The concept and types of plastic creativity

As mentioned earlier, plastic art is the process of creating new, subjectively and objectively significant plastic images by children in the course of transforming their personal and artistic and visual experience of working with plastic materials in order to reflect their mood, attitude towards the world and themselves, their impressions received through the observation of nature, the study of works of art, the artistic word.

Types of plastic creativity.

Volumetric and relief molding- this is a type of artistic and visual activity aimed at creating a sculptural image associated with work on soft plastic materials. This is the process of creating a three-dimensional and semi-volumetric (relief) spatial image that reflects many objects, objects of the surrounding life (color incl. Fig. 42).

Volumetric modeling

Rice. 42. Zhenya (5 years 9 months). Firebird

Plasticineography- one of the techniques for working with plastic materials, the essence of which is to create a planar or relief image using soft materials, by smearing them over the surface. In plasticineography, it is important to mix the colors of plastic materials, obtaining multiple shades, in order to achieve expressiveness of the image (color incl. fig. 43).

Plasticineography

Rice. 43. Olya (6 years 7 months). Spring

paper plastic- a method for creating volumetric and relief plastic images from paper pulp prepared in an appropriate way.

Papier mache- one of the artistic techniques, which consists in recreating the silhouette of various objects, objects by preliminary multi-layer pasting them, followed by the design of the resulting copy.

plastic materials.

Clay. In classes with preschoolers, terracotta, gray, and white clay are most often used. Any clay contains sand and, depending on the content of impurities, is divided into oily (2-3% sand), medium (about 15%) and lean (about 30%).

Working with clay has its own characteristics. You can determine the degree of preparedness of clay for work by crushing a small piece in your hands and rolling a ball out of it. If the clay is too oily, it will stick to the hands; if it is too thin, it will crack. For work, clay of medium fat content is needed.

Before sculpting, the clay must be cleaned: pick up rubbish, pebbles with your hands, dry it, crush it in a canvas bag with a mallet or hammer and sift it into a bucket by 1/3, then add the same amount of water, shake it with a wooden stick, let it stand, carefully remove the debris floating on top and drain excess water. The swollen clay is scooped out of the bucket without affecting the bottom layer (there is excess sand and a heavy fraction of debris), and spread in a layer 1-1.5 cm thick on a stack of newspapers to remove excess water. Another way to remove water is that the liquid clay is transferred to a canvas bag, tightly tied, put the bag on a pile of newspapers, covered with plywood and pressed down with a load for a day or two. The prepared clay is kneaded by hand to a plastic state. It is better to store it in a plastic tank or bucket, covered with a damp cloth. Products made from unbaked clay are very fragile and are afraid of water. To strengthen it, you can use clerical glue or PVA glue. PVA glue is added at the rate of 1-2 teaspoons per 1 kg of mashed clay mass, after which it is thoroughly washed again. Stationery glue is added at the rate of 1-2 tablespoons per 1 kg of clay. When drying, the clay-adhesive mass quickly hardens, and it is very difficult to soak it, so it is necessary to store raw materials in a tied plastic bag not longer than a day.

Clay crafts can be fired in a muffle furnace or, after a good drying, painted with gouache with the addition of egg yolk or tempera.

Plasticine(from Italian plastilina, from Greek plastos - stucco) - an artificial material specially created for modeling and modeling. Plasticine is made from purified and crushed clay powder with the addition of wax, oils, dyes and other substances that determine the properties and characteristics of a particular type of plasticine. Plasticine has been known as a material for modeling for a very long time; it was used to perform work in the Middle Ages. There are sculptural and children's plasticine. Sculptural plasticine is used by sculptors, artists, modelers and sculptors. It is usually gray or greenish gray in color and is sold by the weight. Now on sale there are various types of plasticine of domestic and foreign production. Plasticine is monophonic and colored. It can be mixed and get new colors and shades. If a ready product dip from plasticine into paraffin heated in a water bath, this will smooth out all the roughness. In order to keep plasticine sculptures for a long time, you can varnish them, after rolling them in flour, tooth powder or chalk.

Plastic(suralin) - a kind of plasticine, is a mass that is harmless to health, which is easily subject to changes during the modeling process. Plastic crafts are not deformed during transportation and are not affected by external factors (heat, cold, water). Products made of plastic are more durable than those made of plasticine. You can give hardness as follows: lower the product into hot water or place in a preheated oven.

Mukosol, or salty dough . It can be obtained in several ways. First: 1 cup flour + 1/2 cup salt + 1/4 cup water. Second: 3 cups of wheat flour + 1 cup of rye flour + 2 cups of salt + 1.5 cups of water. Third (without salt) 1 cup of flour + "L cup of water + 1 tablespoon of PVA glue (this recipe is used so that children do not have hand skin irritation from salt). Pleasant to the touch, plastic, soft, gentle, completely harmless from the point from the point of view of ecology and allergens, the material is easy to clean and does not leave marks.Proper preparation of the material makes it durable, does not crack, does not crumble.Crafts made from salt dough can be painted and varnished or the dough itself can be colored by adding food coloring when kneading.

paper pulp. For modeling from finely cut or torn paper and thickly brewed starch paste. From it you can sculpt any shape. When dry, they become hard and durable. They can be painted, and then coated with varnish, glue or paraffin. Instead of paper pulp, sawdust can also be used for modeling (baking soda, a few tablespoons of wood glue, sawdust are added to the chilled flour paste and mixed). Products made from the resulting mass are dried in a warm place. The surface of such figurines has a beautiful texture.

One of the varieties of paper pulp is newspapers and sheets of ordinary writing paper, which, when twisted, create the most various images. Such products are fixed with paper (painting) tape. Finished work later you can paint, decorate with pieces of colored paper, and varnish for strength. Such crafts are affordable means of decorating any environment.

Snow and sand. One of the conditions for working with these materials is sufficient humidity. Dry sand crumbles, snow does not mold in frosty weather, but as soon as these materials gain the necessary moisture, they begin to retain the shape they are given. Typically, products made from these materials are quite large and are used for playing. Tools for processing such sculptures are also toy spatulas, scoops, molds, etc.

Burdock. These are inflorescences of a weed plant - burdock. Thanks to the thorns, they are well fastened together and retain their shape for a long time. Burdock should be used as soon as it is picked, or on the same day. It is suitable for sculpting figures that have an expressive, recognizable silhouette(bear cubs, elephants, squirrels, bunnies). To decorate figures molded from burdock, you can use buttons, beads, plasticine, matches, threads, shreds and much more. Toys made from it can be used in games; they are stored at exhibitions for a year.

Auxiliary materials. These primarily include frames, which are used in order to give things greater strength, lightness, or to save material. The frames include thin, pointed sticks that hold parts together, soft wire, hollow eggshell, paper pulp, paper cups, molds cut out of egg containers, celluloid molds for sweets and other material. Sometimes stucco works are decorated with inlays. It can be beads, beads, pebbles, shells, plant seeds, bark, branches, acorns, nutshells, cereals, as well as other natural and non-natural materials.

Equipment: boards; stacks of different sizes and shapes; desktop machines with a rotating circle; two stable jars of hot and cold water if children are working with plasticine.

Modeling types:

The nature: realistic, stylized, abstract.

By shape: round, embossed.

Features of plastic creativity. Plastic creativity is not only a fascinating, but also a useful activity for preschoolers. Creating a plastic image from life, from memory or drawing, children get acquainted with the form, texture, as a result of which fine motor skills of the fingers develop, which contributes to the development of speech. Toddlers learn to examine objects more carefully, which develops their powers of observation. In modeling, the child deals with the actual form of the object, he touches it with his own hands from all sides. We have repeatedly said: the more analyzers take part in the survey, the more detailed and clear the impression becomes.

The modeling technique is so simple that it is accessible to even young children. Each type of visual activity develops certain qualities in children. Only while sculpting, the child gets acquainted with the three-dimensional shape of the object, the interconnectedness of its parts, he develops the skills of working with two hands, the ability to coordinate the movement of the hands, fine motor skills of the fingers, eye, and spatial thinking develop very actively. The more often a child is engaged in modeling, the more diverse the material from which he sculpts, the more actively his general and visual abilities develop. The originality of modeling lies in the fact that children learn the three-dimensional way of depicting objects.

Modeling can also be used as an element in the construction of buildings made of sand, clay, natural material. Sculpting large forms is little practiced in kindergarten, while thanks to this type, many visual skills in plastic can be developed.

Children should be involved in decorative modeling, which, in fact, acts as one of the main components of interior design. It is better to start with the creation of bas-reliefs, from which you can then make a frieze. A plate of ceramics or thick cardboard (15x15 cm) is covered with a layer of plasticine, this is the background for the bas-relief. Then, from a thicker layer of plasticine of a contrasting color, an image is cut out in a stack and transferred to the background. Next comes the finishing: the execution of details, lubrication, smoothing. the main objective these classes - to teach children to improve their work, achieving the expressiveness of the image.

The development of figurative perception of the world, visual abilities in modeling depend largely on the experience of perception and study of works of sculpture by children. Children's creativity is figuratively enriched if the teacher uses in class literary works, music, emotional story. It helps develop the imagination.

The effectiveness and efficiency of children's plastic creativity depends on the richness and diversity of observations in nature. These observations must be organized using walks to the park, out of town. But even in a familiar area, unexpected discoveries await children.

Observation of pictures from the life of nature develops in children kindness, a sense of humor, brings up love for the living world. Such observations need to be reinforced by looking at illustrations in books, postcards. Not knowing how to observe, the child has no material for reflection, and without reflection, creativity itself is impossible.

Volume molding.

Sculpting an item from separate parts (constructive way ) - the simplest way, when the plastic image is made up of parts that are pre-made by the child. First, large parts are molded, then smaller ones, and lastly, the smallest parts. Here it is important to learn how to relate the parts to each other so that they are proportionate.

Sculpting an item plastic way (sculptural) - from a whole piece. It requires accuracy of movements, a good eye and a clear idea of ​​the shape and proportions of the object, the object of modeling. This is a more complicated way. Before starting modeling, the child must imagine the image, its shape, character, position in space, pose. The creation of an image begins with the initial giving of a general silhouette to the material, after which the child gradually proceeds to sculpting each part of the formed volume. The preschooler models the shape with a variety of movements: pulls and bends, twists and crushes, presses and pinches. He constantly checks his every movement for accuracy, compares the resulting forms with an imaginary image or a real object.

Combined method combines constructive and plastic methods, allows you to diversify technically plastic images. The largest details can be made in a sculptural way, and the details in a constructive way. On the one hand, this facilitates the task, on the other hand, it allows the child to achieve expressiveness of the image (color incl. Fig. 44).

"FROM. V. POGODINA THEORY AND METHODOLOGY OF THE DEVELOPMENT OF CHILDREN'S FINE CREATIVITY Recommended by the Federal State Institution "Federal ..."

SECONDARY VOCATIONAL EDUCATION

S. V. POGODINA

THEORY AND METHODS

CHILD DEVELOPMENT

FINE

CREATIVITY

federal government agency

"Federal Institute for the Development of Education" as

study guide for use in educational process

educational institutions implementing programs of secondary vocational education Registration number reviews 170 dated April 28, 2009 FGU "FIRO"

4th edition, stereotypical UDC 373.2(075.8) BBK 74.201ya73 P433

R e e n s e n t s:

Candidate of Pedagogical Sciences, Professor of the Department of Theory and Methods of Teaching visual arts Moscow State Pedagogical University S. E. Ignatiev;

Candidate of Pedagogical Sciences, Associate Professor of the Department of Methods of Preschool Education, Mordovian State Pedagogical Institute named after V.I. M. E. Evsevyeva O. I. Maksimkina;

Deputy Director for Scientific and Methodological Work of Pedagogical College No. 15 of Moscow, Honored Teacher of Russia N. F. Klimkina S. V. Pogodina

P433 Theory and methodology for the development of children's fine arts: textbook. allowance for students. medium institutions. prof.

education / S. V. Pogodina. - 4th ed., erased. - M.: Publishing Center "Academy", 2013. - 352 p., p. col. ill.

ISBN 978-5-7695-9709-1 The textbook was created in accordance with the Federal State Educational Standards for the specialty 050144 Preschool education and can be used in the development of the professional module PM.02 "Organization of various types of activities and communication of children" (MDK.02.03).

The manual discusses various types of art (painting, graphics, sculpture, architecture, design, folk arts and crafts), techniques for developing children's fine arts preschool age.

For students of institutions of secondary vocational education.

May be useful for kindergarten teachers.

UDC 373.2(075.8) LBC 74.201-73 The original layout of this publication is the property of the Academy Publishing Center, and its reproduction in any way without the consent of the copyright holder is prohibited © Pogodina S.V., 2010 © Educational and Publishing Center "Academy", 2010 ISBN 978 -5-7695-9709-1 © Design. Publishing Center "Academy", 2010

FOREWORD

On the present stage development of pedagogical science, the problem of the formation of the aesthetic, spiritual culture of a person, his creative development is the dominant of civilized development. In education, as a phenomenon of civilization, there is also an orientation towards the individual, his subculture, which turns art into the most important factor in the spiritual renewal of both society as a whole and individual person. Developing modern theories and concepts of education, pedagogical science relies on the Federal State educational standard(FGOS) of a new generation for institutions of secondary vocational education, in which a significant role is given to the training of a specialist who is able to organize various types of productive activities for children, including fine arts.

That is why it is very important in the conditions of secondary vocational education to provide students with the opportunity to acquire practical experience in determining the purpose, objectives, content, methods and means of directing the visual activity of children of early and preschool age. And this becomes possible only when students have a good theoretical and methodological base that underlies the organization of the process of familiarizing preschoolers with the basics of fine and monumental art. decorative arts on practice.

Fluency in methods, techniques, forms of organization of productive activity is formed under the condition that the teacher has theoretical knowledge and a high-quality level of practical training of students in pedagogical colleges. The theory helps to enrich the practical activities of the future educator with new knowledge, to diversify it. Practice contributes to the testing of theoretical positions, making them pedagogically active. Therefore, only the correlation of theory and practice is an indicator of the students' mastery of all the necessary competencies prescribed in the GEF of the new generation.

In this regard, it seems important and significant to provide future specialists in preschool education with the necessary system of knowledge, including issues of psychology, pedagogy, philosophy, aesthetics and, of course, art history. On the basis of knowledge about the types of art, it is possible to form students' ideas about children's fine arts and the features of the organization of various types of fine arts. This provision distinguishes this manual from existing ones. Having an idea, for example, of the expressive means of architecture, the student will be able to approach teaching children the features of creating a constructive image more professionally.

The main provisions of the theory of art are the central component of visual literacy, which should be included in the general theoretical and practical training students. The future teacher needs to be fluent not only in the methodological aspects of the organization of children's fine arts, fine arts, but also in artistic techniques that allow children to diversify ways of displaying the world around them, their impressions of it.

hallmark This manual is to provide students with material related to the analysis of the methodology for familiarizing preschoolers with the types of fine arts. It shows how knowledge certain types the arts can be used in working with preschoolers, and what value they can have in the process of their creative development. This view is dictated by the fact that the humanization of education as one of the problems modern science involves focusing on the development of the creative individuality of each child.

One of these conditions is the transfer of artistic experience from generation to generation as a system of historically established, generally accepted "artistic" properties and relationships developed by many generations of artists and assimilated by a particular person as an artistic and visual toolkit.

In the artistic experience are included as individual discoveries - immortal works art, as well as the technology of their creation, which, being improved, passed into the laws and rules of fine art. Only if they master the basics of visual literacy, preschoolers will be able to learn to “read” already created works and “write” their own images.

The manual begins with the justification of the concept of "children's fine art" and its interaction with other concepts, after which an analysis of the stages in the formation of creativity of preschoolers in its various forms is widely presented. The study of the theory and methodology of familiarizing preschool children with the types, genres, techniques of art is a logical continuation of the previously considered material.

The manual consists of a number of chapters, which include issues of theory and methodology for the development of children's fine arts.

Theoretical material generalized and concretized in the examples given in the course of explaining one or another provision of the benefit.

At the end of each topic, there are questions and tasks that allow students to exercise self-control over the quality of assimilation of the presented material. The recommended literature allows students to more deeply consider the issues of interest to them.

SECTION I. THEORY AND METHODS

INTRODUCING PRESCHOOL CHILDREN

WITH DIFFERENT KINDS OF ART

–  –  –

Painting (from "live" and "write") is one of the most important types fine arts, whose works reflect on the plane all the diversity of the surrounding world through various colored coloring materials. There are many definitions of this concept that characterize painting in terms of its pictorial possibilities. At the same time, another aspect is often overlooked - the individual-personal, mental and spiritual attitude of the artist to the work being created.

The world of painting is rich and complex, and it is impossible to evaluate it only from the position of laws, patterns and rules developed by mankind in the course of historical development. In painting, there is a variety of styles and trends that deobjectify reality, showing its spiritual essence. Each artist sees it in his own way, and each spectator interprets it taking into account his worldview, worldview.

Objectively evaluating this or that work of art, it is important to take into account the characteristic features of the era in which this work was created, the degree of development of science and technology of that time, the worldview of the artist, his stylistic preferences, the level of technical skill of the author.

Historically, paintings are conditionally divided into the following types.

P r a k t i c h o m u n a l c e n i u .

Monumental (from lat. monument - storing memory, reminiscent) - special kind paintings, which are distinguished by a large scale, which are the decoration of walls, ceilings, domes, vaults in various architectural structures.

There are three main differences monumental painting: fresco and mosaic, stained glass.

Fresco (from it. fresco - fresh, raw) - one of the types of monumental, wall painting, made with paints diluted with clean or lime water, on plaster.

There are several different types of frescoes:

alfresco - on damp, fresh plaster;

fresco a secco - on dry plaster;

casein-lime painting - a modification of a fresco on dry plaster, which appeared in the 17th century;

sgraffito (from it. sgraffito - scratched) - the most common form of modern wall painting, namely the layer-by-layer application of paints on plaster with exposure, scratching of the lower layers that are different in color;

graffiti (from it. graffiti - scratched. In antiquity and the Middle Ages, initiatory, magical and everyday inscriptions scratched on the walls of buildings, vessels) - in modern wall painting is done using aerosol cans filled with dyes, the image is obtained by spraying paints, its volume is achieved when applying one color to another.

Mosaic (from it. mosaique - dedicated to the muses) - an image made of homogeneous or different particles of smalt stone, ceramic tiles, which are fixed in a layer of soil (lime or cement).

Among the foreign monumentalists, the most famous are Giotto, Masaccio, Leonardo da Vinci, Michelangelo Buonarroti, Raphael Santi. F. Grek, A. Rublev, Dionysius, M. Lomonosov, A. Deineka, P. Korin, A. Vasnetsov, B. Talberg, D. Merpert, B. Milyukov, V. Nesterenko, and others stand out from the domestic muralists.

Stained-glass window (from French vitrage - glazing, from Latin vitrum - glass) is a piece of decorative art made of colored glass or other light-transmitting material. Stained-glass windows are used to decorate windows, doors made of glass, transparent partitions. The light, passing through the stained-glass window, is colored by the color of its glasses, thereby coloring the entire environment of the interior. This feature of stained-glass windows determined their use in temple architecture.

Monumental-decorative painting is divided into decorative painting and theatrical-decorative painting.

Decorative painting exists in two directions. The first is characterized by its use for decorating buildings, interiors in the form of colorful panels, which realistic image create the illusion of expanding the wall, visually increasing the size of the room, or, on the contrary, artificially simplified forms exclude volume and emphasize the flatness of the wall, indicating the isolation of space. Patterns, wreaths, garlands and other types of decor that adorn the works of monumental and decorative painting tie together all the elements of the interior, emphasizing their beauty, consistency with architecture. The second direction is the decoration of things surrounding a person: household items (caskets, caskets, cutting boards, ladles, supplies, chests, etc.). The themes and forms of decorative painting are subordinated to the purpose of things.

Theatrical and decorative painting (scenery, costumes, make-up, props) contributes to a deep disclosure of the content of the play, film, video.

Iconography, along with its canons, came to Russia from Byzantium, but ancient Russian iconography soon became original and the best in the world. Among the icon painters, one can note Dionysius, F. Grek, A.

Rublev, S. Ushakov, A. Vasnetsov and others.

Easel painting is an independent visual art that does not have a decorative or utilitarian meaning, expressed in a variety of images (from real objects, phenomena to non-objective fantasy that reveals the world from a different point of view). Easel paintings are made on an easel; wood, cardboard, paper are used as the material basis, but more often canvas stretched on a stretcher.

Unlike graphics easel painting has a richness of color, through which the artist emotionally, psychologically multifaceted conveys the beauty of the surrounding world and the spiritual, spiritual essence of man.

Compared to monumental painting, easel painting is not connected either with architecture or with any environment and can be freely exhibited in various museums, exhibitions or be the subject of a personal collection. The ideological and artistic significance of easel art works does not change depending on the place where they are displayed, although their artistic and emotional sound depends on the exposition idea.

Miniature painting (from lat. minimum - this is how cinnabar paint was designated, which was highly valued in antiquity and often used in book illustrations). Miniatures are small in size, very colorful images, with finely drawn small details developed in the Middle Ages, before the invention of printing. Handwritten books were decorated with the finest headpieces, endings, detailed miniatures.

One of the areas of miniatures is lacquer miniature - painting on small lacquer items (caskets, various jewelry, snuff boxes, powder boxes, etc.). The main centers of lacquer miniatures are Fedoskino, Palekh, Mstyora, Kholuy. The lacquer miniature got its name because of the black lacquer that is used to coat primed papier-mâché items that serve as the basis for the future work.

P o t h n i k e i n e n i n i

Oil painting is performed with paints prepared on the basis of walnut, linseed, poppy or hemp oil, which contributes to the achievement of wholeness, liveliness, grace, enhances optical capabilities while conveying volume and space, which increases the overall aesthetic sound of the canvas.

Painting techniques are varied. Strokes can be covering (opaque) and glazing (transparent), body (dense) and textured (embossed), thin and smooth, etc. oil painting early 19th century - layering (multiple application of paints with an admixture of varnishes) and varnishing of the surface of the picture. At the beginning of the XIX century.

specific to oil painting is the manner of applying paints alla prima (it. alla prima - a quick, single-session technique of painting) on ​​clean ground or thinly applied color or tonal underpainting.

Tempera painting is performed with a tempera emulsion prepared on the basis of mixing whole-egg, protein, yolk base, glue, oil, dyes, fig twig milk, varnish, casein, wax. Tempera paint is diluted with water and applied pasty1 or liquid on the wall, canvas, paper, wood.

Watercolor (from lat. aqua - water) - paints obtained on the basis of vegetable glue, diluted with water, hence the name of painting.

Painting with opaque watercolors mixed with white was known as far back as Ancient Egypt, antiquity, the Middle Ages in Europe and Asia.

"Pure" watercolor (without any admixture of white) became widespread at the beginning of the 15th century. Its main features can be considered the transparency of paints, through which the tone and texture of the base (paper, cardboard, silk, ivory, etc.) shine through; purity of color shades; wide range of tone; availability of graphics. AT watercolor painting specific techniques are also distinguished - washout, washout, infusion and streaks, creating the effect of air, movement, liveliness and naturalism in the image.

In the XV-XVII centuries. watercolor had an applied value and served mainly for coloring engravings, drawings, sketches.

Starting from the second half of XVIII in. watercolor began to be used when writing a landscape. AT late XIX in. In Italy, the style of dense multi-layered watercolor painting on dry paper arose. Among domestic masters, this manner of writing is characteristic of K. P. Bryulov, A. A. Ivanov, S. Andriyaka.

Pastosity (from it. pastoso - pasty) - a significant thickness, unevenness and relief of the paint layer.

Gouache painting (from it. guazzo - water paint) - works made with paints consisting of finely ground pigments with a water-adhesive binder (gum arabic, wheat starch, dextrin, etc.) and an admixture of white. Gouache painting can be done on paper, cardboard, canvas, silk, wood, glass, bone.

Gouache originated as a kind of watercolor, when white was mixed with water-based paints to achieve the density of the paint layer. From the moment the production of special gouache paints began (in the middle of the 19th century), gouache finally separated from watercolor and became an independent technique that reached a high level of development in the 19th and 20th centuries.

Masters of gouache painting - V. A. Serov, A. Ya. Golovin, S. V. Ivanov and others.

Pastel (from French pastel) painting is done with soft rimless pencils (crayons) obtained by mixing paint powder with an adhesive (cherry glue, dextrin, gelatin, casein).

Pastel painting is distinguished by soft muted tones, velvety surface. They work with pastel on paper, cardboard, canvas. Paints are applied with strokes, as in the drawing, or rubbed with fingers with shading, which allows you to achieve the finest colorful nuances and valor transitions of color shades.

In the process of working with pastels, you can remove, overlap one paint layer with another. Given the specificity of the composition of the pastel, the works should be fixed with a special solution or varnish.

The pastel technique attracted such artists as J.-B. Chardin, M.-K. Latour, J.-E. Lyotard, E. Degas, I. Levitan, V. Serov, P. Korovin, A. Somov… Wax painting (encaustic) was used in ancient Egypt. Binder encaustic is bleached wax. Wax paints are applied in a molten state to a heated base with a brush, a hot bronze tool, and then cauterized (melted with a brazier).

Among contemporary artists we can note the father and daughter V. and T. Khvostenko, who revived the encaustic technique. Thanks to them, many secrets of this technique were restored and new techniques were invented. wax painting.

Genres of painting

The variety of objects, phenomena, events of the surrounding world and the interest shown to them by artists contributed to the selection of genres in painting: mythological, religious, historical, battle, everyday life, landscape, portrait, still life, animalistic, nude.

The French word genre (kind, variety) usually defines the subject or plot of the image in the picture. In paintings, a combination of genres or their elements can be found.

For example, a landscape can complement a still life, a still life and a landscape can complement a portrait or genre composition etc.

The mythological genre (from the Greek mythos - legend) is a genre of painting in which the main place is given to the depiction of events and heroes of myths, legends, legends, epics of ancient peoples.

historical genre. Picture meaningful historical events, phenomena or historical figures. However, recent events can also be the subject of depiction, provided that their historical significance is recognized by contemporaries.

Battle genre(from French bataille - battle) - a genre of fine art that reveals the themes of wars, battles, battles, campaigns or episodes of military life. The battle genre can have both independent meaning, so be it integral part historical or mythological genre, and also contain some elements of other genres.

The everyday genre (from French genre, German sitten-bild - genus, type, genre) is most common in the visual arts. The artist refers to the themes and plots of everyday life. Works related to the everyday genre, on the one hand, are of artistic value, on the other hand, they are significant from the point of view of history, since these canvases acquaint us with the life and activities of people different eras, peoples, classes and estates.

In the XX century. in development household genre it is possible to conditionally single out several artistic and meaningful trends:

reflection of psychological nuances (E. Manet, E. Degas, O. Renoir);

highlighting the sign-symbolic side of everyday life (P. Gauguin, V. Borisov-Musatov, K. Petrov-Vodkin);

demonstration of the heroism of people engaged in everyday work (B. Ioganson, A. Deineka, A. Plastov).

Landscape (from French paysage, from pays - locality, country, homeland) - an image of nature, landscape, sea, panorama of the area, architectural structures, city streets, bridges. The works of this genre are also called landscape.

The following types of landscapes are distinguished:

rural - an image of nature (trees, shrubs, meadows, fields, forests, gardens, rivers, lakes, swamps, mountains, etc.). The main theme is the depiction of the rural environment and its natural connection with nature;

park - an image of the corners of nature created for relaxation and satisfaction of the aesthetic needs of a person. It differs from the rural one in that it can convey on the canvas either the geometric rigor of the layout of a park or garden, or the combination of decorative elements with the natural landscape of the area;

urban, or architectural - an image of various architectural structures (residential buildings, public and religious buildings), streets, squares, monuments. It is important for an artist to show the life of the city as such, with its problems and relationships;

veduta - the image of bridges and architectural structures associated with bridges;

industrial - the image of industrial enterprises, factories, factories, etc. A frequent theme of artists in the Soviet era;

marina - the image of the sea in all its diversity;

psychological landscape - a stylized and sometimes abstract image of nature, through which the artist reveals some emotional states and human experiences.

If we classify the landscape from the point of view of the content aspect, then we can distinguish the following types: lyrical; historical; fantastic; heroic; pathetic; epic; allegorical.

Landscapes can be made by artists both in the studio and from nature. To paint landscapes from nature in the open air (French plein air - open air) artists became only in the XIX century. Then they faced a very interesting and difficult task of transmitting lighting, air environment, taking into account the spatial displacement of colors, the changing state of nature - all that is not visible in the workshop with uniform lighting. Plein air painting is able to convey the shades of lighting, the play of sunlight, the movement of air masses. Outstanding plein air masters - impressionist artists - captured in their paintings elusive, changeable moments. And the name of this direction was given by the painting by Claude Monet “Impression. Sunrise ”(from French impression - impression). The Impressionists developed a special approach in painting, they painted with free, light, vibrating strokes, not mixing colors on the palette, but superimposing pure complementary colors next to it, which is why there was a feeling of play of light filling the picture.

The most famous landscape painters are: P. Brueghel, P. Rubens, Rembrandt, J. Ruisdael, N. Poussin, K. Lorrain, K. Corot, A. Ivanov, A. Savrasov, F. Vasiliev, I. Shishkin, I. Levitan , V. Serov, S. Gerasimov, N. Krymov, E. Manet, C. Monet, O. Renoir, K. Korovin, I. Grabar, P. Cezanne, P. Gauguin, V. van Gogh. A. Matisse, A. Kuindzhi, N. Roerich, M. Saryan, A. Rylov, K. Yuon, A. Ostroumova-Lebedeva, A. Kuprin, P. Konchalovsky.

Still life (from French nature morte - dead nature, nature) - a genre of fine art dedicated to the depiction of inanimate objects ( household utensils, musical instruments, flowers, fruits, game, products, attributes of any activity, etc.). In the narrow sense of the word, a still life is called the production itself, which serves as the object of the artist's image.

Still life can be composed not only of inanimate objects, but also of natural forms. This, in turn, influenced the emergence of another, more precise formulation of this genre. In German (stilleben) and in English (still life), the genre is called “quiet life”.

This means that all objects and objects in a still life are motionless, and at the same time they are a kind of “echo” of their owner, his inner world, character, habits, etc.

The works of this genre perform various functions, in connection with which several different types of still life are distinguished:

symbolic through symbols and signs helps to reveal complex philosophical categories and concepts, better understand the psychology of a person, and in some cases the essence of an entire era;

decorative, in addition to its direct artistic function, plays the role of a kind of decoration, is an integral part of a single interior decor or external decoration of an architectural structure (signboards, shop window painting, etc.);

realistic allows the most objective assessment of the traditions of a particular country, culture from the point of view of its historical development;

abstract makes it possible to look at things from the inside, to reveal the essence of objects from the side that has not yet been opened to the viewer.

Preference for still life was given by famous foreign artists: P. Klas, V. Kheda, F. Snyders, J. Cotin, J. Chardin, P. Cezanne, V. van Gogh and domestic masters: P. Konchalovsky, I. Mashkov, R. Falk , K. Petrov-Vodkin, M. Saryan, Yu. Pimenov, A. Stozharov and others.

Portrait (from French portrait - image) - a genre of fine art, the purpose of which is the image of an individual or a group of people.

The main quality of the portrait lies not only in the similarity with the original, which is ensured by an accurate depiction of the external appearance of a person, but also in the disclosure of his subtle spiritual organization, which an observant artist is able to catch by the movements of the muscles of the face, the nature of the gaze, the expression of the eyes, gestures, posture, and manner of dressing. , environment. All these features allow you to create a reliable psychological portrait, which forms the basis of the image. The portrait carries a certain semantic load. And in this regard, there are several varieties of this genre.

Position on the plane of the image: half-length portrait, full-length portrait, portrait in the interior, portrait against the background of the landscape.

ABOUT PICTURE CHARACTERISTICS:

a ceremonial portrait depicts a person bust-length or full-length and, as a rule, against an architectural or landscape background.

There is a huge variety of different details, attributes that emphasize the status of a person;

a chamber portrait involves a shoulder, chest, half-length and full-length image on a neutral background. Restrained in character and artistic expressiveness. Its purpose, unlike the front one, is not to demonstrate the greatness of nature, but to convey psychological condition, inner experiences of a person.

For the use of images on one canvas: single, double, group.

Paired (double) portraits are called, painted either on the same canvas or on different canvases, but coordinated among themselves in composition, format, color. Usually these are portraits of spouses or members of the same family. Very often, such portraits were entire galleries, ensembles.

C o n t e n t s

costumed portrait - an image of a person as an allegorical, mythological, historical, theatrical, literary character;

a miniature portrait is distinguished by its small size, which complicates the execution of the image, allowing the artist to show skill and virtuosity;

self-portrait - the artist's image of himself;

portrait-genre - the image of a person within the framework of some other genre. For example, the interaction of the portrait and historical genres determines the image of a historical figure; the portrait of a peasant woman is the result of a merger of the portrait and the genre of everyday life;

social portrait - display on the canvas of the life of representatives different classes, estates, transfer of characteristic features social life society through the individual;

The psychological portrait differs from all others in that the artist does not seek to accurately convey the appearance of the model, the main thing for him is to reveal his psychological state. Some compositional or anatomical violations are allowed to achieve the greatest expressiveness of the image;

an intimate portrait is not intended for public viewing.

It will be placed in living rooms, access to which is available only to the owners of the house.

Great portrait painters: Leonardo da Vinci, Raphael, Giorgione, Titian, Tintoretto, Rembrandt, F. Hals, A. van Dyck, D. Velazquez, I. Vishnyakov, A. Antropov, M. Shibanov, I. Argunov, F. Rokotov, D. Levitsky, V. Borovikovsky, O. Kiprensky, V. Tropinin, K. Bryulov, V. Perov, N. Ge, I. Kramskoy, I. Repin, M. Nesterov, P. Picasso, A. Modigliani, A. Bourdelle, V. Serov, M. Vrubel, S. Konenkov, P. Korin.

Nude (from French nu - naked, undressed) - a genre of fine art dedicated to the image of a naked body.

Animalistic genre (from lat. animal - animal) - the image of representatives of the animal world.

Among the masters animal genre A. Durer, E. Lansere, P. Klodt, A. Matisse, V. Serov, V. Vatagin, I. Efimov and others.

test questions

1. What is the essential difference between painting and other art forms? Give a description of the expressive means of painting.

2. What are the main types of painting?

3. What is the difference between monumental painting and easel painting?

4. What is the species diversity of the portrait due to?

–  –  –

Graphics (from Greek grapho - I write, from French - cut on something) - one of the oldest art forms, including drawing, which, on the one hand, can be an integral part of graphics, on the other hand, act as independent work. Drawing constitutes the initial stage of work on works of plastic arts. Graphics, more than other types of fine arts, is closer to writing, drawing, a conventional sign, since the plane itself acts as an important graphic tool. white sheet paper with lines, dots, strokes and spots applied to it.

Graphics is close to painting, but if in painting color - the main means of artistic expression - appears in inseparable connection with a line that is not always distinct, can be muffled, obscured by chiaroscuro, sometimes barely guessed, then in graphics the line serves as the leading means of expression.

Graphics is one of the most widespread types of art. On the one hand, graphic works seem simple and concise when perceived, on the other hand, it is extremely difficult to create a graphic image, since the artist needs to convey the shape of the object on a sheet of paper, create the illusion of volume, reflect the light flux, or, conversely, generalize the form so that it becomes possible create an impression. And all this must be done by simple means available to everyone.

Difficulties in understanding some details that arose during the conversation are easily eliminated with the help of elementary drawings. With a pencil, you can not only depict a familiar object, but also convey a range of human feelings.

Unlike painting, in graphics the object is more schematized, rationalized and constructed. A characteristic feature is convention (a graphic image can be made on almost any plane, against any background).

If it is better to look at picturesque works from afar, so that the strokes become indistinguishable, merging into a natural harmony, similar to the harmony of nature, then we look at graphic works close up and see conditional strokes, zigzags, lines, i.e.

"technique" of the drawing, which does not affect the perception of the image.

Types of graphics

The species diversity of graphics is not as great as in design or arts and crafts, but many of its types are closely related to painting.

By the nature of the implementation of the schedule is divided into the following types:

manual - all graphic works made by hand and in one copy;

printing is done thanks to a cliche that leaves an imprint on the surface. It is carried out in several copies, that is, it can be replicated. It has its own varieties: print, woodcut, etching, lithography, linocut.

The technique of graphics is divided according to the materials:

pencil - graphics are made with simple and colored pencils on a sheet of paper or cardboard. There are two ways of working with a graphite pencil: linear-stroke and tone-painting. Work with colored pencils is carried out, as well as with a graphite pencil, with the help of a contour line and a stroke, which should be combined with color;

charcoal has a large tonal range, is easy to erase, easy to use, well suited for sketches and quick sketches. Rough grained paper is used, on which coal leaves a beautiful textured trace;

sanguine consists of a clay substance colored with anhydrous iron oxide, as a result of which it has an intense red-brown trace. You can work with it in two manners: pencil and painting, as well as combining them. In the first case, sanguine chalk is used as a pencil, modeling shapes with a stroke, line, side surface of the chalk or shading. This method is acceptable in children's fine arts, since it gives children the opportunity to draw with various techniques. With a picturesque method of execution, powdered sanguine is diluted with water, and then all the necessary planes are filled with a brush;

Sauce as a drawing material is deep in tone, with a pleasant velvety surface, and has a wide tonal range. Most often used in wet form, this allows you to more fully reveal its qualities and rich possibilities. Before you start drawing with wet sauce, you need to select the appropriate paper. It should not be coarse-grained, dense enough to withstand repeated washes with water and the use of gum.

Previously, the future image is easily applied on a sheet of paper with a pencil. Then, diluting the sauce in water, large planes are laid with appropriate brushes, trying to take tonal relationships as accurately as possible. The sauce, drying, seems to be fixed by itself, but at the same time remains deep and pleasant in tone. Drawings with sauce are easy to correct or weaken the places overloaded with tone in them with the help of a soft rubber band. The final completion of the details requires the use of small watercolor brushes, charcoal pencil etc.;

pastel is the most beautiful of the soft materials. Shades of color are selected directly on paper or mixed by rubbing. In addition, each color in the set has several differences in lightness and saturation - from dense, saturated to light, slightly saturated tone. For pastels, it is best to use rough or grainy paper, cardboard. It is very good to use colored paper, the color of which is used as the main tone;

grisaille is a technique of drawing with a brush on paper, when large masses and planes are laid in tone. Allows you to perform drawings that are particularly subtle. Brush painting has two artistic functions: preparatory drawing for work with paints and independent drawing. Many artists prefer to make a preparatory drawing for their paintings directly on canvas or paper with the same paint as the work will be done.

This method has a number of advantages. Firstly, dissimilar, often incompatible materials (for example, paints and graphite pencil) do not mix; secondly, drawing with a brush disciplines the eye and hand, consolidating the skill of work contour line, and at the same time makes you think about the future composition in advance. And finally, the paint contour is organically written off with the general color spot, and can also be used as decorative element compositions. It is not painted over: this gives the picture liveliness. Brush drawing as an independent type of graphics has a long history. The essence of grisaille is that chiaroscuro effects are achieved by repeated overlappings (glazing) with a solution of some neutral paint (black, brown, etc.). Brush drawing in progress watercolor brushes different sizes: large ones are used for fillings, small ones draw details. To work in this technique, various liquid materials are used: ink, watercolor, sepia, etc. Depending on the techniques, paper is selected. For grisaille, a dense, fine-grained paper that can withstand multiple overlaps is suitable. For sketches, sketches, sketches, less quality types of paper are used, often weakly tinted, yellowish, ocher, bluish hues.

According to its meaning, the graph has the following types:

easel graphics, her works are very reminiscent of paintings, since they convey volume, perspective, light and shade modeling. The value of easel graphics lies in the fact that these works are single and unique;

book - used in the design of books and book products, the development of book layouts, illustrations, etc.;

applied - associated with the release of printed materials (postcards, stamps, labels, packaging, etc.);

poster - involves the creation of posters, posters, billboards.

According to the artistic and figurative structure, the following types of graphics can be distinguished:

realistic, her works plausibly reflect surrounding reality;

decorative, or stylized, involves a generalization of the shape of objects, phenomena, which excludes naturalism, but allows similarity with real objects;

the abstract is opposite in figurative structure to the realistic, its goal is to reveal the inner content of the image, its artistic and emotional side.

All types of graphics are revealed in its genres. It, like painting, is multi-genre, that is, all genres used in painting are also realized in graphics.

Expressive means of graphics

One of the main means of expressiveness of graphic techniques is a stroke. Depending on the direction, the stroke can be vertical, horizontal, diagonal and running along the form.

It can go in one direction or cross. Long strokes can be long or short.

Various combinations of stroke types allow you to create light and shade and tonal effects, perform plastic modeling of the form, and convey the materiality of objects. The use of one or different types of stroke depends on the artistic task and the transmitted image. Since the stroke is created by parallel lines of the same thickness, graphite pencil, colored pencils, ink and pen are best suited for its execution. The stroke is done with the tip of a pencil. To convey tonal relationships, they use the imposition of a stroke one on top of the other or at an angle, and also work with pencils of various hardness. The harder the pencil, the lighter and lighter the stroke, the softer the stroke, the darker and wider. To convey materiality, strokes are used to match the shape of the object.

Another commonly used means of expression is the dot.

Any material in the drawing can leave a trace in the form of a dot. It can be found in works made with various artistic materials. An expressive image is created using both colored and solid dots, and tone gradations are obtained due to their density or sparseness.

Unlike a stroke, a dot line has the main figurative and expressive function in all graphic techniques. The lines used by the artists are diverse: thin and thick, short and long, straight and curved, concentric and closed, moreover, in the techniques of soft materials, the line contains an element of texture.

AT graphic image not only the line itself is important, but also its character, revealing its elasticity or softness, smoothness or angularity, isolation or discontinuity, rudeness or grace.

Along with the wet methods of the sauce and sanguine techniques, the grisaille brush drawing is the most justified for mastering such a means of expression as a stain. The spot as a means of expression organically includes all other means: line, stroke, tone, color, etc.

In this section, expressive means specific to graphics are considered. All compositional means of expression, such as the horizon line, proportion, perspective, balance, symmetry (asymmetry), dynamics (statics), size, scale, texture and others, are presented in the "Painting" section.

test questions

1. Define the concept of "graphics".

2. What is the main difference between graphics and painting?

3. What is the reason for the emergence of several ways of drawing? Give a description of each method.

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SECONDARY VOCATIONAL EDUCATION

S.V.POGODINA

THEORY AND METHODOLOGY OF THE DEVELOPMENT OF CHILDREN'S FINE CREATIVITY

Recommended by the Federal State Institution "Federal Institute for the Development of Education" as a teaching aid for use in the educational process of educational institutions implementing programs of secondary vocational education

2nd edition, revised and enlarged

Moscow

Publishing Center "Academy" 2011

Reviewers:

Candidate of Pedagogical Sciences, Professor of the Department of Theory and Methods of Teaching Fine Arts of the Moscow Pedagogical State University S. E. Ignatiev M. E. Evsevyeva O. I. Maksimkina; Deputy Director for Scientific and Methodological Work of Pedagogical College No. 15 of Moscow, Honored Teacher of Russia N. F. Klimkina

Pogodina S.V.

Theory and methodology for the development of children's fine arts: textbook. allowance for students. medium institutions. prof. education / S. V. Pogodina. - 2nd ed., corrected. and additional - M .: Publishing Center "Academy", 2011. - 352 e., incl. l.

ISBN 978-5-7695-8386-5

The textbook was created in accordance with the Federal State Educational Standard for secondary vocational education for the specialty 050144 Preschool education and can be used when mastering the professional module PM.02 "Organization of various hells of children's activities and communication" (MDK.02.03).

The manual discusses various types of art (painting, graphics, sculpture, architecture, design, folk arts and crafts), methods for developing the fine arts of preschool children.

For students of institutions of secondary vocational education, it may be useful for teachers of preschool institutions.

UDC 373.2(075.8) LBC 74.201ya73

The original layout of this publication is the property of the Academy Publishing Center, and its reproduction in any way without the consent of the copyright holder is prohibited.

Pogodina S.V., 2010

Educational and publishing center "Academy", 2010

Decor. Publishing Center "Academy", 2010

FOREWORD

At the present stage of development of pedagogical science, the problem of the formation of an aesthetic, spiritual culture of a person, his creative development is the dominant of civilized development. In education, as a phenomenon of civilization, there is also an orientation towards the personality, its subculture, which turns art into the most important factor in the spiritual renewal of both society as a whole and the individual. In developing modern theories and concepts of education, pedagogical science relies on the Federal State Educational Standard (FSES) of the new generation for institutions of secondary vocational education, in which a significant role is given to the training of a specialist who is able to organize various types of productive activities for children, including fine arts.

That is why it is very important in the conditions of secondary vocational education to provide students with the opportunity to acquire practical experience in determining the goals, objectives, content, methods and means of managing the visual activities of children of early and preschool age. And this becomes possible only when students have a good theoretical and methodological base that underlies the organization of the process of familiarizing preschoolers with the basics of fine and monumental decorative art in practice.

Fluency in methods, techniques, forms of organization of productive activity is formed under the condition that the teacher has theoretical knowledge and a high-quality level of practical training of students in pedagogical colleges. The theory helps to enrich the practical activities of the future educator with new knowledge, to diversify it. Practice contributes to the testing of theoretical positions, making them pedagogically active. Therefore, only the correlation of theory and practice is an indicator of the students' mastery of all the necessary competencies prescribed in the GEF of the new generation.

In this regard, it seems important and significant to provide future specialists in preschool education with the necessary system of knowledge, including issues of psychology, pedagogy, philosophy, aesthetics and, of course, art history. On the basis of knowledge about the types of art, it is possible to form students' ideas about children's fine arts and the features of the organization of various types of fine arts. This provision distinguishes this manual from existing ones. Having an idea, for example, of the expressive means of architecture, the student will be able to approach teaching children the features of creating a constructive image more professionally.

The main provisions of the theory of art are the central component of visual literacy, which should be included in the general theoretical and practical training of students. The future teacher needs to be fluent not only in the methodological aspects of the organization of children's fine arts, fine arts, but also in artistic techniques that allow children to diversify ways of displaying the world around them, their impressions of it.

A distinctive feature of this manual is to provide students with material related to the analysis of the methodology for familiarizing preschoolers with the types of fine arts. It shows how knowledge of certain types of art can be used in working with preschoolers, and what significance they can have in the process of their creative development. This view is dictated by the fact that the humanization of education as one of the problems of modern science involves focusing on the formation of the creative individuality of each child.

One of these conditions is the transfer of artistic experience from generation to generation as a system of historically established, generally accepted "artistic" properties and relationships developed by many generations of artists and assimilated by a particular person as an artistic and visual toolkit. The artistic experience includes both individual discoveries - immortal works of art, and the technology of their creation, which, being improved, passed into the laws and rules of fine art. Only if they master the basics of visual literacy, preschoolers will be able to learn to “read” already created works and “write” their own images.

The manual begins with the justification of the concept of "children's fine art" and its interaction with other concepts, after which an analysis of the stages in the formation of creativity of preschoolers in its various forms is widely presented. The study of the theory and methodology of familiarizing preschool children with the types, genres, techniques of art is a logical continuation of the previously considered material.

The manual consists of a number of chapters, which include questions of the theory of methodology for the development of children's fine arts. The theoretical material is generalized and concretized in the examples given in the course of explaining one or another provision of the manual. At the end of each topic, there are questions and tasks that allow the student to exercise self-control over the quality of assimilation of the presented material. The recommended literature allows students to deeply consider issues of interest to them.

SECTION I. THEORY AND METHODS OF INTRODUCING PRESCHOOL CHILDREN WITH VARIOUS KINDS OF ART

Municipal budgetary preschool educational institution

Tyulyachinsky kindergarten №1 Tyulyachinsky municipal district RT

Master class on the topic: "Drawing nature according to the technique of S. Pogodina"

"The use of non-traditional drawing techniques in kindergarten"

Prepared by: teacher

Ibragimova A.R.

2017

Target: Reveal meaning non-traditional methods art activities in working with preschoolers to develop imagination, creative thinking and creative activity. Show the relevance of non-traditional drawing techniques in kindergarten. To acquaint teachers with a variety of non-traditional drawing techniques.

The formation of a creative personality is one of the important tasks of pedagogical theory and practice at the present stage. Its development begins more effectively from preschool age. As V.A. Sukhomlinsky: “The origins of the abilities and talents of children at their fingertips. From the fingers, figuratively speaking, go the thinnest threads-streams, which are fed by the source of creative thought. In other words, the more skill in a child's hand, the smarter child". According to many teachers - all children are talented. Therefore, it is necessary to notice in time, feel these talents and try, as early as possible, to give children the opportunity to show them in practice, in real life.

The term "non-traditional" implies the use of materials, tools, painting methods that are not generally accepted, traditional, widely known. In the process non-traditional drawing the child develops comprehensively. Such activities do not tire preschoolers, children remain highly active, working capacity throughout the entire time allotted for the task. Non-traditional techniques allow the teacher to carry out individual approach to children, take into account their desire, interest. Their use contributes to the intellectual development of the child, the correction of mental processes and the personal sphere of preschoolers.

Drawing with unusual materials and original techniques allow children to experience unforgettable positive emotions. And by emotions, one can judge what is currently going on in the child’s soul, what mood he has, what makes him happy and what upsets him. As you know, children often copy the model offered to them.

Non-traditional drawing techniques make it possible to avoid this, since the teacher, instead of a finished sample, demonstrates only a way to act with non-traditional materials, tools. This gives impetus to the manifestation of independence, initiative, expression of individuality. Applying and combining different ways images in one drawing, preschoolers learn to think, decide for themselves which technique to use in order to make this or that image expressive. Working with non-traditional image techniques stimulates positive motivation in a child, causes a joyful mood, and relieves fear of the drawing process.

An unusual beginning of work, the use of game techniques - all this helps to prevent monotony and boredom in children's visual activity, ensures the liveliness and immediacy of children's perception and activity.

Tasks in working with children:

• Develop children's technical drawing skills.
• Introduce children to different non-traditional techniques drawing.
• Learn to create your own unique image using various drawing techniques.

There are a lot of methods and techniques of non-traditional drawing, I want to introduce you to some of them. Such methods and techniques will help to organize interesting creative process in art classes.

1.Drawing with a palm

Method of obtaining an image: the child dips his hand (the whole brush) into gouache or paints it with a brush and makes an imprint on paper. They draw with both right and left hands, painted in different colors.

2. Finger drawing.

The child dips his finger into the gouache and puts dots, spots on the paper. Each finger is filled with a different color of paint.

3. Foam impression

4. Drawing with crumpled paper
In this way, for example, you can draw silhouettes of animals, grass, sky, snow, tree trunks. To do this, crumple a thin sheet of paper, dip it in paint and, carefully, priming it on a landscape sheet.

5. Drawing with leaf prints

The child covers a piece of wood with paints of different colors, then applies it to the paper with the painted side to make a print. Each time a new leaf is taken. Leaf petioles can be painted with a brush

6. Monotype.

The child folds a sheet of paper in half and draws half of the depicted object on one half of it (objects are chosen symmetrical). After drawing each part of the subject, until the paint has dried, the sheet is again folded in half to obtain a print. The image can then be decorated by also folding the sheet after drawing a few decorations.

7. Drawing by poking.

For this method, it is enough to take any suitable object, for example cotton swab. We lower the cotton swab into the paint and with a precise movement from top to bottom we poke along the landscape sheet. The wand will leave a clear imprint. The shape of the print will depend on what shape the object for the poke was chosen.

8. Blotography.

The basis of this drawing technique is the usual blot. During the drawing process, spontaneous images are obtained first. Then the child draws the details to give completeness and resemblance to real way. It turns out that a blot can also be a way of drawing, for which no one will scold, but, on the contrary, will also be praised.

9. Spray.

The child picks up paint on a toothbrush and hits it against the cardboard, which he holds above the paper. The paint splatters on the paper.

Conducting classes using non-traditional techniques

• Helps relieve children's fears
• Develops self-confidence
• Develops spatial thinking;
• Teaches children to freely express their intention;
• Encourages children to creative searches and solutions;
• Teaches children to work with a variety of materials;
• Develops a sense of composition, rhythm, color, color perception; sense of texture and volume;
• Develops fine motor skills of hands;
• Develops creativity, imagination and flight of fancy.
• While working, children get aesthetic pleasure

Drawing in kindergarten is an artistic and creative activity, just like the activity of an artist, it includes a certain technique. It is necessary for a child to master this technique so that he can freely dispose of it when solving various problems. visual tasks, most fully express in the drawing their impressions of the events and phenomena taking place in life. . Thanks to the perception of artistic images in the visual arts, the child has the opportunity to more fully and vividly perceive the surrounding reality, and this contributes to the creation of emotionally colored images by children in the visual arts.

The textbook was created in accordance with the Federal State Educational Standard for secondary vocational education for the specialty 050144 Preschool education and can be used when mastering the professional module PM.02 "Organization of various hells of children's activities and communication" (MDK.02.03).
The manual discusses various types of art (painting, graphics, sculpture, architecture, design, folk arts and crafts), methods for developing the fine arts of preschool children.
For students of institutions of secondary vocational education, it may be useful for teachers of preschool institutions.

The concept of painting. Types of painting.
Painting (from “lively” and “to write”) is one of the most important types of fine arts, the works of which reflect on the plane all the diversity of the surrounding world through various colored coloring materials. There are many definitions of this concept that characterize painting in terms of its pictorial possibilities. At the same time, another aspect is often overlooked - the individual-personal, mental and spiritual attitude of the artist to the work being created.

The world of painting is rich and complex, and it is impossible to evaluate it only from the position of laws, patterns and rules developed by mankind in the course of historical development. In painting, there is a variety of styles and trends that deobjectify reality, showing its spiritual essence. Each artist sees it in his own way, and each spectator interprets it taking into account his worldview, worldview.

Objectively evaluating this or that work of art, it is important to take into account the characteristic features of the era in which this work was created, the degree of development of science and technology of that time, the worldview of the artist, his stylistic preferences, the level of technical skill of the author.

TABLE OF CONTENTS.
SECTION I. THEORY AND METHODS OF INTRODUCING PRESCHOOL CHILDREN WITH VARIOUS KINDS OF ART.
Chapter 1. Theory and methods of familiarizing preschoolers with works of fine art.
§ 1. Painting as an art form.
§ 2. Graphics as an art form.
§ 3. Sculpture as an art form.
§ 4. Perception of works of art by children of preschool age.
§ 5. Methods of familiarizing preschool children with painting and graphics.
§ 6. Methods of familiarizing preschool children with sculpture.
Chapter 2. Theory and methods of familiarizing preschoolers with works of monumental and decorative art.
§ 7. Architecture as an art form.
§ 8. Design as an art form.
§ 9. Folk arts and crafts.
§ 10. Methods of acquaintance with works of architecture.
§ 11. Methodology for familiarization with the design.
§ 12. Methods of acquaintance with the works of folk arts and crafts.
SECTION II. THEORY AND METHODS OF DEVELOPMENT OF ART OF PRESCHOOL CHILDREN.
Chapter 3. The theory of development of children's fine arts.
§ 13. The role of children's fine art in the development of the child as a person.
§ 14. Views of researchers on the problem of children's fine arts.
§ 15. The essence and structure of children's fine art.
§ 16. Pedagogical conditions for the development of children's fine arts.
§ 17. Stages of development of children's fine art in drawing.
§ 18. Stages of development of visual creativity of preschoolers in the game with building materials and designers.
§ 19. Stages of development of children's plastic creativity.
Chapter 4. Theory and methods of mastering the basics of visual literacy by preschoolers
§ 20. Features of mastering the basics of visual literacy by preschoolers.
§ 21. Color as means of expression art.
§ 22. Features of the perception and use of color by children of preschool age.
§ 23. Drawing as an expressive means of art.
§ 24. Features of mastering drawing by children of preschool age.
§ 25. Composition as an expressive means of art.
§ 26. Features of mastering compositional laws by preschoolers.
Chapter 5. Methodology for the development of children's fine arts.
§ 27. Methodology for the development of children's fine art in drawing.
§ 28. Methodology for the development of children's constructive creativity.
§ 29. Methodology for the development of children's plastic creativity.
§ 30. Children's decorative art.
Conclusion.
Applications.
Attachment 1.
Recommended works of architecture.
Recommended works of sculpture.
Recommended works of painting.
Appendix 2
Scheme for analyzing a lesson on the development of children's fine arts.

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