying, stick application elements on them.

Now I want to introduce you to another technique - SOAP + PAINT. Pour ordinary liquid soap into cups, or liquid for soap bubbles - add a little gouache to each cup. We get a multi-colored soap paint. We dip a cocktail tube or a round “blower” into it and blow bubbles directly onto the paper. We get gentle bubble CLOUDS. They can be arranged into an interesting picture.

Bubble clouds can be LUFFY PEONS (as in the photo below). Bubbly areas can be scalloped on sea waves, like curly lamb skins, etc.

You can simply blow bubbles on the surface of a sheet of paper with a straw, and then cut out a craft application from this multi-colored sheet. An interesting idea for kindergarten classes.

You can also paint with splashes - just SPLASH multi-colored paint onto the paper. The best thing for this is a toothbrush.

unconventional drawing

WAX-GRAPHY method.

Here is another technique that can be called CANDLE GRAPHICS, or WAX GRAPHICS.

Suitable for this technique white candle wax (or paraffin). It can also be a children's wax crayon for drawing (but not any). Choose chalk that is more oily to the touch. Check in advance how the crayons work.

Now let's act. Draw a picture on a piece of white paper with white chalk. Then we take watercolor (not gouache !!!) and begin to apply watery (not thick !!!) paint over the lines drawn in chalk. That is, we simply paint over our sheet of paper with colored watery paints and an invisible white wax pattern begins to appear. The paint does not cling to the wax and these places on the paper remain white.

You can draw multi-colored round mandalas in this style (with streaks of different colors). Painted autumn leaves look beautiful: leaf contours and veins are waxy, and the filling of the sheet is multi-colored (red-yellow-orange).

Night rain over water looks beautiful. The slanting lines of rain, diverging circles on the water - it's all wax. And then we paint over with dark blue paint and get a beautiful picture of rain.

You can draw jellyfish and sea creatures with wax. And then apply dark (blue-violet-black) tones and the depths of the sea will come to life.

Children are delighted when you offer them such an activity. The educator or teacher himself draws jellyfish, turtles, small tadpoles and amoebas on each sheet in advance. And then the child must find out who is found in the depths of the seas. He paints a sheet of paper with paint and all these creatures appear under his brush.

Important rule. Before class, teach the children to IRON a sheet of paper with a wet brush, and NOT TO RUB THE SHEET WITH A BRUSH, LIKE A WASTE. Otherwise, the wax pattern may be damaged.

NIGHT pictures look beautiful in this technique. With wax we draw one line of the horizon, then waves, a wax moon path and a moon disk on the upper half of the sheet. Now we paint over it in the colors of the night and get the sea, the moon and the white moon path.

WINTER pictures look good too. The white lines of the wax drawing as elements of white snow, the outlines of snowdrifts, the silhouette of a snowman, snow-covered huts - we draw all this with wax. Then the child applies blue or blue paint and a winter landscape appears on the sheet.

But important- before giving these pictures to children, check for yourself whether the quality of the wax is suitable. Do the lines of the drawing appear? What layer of paint to put (what degree of paint dilution with water)?

unconventional drawing

In the PRINT technique.

All children love this drawing technique. Because it gives a quick and beautiful result for every child. Even the most inept artist makes beautiful paintings. Children perceive the whole process as magic, an exciting game with the magical effect of the appearance of a picture.

In kindergarten, it is most convenient to organize the imprint technique. Let's see what materials are suitable for implementing this technique when drawing with children.

OPTION 1 - a piece of crumpled paper.

Wrinkled paper gives a beautiful torn structure to the print. This is suitable for painting the crowns of spring (yellow-green or pink) and autumn (orange-crimson) trees. The paint is taken from jars or watercolors, dripped onto a bowl (jar lid). We dip a napkin into this drop, try the print on a draft sheet and, if you like, transfer it to paper.

OPTION 2 - corrugated cardboard.

Packing gray cardboard is great for painting a rose using the print technique. We cut the cardboard box into strips across the corrugation line. We twist the strips with a tube, fix with an elastic band or thread. We make a stamp for a green leaf from a toilet paper roll.

Also, this ROLL drawing method is suitable for the image of the SNAIL SPIRAL, You can also make the LAMB SKIN CURL.

OPTION 3 - fluffy pompoms.

In craft stores (or craft sites) you can buy a bag of these soft pompoms. If you attach a clothespin to each, we get a convenient holder for work. Using the pompom-graphy technique, you can create decor for painting flat parts of handicrafts. And also paint pictures of white airy dandelions in watercolor.

OPTION 4 - toilet paper sleeve.

There are a lot of options, because the tube-sleeve can be given a different shape. You can cut the sleeve in half ALONG, and we get a half-ring stamp - an ideal stencil for drawing fish scales or tiers of coniferous legs of a Christmas tree.

A round roll can be flattened on both sides and you get a pointed oval - this is the shape of a flower petal, or bunny ears. Great idea for non-traditional drawing in kindergarten with younger children (bunny) or older children (flower).

A flower is more complicated than a bunny because you need to RADIALLY line up the petals around the middle of the flower.

You can also cut the EDGE of the ROLL into curly petals - and you will get ready-made petals for paintings. Such stamps are just a godsend for quickly drawing bouquets and flower beds for children of the younger group. And even for the smallest kids in the nursery.

OPTION 5 - bubble wrap.

Wrapping film with bubbles also gives an interesting print pattern that can be played with non-traditional drawing in kindergarten. For example, make an imprint of honeycombs (as in the figure below).

Or make a drawing of a spring or autumn tree.

OPTION 6 - potato stamps.

From potato halves, you can cut stamps of any shape. Cut the potatoes in half. We wipe the wet potato slice with a paper towel. On the cut with a marker, draw the outlines of the future stamp. Cut with a knife along the drawn contours.

It is better to choose oblong elongated potatoes for stamps. So that the child's hand can comfortably grasp the potatoes. Below in the photo we present only two themes for such unconventional drawing - owls and tulips. But you can come up with your own options. If PVA glue is added to the paint, then details (eyes, nose, pens) can be glued over the prints.

You can make an experimental double stamp. Cut out the halves of the champs from two potatoes and fasten the two potatoes together by piercing them through with a toothpick and wrapping them with electrical tape or tape. Take a swing at a cool idea and experiment with creating stamps for it.

unconventional drawing

FLUSH paints.

And here is another cool material for non-traditional drawing, which is so loved by young children. This is a VOLUME PAINT for creating puffy drawings. This paint is made at home quickly and simply - in a bowl, mix PVA glue with gouache and add dad's shaving foam. We make several of these bowls (not necessarily large ones) under the idea that we will draw with children. For a watermelon, you need only two paints - that's where you start. Watermelon pits are a simple black gouache that we drip here and there.

A variety of ideas can be embodied in this drawing technique for children in kindergarten. The simplest is a waffle cone with ice cream. The horn is cut out of rough packaging cardboard, on it we draw a waffle grid with a marker. The child glues the horn on a sheet of paper (below) and lays out round balls of a three-dimensional pattern on it. You can give the child round templates, which he will first circle with a pencil over the edge of the horn, and then foamy paint will be placed in these round contours.

And you can also put a few spoons of different paint on the horn and then with the back end of the brush (or a wooden stick) mix the paint into multi-colored stains. You will get a beautiful mix ice cream. Great craft for kids in school or kindergarten in drawing class.

Methods of working with thick paint in children's classes.

You can mix the paint on a separate tray (or on a piece of oilcloth). It is better when each child makes a colored mixture himself - therefore we give each child his own oilcloth.

We put individual oilcloths for children on each table. In the center of the table we put bowls with 4 colors of paints. The child on his oilcloth mixes these colors into a common puddle - to the state of beautiful stains. Then he applies a paper outline of a character (for example, a seahorse) to the puddle. And then he lays it to dry (the contours of the skates must be signed in advance with the name of the child, and do not forget to remind the children to apply the unsigned side to the paint). Then the next day, when the foam paint dries on the silhouette of the skate, you can continue to work and make an application of the skate in sea waters, finish painting spikes, algae around it, stick shells, pour sand on the glue.

Here are some interesting drawing techniques you can try with children, both at home and in the garden. At school, this non-traditional drawing can be carried out in the lessons of fine arts, leaving the whole process to the child for independent creativity.

On the pages of our site you will find many more different techniques for unusual painting with paints.

We already have detailed detailed articles on the topic:

Good luck with your creativity.
Olga Klishevskaya, specially for the site
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