Features of the creative manner (style) of the artist (material, technique, expressive and visual means)

Over the thirty years of his creative activity, Rachev has created hundreds of illustrations, and in each of his works, whether it is a colorful watercolor for a children's fairy tale, a life drawing of an animal or an allegorical image of a fable character, one can see an intelligent, kind and cheerful person who deeply feels the poetry of his native nature, loves people and hating those who prevent them from living together and happily. This whole life-affirming worldview is the basis of Rachev's art and determines the leading theme of his work.

E. Rachev's illustrations are kind and funny, entertaining and instructive, familiar to more than one generation of readers. Their main characters are animals. But they behave, think, walk and talk like people. Animal Humanization Technique uses

E. Rachev to create bright and expressive images. To complete their characteristics, he dresses up his heroes in costumes. It is in his performance that a wolf fishing with its tail, a fox riding a wolf, a cunning cat and an unlucky bear immediately stand before your eyes. All in smart caftans or patched peasant coats: the artist knew Russian costume and life well.

EAT. Rachev is a magician, under whose brush the fairy tale comes to life to such an extent that you look and look at these hares, foxes, bears, and you can’t stop looking at it. All animals and beasts - the heroes of Rachev's drawings are "dressed" as people, in human clothes, thereby Rachev shows that real life and real human relationships are hidden behind a fairy-tale plot and fairy-tale images. Rachev's colored drawings are elegant, colorful, and decorative. The artist worked in watercolor, which he laid in a thin transparent layer, gouache and charcoal. The artist has always chosen for his illustrations the most acute and dramatic or comical moments, plots, in order to reveal the essence of the work to the child.

Striving for psychological expressiveness and social sharpness of images, the artist uses the natural qualities, habits and habits of animals that he subtly observed, introduces costume, furnishings, and household items into his illustrations.

Introduction

1. Psychological and pedagogical conditions for the depiction of plot compositions in the drawings of middle preschoolers

1.1. Figurative expressiveness in children's drawings

1.2. The specificity of the means of artistic expression in the works of illustrators in illustrations for a children's book

1.3. Knowledge, skills and abilities necessary for children in the compositional construction of a drawing

2. The study of the effectiveness of the use of methods for the formation of skills to create plot compositions after viewing a book illustration

2.1. Determining the level of compositional skills and abilities in drawing middle preschoolers

2.2. The development of plot compositions in children's drawings in the process of familiarization with the illustrations of Yu.A. Vasnetsov (formative experiment)

2.3. The effectiveness of the use of illustrations by Yu.A. Vasnetsov as a means of developing plot compositions in the drawings of children of middle preschool age

Conclusion

Bibliography

Applications

Introduction

Aesthetic, artistic education of the younger generation in our country is given great importance.

A special role in aesthetic education belongs to art. A characteristic feature of art is the reflection of reality in artistic images that act on the awareness and feelings of a person, educate in him certain attitudes to the events and phenomena of life, help to understand reality deeper and more fully. Through art, the ability to see the typical, characteristic, to generalize the observed phenomena is brought up.

Works of art rich in their ideological content. And perfect in artistic form, they form an artistic taste, the ability to understand, distinguish, appreciate the beautiful not only in art, but also in reality, in nature, in everyday life.

In every significant work of art, we will find a deep content that affects us, the audience, through its expression in artistic images.

Art awakens in a person not only aesthetic, but also moral feelings, contributes to the formation of a new, higher understanding of phenomena, which can manifest itself in his actions, in behavior, in relation to others.

Fine art is an artistic reflection of reality in visually perceived images. By means of color, plasticity or drawing, the artist creates on canvas, in clay or marble, pictures of the surrounding life, strong and beautiful images of a person.

What gives art to children? Interest and love for the beautiful are brought up, aesthetic feelings develop. Art reveals the richness and variety of colors of the surrounding world, forms of movement; with its help, children get acquainted with objects and phenomena of life that are new to them, imbued with new ideas.

Illustrations for books are the most common type of fine art that preschool children encounter. Embodying the ideological content of literary works in artistic images, bright, expressive, specific, the art of illustration is one of the strongest means of education. The illustration helps to perceive the text deeper and better, memorize the content faster.

Book graphics help children to understand the text deeper and more fully, give knowledge about the world around them (this is proved in the studies of V.A. Ezikeyeva, R.I. Zhukovskaya, V.Ya. Kionova, T.A. Kondratovich, I.O. Kotova, T.A. Repina, E.A. Flerina, A.F. Yakovlicheva and others). At the same time, the illustration has the unique artistic merits of an independent type of fine art; of all its types, it is the first genuine work that enters the life of a child. This is the initial stage in the understanding by children of other types of fine arts, more complex in terms of means of expression (painting, sculpture, etc.). The period of preschool childhood is one of the most favorable stages in the communication of children with the fine arts, in the development of their abilities for fine arts.

At the heart of artistic images created by the best Soviet illustrators V. Lebedev, Yu. Vasnetsov, A. Pakhov, V. Konashevich, E. Charushin, E. Rachev, K. Rotov, A. Kanevsky, T. Mavrina, M. Tokmakova , objectivity, concreteness, emotionality lie. Their drawings are distinguished by their special integrity and clarity of composition. Possessing an original handwriting, the artists achieve high expressiveness, which is also perceived by children.

The artist comes to the child when he still cannot speak, and along with his parents, with the author of a children's book, becomes the first educator and teacher. It forms in children a love for beauty, high aesthetic feelings, artistic taste, love for the Motherland. E.A. Flerina wrote that “a picture, especially for young children, is an extremely important pedagogical material, more convincing and sharp than a word, thanks to its real visibility.”

In preschool institutions, children are introduced to fiction, but so far little attention has been paid to artistic illustration. It is used mainly as a didactic material, while the illustration carries high artistic images that give the child value orientations in terms of good and evil, truth and lies, etc.

Images created by a good illustrator are excellent examples of original creativity. Looking at them, the child receives true joy and pleasure from the creative discoveries of the artist, from the inner consonance of literary and artistic images, giving scope to the imagination and their own creativity.

We are faced with the problem: what forms and methods of familiarizing middle preschoolers with artistic illustration will contribute to:

Development of plot compositions in children's drawings;

Aesthetic education of a preschooler.

The insufficient development and undoubted significance of this problem served as the basis for determining the purpose of the study.

The purpose of the study: to identify the features of plot construction in the drawings of children of middle preschool age.

Object of study: the process of development of plot compositions in children's drawings.

Subject of study: means and forms of work to improve visual skills when conveying the plot of a book illustration.

The study is based on the hypothesis that the implementation of an integrated approach to the use of the artistic image of a book illustration, its emotional and aesthetic means will help children master more complex plot compositions in drawing. The creative process of familiarizing preschoolers with the art of illustration is possible subject to the following pedagogical conditions:

Gradual formation in children of knowledge about the work of the artist - illustrator;

Knowledge of the methodology of working with illustration, that is, the initial formation of art history knowledge, and on their basis special skills;

Organization of a holistic artistic perception of children's works of book graphics.

Research objectives:

To determine and analyze the content of knowledge and skills of preschoolers when familiarizing themselves with the works of the illustrator Yu.A. Vasnetsov.

To experimentally study the effectiveness of the developed methodological recommendations in the compositional construction of a drawing.

Research methods: the study of psychological, pedagogical and methodological literature on the named topic, pedagogical observation, conversation, testing and study of the product of children's creativity; statistical methods of data processing.

Research base: pupils of the middle group of a preschool educational institution of kindergarten No. 57 of a compensating type with priority implementation of a qualified correction of deviations in the physical and mental development of pupils

1. Psychological and pedagogical conditions for creating plot compositions in the drawings of preschoolers 4-5 years old

1.1 Figurative expressiveness in the drawings of children of middle preschool age

At the present stage of development of pedagogy, children's creativity cannot be considered in isolation from the practice of teaching fine arts. The results of analyzes of children's drawings indicate that preschoolers have the ability to observe, remember what they see, and convey the color and shape of objects. However, the qualities of a creative drawing are evaluated not only by the “correctness” of the image, but also by the expressiveness of the image, its artistry.

Unlike an image in professional art, an artistic image in a children's drawing requires different criteria for evaluation. This is due to the specifics of children's creativity, its originality, which depends on a number of age characteristics of the child; in addition, the formation of an artistic image takes place in the conditions of education and training, that is, an adult teacher plays a very important role.

The foregoing gives reason to dwell on some important aspects of the image, the nature of the image in children's creativity, the specifics of expressive and visual means, and the features of the idea.

Drawing, as a specific product of children's creativity, is evaluated differently in the psychological literature. A detailed interpretation of the psychological content of the drawing was given under the influence of the ideas of the biologization persuasion, Gestalt psychology, and Freudianism.

At the beginning of the 20th century, according to the biogenetic law of E. Haeckel (ontogeny is a short and quick repetition of phylogenesis), supporters of this theory V. Stern, J. Luke established in the development of drawing that “the child depicts what he thinks, believes, knows , - and not what he sees.

This understanding of the nature of children's drawing had many followers. Supporters of Gestalt psychology, in the depths of which the foundations of modern knowledge about visual perception were laid, determined that “a child draws what he sees”.

Freudian ideas were based on the assertion that children's creativity is interpreted as the expression of symbols of innate and subconscious impulses. To the question “what is the child drawing?” Freudians answer like this: “A child draws what he feels”

V. S. Mukhina believes that consideration of children's drawings from the point of view of any one of these areas cannot lead to a true understanding of the nature of children's fine art. Children's drawing cannot be explained solely on the basis of one idea. A one-sided theoretical approach to children's drawings is reflected in their interpretation.

In her book “The visual activity of a child as a form of assimilation of social experience”, V. S. Mukhina explains the nature of children's drawing from the point of view of the theory of the Marxist position that has developed in Soviet child psychology about the social inheritance of psychological properties and abilities, about the appropriation by an individual of material and spiritual culture created by humanity.

L. S. Vygotsky emphasizes the peculiarity of the graphic form of children's images, indicating, in his opinion, that “a child draws not what he sees, but what he knows”, regardless of the actual appearance of objects.

Contradictory statements were provided by E. A. Flerina, E. I. Ignatiev, believing that the child is not very capable of abstraction and his images reflect the true reality ..

Thus, an analysis of the content of children's drawings gives grounds that the individual orientations of the child are due to various psychological and pedagogical influences and his personal experience; the child identifies the most significant for himself and makes it the subject of the content of the drawing.

Drawing, as a specific product of children's creativity, is evaluated differently in the pedagogical literature. Some are attracted, first of all, by immediacy, original expressiveness, sometimes even unexpectedness of images, originality of compositional constructions, pronounced decorative effect. Others considered it from the point of view of truthfulness, the ability to observe, the accuracy of the image, the presence of certain skills and abilities.

N. A. Vetlugina notes that each child has his own special store of impressions and observations. Individual features of life experience always affect the perception of plots. This circumstance is a source of uniqueness, originality, originality of the created images.

It is interesting that, while creating an image of the whole plot, striving for completeness, plausibility of the image, the child chooses, however, its most characteristic signs and features.

The child already departs from the absolutely accurate reproduction of the plot and, trying to express the essence of the phenomenon, conveys an expressive image in his drawings.

Children's creativity is most directly related to the peculiarities of the perception of book illustrations. That is why one of the most important conditions for the development of children's visual activity is the enrichment of the culture of visual perception, the formation of artistic figurative vision.

The education of a figurative vision of the plots of literary works in illustrations is in the center of attention in the formation of the compositional construction of a drawing.

The child not only reproduces what he sees, but interprets and contemplates his drawing in his own way. Therefore, those ideas that are then embodied in the drawing are of great interest.

The images in the drawings attract not only by their immediacy, but also by their coherence, the selection of details, the certainty of the plastic characteristics of the depicted character, the color scheme, etc.

E. V. Shorokhov notes that “composition is the focus of the ideological and creative principle, which allows the author to purposefully organize the main and secondary and achieve maximum expressiveness of content and form in their figurative unity, and this is typical not only for professional artists, but also for preschool children. age."

This opinion is also shared by the doctor of pedagogical sciences, a professional artist, teacher N. E. Mikhailova and, on the basis of her research, establishes that “for an adult, myth and reality are already separated, and for a baby, any experience is material.” Based on this, she concludes that the result of drawing is important for adults, and the process for a preschooler.

R. Miroshkina in her work “The formation of expressiveness of the image in children's drawings” critically notes that educators often ignore the function of expressing attitudes towards the depicted through the creation of an expressive form, as a result of which the content of the drawing is combined with a low quality of its execution. Drawings lose their educational value, cease to satisfy the child. R. Miroshkina offers a means to improve the expressiveness of children's drawings - this is the examination of illustrations in books.

Based on the psychological research of B. M. Teplov on the need to combine the components of artistic activity (processes of perception, performance, creativity) and its influence on the artistic development of the child, teaching children to depict graphic forms based on the perception of artistic means of book graphics, possibly contributes to the creation of expressive images by children in the drawing, the manifestation of creativity in the transfer of the shape of objects, thanks to the emotional response of children to the artistic images of illustrations, visual familiarization with the methods of their creation. Children need to master the ways of perceiving the artistic means of illustrations, to gain certain knowledge about the artistic significance of the drawing as the most important pictorial and expressive graphic image.

At the same time, a professional artist, teacher, creator of an original technique with young children, an employee of the Wenger Children's Center and the Preschool Childhood Center, N. E. Mikhailova notes that pictorial activity is the only area of ​​​​creativity where complete freedom is not only permissible in the learning process , but also necessary.

For an adult, the result of an activity is important, but for a child, the process is of paramount importance (and in drawing too). “If a little artist is already able to express his emotions through color and line, he can, while drawing, splash out his experiences: joy, love, fear ... Spilling them out on a piece of paper, the child, as it were, frees himself from them, releases them into the wild - and in this is an element of the psychotherapeutic effect of drawing. The author emphasizes that positive reinforcement by adults of children's drawing (understanding and approval) instills in the child self-confidence, in his abilities and strengthens his interest in drawing.

After all, four or five year old children have a particular craving for object drawing. The child seeks to create an image corresponding to his idea of ​​the subject. In no case should you show how to draw this object, because children already have enough skills (they know what a spot and a line are) to create such an expressive image that “other adult artists can only dream of”.

Drawing on the topics offered by the educator does not exhaust all the impressions accumulated by children from the life around them, literary works, and performances they have watched. There are a lot of these impressions, and they are reflected in the drawings according to the plan. Drawings become more diverse, reflect a wider range of phenomena. On this occasion, B. M. Marshak notes that this type of drawing causes a meaningful image of space, the connection of individual objects with each other. The ability to observe, see, analyze, mastering the ways of depiction and techniques in object drawing (from life, from memory) has a positive effect on the performance of plot drawings.

When children comprehend the way objects are arranged in space, they take the initiative in conveying the plot. In the process of drawing, children freely use the painting techniques they have learned, choose colors and shades.

Restriction of the arrangement of images (incorrect management of the compositional side of the drawing) interferes with the development of memory, thinking, imagination, leads to simple imitation and, naturally, inhibits the development of creativity.

The implementation of the plot drawing is more difficult because here it is necessary to express individual scenes, events. To convey the ratio of objects, to construct a drawing compositionally, to convey the content in a coherent and understandable way, to independently find image techniques based on what has already been learned.

Knowledge of the methods of depicting a number of objects and ways of arranging them in space, the ability to select colors allow children to more correctly convey their plans in the drawing.

We believe that the most striking and expressive will be the influence of the relationship of auditory-visual representations on the perception of book illustrations, since, for a small child, the drawing does not perform an auxiliary, purely illustrative function, but plays the role of the main material, in the absence of which the child cannot understand a work of art. The words of the text serve as an indication to a small child of actions and circumstances that he must visually follow step by step, looking at the corresponding picture, which gives a complete picture to the children, based on a holistic perception of the plot of a literary work, and contributes to the embodiment of the image in children's drawings.

Thus, the development of plot compositions in the drawings of children of middle preschool age is formed due to the figurative vision of the child - the ability to observe, notice characteristic features, details, analyze the shape, color of an object and at the same time the ability to maintain a holistic impression of a book illustration.

1.2 The specificity of the means of artistic expression in the works of illustrators in illustrations for a children's book

The main artistic means of the art of illustration for children is the figurative realistic disclosure of the ideas of literature and the phenomena of life, the meaning of everything that surrounds us. It is based on the imagery of children's thinking. The artist comes to the child when he still cannot speak, and the artist helps him understand the content of the book.

At first, the child will happily recognize his toys, a kitten or a dog in the picture. Then the book tells him about what an African elephant, the sea, an airplane, a satellite, a rocket look like. The child will not only hear about what is good and what is bad: illustrations will make these concepts visual, personified.

The image of the hero is one of the most important moments in illustration for children. In a book for little ones, the artistic image carries the child with a wide variety of concepts about the world around him, serves as the first measure of life phenomena.

The creation of an artistic image in an illustration for children is carried out with the help of a complex of specific means of artistic expressiveness of graphics - drawing, color, book page composition, book layout as a whole.

Color in a children's book is the artist's main assistant. It plays an important role in the process of perception by the child of illustrations. This is due to the special emotionality of children, their increased responsiveness to color.

The complexity of the relationship of children to color is clearly visible in their drawings, where color acts as a way to distinguish objects, express emotions; often color also performs a game function. For an artist who refers not only to color perception, but also to the “color imagination” (S. Eisenstein’s definition) of children, it is important that this imagination is controlled both by the impressions of the visible world, and by the emotional reaction to them, as well as by the specific game logic of the child. . The task of the artist is to satisfy the need for the laws of color harmony. Introducing children to comprehend the laws of color harmony, the artist not only develops their aesthetic feelings, but also prepares his viewers for a full perception of many other phenomena of reality.

Drawing in a children's book exists on an equal footing with color. Drawing is a means of artistic expression, the perception of which for children is a new stage in development. It is the drawing that makes the book a book, at the same time it is the restriction that is imposed on the color by the laws of the book and which introduces color into the system of book construction - the layout.

You cannot ignore the characteristic features of an object: if you need to draw, for example, a ball in a children's book, then it simply must be round, since this is its main feature, common to all balls. Each group of objects has such a common feature, but, starting from it, the artist also endows the object with the concreteness of existence in a certain environment.

When drawing a person and trying to convey the character's character or his state of mind, one should also keep in mind some features of children's perception. In the book, a constant and close to the child way of depicting and expressing the manifestations of mental life, psychological state is a gesture, imprinted moment of movement.

The gesture carries a rich semantic load, but only an observed gesture, sharp and generalized to a certain limit: it contains a valuable living grain of movement.

A feature of the drawings for children is their close connection with the text, placing them next to the corresponding lines. Particular attention is paid to the artistic accessibility of the drawing, which is caused by the peculiarities of children's perception.

A specific feature of children's book graphics is the emphasis in the illustration of the most basic, the special integrity and clarity of the composition. The general laws of compositional construction are expressed in this case more sharply, obeying the peculiarities of children's perception, the tasks of a children's book.

In a book for young children, the external and internal design is specific, requiring thoughtfulness, harmony, and entertaining solutions that can captivate the child.

The layout of the book combines all the means of expression. There are different layout methods. The skillfully realized dynamics of the book structure gives rise to the original spatial and color rhythm of the book. The types of book layouts for young children are different - from a book - a toy, a book - an image, a book - a screen to a book - a notebook. The design of the children's book also has special features. There is no need to keep the entire structure of a book for adults (dust jacket, binding, flyleaf, frontispiece, title page, etc.) in a children's book.

The special nature of the design - its visibility, harmony, entertaining - distinguishes book graphics for children.

1.3 Knowledge, skills and abilities necessary for children in the compositional construction of a drawing

Children can depict objects, phenomena, create patterns, embody what they have conceived in a drawing only if they master the technique of each type of visual activity. Despite the fact that the technical execution of the work is not the main thing, mastering the correct and varied technique is necessary.

First of all, it is necessary to teach children how to properly hold a pencil, brush, crayons in their hand. Children cannot learn this on their own. The inability to properly hold a pencil and brush inhibits the development of drawing movements and makes it difficult to create images.

Children should learn to hold a brush and a pencil with three fingers (between the thumb and middle, holding the index finger on top), while the hand lies on the table up to the elbow or can be raised, leaning on a drawing pencil (or brush, chalk, etc.). Draw with a pencil at different pressures (lightly touching the paper for lighter hues and thin, light lines, and pressing harder for brighter color and strong, energetic lines). This allows you to achieve expressiveness of lines and images, since the line is one of the main components of the drawing. When drawing with a brush, children are taught to draw lines with the entire pile and its end to obtain wide and thin lines.

Children are taught the correct techniques for painting images (draw lines in one direction without changing it within one contour, do not draw strokes outside the contour; transferring a smooth texture, paint over without gaps, and rough - with gaps).

Children acquire the ability to adjust the length of strokes and lines in order to depict objects, their parts and texture.

Children learn different ways of working with a brush and paints: on a dry background, on a wet background, in a blur method. They are taught to mix paints with white (in gouache) and dilute them with water (in watercolor) to obtain different shades of colors; use different methods of drawing and obtaining shades of color, apply different techniques when creating an image (a simple pencil and paints - gouache, watercolor: colored wax crayons and gouache or watercolor, etc.).

Mastering the technique of drawing develops hand movements, allows children to freely reflect their creative intent in the drawing, and create interesting expressive drawings.

Preschool children cannot fully master the methods of realistic depiction of reality. It is impossible not to take into account the difficulties that arise before them in solving visual problems, in particular in conveying the color of an object, in observing the correct proportions, etc. Naturally, teaching preschool children should be limited to solving only the most simple visual problems. However, the child is constantly growing and developing, his abilities are formed under the influence of education and training, and the task of the teacher is to take care of bringing children to an increasingly truthful reflection of reality.

To achieve the similarity of the picture with what the child seeks to convey, the image must reflect the shape of the object, its size, structure, color, position in space. The main property that allows you to establish the similarity of depicted objects with real ones is the shape. Children master the transfer of this property gradually.

The requirements for the accuracy of transferring the form from one age group to another become more complicated. First of all, children learn to depict round and rectangular objects. At the same time, they still do not distinguish round objects from objects that are elongated-rounded, oval, and rectangular from square ones, that is, they convey the shape approximately.

The first images are simplified, generalized. This is determined by the weakness of analytical perception, as well as the limitation of hand movements. It is easier for children to convey objects that are close in shape to geometric shapes - a circle, a square, a rectangle, geometric bodies - a ball, a cube, a cylinder. So, for example, the ball has the shape of a ball, the apple is also close to it in shape, the spatula is shaped like a rectangle. All these are objects consisting of one part and a small number of parts (the stalk at the apple, the stick at the flag). In their assessment, only the initial criterion can be applied - recognition of the object. For this, the main parts and an approximately correctly depicted shape must be present - rounded, rectangular, etc.

Further acquaintance with the forms and the ability to convey them in the drawing expand. Children acquire the ability to distinguish between a greater number of forms, as well as to determine the difference in proportions: to sculpt and draw objects that are narrower and wider, longer and shorter. The objects that are offered to depict children differ significantly in shape from simple geometric shapes (circle, square, triangle), and children convey this difference.

One of the important means of a realistic, expressive image is the transfer of the magnitude relationships of parts in an object and their parts to each other. Children learn this, starting from the second younger group, distinguishing at first only big and small. In subsequent groups, this skill becomes more and more complicated: children are already required to convey the ratio of parts in size, the ratio in size of different images in plots, compositions, and drawings. The solution of this problem is connected with the development of the movements of the child's hands, the eye, the coordination of the movements of the hand and the eye in the process of creating an image.

The teacher should remember that the transfer of two objects of different sizes: large and small - is possible without much difficulty, however, this applies to simple single-part objects. It is more difficult to convey subtle gradations: large, small, even smaller. This requires more precise movement and close visual control of the movement of the hand. It is even more difficult to convey proportional relationships - how much one object is larger than another. This is available only to children of preschool age. By selecting the appropriate topics for children's work and organizing the perception of magnitude relationships, the educator gradually equips children with the ability to reflect these relationships in drawings.

Already in the program of the second younger group there is a requirement to teach children to isolate the constituent parts of an object and convey them in modeling, drawing and appliqué. Thus, children are brought to the transfer of the structure of the object. Parts in an object can be the same and different in size, in shape; they are located in a certain way in relation to each other - some above, others below them, etc.

First, you need to choose for the image objects that are the simplest both in general shape and in the shape of parts, in color, in structure, with evenly spaced parts similar in shape. The relative simplicity and complexity of the object for the image also depend on the nature of the arrangement of the parts, on the structure of the object: the parts can be arranged in simple alternation, symmetrically or in complex alternation, asymmetrically.

In order for children to be able to convey the structure of an object from several parts, they must be introduced to the designation of spatial relationships - above, below, below, left, etc.

The first images of a flower, a tree that children can give are emphatically symmetrical: the branches of the tree extend from the trunk to the right and left at the same distance, the petals of the flower are evenly spaced around the middle, and the leaves in regular alternation are along the stem. From a simplified transfer of the form and structure of objects, children are gradually transferred to a more accurate and complete one, to depicting the characteristic differences in objects in shape and structure.

Preschool children can convey the shape of an object in a drawing only flat, depicting it from any one side. So, the front wall and the front view of the roof are drawn near the house; chair, table are drawn as they are seen from the side. It is essential to choose the position of the object in relation to the drawing, in which it can be depicted most fully and correctly without volume, flat. With this method of representation, some convention in the arrangement of parts is inevitably allowed. When we look, for example, at a houseplant in a pot, we see that some branches and leaves are behind others and are partially blocked by them. With a planar image, the obstruction of some parts by others is not transmitted, since all parts are depicted in one plane, and not in space. Without the transfer of proportions, that is, the correct ratio of parts in an object in size, shape and position, there can be no true image. The definition of relationships is given to preschool children with great difficulty. This ability should be developed gradually, from the first steps of learning visual activity.

The transfer of the characteristic form and structure requires the expression of proportional relationships both within each part and in the structure of the object as a whole. Such a requirement is put forward in the program for children after 5 years. When depicting objects consisting of several parts, more complex analytical work of thought is necessary - comparison, comparison, taking into account the relative size of the parts, establishing the difference in their shape, color. This ability develops gradually in preschool children.

With regard to the form and structure of objects, we lead children from the transfer of the main, determining to the transfer of details, from a generalized image to a more dissected one, to the transfer of features that characterize the specific and individual properties of objects.

Color, especially strong, intense, excites the positive feelings of children, makes them happy. But many children, without special prompting, do not use the color variety of materials: they can complete the entire drawing with a pencil or paint of the same color. At the suggestion of an adult, they willingly take a pencil of a different color, but with a newly taken pencil they can draw to the end without changing it. Only gradually, under the influence of a teacher, children begin to notice the color richness of the world around them, they have a desire to convey this in a drawing.

Starting from the second younger group, the program aims to teach children to convey color as a sign of an object. First of all, it is the color of natural objects and phenomena, which has a relative constancy. So, when drawing a Christmas tree, children 3 years old use green paint. The color characterizes the Christmas tree, distinguishes it from all deciduous trees in winter. Depicting a winter picture, children convey the white color of snow, lumps molded from it, a snowman.

But many other objects do not have one characteristic color for them: such are houses, cars, ships. Flowers, butterflies, birds can be of various colors. Only gradually do children get acquainted with various types of plants and animals and recognize their characteristic coloration. The drawings and applications of the children of the group preparatory to school are no longer only joyful and bright in color, but also realistic: birch, tulip, cornflower, titmouse, bullfinch are guessed in their colors. Color is also used as a means of expression. Starting from the age of 3, children get acquainted with some shades of color: blue - blue, red - pink. Gradually, this knowledge expands, children learn a large number of shades. In the preparatory group, children are taught to make shades of color themselves and get new colors by mixing paints.

Children also learn that the color of objects can change depending on changing conditions: an unripe berry is green, and a mature one is red; spring foliage is light green, summer foliage is dense green; in autumn, the leaves on some trees turn yellow, on others they turn red, and in some, like maple, they acquire all shades: from light yellow to dark red; the sky changes color depending on the weather, at sunset, the color of the water in the lake, in the river, in the sea also changes. A person, at will, changes the color of the objects that he creates: they repainted a house or a fence, made repairs in a kindergarten, laid a carpet of a different color. Children note all these changes in the environment.

In this way, the color representations of children are gradually enriched, and this is reflected in their visual activity. Successful mastery of visual activity requires not only knowledge of shapes and colors, but also their correlation with generally accepted standards of form (geometric shapes) and color (color spectrum). Children, not being able to distinguish a square from a triangle and name them, cannot determine the shape of an object and name it. Not knowing the names of colors and shades, not being able to distinguish between them, children cannot determine the color of an object, its color.

The program recommends teaching children to express coherent content in drawings, to convey life events, pictures of nature, episodes from familiar books. Such a drawing should include images of individual objects, interconnected in a certain way.

In drawings, images are arranged on a sheet of paper in such a way that it is clear to the viewer what kind of event or picture of nature it is. On a flat sheet of paper, you need to find a place for the characters and items included in one event. Toddlers are not able to solve these problems and express the intended content clearly for everyone. They use the same techniques in drawing as in modeling, in construction: they draw images of objects all over the sheet, cross out or draw a second time when it is necessary for the character to move. A sheet of paper plays the same role as a table and a plank in modeling. The drawing done in this way is a trace of the game played during the drawing, and after it is finished it is often incomprehensible. But at first, such a drawing satisfies the baby.

The program puts forward certain requirements for the location of images in the figure. When teaching children to convey coherent content, the educator first of all establishes permanent spatial relationships: bottom, top, right, left side of the picture.

The easiest for children is to place images in a row on a line and a strip drawn at the bottom edge of a sheet of paper; while the objects are in the foreground. In the future, a strip of land or floor can be wider, occupy half a sheet or more, and children draw objects not only in the foreground, but also further away - in the second and third plan, placing images on the entire strip. Thus, children are led to convey the depth of space in the drawing.

Their assimilation of various ways of arranging images in space creates new opportunities for expressing the plot, coherent content. A certain coordination of images in one "picture" is also necessary in relation to the size of objects. The children themselves often turn out to be indifferent to this: they are not embarrassed that the flower is as tall as a tree, and the girl walking near the house reaches the roof. By teaching children the transfer of magnitude relations, drawing their attention to the vital ratio of objects in size, the educator gradually achieves that children begin to understand and convey in the image the relative size of objects.

At first, children convey very significant differences in size, then more subtle ones, approaching the real ones.

Traffic. When the position of objects changes, their shape and size do not change. However, in order to depict an object in a different, spatial position, it is necessary to place it differently on a sheet of paper. This requires turning the hand when drawing (rather than a sheet of paper, as children sometimes do), turning parts differently in appliqué and sculpting.

Images of objects are located closer to each other or at a distance, the characters are turned to face each other or placed with their backs, follow each other or diverge in different directions, etc., depending on the content of the picture.

Preschool children first draw the figure of a person standing facing. Only at the age of 6-7 do they begin to understand what the difference is in the image of a person standing with his face, back, side. Especially difficult for children in the drawing is the lateral position, which requires a different image of the face, the position of the arms, legs, body.

Simple movements of the figure (a hand raised or laid aside) can be conveyed by children of the fifth year of life. Complex movements of man and animal, turns of the body - only older preschoolers. In modeling, it is easier for children to depict a figure in motion due to the plasticity of the material.

In the plot drawing, for the most part, it becomes necessary to convey the action (it is not without reason that we also call the participants in such a “picture” actors). This can be done by changing the position of the entire object in space or its individual parts: a beetle can crawl in one direction or another, a butterfly and a bird can fly, a fish can swim. In a butterfly and a bird, wings open in flight, their appearance changes. You can depict a person standing calmly with his hands down. But if it is necessary to express that he gives something to another, his hand should be raised and stretched out, that is, its position should be changed. If a person leans over, then the whole body bends, and the arms go down, etc.

The program provides for teaching children to transfer first simpler, and then more complex forms of movement.

2. The study of the effectiveness of the use of methods for the formation of skills to create a plot composition of a drawing after viewing book illustrations by Yu.A. Vasnetsov

In a number of works by psychologists and educators, the features of the perception of illustrations in a children's book by children of different age groups are analyzed. Small children prefer bright colors of objects, some objects of artistic expressiveness cause them to misunderstand the depicted (incompleteness, sketchiness, transfer of volume by a dark spot, complex angles, sharp deformation of the object, complex perspectives). Schematic pictures do not satisfy either younger or older children: children want to see in the picture all the essential features of the object.

One of the indicators of artistic perception is the ability to understand the expressiveness of the image, the characteristic given to it by the artist. If special work is not done with children, then they have a weak, one-sided interest in illustrations in books: illustrations are for them only a means of recalling a book, and only a few children, when asked by an adult, pay attention to the expressive means of book graphics.

The following tasks of the experimental study were set:

1. To study the features of compositional construction in the drawings of children of middle preschool age;

2. Develop a series of lessons for the development of plot compositions in children's drawings using illustrations by Yu.A. Vasnetsov, which can be used in practical work.

3. To reveal the effectiveness of the conducted classes on the development of plot compositions in the drawings of children 4-5 years old.

The experiment consisted of three stages:

1. Ascertaining;

2. Formative;

3. Control.

2.1 Determining the level of development of plot compositions in the drawings of children of middle preschool age

Children of 4 years old, who come to the middle group from the younger ones, are familiar with various types of fine arts, therefore, as a rule, they have developed an interest in drawing.

The purpose of the ascertaining stage of the experiment was to identify the initial knowledge, skills and abilities in the compositional construction of the picture.

Scientists V.A. Ezikeeva, R.N. Chudnova, V.Ya. Kionova and others note that if special work is not done with children, then they have a weak, one-sided interest in illustrations in books, children do not pay attention artistic expression. This factor has a negative effect when children create plot compositions in their drawings.

The ascertaining stage of the experiment had the following tasks:

1. Reveal the level of perception of artistic illustration in children.

2. Determine the level of children's mastery of visual activity.

The study was conducted on the basis of preschool educational institution No. 57 in Syzran. For the experimental and control groups, 16 children of the middle group were selected (Appendix 1). The experiment took place between December 2007 and March 2008.

The ascertaining experiment consisted of two stages.

The first stage of the experiment included diagnosing the level of artistic perception of illustrations by children of middle preschool age.

The main indicators of the artistic perception of book illustration by children of middle preschool age are as follows.

o Sustained interest, passion, desire to carefully consider illustrations. Emotional response to the artistic image, empathy for the hero, association of his feelings with his own.

o Correct correlation of the illustration with the text and genre of this literary work. Understanding the unity of the content and means of artistic expressiveness of book graphics: a drawing that conveys the nature of the image (with the help of lines, strokes, the image of an object, animal, person, posture, movement, gesture, facial expression is transmitted); color - color consistency as a means of conveying the mood of the characters, the season or time of day, emphasizing the main thing; highlighting the main thing in the composition. Understanding the features of the means of expression used by the artist, depending on the genre and style of a literary work. Vision of an individual creative manner of the image.

o Ideas about book graphics, its features (connection with the text), knowledge of the means of artistic expression, the names of 2-3 artists - illustrators and the works they illustrated.

Diagnostics was carried out in a confidential, natural environment for children. The children were divided into subgroups.

Diagnostic technique.

The experimenter read the fairy tale "Gingerbread Man" to the children with illustrations by Y. Vasnetsov and E. Rachev (Appendix 2).

At the end of the reading, the children were asked to carefully consider the illustrations and compare them.

The teacher asks questions:

Who drew these illustrations?

If there were no these pictures, would the fairy tale be just as interesting?

What is shown in these illustrations? Who is shown as the main one?

What are the personalities of the characters in the illustrations?

How are the characters depicted by the artists? Is it the same or not?

What time of year is shown in the illustrations? How did you determine?

Criteria for the perception of book illustrations by children:

Understands - 3 points;

Understands not fully - 2 points;

Does not understand - 1 point.

Awareness of the meaning of various expressive means of illustration (poses, gestures, facial expressions, colors):

Aware of everything - 3 points;

Aware of some - 2 points;

Not aware - 1 point.

Emotional attitude to the content expressed in the illustration:

Pronounced emotional attitude -3 points;

Slightly expressed - 2 points;

Not expressed at all - 1 point.

Understanding the expressive means in the illustration, making it possible to understand the experiences of the characters:

Understands all means - 3 points;

Understands in general - 2 points;

Does not understand - 1 point.

According to these criteria, three levels of children's perception of book illustrations were established.

III - High level (9-12 points) - the child has a steady interest, enthusiastically looks at illustrations with desire. Emotionally responds to the artistic image, empathizes with the characters. Correctly correlates illustrations with the text of this literary work. Understands the unity of content and means of artistic expression. Has an idea about book graphics, its features. Aware of all familiar means of expression (posture, gesture, facial expressions, color). Understands the emotional state of the characters, the nature of the characters. Lists all objects and highlights the main one. There is an idea about the illustration and its meaning in the book.

II- Intermediate level (5-8) - the child has an emotional attitude to the illustration, he enjoys the familiar illustrations, understands the content of the illustrations, correlates it with the text. Understands some means of expression. Doesn't quite understand the emotional state of the characters. Understands the nature of the characters if they are vividly conveyed by the artist, or situations are clear and familiar, or objects are depicted that clarify the character of the characters. The illustration is not complete. Lists the objects located in the illustration, but does not highlight the main one. The child cannot express an aesthetic assessment of the depicted.

I- Low level (less than 5 points) - the child has no interest in the illustration, or he is unstable, superficial. There is no emotional response. When perceiving objects, it proceeds from the enumeration of details, does not highlight the essential. Does not correlate the means of expression with the meaning of the depicted, with the content. Of the means of expression, he sees one or two, rarely notices the color characteristic, does not pay attention to the composition. There is no idea about the illustration, its purpose.

Based on these levels, we compiled a table (Appendix 3), which reflected the results of the 1st stage of the ascertaining experiment.

Thus, we see that according to the results of the first stage of the ascertaining experiment, there are no children with a high level of perception of book illustrations, 14 people are at the average level and 2 children have a low level. This can be seen more clearly in Figure 1.

Fig. 1. Diagnostic results of the 1st stage of the ascertaining experiment in percentage terms.

After analyzing the answers of the children, we can conclude that all the children, to one degree or another, understood the content of the illustrations, according to the text of the work. But not all children were able to choose a suitable illustration for a particular plot of a fairy tale. For example, Alina M., at the suggestion of the educator to choose those illustrations where the artists drew the result of the fairy tale, chose the illustration by E. Rachev, “The wolf ate the bun,” the girl explained, to the words of the educator: “But in the fairy tale, the fox ate the bun,” the girl said "The artist painted the fox good, and the wolf evil, so he ate the bun." Sasha R. to the question “How are the characters depicted by the artists? ” was able to answer only by emphasizing the characteristic features of a particular character (a gray wolf, a large bear, a white hare), while the child could not single out the expressive means that the artists used to convey these images. The child did not notice that the animals in Yu. Vasnetsov's illustrations are more realistic than those in E. Rachev's illustrations. This artist gave his characters a more human look. Just like Sasha R., 10 more children (62.5%) did not notice this either. 6 children (37.5%) were able to find a difference in the depiction of animals by E. Rachev and Yu. Vasnetsov, but did not pay attention to the color of the characters. The season in the illustrations was determined by all the children. Only 6 children (37.5%) identified the characters of the characters according to the expressive means of illustrations, and the remaining 10 children (62.5%) characterized the heroes of the fairy tale according to previously established stereotypes (the fox is cunning, the wolf is evil, the bear is clumsy, the hare is cowardly).

Most children have an idea about book illustrations, about the purpose of illustrations in a book. But not all children were able to answer the question "Who drew these illustrations?". So, for example, when answering this question, Ildar M. answered that “the pictures were drawn by some adults,” and Lena F. explained that these pictures were drawn by their teacher.

13 children (81.2%) could not quite correctly tell about the characters drawn in the illustrations. Children listed such objects as trees, flowers, stump, sun, sky, not noticing the main thing in these pictures.

Children did not pay attention to the fabulousness, the unusual character of the fairy tale. Of all the means of expression used, the children noted only the actions of the character (running, sitting, standing, rolling). Gesture, posture, facial expressions most often went unnoticed. Children called them if they were brightly presented. 7 children (43.7%) expressed their emotional attitude to the content expressed in the illustration slightly. So Lena F. clearly showed her emotional attitude to the illustration, where the gingerbread man sat on the nose of the fox. The girl especially liked the fox outfit, "she is like a lady." 9 children (56.2%), when looking at the illustrations, did not show any emotional response in relation to this or that illustration.

The second stage of the experiment included the following task.

This rear is carried out with a subgroup of children.

Material. Paint, gouache, a piece of paper with a silhouette of a swan painted on it, for each child.

The experimenter reads the nursery rhyme "Swan".

The teacher shows the children an illustration by Yu.A. Vasnetsov for this nursery rhyme (Appendix 4).

Appeals to children:

What swan did the artist draw? (important, white, beautiful).

How does a swan carry its head? (above the shore, proudly).

The teacher invites the children to consider how the swan is drawn. What kind of wings does she have? Like a swan shakes some water on the flowers.

What season do you think is depicted in the picture?

Why do you think the painting depicts a warm day?

It is explained to the children that the artist painted beautiful flowers because a swan waters them.

Then the teacher gives the children a sheet of paper with a silhouette of a swan drawn on it (Appendix 5) and offers to draw their own picture for a nursery rhyme.

An analysis of the activities of children showed the following, that not all events described in a nursery rhyme contribute to the emergence of a plan, but only those that interested children, caused surprise, struck their imagination.

In the process of drawing for some children (Galya R., Sasha K., Pasha B., Tanya K., Inga B.), the idea was not based on the original, quite distinct sensual images. The children planned to draw something, but their ideas about the intended objects were not clear. Having a clear idea of ​​the object, phenomenon, the children did not know what pictorial actions should be taken to depict in the drawing what they had in mind, and this is a necessary condition for the realization of the idea.

For example, Julia R., when asked by the teacher what she would draw, answered: “The sun.” The girl drew energetically, in concentric lines, without closing them in a circle, large in the middle of the sheet, blocking the silhouette of a swan with her image. This suggests that the girl does not own the composition. The lines were broken, with strong pressure. The girl painted the sun in yellow, she did not regulate the pressure during coloring.

Venus S., not being able to draw a round shape well, put a spot in the middle of the flowers, and from it she drew trembling, faintly noticeable lines in all directions. The girl painted the flowers with large sweeping movements that go beyond the outline.

Boris Z. painted over half of the sheet with blue paint, thereby depicting a river along which a swan swims. The boy did not respond to the suggestion of the educator to draw wavy lines that would represent waves and continued to color his work further. He couldn't draw anything else.

Based on the nature of this task, we have developed criteria and indicators for assessing the level of a child's mastery of visual activity.

Criteria and indicators for assessing the level of mastery of visual activity

1. Form submission:

The form is passed accurately - 3 points;

Form failed - 1 point.

2. The structure of the subject:

Parts are located correctly - 3 points;

There are minor distortions - 2 points;

Parts of the object are located incorrectly - 1 point.

3. Transferring the proportion of the subject in the image:

The proportions of the subject were respected - 3 points;

There are minor distortions - 2 points;

The proportions of the object are transferred incorrectly - 1 point.

4. Composition.

A) the location of the images on the sheet:

All over the sheet - 3 points;

On the strip of the sheet - 2 points;

Not thought out, is random - 1 point.

B) the ratio in size of the different images that make up the picture:

Proportionality is observed in the image of different objects - 3 points;

There are minor distortions - 2 points;

The proportionality of different objects is transferred incorrectly - 1 point.

The real color of objects is transferred - 3 points;

There are deviations from the real color - 2 points;

The color is transferred incorrectly - 1 point.

According to the developed criteria and indicators, we have compiled a summary table (Appendix 6).

The highest score a child could receive was 18 points. On the basis of the accumulated amount, we differentiated children according to the level of mastery of visual activity. To do this, we have compiled a ranking series (Appendix 7).

We conditionally divided the ranking series into three groups. Each of these groups was assigned to the highest, middle, low levels (according to the number of points scored).

So we determined that:

the highest level will include children who scored from 13 to 18 points;

to the average level - 7-12 points;

to low - children who scored less than 7 points.

The level of children's mastery of visual skills can be seen in Figure 2.

Fig. 2 Number of children by levels of mastery of visual skills.

We see that there are no children with a high level of mastery of visual skills, there are 14 people (87.5%) at the average level, 2 children or 12.5% ​​with a low level.

Based on the results of the completed tasks, we compiled a summary table to determine the average level of development of visual knowledge, skills and abilities of the child (Appendix 8).

Based on the results of the ascertaining experiment, out of 16 children, we identified two groups of children that make up the experimental and control groups. We distributed the children so that each had approximately the same number of children by gender and developmental levels.

We have the following groups (table 1 and 2).

Thus, we have identified further prospects for the development of plot compositions in children. The formative stage of the study was carried out with an experimental group of children.

2.2 The development of plot compositions in the drawings of children in the process of familiarization with the illustrations of Yu.A. Vasnetsov (formative experiment)

Analyzing the process of creating images by children according to the plan, the finished products of their activity and comparing them with the analysis of the artist’s work (M.I. Bogacheva, L.S. Vygotsky, V.G. Zlotnikov, P.P. Chistyakov, etc.), we identified the following stages of the formation and implementation of the idea in the drawing of preschoolers (which, however, are also characteristic of other types of visual activity):

Accumulation and refinement of ideas about the surrounding life by organizing the viewing of book illustrations.

Determining the theme of the drawing.

Awareness of the content of the future drawing, the definition of the images included in it, the composition of the drawing.

The choice of materials for drawing in terms of the child's preferences, their greatest expressiveness to solve the topic, the choice and refinement of ways to create images.

Clarification of ideas about objects, phenomena (plot, characters of a literary work), which will be depicted before drawing.

Planning for the implementation of the plan. Determining the order in which the image is created.

Clarification of ideas about the depicted objects, if necessary, in the course of the implementation of the plan by additional consideration of illustrations, additional explanation, reminder.

Activation of the use of various ways of creating an image, expressive means.

Evaluation of the resulting product in terms of the completeness of the implementation of the plan (control by result), the methods of representation and expressiveness used.

Enrichment, complementing the drawing based on the score.

Analysis of the finished drawing, highlighting an interesting, expressive solution of images.

Based on the results of the ascertaining experiment, we proceed to the formative stage of our study.

The purpose of the formative stage: the development and testing of the methodology for the development of plot compositions in the process of familiarization with the illustrations by Yu.A. Vasnetsov.

1. Find the best ways, means and forms of work for the correct transmission of the literary image in the plot drawing with the help of illustrations by Yu.A. Vasnetsov.

2. Teach children to use a combination of various visual materials to make their drawing unusual.

3. To develop creativity in children in the compositional construction of a drawing, on the material of illustrations by Yu.A. Vasnetsov

At this stage of the study, the following forms and methods of work should be applied:

Listening to a literary work;

Examination of illustrations by Yu.A. Vasnetsov to the works;

Coloring;

drawing;

Drawing the plot of a literary work, which was illustrated by Yu.A. Vasnetsov.

The work was carried out according to the system proposed by Kurochkina N.A. So, the first lesson we devoted to the role of illustrations in the book. (Annex 9)

The main material in the work is Yu.A.Vasnetsov's illustrations for children's books. This choice was not made by chance, as this artist is able to deeply reveal the content of a fairy tale, nursery rhyme, subtly convey its mood. With drawings that are simple in composition, using expressive means understandable to children, he skillfully guides children's perception and awakens in the child feelings of compassion, sympathy, and rejoice.

We devoted the next lesson to the work of Yu.A. Vasnetsov. To do this, we selected books illustrated by this artist, brought his portrait to the group. Books were arranged in advance in the book corner to give the children a good opportunity to examine them. In our free time, we read these books to children so that the children would remember some nursery rhymes and poems. Acquaintance with creativity, in our opinion, will arouse in children responsiveness to everything good and beautiful, will instill interest and love for book graphics. First of all, we focused our efforts on the study of the artist's work (Appendix 9).

Having learned about the artist's childhood, the teachers told the children about the pensive forest region where the artist was born and grew up, about the friendly city of Vyatka (now Kirov).

In the following classes (Appendix 10,11), we continued to acquaint children with the work of Yu.A. Vasnetsov, forming their interest, emotional responsiveness and empathy for artistic images, the desire to carefully examine illustrations, rejoice and be surprised at the interesting and expressive drawings of the artist, the ability to express their attitude, their judgments, entering into a conversation with adults and comrades.

Educators drew the attention of children to the similarity of the Dymkovo toy with the drawings of Yu.A. Vasnetsov. Considering the Dymkovo horse, and then Yu.A. Vasnetsov’s illustration for the nursery rhymes “Ivanushka” and “Horse”, they said: “The Dymkovo horse and the horse Ivanushka rides are very similar. They are decorated with big circles and dots, and they have the same mane."

Having got acquainted with the artist's works closer, we were convinced of his ingenuity: how many illustrations were created, and among them there was not a single repetition. Many characters were drawn by the artist, but they are all different. Everyone has their own character, their own manner of behavior, their own style of dress.

In the illustration for the nursery rhyme "Mice", we drew the children's attention to how the artist painted nineteen mice, and they are all in different clothes: the mouse girls have bright skirts decorated with stripes, and the boys have multi-colored shirts with buttons.

Looking at illustrations with children, we taught them to look and see how much humor and fiction the artist put into his fairy tale pictures.

For example, depicting a mill where Kisonka-Murysonka (the nursery rhyme "Kisonka") went, the artist came up with a lot. The fairy windmill is decorative. It is decorated with arcs, glasses, wavy and broken lines. The wings of the windmill are woven from old light shingles. A cute little mouse lives in the mill. He climbed behind the window sill and looks out the window with interest. Amazing magic flowers grow around the mill, which shine so beautifully in the sun. Kisonka put the gingerbread into a large wicker basket. Gingerbread cookies are white with beautiful patterns and very appetizing!

The children's attention was drawn to the fact that despite the fact that the nursery rhyme says nothing about whom Kisonka met along the way, the artist himself invented and depicted this meeting. The children gladly joined the game started by the artist and, peering at the illustration, said: “When Kitty was walking from the mill, she met an old hare. I think that she is old because the picture shows summer, and the hare is in felt boots and with a stick, - says Tanya K. - Kitty is very beautiful, fluffy, in a smart skirt, with a bow around her neck. But I don't like her because she's greedy. She has a lot of gingerbread, a whole basket, but she didn’t treat the old hare to them. I ate everything myself."

By introducing the artist's illustrations, we taught children to see what kind of load color carries in them. Children were introduced to color as a means of conveying the emotional state of the characters, mood, seasonal and temporal changes in nature. For example, in the illustrations for the nursery rhymes “Skok-po-jop” and “Horse”, the bright yellow background not only conveys a warm sunny day, but also enhances the perception of the images created by the artist. On a yellow background, dark brown figures of baby squirrels are clearly visible, importantly walking along the bridge. Thanks to the light background, the children saw the fluffiness of their fur, admired the tassels on their ears.

Color gives children's drawings expressiveness. The consistency of color shades for expressing color is of paramount importance. Preschool children can already complete tasks based on contrasting and tonal combinations of colors. Illustrated material will be of great help in understanding color combinations.

The transfer of color is one of the most important tasks in achieving the expressiveness of the picture. The correct pictorial transmission of lighting and the correct selection of colors are one of the necessary conditions for color consistency. Both in the classroom and in everyday life, children were told and shown the difference in color in cloudy and sunny weather. Specially selected paintings by Yu.A. Vasnetsov are of great help here. The illustration, written in grayish, dull colors, seems cold, rainy. A sunny day is transmitted in bright contrasting colors. Those objects that are closer to us appear darker, and the farther away objects are, the lighter they appear.

The children were taught how to use paints of the same color. For example: to draw a river, you need to take dark blue paint. To make the sky lighter than the river, for this, take blue paint, or add a little white to blue, otherwise the same colors will merge, and it will be difficult to make out where the sky is and where the river is. Or, if the grass is painted dark green, then to paint the leaves you need to take the greens a little lighter, while you can add yellow paint to it.

We introduced children to Yu.A. Vasnetsov's illustrations not only in drawing classes, but also in modeling, appliqué, speech development, and music.

For example, when telling children the fairy tale "Three Bears", we showed Yu.A. Vasnetsov's illustrations for it. The illustration for the nursery rhyme "Cockerel" was used several times: in classes for the development of speech and fine arts, as well as in a music lesson when singing a song about a cockerel. Thanks to the work done, the bright, expressive image of the cockerel became close and understandable to children. They peered with interest at the illustration, asked the teacher who lives behind the forest that the artist depicted in the distance. Alina M. said that there was a village beyond the forest and that her grandparents lived there. But to Ruslan B. this forest seemed dark and scary, and he decided that Baba Yaga lives there.

When looking at the illustrations, the children were asked:

“Why did the artist choose this paint color and not another?”

“What would happen if there was light blue instead of blue?”

These questions made the children understand that the color in the picture is not taken by chance, but serves as a means of expression.

When looking at the illustrations by comparing the picture, it was possible to show the children how the color of snow changes at different times of the day, at night, how colors change depending on sunny, cloudy weather, etc.

As the survey showed, children usually imagine snow only as white. When looking at the illustrations, it turns out that they perceive color combinations more subtly and look for words to express a different state in the depicted nature.

Considering the illustration for the nursery rhyme “Horse”, Kolya O. said: “The sun is shining brightly, brightly. It is warm and light on the shore, and therefore we can see the horse well. The mane and tail are decorated with bows, the harness and the saddle are embroidered with various patterns.

Introducing children to the work of Yu.A. Vasnetsov, teachers tried to show them that although birds and animals look like toys, at the same time they are very original and expressive. Fairy-tale images are close and understandable to preschoolers, because the artist has found a form of their transmission that corresponds to the peculiarities of children's perception. Classes were held with children on the topic "How Yuri Vasnetsov painted animals."

Children's attention was also drawn to the construction of the image on the page of the book: where and how the artist draws the main character, how the drawing accompanies the text, explaining it. Children got acquainted with the role of illustrations for the book, with the one who creates them; learned about the work of an illustrator. They expressed their judgments and assessments using emotional, moral and aesthetic definitions.

The next stage of the work was to familiarize the children with such means of expressiveness of the drawing as the image of movement, the poses of animals. For this, we used the games: “Who is running, who is sitting”, “How are animals different?”, “Guess who is doing what.” (Appendix 12). Illustrations were selected, where animals are vividly conveyed in different poses, in motion and static. We took images of one character, for example, a bunny: the bunny is dancing (the nursery rhyme “Hare, go out into the garden ...”), the bunny is sitting and eating porridge (“White-sided Magpie”), the bunny is crying, running away (“Bunny’s hut”), the bunny sat down - saw a mushroom (“A mosquito sat on a bush”), etc. Offering children illustrations with the same characters, we drew their attention to the fact that the artist depicts animals and birds in different ways. So, to the nursery rhyme “The cat went to the market”, he portrayed a very economic cat, importantly walking with a roll under his arm. Cat in big, painted boots. There is fluffy snow outside. And around the fabulous lanterns, snowflakes staged a round dance. In another illustration, the artist dressed up the cat as if for a holiday: a bow, a bright shirt and a fluffy mustache.

To teach children plot drawing, it is necessary to use fairy tales, according to which drawing is carried out repeatedly (“Three Bears”, “Cat, Rooster and Fox”, “Teremok”). (Appendix 13.) The content and ideas of the selected fairy tales should be clear to children. Drawings can be recreated only from the text of such a work, where the pictures are really meant and imagined. The episodes of the selected fairy tales are selective.

The main characters involved in these tales are available for the image of a preschool child. These are animals: bears, fox, hare and others.

Fairy tales and nursery rhymes enable children in their drawings to combine several objects into a simple plot, that is, to express the relationship between the characters, reflect the situation of the action, express their attitude to the event depicted.

The main thing is to direct the attention of children when perceiving the illustration to the color scheme of the theme and use color in the drawing as a means of expressing the content.

Looking at the illustrations with children, we observed the following. Children joyfully, with a smile, they perceived the cockerel and the radiant sun. But how quickly the children's mood changed when they saw a goat with kids and a wolf hiding behind a tree.

The children were also worried about the cat whose house caught fire, and really wanted to help her. Looking at the illustration, the children found new interesting details.

Julia R. noticed that the mice ran to the fire, but they could not help the cat. “They didn’t even bring water with them. They are bred with their paws, and that's all! ”She noted with chagrin. “I'm afraid,” said Ildar M., “that the chicken will spill the water. She runs very fast."

In the process of forming the idea of ​​the plot of the drawing, it was very important for us to help with visual material, to deepen the visual image of what was read, to help imagine the situation, the time of action, the appearance of the characters. Representation of a sensual nature can be formed only through the perception of the object itself or its image.

A variety of content is expressed in the visual arts by certain means (the shape of objects, color, composition). Children more accurately and subtly perceive the shape and color, rhythm, symmetry in the surrounding reality. In the children's ideas on topics from the surrounding reality, such comparisons already appear that may indicate some elements of the artistic perception of reality.

One of the features of the formation of images of future plots under the influence of illustrations is that the illustration provides material to create new images through complex processing of what is seen, the ability to mentally combine images in new combinations and combinations is manifested.

In the classroom, the children had a desire to approach the solution of the image, using the movement of the characters. Active and independent study of perceived illustrations enabled the child to find a creative solution to the image in his own drawing.

All children learned the realistic transfer of form with its features and the relative proportionality of parts. The fox has an elongated sharp muzzle, sharp small ears, a long fluffy tail; the hare has long ears, a short tail, an oval body; a bear with short thick legs, a large head, he has semicircular small ears.

But for the expressiveness of the picture, not only the transfer of signs is needed, but also the transfer of the character of the image. Character is not only variety, but also certainty. This is very important for creating a full-fledged, bright, expressive image. Something leading is always revealed, the main thing that determines the behavior of the character. Often the same characters appear in different works, but they are different in character.

In order for the children to correctly convey the image of a particular character, we revealed to them the characteristic features of this character, showed illustrations with these characters, as a result, the drawings became expressive.

In almost every fairy tale, there are fabulous huts: simple, on chicken legs, towers, rich palaces. The heroes of Yu.A.Vasnetsov's illustrations live in huts with bizarre and amazing patterns. Look at the house and say who lives in it. For the bunny, the artist painted a small, simple hut, and it stands on a stump. For three bears there is a big strong house made of thick logs. Children tried to draw them, but they did not always work out. On this topic, we conducted a subject drawing (Appendix 14). The children were asked to imagine that there is a fabulous house in the forest in which one of the animals lives. And after the lesson, they showed illustrations from the books: “Ladushki”, “Teremok”, an album with postcards and pictures depicting various towers. Attention was drawn to the colorfulness, the variety of forms, the different painting patterns, the ornate carving on shutters, balconies, and the roof.

In their spare time, they showed how easy it is to draw a log hut so that after painting over it, the logs can be seen (draw strips of black paint over a dried background with a thin brush).

After that, we carried out drawing according to the fairy tale “Teremok”. The children know the content of this fairy tale well, only once again they remembered who lived in it. Children independently chose a plot from a fairy tale and associated it with the image of the tower in the illustration. They already clearly imagined what a fairy-tale hut could be, and each depicted it according to their own taste, showing fiction and fantasy. In such classes, each child tried to come up with something of his own, to supplement the work with something special.

After a series of classes, the children already had an idea and skills in drawing not only animals, but also huts, they could choose colors that harmonized beautifully with the background and one with the other.

They knew with what elements to decorate the hut of fairy-tale heroes, they could draw fairy-tale trees, on the image of which they worked in the classroom.

In order for the children to have a clear idea of ​​this or that animal from the fairy tale, we showed illustrations and emphasized the characteristic features of animals, the position of the body, the head.

It was explained to the children that in the drawings it is necessary not only to depict an animal, but to compose a composition that unites animals. It is necessary to see and comprehend the pose of animals, since the location of the figure in space and gives the plot and fabulousness of the image. To convey the relationship of characters, the dynamics of action (Appendix 15).

In order to introduce children to the creative manner of drawing fairy-tale images of plants, flowers, trees by the artist Yu.A. Vasnetsov, a lesson was held (Appendix 16).

Perspective image is not available for children 4-5 years old. Therefore, our task was to teach the correct construction of the composition on the plane of the sheet.

The choice of composition has always been independent. The children were not given direct instructions to learn how to correctly set up a composition, so modeling was used.

In order to consolidate the ideas of children about the features of the creative manner of the artist Yu.A. Vasnetsov, a game was held: “Find the drawings” (Appendix 15)

Yu.A.Vasnetsov's illustrations helped to enhance the transmission of fantastic elements in children's drawings with their visual and expressive means.

2.3 The effectiveness of the use of illustrations by Yu.A. Vasnetsov as a means of developing plot compositions in the drawings of children of middle preschool age

After the completion of the planned work plan for the development of plot compositions in the drawings of children of middle preschool age in the process of familiarizing themselves with the illustrations of Yu.A. Vasnetsov, the control stage of the experiment was carried out.

At this stage, the effectiveness of the used classes of the formative experiment in the experimental group was investigated. The results of compositional skills and abilities of the experimental and control groups were compared. In the control experiment, the same technique was used as in the ascertaining stage.

The results (Appendix 17) of the first task in the experimental group to identify the level of perception of artistic illustration pleased us.

Thus, all children (87.5%) of the experimental group increased their level of perception of book illustrations to a high level, 1 child increased their level from low to medium (13.5%).

If during the ascertaining experiment it was difficult for children to understand the content of the illustration, then after the classes, the children could compare this or that illustration with the text of the fairy tale.

Children freely found the difference between the fairy tale characters drawn by E. Rachev and the characters in the illustrations by Yu. Vasnetsov. Preschoolers clearly showed their emotions in relation to what was expressed in the illustrations. So, for example, Pasha B. closed his eyes with his palms when he saw an illustration depicting a bun on the nose of a fox, “Oh, I'm afraid,” said the boy. Ruslan B., noted that even though the artists painted the bear formidable, “but he is still kind.” Children, without much difficulty, determined the moments where the gingerbread man sings a song “He raised his face up and opened his mouth, which means he is singing a song,” explained Alexandra K.

The dynamics of the increase in the level of perception by the children of the experimental group in comparison with the results of the ascertaining experiment is shown in Figure 3.

Figure 3. Dynamics of increasing the level of perception of book illustrations in the experimental group.

Children in the control group did not fully understand the content of the illustration. The guys noted the general characteristics of the heroes - evil, cunning, clumsy. To the question of the teacher “By what signs did they determine this?”, the children found it difficult to answer. Vanya Z. said that “these animals are always like that”, he could not single out expressive means emphasizing these characteristics. Another 6 children of the control group did not cope with this task.

The results of the task in the control group are shown in the table (Appendix 18) and Figure 4.

Figure 4. Comparative data on the criteria for the perception of artistic illustration between the control and experimental groups.

A comparative analysis of the indicators of both groups showed that the level of perception of book illustrations significantly increased in the children of the experimental group during the formative experiment. The number of children with a high level of development has increased from 2 to 6 people, with a low level of perception of book illustrations in the experimental group there are no children.

If we compare the results of the task in the children of the control group to identify the level of perception of book illustrations between the ascertaining and control stages of the experiment, we can see the following. (Table 3)

Table 3. Comparative data of the ascertaining and control stages of the experiment in the control group (persons).

The obtained indicators characterize a significant increase in the level of perception of artistic illustration in children of the experimental group.

In the control group, some progress can also be observed, but it is not so noticeable. With a high level of development, as there were no children; the increase in the number of children from 7 to 8 people occurred due to the fact that 1 child moved from a low level to an average one.

The second task of the control experiment had the same goal as at the ascertaining stage of our study. Instead of the nursery rhyme "Swan", the children were offered another nursery rhyme "Grandfather the Hedgehog". The children were given sheets of paper with a painted silhouette of grandfather Ezhka (Appendix 19). The teacher offered to finish the illustration for this nursery rhyme.

The results of the task are presented in the table (Appendix 20), fig.5.

Figure 5. Comparative data on the criteria for mastering visual activity between the control and experimental groups.

In contrast to the compositions of the children in the control group, the children in the experimental group also depicted in their drawings secondary images of the fairy tale, the description of which is not indicated in the text, and they are represented insignificantly or completely absent in the illustrations. Such images can be considered drawn by children: Christmas trees, bare bushes (characteristic of displaying the cold season), the sun.

Thus, we see that the children of the experimental group consciously approached the choice of means for realizing their plan. In the case of a general direction of the topic, each person forms his own idea, an idea of ​​what he will draw, how he will solve the task assigned to him. In the classroom of the control stage, each child created his own illustration for the nursery rhyme. Even when the theme of the picture coincided with the artist's illustrations, the solution was original.

We explain the degree of increase in the level of proficiency in expressive means in the experimental group by the fact that purposeful work was carried out with children. Specific instructions were given before the start of classes, as well as the interest of children with the help of an unconventional form of conducting classes. The individual dynamics of the development of plot compositions in children's drawings, separately for each lesson, based on the results of ascertaining and control experiments, is shown in Figure 6-9.

We were helped to find the right ways of directing creativity by revealing the relationships characteristic of children's creativity between the unfolding of plot action and the "revival" of the image. The inclusion of the depicted object in a life situation changes the child's perception of his drawing. The child sees in it a reflection of true life. This makes it possible to direct the conscious work on the expressiveness of the image in a form accessible to the child.

Fig. 6 Dynamics of increasing the level of perception of book illustrations in children of the experimental group.

Fig7. Dynamics of increasing the level of perception of book illustrations in children of the control group

Fig8. Dynamics of increasing the level of mastery of visual activity in children of the experimental group.

Fig. 9. Dynamics of increasing the level of mastery of visual activity in children of the control group.

From the foregoing, we can conclude that the level of perception of book illustration and the level of mastery of visual activity increased in both groups, however, the dynamics of its increase in the experimental group was higher than in the control group for all indicators. The increase in these indicators indicates that the set of classes developed by us for the development of plot compositions in the drawings of middle-aged children in the process of familiarizing themselves with the illustrations of Yu.A. Vasnetsov is quite effective.

The obtained indicators indicate an increase in the level of compositional construction of the picture. This allows us to judge that most of the children have acquired the skills of finding adequate expressive and visual means to embody the image in the drawing. It can be assumed that these children have the prospect of further development of fine arts, since the formed compositional skills and abilities through variable and integrated activities contribute to this.

Based on the analysis of the experimental work, we can conclude that the hypothesis put forward by us is correct and that the experimental work has been constructed. The development of plot compositions in the process of familiarization with the work of Yu.A. Vasnetsov will be successful if, in the process of educational work, such pedagogical conditions are created as:

Acquaintance of children with the work of artists - illustrators in the context of the complex use of different types of children's activities;

Methodically competent guidance of the visual activity of children, ensuring their mastery of this activity.

The materials obtained by us allow us to conclude that the basis for the development of plot compositions in children's drawings in the process of familiarizing themselves with the illustrations of Yu.A. holistic impression of the illustration.

Conclusion

Of great importance in the process of creating images are the individual characteristics of children in the conscious use of expressive means of visual activity.

In the process of experimental work, we found that an illustration, together with the text of a literary work, can be a strong emotional stimulus that actively nourishes children's creativity. Intense emotional impact, high artistic level of illustrations leads to interesting and diverse images in children's drawings.

A study aimed at elucidating the effectiveness of the use of Yu.A. Vasnetsov's illustrations in the development of plot compositions in children's drawings confirms that children, when they get acquainted with the expressive means of illustrations, learn various ways of drawing with different visual materials.

Book illustration is capable of performing the most important functions: cognitive, hedonistic, suggestive, transformative, socializing, compositional, etc. It helps the child to feel more acutely what is happening, enriches the world of his emotional experiences.

Under the influence of showing illustrations, the images in the plot composition are concretized, they are enriched by using and combining the details seen, the properties of the object, a pronounced emotional attitude towards the hero and the plot is manifested, the child’s attention appears on how to convey the image, the depicted event. In the drawings, under the influence of illustrations, expressiveness appears.

Showing illustrative material helps the child to find various ways of compositional construction of the plot when conveying his idea.

This is expressed in the fact that under the influence of illustrations, expressiveness appears in the images of children's drawings, their characters are transmitted through postures, gestures, movements, characteristic details, color is used as a means of expressing content, various compositional solutions are given.

Under the influence of a purposeful display of works of fine art, the content side of the image in a children's drawing is enriched, the subject matter is expanded, the idea is concretized, a pronounced emotional attitude towards the hero, the plot is manifested, illustrative material and iconic modeling help the child find various ways to embody the idea in creating expressive images, while use of color, form, composition. When perceiving art, observation, imagination develop, that is, those qualities of the child's personality that determine the formation of creative abilities. The artistic abilities of a child are manifested if he:

Finding no words, or choking, resorts to drawing in order to express his feelings or moods;

In his drawings or paintings, he reflects the whole variety of objects, people, animals, situations, and does not “go in cycles” in the image of something quite successful;

Serious about works of art, becomes thoughtful and very serious when any work of art or landscape attracts his attention;

When he has free time, he willingly draws, draws, combines materials and paints;

Strives to create some work of obvious applied value - a decoration for the house, clothes, or something similar;

He is not shy to express his own opinion about classical works, and, moreover, he may even try to criticize them, citing quite reasonable arguments.

In the process of our study, children revealed the content of the work better, showed an aesthetic attitude to the characters depicted by transferring color, i.e. allocated a large number of means of expression.

Children better perceived and understood the relationship between the characters, learned to understand the meaning of the depicted movement, to distinguish, note the setting of the figures.

After conducting a series of lessons on teaching plot drawing, children's drawings are distinguished by the real use of color, a clear depiction of forms, compliance with symmetry, a more appropriate transfer of the size of an object and proportion, and the most successful composition.

An experimental study aimed at determining the effectiveness of children's acquaintance with the illustrations of Yu.A. Vasnetsov in the compositional construction of a drawing, its emotional and aesthetic means, confirms the mastery of children by more complex plot compositions in drawing.

The game exercises and tasks developed by us, aimed at developing the creativity of children, evoke in them both intuitive, deliberate and independent, and imitative actions.

We come to the conclusion that the development of compositional skills and abilities depends on:

From the process of the emergence and development of the creative visual activity of children (enrichment with impressions - the very act of creativity - the use of its products in life).

From the ways of the formation of an artistic image in children (intention - search for means - embodiment).

From the consistently changing relationship between an adult and children (showing artistic and creative material - highlighting the main thing in this material - an independent composition of children).

Based on the foregoing, based on the results of our experiment, we recommend that preschool teachers, leaders of circle work on visual activity more often use drawing based on book illustrations in practical activities with children.

Our method of varying and combining different methods of forming a compositional structure can preserve and develop children's creativity through book illustration.

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Dot. It is obtained from the touch of the tip of a pencil, brush or any pictorial material on the pictorial plane or from the intersection of lines and strokes. Most often used when displaying chiaroscuro or in the linear construction of the composition of the picture. In this case, the point acts as a support, so it is called a reference point.

Line- the most common figurative and expressive means, easily applied by any material.

Lines distinguish

by appointment:

- auxiliary - are used in the layout and linear-constructive construction of the shape of objects (objects);

Spatial - serve to convey the spatial position of the form depending on the lighting and the environment;

- planar - are used most often in decorative art and graphics.

The nature:

- straight are performed with short connecting thin strokes coming from the point marked on the paper and indicating the direction of the line;

- curves are depicted by means of three reference points (two end points determine the length of the line, the third indicates the height of the line). The distance between the points affects the nature of the line itself.

Towards: horizontal; vertical; diagonal.

According to the execution technique:simple (all straight lines and some curves: closed, arcuate) and complex (broken line - zigzag; wavy; combined; spiral).

Hatch- relatively short lines, allowing to display the dimensions, contours of the object, light and shade modeling, the nature of the form, convey volume and texture. Strokes, like dots, can be reference.

Hatching- the technique of applying tone with the help of strokes, the direction of which is determined by the movement of the surface of the depicted object, its structure, shape, size, etc.

Tone- transmission in the drawing of light and shade relations (gradations) on the subject by means of hatching, shading and coloring. On objects with a smooth, soft curved line, the transition from light to shadow will be gradual, with characteristic halftones, tonal nuances, and the presence of reflexes. Objects that have an angular uneven surface containing many bends and breaks are also distinguished by their originality in the tonal image. The tone pattern in this case obeys other laws for the transmission of chiaroscuro, depending on the material of the object, the direction of the light source.

Tushevka- reception of applying tone with the help of continuous strokes performed by the side surface of the graphite pencil.

test questions

1. What types of drawing are distinguished in the theory of art?

2. What is the importance of expressive means for the formation of a graphic image in a drawing?

3. What is the meaning of drawing for various types of art?

Features of mastering drawing by children of preschool age

Drawing specifics

Drawing- one of the most popular types of visual activity and creativity. The first drawings appear in a child when a pencil falls into his hands for the first time. We have already said that the first scribbles and strokes are exploratory and at the same time descriptive. The directions of the strokes, their shape, combination - the first images of the child through which he conveys his mood, attitude to what attracts him, worries. After the kid recognizes paints and other visual materials, the drawing does not cease to attract him. In free activities, children often draw with pencils and felt-tip pens than with paints, since they allow you to quickly get an image, more accurately convey the details of the image.

A sheet of paper serves for a preschooler as a means of communication, self-expression, and even a field for visual play. Therefore, in the drawing, the child pays attention to the inner meaning, and not to its form. Because of this, the little artist misses important moments in the construction of the image, which leads to a chaotic arrangement of its elements, blurring the main thing. If you do not pay attention to this problem, then the drawing gradually loses its pictorial and expressive appeal and resembles a kind of schematic narrative that has an unfinished look. In order for children not to form a distorted perception of the drawing, it is advisable to single out a number of areas in the pedagogical process.

1. The development of visual skills is the goal of visual activity. One of the visual skills is the free drawing of lines of various character (Fig. 12-16).

2. Optimization of creative activity, which determines the development of fine art in preschoolers.

Children 2.5 - 3.5 years old gathered to draw a winter landscape. Previously, they examined various images of the winter forest in different color schemes, using several techniques. The teacher offered to close the background for future work. Since this type of activity is well known to preschoolers, he only had to remind them that the general color of the background should correspond to the mood that they would like to reflect in their work. After the background was ready, the teacher, using the demonstration as a teaching method, demonstrated how to draw a snow-covered spruce, and the children repeated each new method on separate sheets of paper. Then each child chose the technique that he liked best. Drawing the first spruce, the preschooler seeks to repeat all the movements that he made during training. But he begins to change subsequent trees, adding some elements, explaining the course of his thoughts: “... And there will be a lot of snow on this spruce, and I will put large prints with a brush”; “And my tree leaned because it’s hard for her under the snow.”

Rice. 12. Straight lines:

I - horizontal; the rhythm is vertical (falling); vertical;

2 - free horizontal rhythm; free diagonal; volumetric horizontal; 3 - spatial horizontal; diagonal aspiring; composite vertical; 4 - falling vertical rhythm; complex mixed rhythm; mixed horizontal rhythm

Rice. 13. Broken lines:

1 - increasing vertical rhythm; mixed rhythm; 2 - diagonal stepped; rhythm of broken lines; 3 - broken horizontal rhythm; broken vertical rhythm; 4- calm vertical rhythm; weaving of broken lines

Rice. 14. Wavy lines:

1 - wavy horizontal; a bunch of diagonal; 2 - wavy vertical; wavy reinforced towards the center; 3 - wave-like movement; wavy reinforced to the edge; 4 - wavy diagonal; "cut stone"; 5 - concentration of lines to the center; wavy intersecting; 6 - wavy "live"; concentration of lines to the edge; 7- diverging from the corner; branched lines; 8- rounded lines (weakening of tone); concentric weakened towards the center; 9 - weave; concentric,

weakened to the edge

Rice. 15. Rounded Lines:

1 - horizontal ovals; "chain"; 2- intersecting ovals; horizontal rhythm of ovals; 3 - vertical rhythm of ovals; overlapping ovals

Rice. 16. Spiral Lines:

1 - horizontal spiral with reinforcement; approaching spiral; spiral "snail"; 2 - diagonal spiral; loose diagonal spirals; free horizontal spiral; 3 - falling diagonal spiral; falling vertical spirals; expanding vertical spiral; 4 - inclined horizontal spiral; a bundle of divergent spirals; free intersecting spirals; 5 - intersection of diagonal spirals; free arcuate spirals; expanding bundle of spirals

Drawing exercises

It is impossible to expect creativity from a child if he does not have enough technical experience. Two sides are important here: the presence of experience and the introduction of a new element. Ideas may remain unrealized, since their implementation is determined not only by the level of mastery of the drawing technique (drawing various lines, applying strokes, drawing strokes, etc.), but also by the connection between the visually perceived object, coordination of hand movement with a brush (pencil) and represented way. In order to transfer what was conceived to the plane of the sheet, the child needs to master several operations:

Learn to visually draw any object and regulate drawing movements thanks to the impulses of the cerebral cortex;

Master the technique of the image;

Study the sequence of the image to achieve the integrity of the image;

Learn color relationships and shaping movements.

Each of the designated sides is both an independent mechanism and a component of one process, which is aimed at the development of fine art.

A child, not having an idea of ​​what a camel looks like, cannot portray it, achieve recognition of the image. And for this he needs to see this animal at least once.

Even a familiar subject (object) is difficult to portray if there is not enough manual skill. Of course, one can object by pointing to the successful and interesting in color, shape, and composition of scribbles, which are obtained by a child who does not have much experience in the field of visual literacy. In these amazing doodles we see entertaining images, we adults. It is from the position of an adult that they note an extraordinary color scheme, an original compositional structure. It would be biased to consider this to be fully the work of children. The kids themselves do not see either originality or individuality in their work, since they do not yet have the experience of comparison and comparison. They are guided by the opinions of adults, which contributes to the gradual formation of their own aesthetic assessment.

Therefore, it is very important to help the preschooler enrich the visual experience by using exercises and creative tasks that serve as a link between the idea and the creative product. It is possible to distinguish several training exercises conditionally.

Drawing in the air with the repetition of the movements of the teacher.

When glazing the sky, the teacher shows the movement of the brush with his hand: first in one direction, then the pile turns around and starts moving in the other direction. The teacher shows with his hand, and not with a brush, since with a hand you can more clearly reflect the nature of the movement of the pile. Children repeat hand movements after the teacher. Sometimes drawing in the air must be done with a brush so that children visually and tactilely remember the features of the drawing movement.

Joint drawing of details on a separate sheet of paper detailed explanation of each drawing movement.

The exercise allows you to correct small drawing movements and helps the child to feel the force of pressing a brush or pencil to obtain a certain image, to see a sequence of fine movements. It is important not only to develop visual and tactile memory in relation to shaping movements, but also to teach children to listen to instructions. In this regard, all movements must be given a verbal description.

Drawing a tree, the teacher explains: “Look, we put the brush flat and move it smoothly up. The brush moves freely, slightly bending, draws a barely noticeable wavy line, and gradually the bristle of the brush comes off the sheet. Only the tip is in contact with the surface. We continue to paint with the end of the brush. Got a stem. At the very top, the trunk turns into a large branch. Now we change the wide brush to a medium one and paint the branches with a thinner brush. We put the brush to the trunk and with smooth wavy movements we rise up. Again to the trunk, we put the brush flat, gradually it rises, and we draw with the end. Here is one branch longer and the other shorter. They are all different. We draw them boldly, we are not afraid that they will go on the trunk, on top of each other. Now we take a thin brush and draw even smaller branches, they are intertwined, as if holding hands. The branches are not flat, but voluminous, let's draw a shadow on them. Let's mix the paints so that we get a dark shade, and now we will show a shadow with a thin brush, it should be only on one side, and on the other the branch remains light ... "A detailed explanation is necessary so that children can simultaneously see the image, analyze the character drawing movements to get the image.

Practicing individual techniques according to the instructions of the teacher. The exercise can be carried out both outside the class and during it. Its purpose is to ensure timely correction of individual techniques, details necessary for the child to implement the plan.

The process of mastering the basics of visual literacy is complex, lengthy, and requires constant consolidation of the learned material. Preschoolers in the course of drawing very often, being carried away by the process itself, forget many rules and begin to get upset if something doesn’t work out for them. It is important to unobtrusively provide assistance by directing the child to remember the rules. If a preschooler experiences uncertainty when performing any technique, then it is advisable to cheer him up, instill confidence in him.

When a child is unable to remember past experiences, it may be suggested to practice on a separate sheet, since attempts to repeat some detail may also end in failure. A small sheet of paper is less restrictive for the preschooler and acts as a training base on which he boldly experiments, tries different options or works out some one technique. On a separate sheet, you can, if necessary, practice techniques together with the teacher.

Very often, the teacher, due to lack of time in the classroom, does not wait until the preschooler achieves the result on his own, but he himself performs the necessary element in the children's work. In this case, there is no creative development. The child gets used to the fact that the teacher finishes drawing, the teacher will help, etc., ceases to show efforts in achieving the goal. He gradually loses interest in drawing.

Imitation of the teacher, copying individual elements of the image. There is nothing dangerous for creativity in copying. It all depends on the nature of its use in the education system. If it acts as the main method, it has a negative impact on creativity. When copying or imitation is used to consolidate drawing movements, it contributes to the expansion of the child's experience, the formation of a technical base 1 (Fig. 17).

Thus, the use of exercises aimed at acquiring "drawing" experience by the child ultimately leads to the development of children's fine arts. Creativity and activity are not mutually exclusive concepts, but two sides of one phenomenon. Visual activity helps the child to create, to show individuality, gives a certain freedom. And creativity, which manifests itself on the basis of visual activity, contributes to the harmonious development of the personality of a preschooler.

1. See: Lomonosova M. T. Graphics and painting: textbook. allowance. - M., 2003. - S. 150-151.

Rice. 17. Hatching exercises

test questions

1. What types of drawing do you think are available for preschool children?

2. What is the essence of the exercises? At what age is it advisable to apply exercises for the formation of visual skills?

Ekaterina Seben
The use of expressive and visual possibilities of materials and means of artistic expression

artistically- the creative experience of preschoolers is still very small, so it is extremely important to introduce children to various types of pictorial materials and at a level accessible to their age to talk about their properties. It is necessary to give the child possibility experimentation and possibility make sure in practice that, for example, gouache has such an ability as hiding power, and, using it, we can first draw a vase with dark paint, and then, after waiting for it to dry, decorate it with fancy patterns applied with white. A child who does not know about these properties of gouache, as a rule, first draws patterns inside the unpainted outline of the vase, and then tries, by painting it with paint, to circle the already applied patterns, creeps on them with a brush, the patterns are painted over, blurred, and the little one the artist's mood spoils. This is also an experience. But how will the work of the baby be facilitated when there is an adult nearby who is ready to tell that a certain sequence of work is important, taking into account the peculiarities materials. For example, when working with watercolors, on the contrary, one should also take into account use its lightness and transparency, apply it in stages, realizing that the first layer will "shine through" through all subsequent ones. The child can be convinced in practice that working with dry materials, such as charcoal, sanguine, dry pastel requires special care and mindfulness otherwise the image will be spoiled children's fingerprints. The child can understand that with the help of dry pastels it is possible to saturate a large area of ​​the sheet with color, which impossible do it just as quickly with pencil hatching. But when working with colored pencils and felt-tip pens, the kid can be sure that the line will be clear and thin, such as the thickness of the stylus, and when working with paints, it is necessary to control the pressure on the brush. The teacher should draw the attention of the child to the properties materials in terms of rationality use, to learn to combine them in one work to achieve expressiveness of the image to encourage experimentation. Whatever the baby uses, he should enjoy communicating with art materials, not to be afraid of them, and for this the child needs to be inspired with confidence that it is always possible to correct any mistake and negligence accidentally made in creating the image. For example, paint suddenly dripped and blurred into an ugly puddle. Small the artist is ready to cry because his work spoiled. "Let's think about what it could be," he will say. attentive teacher, - Maybe, the paint dripped not by chance, and in this place should grow a bush? Let's draw it!" And baby "fired up" new idea, and ready to implement it!

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Basic Rules of Perspective

The word perspective itself is translated from Latin as “Look through”. Perspective is the science of depicting objects as the human eye sees them. That is, with apparent changes in space (linear, light, color, tone, contrast). We need perspective in order to depict objects realistically.

Perspective is divided into linear and aerial. Linear perspective is the apparent dimensional changes in space along the contours of objects that can be represented by a line.

Aerial perspective is the apparent light changes in space, which are conveyed by tone and color. Aerial perspective has its own laws and linear perspective has its own laws, we will consider them.

Perspective is divided into two types: frontal and angular. Frontal perspective is, for example, if you take a cube, bring it to eye level and see it as a quadrilateral without planes, like a cell in a notebook. And angular, this is if you look, for example, at the same cube from above or below or from the side, that is, when you look at it at an angle.

Angular perspective is when an object is at an angle to you and you can see its edges, edges, planes.

Frontal perspective - when an object is located frontally in relation to you and you see only one side of it.

Laws of linear perspective.

1. In order to depict the depth of space, it is necessary to partially overlap the far one with a near object.

2. A nearby object is always visually larger than a distant one.

3. The closer the drawn object is to you, the lower its base is to the edge of the sheet. The farther it is, the higher its base is towards the edge of the sheet. If there is another object that is located farther away from you in reality, when drawing, its base is higher in relation to the object that is closer to you.

4. Horizontal edges parallel to the picture plane must be drawn strictly horizontally.

5. Horizontal edges in angular rotation (angular perspective), must be depicted obliquely.

6. Horizontal edges in the angular position should be shown shorter than in the frontal position (frontal perspective).

7. All vertical lines are drawn always vertically, without change. There will be changes only if you draw, for example, trees and stand close to them with your head up.

8. Frontal perspective is depicted linearly without perspective changes. And in the corner - you need to depict linear perspective changes. We depict as we see - horizontal lines, for example, will be shorter than the same vertical ones under the length. We also draw perspective reductions of objects in space (a linear decrease in the size of objects in space, in relation to you.) You must also be able to see the direction of the horizontal edges of objects.

9. The closer the horizontal lines of objects to the horizon, the more they are reduced. That is, the closer they are to the horizon line, the shorter they are in length. The plane located on the horizon line is depicted as a straight line.

10. If you rotate the plane of a round shape in relation to the eyes frontally, (frontal perspective), then draw a circle. And if you turn it at an angle, (angular perspective), then draw an ellipse.

Laws of aerial perspective.

Aerial perspective is the apparent change in the features of objects under the influence of the air and space.

1. We depict as we see, we see all nearby objects in detail. And remote in general. That's how we draw.

2. All nearby objects are perceived clearly, and distant objects are indefinitely perceived. Accordingly, in order to convey space, the contours of near objects must be made sharper, and distant ones softer.

3. The farther the object is, the lighter it seems, the closer, the darker we depict. At a great distance (landscape, for example), light objects appear darker, and dark objects appear lighter than nearby ones. That's how we draw.

4. The closer the object, the more voluminous it seems. This is due to the pronounced chiaroscuro when the subject is close. The farther away an object is, the flatter it appears. To convey space, near objects are depicted with chiaroscuro more voluminously, and distant objects are more flat.

5. All distant objects are covered with an air haze, acquire the color of this haze - purple, blue, blue, whitish. To convey space, near objects must be depicted as bright, and distant objects as pale.

6. All nearby objects appear to be multi-colored, and distant objects appear to be of the same color; that is, to convey space, all nearby objects must be depicted with different colors, and distant objects must be the same.

Topic 6 Didactic principles of teaching fine arts

Successful fulfillment of the educational tasks set for the general education subject "Fine Arts", increasing the effectiveness of fine art lessons is possible only with strict adherence to didactic principles in the teaching process.

Being the scientific foundations of the learning process as a whole, the principles of didactics acquire a specific expression and content depending on the specifics of the subject being taught. Let us consider what expression didactic principles find in the teaching of fine arts at school.

The principle of nurturing education involves the solution in the process of teaching not only educational, but also educational tasks. Classes in the visual arts should contribute to the development of a worldview in schoolchildren, to promote the ideological, political, moral and aesthetic education of children. Drawing lessons develop attention, memory, volitional personality traits of the student, his mental and artistic abilities.

Following the principle of educative education, a teacher of fine arts not only develops certain technical skills in students, explains terms, laws, concepts, but also considers each educational task broadly and comprehensively, with a perspective on the overall development and upbringing of children.

The specific features of the conduct and content of drawing lessons from nature, on themes, decorative drawing, lessons-conversations about fine arts can, to varying degrees, provide an opportunity for the ideological, moral and aesthetic education of children. Analyzing the works of outstanding masters of fine arts in conversation lessons, schoolchildren see the beauty of the surrounding reality, as it were, in a concentrated form. They get acquainted with the beauty of the objective world and with the complex spiritual world of man. A significant educational role is also played by the fact that students begin to perceive the thoughts of the artist that owned him when creating the picture.

Scientific principle

AT In the process of learning, schoolchildren must acquire a system of reliable, scientifically based knowledge, that is, knowledge that correctly reflects the objects and phenomena of the real world. In accordance with this, the teaching methodology should be based on the principle of scientific character.

The task of the teacher is to set out the laws of the structure of nature and the laws of its image on the plane so that students get used to thinking, drawing, using the methods of realistic art, as the most objective and comprehensive reflection of reality.

The scientific foundations of educational drawing are based on a number of sciences, such as perspective, color science, the theory of shadows, where the laws of chiaroscuro, anatomy, etc. are studied. P. P. Chistyakov, defining art, wrote: “The high, serious art of painting cannot be without science exist. Science in its highest manifestation turns into art. History convincingly shows that outstanding artists have always used science in the practice of art.

When drawing from life, we not only observe the object, but also cognize it, we not only try to copy its external form, but also strive to understand the internal structure. When drawing, a person cognizes the world, analyzes it. The process of cognition of reality underlies both science and art, only the forms of reflection are different: science embodies the results of cognition of reality in the form of concepts, judgments and conclusions, while art - in a figurative form.

The main task of the teacher is to indicate the ways of correct observation and knowledge of reality. One of the main requirements of the principle of scientificity is the accuracy of terminology. The scientific nature of teaching requires a good scientific and theoretical training from a teacher of fine arts, a constant improvement in the level of professional skills.

The principle of visibility

One of the most important didactic principles - the principle of visualization of learning - is due to the need for sensory perception of the objects and phenomena being studied as the basis for the formation of ideas and concepts. The use of visual aids in the learning process was deeply investigated by Ya. A. Komensky, who proposed to implement the principle of visibility in the classroom by observing real objects or observing models (if there are no real objects) and drawings, paintings. At the same time, Comenius proclaimed the following as the “golden rule” of didactics: “... everything that is possible is provided for perception by the senses, namely: visible for perception - by sight, heard - by hearing, smells - by smell, subject to taste - by taste, accessible to touch - by touch. If any objects can be perceived at once by several senses, let them be grasped at once by several senses ... "

The principle of visibility is that students go to reliable knowledge, referring to the objects and phenomena themselves as a source of knowledge. Drawing from life is in itself a method of visual learning. The process of drawing from nature begins with a sensual, visual perception of the depicted object, with live emotional observation. Therefore, it is necessary to ensure that the actual production itself draws the attention of the painter to the main thing.

Clarity is closely related to the correct organization of observation and analysis of nature, which significantly affects the correctness of judgments about objects and phenomena, and, consequently, the quality of image construction. Visualization is especially important at the initial stage of education.

The principle of visibility requires such a presentation of educational material, in which the concepts and ideas of students become clearer and more specific.

All rules, laws must be clearly demonstrated to students. The use of visual aids helps to better assimilate many abstract provisions, i.e., contributes to the development of abstract thinking. This position is determined by the peculiarities of the development of children's thinking. In the early stages of development, the child thinks more in images than in concepts, and concepts reach the child's consciousness much more easily if they are supported by concrete facts, examples, and images.

TOPIC 3. The main means of artistic expression in the drawing

1. Line in drawing

2. Chiaroscuro.

5. Composition

6. Perspective

Line in drawing- the main visual means, and it is not each line that matters separately, but their combination, giving the image of a given object.

P. P. Chistyakov, a well-known teacher in the field of fine arts of the 19th century, demanded “to draw not the bends of lines, but the forms that they form between themselves ... Anyone who does not see the form will not correctly draw the lines ... Line and true in itself, but carried out not in accordance with others, serves only as a mistake. The line can be different.

The line is homogeneous and does not change in its thickness during the entire image, conveys the shape of the object, draws the details. As a more expressive means, the line acts as stroke, which in the same figure can be thicker, thinner, shorter, longer, not go in a continuous line, but be interrupted or, conversely, lie close to each other, giving the impression of a shadow. For example, an artist E. I. Charushin interestingly depicts the peculiar fluffy texture of fur, feathers in animals and birds.

With the help of lines, the artist conveys the position of the object in space and the change in its shape from different angles.

Stages of linear drawing in a conditionally planar image are as follows:

1. Finding the place of an object on a sheet of paper, depending on its size and position in space.

2. Location of large parts (construction and proportions).

3. Working out the details.

A general outline of the entire contour of the subject is never made at the first stages of work. Outlining the entire outline can be the final stage of the drawing, when the main task is to clearly highlight the form and its parts (for example, drawings in coloring books).

Drawings in which color tasks are solved (transferring a variety of shades, a certain color, etc.), as well as three-dimensional drawings with the designation of chiaroscuro, are not outlined with a contour line, otherwise expressiveness is lost.

While working at each stage of the image, one should remember the basic principle - to go from the general to the particular, all the time to keep the entire object in sight, and not just that part of it that is being depicted at the moment.

In a conditionally planar drawing, an object is depicted in two dimensions, without the transfer of volume by means of light and shade. With this type of image, it is important to choose a point of view from which the characteristic shape of the object, its parts is better revealed (for example, when depicting a person, the position of the front, animals - profile, etc.).

A three-dimensional image is associated with the transmission of chiaroscuro and perspective cuts.

The image of objects in various angles without the use of chiaroscuro is sometimes used by artists, but for such a drawing one must be fluent in the methods of linear representation. An example is the many drawings and paintings of the Japanese painter, draughtsman Katsushika Hokusai .

Chiaroscuro. The artist, depicting the ratio of light and shadow in the drawing, can better convey the volume and features of the form. Depending on the lighting, some parts of the subject are revealed better, others are less noticeable, as they are absorbed by the shadow. The subject is perceived differently in bright, diffused and low light.

Light and shadow spots are arranged according to the shape of the object. On the rounded parts, the transition from light to shadow is gradual, imperceptible, through halftones. On objects limited by planes at an angle, the boundaries between light and shadow are sharp.

Sometimes a lighter spot appears on the darkened part of the subject as a result of the reflection of light rays falling from nearby objects. The color of the object in this place may acquire a different shade. This phenomenon is called reflex.

The degree of illumination of the object and the sharpness of the transition from light to shadow depends on the distance between the light source and the object, the intensity of the light, the angle of incidence of the light beam, the color and texture of the object.

Objects can reflect and absorb light rays. Matte surfaces absorb more light, mirror surfaces reflect almost all the rays, forming glare.

Thus, the concept of chiaroscuro includes: light- the most illuminated part of the object; highlight- the lightest spot on the illuminated part; shadow- the darkest part; penumbra- a place of transition from light to shadow. The transition is especially gradual on rounded parts; drop shadow- the shadow of the object on the surface where it is located; reflex- shades in the shadow part of the object under the influence of color and light rays from surrounding objects.

Background. The peculiarity of the graphic image is that the drawing may not fill the entire plane of the sheet. Very often an image of one object is given without its surroundings, i.e. the drawing surrounds the background that is inherent in this paper. The background is not always indifferent to the drawing. It is one of the means that helps to give expressiveness to the drawing.

Most often, the drawing is applied to white paper, but depending on the pictorial tasks, colored paper of calm tones can also be used: gray, greenish, yellowish, etc.

For watercolor drawing, only white paper can be taken, since the paint is transparent. For covering materials (gouache, pastel, sanguine, chalk), you can use a colored background. Most often it is used when performing decorative drawings. In plot drawings, the artist creates the background, as it is closely related to the content and often includes many shades. Therefore, such drawings are best done on white paper.

The background creates additional opportunities that make the drawing embossed, convex, expressive. Thanks to the background, you can get a great effect in creating a certain color: light flowers and brightly lit parts of the subject stand out well against a dark background. He often uses color contrasts, which gives the image more expressiveness. A drawing can fill an entire sheet of paper and convey a broad picture of an event, but even here the entire composition does not have to be enclosed in a bounding box.

Color in fine arts, it is an important means of expression, reflecting the material properties of objects, conveying the diversity of the surrounding world in its color sound.

The artist uses color to convey his idea, his attitude to the depicted. In paintings that show human suffering, grief, the colors are most often used are soft, muted, darker (for example, in the paintings of V. G. Perov "Troika", "Seeing the Dead", I. N. Kramskoy "Inconsolable grief", K D. Flavitsky "Princess Tarakanova", etc.)

In paintings with a joyful, optimistic mood, bright, juicy colors are selected (for example, to the painting by I. E. Repin "Cossacks", A. I. Laktionov "Letter from the front").

The red color excites joyful feelings in a person, which was well used by I. E. Repin in the painting “Cossacks”. But the same color in his other painting, "Ivan the Terrible and his son Ivan", creates in the viewer a sense of fear of spilled blood. The red glow covering the sky in K. P. Bryullov’s painting “The Last Day of Pompeii” evokes horror before the depicted tragedy.

Such a different effect of color is explained by the fact that color is perceived and realized by a person not by itself, but in connection with the event that is depicted. In this we see one of the manifestations of the unity of form and content in a work of art.

Color is also used by the artist to isolate the main thing. For example, in V. I. Surikov’s painting “Boyar Morozova”, the figure of the noblewoman stands out as a black spot on white snow. In P. A. Fedotov’s “Major’s Matchmaking”, contrasts of color combinations are also used to show the main characters even more vividly: the bride’s light dress on the dark background of the room and the groom’s dark figure on the light front background; secondary persons (mother, matchmaker and servant) are not highlighted in color, and during the initial viewing of the picture, these figures are not perceived, although they are located in the center.

Color is a means of real reflection of reality, but it does not act in isolation, but in totality with the composition, the line of the drawing, revealing and enhancing the content of the picture. The artist S. A. Chuikov, with bright, joyful major colors, conveys the onset of a new life in a woman’s life in the painting “The Daughter of Soviet Kyrgyzstan”.

Color is of great importance in painting as the main pictorial means. In graphics, color makes the drawing bright, colorful, but is not the main means of expression. V. A. Serov has very interesting watercolor drawings (for example, to the fairy tale of Mamin-Sibiryak “The Crow and the Canary”). But it is this artist that we can call a master of pencil (black) drawing. In this technique, V. A. Serov achieved unsurpassed perfection, conveying the resemblance to the original with several characteristic strokes. He created a series of portraits (in pencil) of the famous Russian actors F.I. Chaliapin, M.N. Ermolova, G.N. Fedotova, K.S. Stanislavsky, V.I. a simple line drawing of the authentic features of each. V. A. Serov created the impression of volume, plasticity of the image with the help of a small shading.

I. E. Repin was no less a master of pencil drawing. The portraits made by him are no less expressive than the picturesque ones (for example, portraits of V. M. Vasnetsov, N. S. Leskov and others). and complex compositions (“Nevsky Prospekt”, “Gorky reads the play “Children of the Sun”), especially expressive in their lightness of the sketch, against which the main characters stand out and are carefully worked out.

To master the right graphic skills, you need to know the basic properties of color, their mutual influence, and the rules of use. This is done by a special science - color science. She teaches the artist to analyze colors and use them for their own purposes.

Colors are divided into chromatic and achromatic (chrome- in Greek means - "color").

achromatic colors - white, gray, black. They are essentially colorless and differ from each other only in lightness (color. table. 1).

Chromatic colors differ from each other in lightness and color tone. For example, yellow is much lighter than blue or red and is completely different in color tone from them. Chromatic colors, arranged in a certain order of color tones, form a spectrum.

In the spectrum, two groups of colors are distinguished - warm and cold. Warm colors resemble the color of the sun, fire: yellow, red, orange. Cold colors resemble the color of the blue sky, ice, water: blue and its shades. This division is connected with our feelings. All colors, except for the primary ones, can have a warm or cold tint: yellow-green or blue-green; red-lilac or blue-lilac, etc. (color table 2).

Additional colors. With the simultaneous perception of all colors of the spectrum at the moment of rapid rotation of the spectral circle (optical connection), we see white. In the spectral circle, when optically combined, two colors located approximately opposite each other can also give white. Such colors are called additional: red and bluish-green, purple and yellow-green, yellow and blue, orange and blue (color table 1).

Complementary colors next to each other enhance each other's brightness. The artist must use these properties to give expressiveness to the created image.

Chromatic colors are also divided into primary and derivative. Main- red, blue, yellow. They are independent, they cannot be obtained by mixing several colors. All other colors - derivatives. They are obtained by combining two or more colors. For example, yellow and blue make green; the combination of red and blue is purple; green, red - brown, etc.

In the spectral circle, derivative colors are clearly visible when moving from a given color to another, for example, all shades of orange are visible when moving from red to yellow (color table 1).

Different shades of the same color depend on the degree of its lightness, saturation of tone, colorful contrasts and reflexes.

rich tone is called the one in which the color qualities of a given color are most clearly expressed, i.e. the most intense tone.

colorful contrast- the interaction of closely spaced colors that affect the shades.

The concept of colorful contrast includes several provisions.

1. Light colors on a dark background seem even lighter, and darker on a light background.

2. Cold colors make neighboring ones warmer, and warm ones colder.

3. Complementary colors next to each other enhance each other's brightness.

4. Neutral color takes on a shade of complementary color to the color of the object that is located next to it. For example, gray next to green will appear pinkish.

colorful reflex- a shade in the shadow part of an object or on a falling shadow due to its illumination by reflected light from surrounding objects. For example, a white vase on a red tablecloth will have a slightly pinkish shadow on the side; a dark vase on a white tablecloth will have a lighter shadow on the side facing the tablecloth.

Knowing all the features of color combinations, the artist can create a drawing in a certain color.

coloring called the overall color harmony, where each color is in a consistent unity with others. Sometimes the term "color" is used in the sense of the color scheme of the picture, its general tonality, when all colors obey one, conveying its shades, for example: blue color, pink, etc.

Composition- this is a certain location of an object in space and its connection with other objects.

Word composition comes from the Latin compositio, which means "composition, connection."

Composition in painting and graphics means the construction of a work, the distribution of its parts on the plane of the sheet in a certain connection with each other, according to the content.

The artist pays great attention to composition. In the preliminary work on the disclosure of the content of the picture, he makes a series of sketches, sketches in search of such a construction of the work that would most perfectly correspond to what was intended.

Various examples of solving the composition. The simplest composition differs frieze building, characteristic of ancient Egyptian, Assyrian art, where the arrangement of objects moved to the strict order of one line. Such a composition made it possible for the artist to graphically express the solemnity of the processions, each depicted character stood out. But this is a short-lived construction, since it is based on rhythm and symmetry in their purest form. There are no such positions of objects that, as a rule, exist in life. This is the obscuration of one object by another, the removal or approximation of individual objects and, in connection with this, a change in their size and clarity of outline.

The masters of the Renaissance set the task of reproducing objects on a plane in those respects in which they are perceived by the artist of a certain point of view. Examples are the works of Leonardo da Vinci and Raphael. Raphael's composition helped convey the idea of ​​a harmonious perception of the world; beauty - in harmony, harmonious correspondence of all parts. Hence and symmetrical arrangement: the main thing is in the center, the right and left sides are balanced, for example, the arrangement of figures in the Sistine Madonna.

This construction for highlighting the main thing is used by artists in the future (for example, V. I. Surikov in Boyaryna Morozova, V. G. Perov in Troika, etc.). The arrangement of figures and objects should be dictated primarily by the tasks of creating an artistic image.

Of great importance is the choice of the point of view from which the artist seems to look at the picture. The correctness of the transmission of the content also depends on this. For example, the heroes in the painting of the same name by V. M. Vasnetsov make such a majestic impression not only due to their powerful physique, but also because they are located above the horizon line, we look at them as if from below, and they seem even higher. Or in M. V. Nesterov’s painting “The Hermit”, we see a figure from above, this emphasizes even greater meekness of the whole appearance of the old man.

Composition helps convey movement, dynamics. Of course, this is a difficult task, since the specificity of fine art is that it is possible to convey only one moment of movement, how to stop it for a moment in order to capture it in the picture. The tension of movements, the dynamism of the fighting figures is vividly shown in the painting by A. A. Deineka "Defense of Sevastopol".

In our view, movement is associated with the location of an object along an inclined line. The artist uses this and arranges objects diagonally (for example, V. G. Perov “Seeing the Dead Man”, V. P. Surikov “Boyarynya Morozova”, I. E. Repin “Barge Haulers”). Various details make it possible to judge the speed of movement. In the painting “They Didn’t Wait,” I. E. Repin placed the figure of the mother with his back to the viewer, and we can imagine how the next minute the mother and son will rush towards each other.

In the illustrations of the artist I. Ya. Bilibin for The Tale of Tsar Saltan, one can clearly see the perspective formation of a line of thirty-three knights emerging from the waters of the sea. In another illustration for the same tale, Tsarevich Gvidon and his mother are depicted in the foreground, and in the distance one can see a city with palaces and golden-domed churches of correspondingly smaller sizes.

Thus, the problem of composition can be correctly solved only depending on the tasks set by the content, only from the standpoint of a realistic attitude to the depicted.

All surrounding objects, depending on the distance, the choice of point of view, seem different to the painter than in reality, more or less, they can stand out brighter or be in the shade, seem partially obscured, etc.

It helps to correctly depict the subject perspective. This is an auxiliary science that studies changes in the shape and color of an object, its location in space when depicted from a certain point of view.

Perspective image includes two concepts: linear perspective and aerial. Linear perspective - the construction of apparent changes in an object in connection with its position (front, side, three-quarters of a turn, etc.) and a decrease in size with the removal of an object, its location in different plans on a sheet. aerial perspective - a change due to the removal of clarity of outlines, visibility of details, brightness of color. This can be well understood from the painting by I. I. Shishkin “Forest distances”. The length of space is well conveyed by K. F. Yuon in the painting “Morning of Industrial Moscow”.

For the correct perspective construction of the drawing, the following points must be taken into account: horizon, point of view, vanishing point, angle of view.

Horizon as a term used in art, it is a conditional eye level line of the painter, crossing the perceived object or going above or below it.

Point of view- the relationship between the direction of the gaze of the painter and the position of the object. There can be a high point of view and a low one.

Vanishing point- a place on the horizon where all straight lines converge when drawing a picture.

Vision angle It is formed by imaginary lines running from the top and bottom of an object and intersecting when perceived in the eye. The visibility of parts of an object, the transfer of its position in space, and dimensions depend on the angle of view.

The main provisions of linear perspective:

1. All objects seem smaller as they move away. It depends on the
angle of view, which is smaller for distant objects than for
nearby.

Leonardo da Vinci established the basic laws of image reduction. Here is one of his provisions about two identical objects located at different distances from the painter: “The second object, remote from the first, like the first from the eye, will seem half the size of the first, even if both were of the same size.”

2. All parallel lines receding from us converge at one point on the horizon line. The perspective horizon serves as the basis for correct construction - lines coming from objects located above the horizon will descend to it, and those located below the horizon will rise and intersect at the vanishing point on the horizon.

3. Depending on the position of the object to the drawing eye (point of view), the shape of the object changes (visibility of various parts).

4. With the removal of objects, the distances between them also decrease.