Winter landscape using monotype technique. Monotype
UDC 37.025
FORMATION OF CREATIVITY IN PRESCHOOL CHILDREN (4-7 YEARS OLD)
, graduate student,
FGOUVPO "Russian State University tourism and service",
Moscow
The article reveals the relevance of developing creativity in children preschool age, the significance of creation certain conditions, contributing to the disclosure and implementation creative potential child. When considering some theoretical aspects problems, the tasks that need to be solved in the process of forming creativity are formulated, and ways to solve these problems are outlined.
Keywords: creativity, imagination, creative activity, developmental environment, combinatorial skills.
Socio-economic transformations in society dictate the need to form a creatively active personality with the ability to effectively and innovatively solve new life problems. In modern pedagogy and psychology, the principle of humanization in the education, upbringing and development of each child is increasingly being declared, with priority being given to the development of the child’s personality, talents, creativity and abilities. The Convention on the Rights of the Child formulates the importance of realizing the individuality of the developing personality. It is possible to ensure that a child’s individual characteristics are taken into account in the process of learning and upbringing through a differentiated approach and the use of developmental programs addressed to different groups of children. Originating in Lately The contradiction between society’s social order for a creative personality and the insufficient development of practical applications for the development of giftedness stimulates the growth of interest in the problem of creativity in childhood.
Considering creativity as the ability to create, the ability to think outside the box, informally and act accordingly, one should pay attention to the problem of developing imagination. This mental process is an integral component of any creative activity of a person, his behavior in general and his mental development.
As studies by D., B. Elkonina and others have shown, imagination is not only a prerequisite for the effective assimilation of new knowledge, but also a condition for the creative transformation of children’s existing knowledge and contributes to the self-development of the individual.
Research aimed at studying the conditions conducive to the disclosure and realization of a child’s creative potential, starting from the very beginning, is becoming relevant. early age. Preschool age represents greatest interest in research on the development of creativity (A. M. Matyushkin).
Most currently existing programs and models of child learning and development are focused primarily on cognitive and intellectual development. And the prevailing previous years The practice of public education of preschool children did not at all provide for the possibility of developing the child’s creative abilities as a special task. It is possible to solve this problem by considering creativity as a significant factor in a child’s personal development. A number of studies by domestic psychologists, revealing significant patterns of mental and personal development, allow us to outline ways to solve this problem. Thus, it is necessary to indicate works, works, and others that develop the activity approach, works, etc., in which the mechanisms of developmental educational activities are revealed in detail; research on giftedness in the works of A. M. Matyushkin, B. S. Yurkevich.
All this determines the relevance of studying the conditions and ways of developing creativity in preschool children.
Enriching sensory experience and expanding the child’s memory capacity is necessary to create a sufficiently strong foundation for his creative activity. The more a child has heard, seen, experienced, the more he knows and has learned, the more elements of reality he has in his experience, the more significant and productive, other things being equal, will be the activity of his imagination and the manifestation of creativity in various types of activities, for example, game or solving a didactic problem.
However, for the development of creativity, it is not the environment itself that is important, but how it is perceived by the child, how it is presented to him. The subject environment should be considered not only from the perspective of diversity, but also the special provision of space that gives children the opportunity to imagine, invent, and create. The latter plays a decisive role in the formation creative thinking and can be achieved by introducing into the environment items that are little known and non-specific, which can be used in different ways depending on the circumstances. Non-specific objects can easily be included in children’s play when they need to guess, imagine, or complement something.
Speech is essential in the development of creativity. Speech frees the child from the power of immediate impressions and allows him to go beyond their limits. The child can express in words what does not coincide with the exact combinations of real objects or corresponding ideas. This gives him the opportunity to freely address the sphere of objective relations and give them a personal meaning and a generalized character.
Thanks to the development of speech, and in connection with this the development of conceptual thinking, the imagination of children undergoes a significant change; it is freed from purely concrete, figurative components and acquires a number of elements of abstract thinking.
Children’s verbal communication skills with each other are formed in play, which at this stage is the leading activity. Play is a form of a child’s creative reflection of reality, because in it, according to (1971), “reality and fiction are intertwined in amazing combinations, the desire for an accurate reproduction of reality with the most free violations of this reality.” A role-playing game, which involves the child taking on a certain role, modeling his behavior with it in various possible situations, and using substitute objects that are adequate to the accepted role, acts as a necessary condition for the formation of creativity in a preschooler.
Analysis of domestic and foreign psychological and pedagogical literature allowed us to identify the following main criteria of creativity:
· originality, which manifests itself in the ability to propose a new idea for the game;
· flexibility - the ability to propose a new use for a known object;
· speed – the ability to quickly adapt in a difficult situation;
The desire for independent creativity, according to general psychology, appears in children aged 5-6 years. At this age, having already mastered the basic patterns of behavior and activity, the child can operate with them relatively freely, deviating from the learned standards, combining them when constructing products of the imagination. However, in general, despite their clarity, preschoolers’ imaginations are still not sufficiently manageable and controlled.
The task of educational psychologists is to help the child develop this mental process (imagination), give impetus to the development of creative potential and, as a consequence, the ability to make creative decisions in any situation. life situations. The development of imagination is not the reason, but the result of mastering playful, constructive, visual and other types of activities.
From the point of view of domestic psychologists, all mental functions arise and develop in the process of basic types of activity - play, work, learning and communication, i.e. activity is the main way of existence of the psyche (,). That's why a necessary condition formation and improvement of any mental process is the inclusion of the subject in active forms of activity and, above all, substantive and practical.
Drawing, designing, modeling, modeling, as well as such types of children's activities as games and dramatization can be successfully used in developing creativity in preschoolers.
Thus, when developing creative thinking, it is necessary to solve the following particular problems:
1. Enrich the emotional and sensory experience of children, increasing the volume of their ideas about the surrounding reality, expanding their horizons.
2. Develop children’s speech, figurative expressions, and enrich their vocabulary.
3. Develop in children the ability to reconstruct and combine elements of experience (i.e., combinatorial skills). Special attention One should pay attention to the formation in children of such an operation as reconstruction based on “inclusion”, which allows one and the same element to be used variably to create different images.
4. Arrange in a certain way development environment. Create conditions for the formation of combinatorial mechanisms of imagination: problem situations, productions logical problems having ambiguous solutions.
Solving the assigned tasks in the process of developing creativity in preschoolers, we used various techniques, tested various programs.
In our preschool educational institution educational institution) an emotionally rich atmosphere is created in the learning process, teachers fill the content of classes and other forms of teaching with fairy-tale and game plots and characters, their own improvisations, frontal forms are combined with subgroup and individual forms working with children. This allows us to solve the problems of developing children's creativity.
In recent years, we have tested several programs for the education and training of preschoolers of the new generation, among which we should highlight programs that most holistically and fully express the ideas of developing the creativity of preschool children. These include, in our opinion, such programs as “Development” (ed.), “Rainbow” (ed.), “Childhood” (ed.), “Golden Key” (ed.), “Record – Start” (developed by the team of the Institute of Preschool Education and family education RAO under guidance), etc. They differ in the nature of the content presented in them; what these programs have in common is that achieving the educational goals stated in them is possible only if the teacher of a preschool educational institution is capable of person-oriented interaction with the child in process of training and education.
You can clearly trace the step-by-step development of a child’s creative imagination and, as a result, the formation of creative thinking by considering a set of tasks for planar design.
Students perform tasks that can only be solved by the action of “switching on” (the test figure is not the basis of the composition, but "turns on" as a minor secondary task).
Children must build a certain figure from the construction kit parts according to the drawing, and then another figure from the remaining parts. The tasks are composed in such a way that when constructing the second object, the child does not have enough parts, therefore, he must take (isolate) them from the originally constructed structure and reuse them in his work. Thus, the same part is used twice to create different figures (Fig. 1).
As students master the ability to independently identify details in objects and freely operate with them, including them in other designs, they can move on to another type
Rice. 1.Example of a design task tasks.
Construction based on the type of didactic games “Pythagoras”, “Columbus Egg”, “Magic Mosaic”, etc.
It also provides for constructive activities using a specific set of parts for each task.
The following sets of parts can be used as structural materials:
1) two sets of cardboard parts obtained by cutting squares;
2) a set of cardboard semicircles of various sizes;
3) a set of parts, including elements of the two previous sets.
Children are asked to put together certain figures from individual elements according to verbal instructions, i.e. there is no model. The child must imagine a future object, subject it to analysis, comparing it with a set of existing parts, and determine which part can act as a substitute for individual parts of the created object. Only after this can he begin to synthesize the elements into a holistic objective image. Such tasks not only develop in children the ability to freely operate with spatial images, but also contribute to imaginative anticipation (foresight) of intermediate and final results of action, which is of great importance for the development of imagination. For each specific task, a certain combination of elements of the first and second sets is provided.
All objects proposed for recreation should be well known to children. They put together images of 15 objects, starting with simple ones (mushroom, boat, house) and ending with more complex ones (insects, animals, people, etc.).
All options are consolidated in constructive activity, that is, children gradually develop the ability, which is very important for the development of creative imagination, to include an object in various contexts, to build detailed compositions in accordance with an imaginary plot based on the use of individual elements (“plot construction”). And if at first plot compositions are created by children with the help of leading questions, then in the future the need for such questions does not arise. Having understood this method of construction, children begin to independently carry out the proposed tasks, which results in many interesting original images.
After children gain experience in organizing constructive and visual arts, in the work of children one can notice the emergence of ease of manipulation of constructive material, the development plot compositions, image of objects in dynamics. In addition, search activity increases. Having constructed one object, children try to find various options its execution: they change the spatial arrangement of parts, replace some elements with others that differ in shape and size, i.e. they try to choose a solution that is more consistent with their ideas about the structure of the object, its characteristic features and functional purpose. In fact, in such repeated changes in the elements of a structure, the combining activity of the imagination is manifested.
Children’s success in completing constructive tasks at the objective-action level allows them to move on to more complex tasks, for example, tasks at the figurative level. Children are offered tasks based on D. Guilford's creativity tests (modified by V. M. Sorokin), which model the activity of the imagination mainly at the figurative level. The essence of the tasks is as follows.
Graphic images of four geometric shapes (circle, square, triangle, trapezoid) are given. Using them repeatedly, changing the size and spatial position, you need to compose and draw 10 objects from them (ship, rocket, plane, etc.). Learning to solve problems of this kind helps children develop the ability to carry out all operations to restructure elements internally, and not at the level of objective manipulations.
When performing tasks of this type, children also have to carry out complex analytical and synthetic activities:
Rice. 2. Examples of task completion
initial analysis of the object to be recreated; correlation of its structural elements with a set of given figures; identifying possible options for using them as parts of a future object and, finally, synthesizing them into a holistic image. At the same time, work continues on the formation of combinatorial mechanisms of imagination in children, the operation of inclusion, which is carried out here at the level of the internal image, because external supports are reduced to a minimum (graphic images). Operating with images in the internal plane allows you to create various combinations of them, find many solutions, which is expressed in the creation by students of several images of each of the proposed objects (Fig. 2). Moreover, geometric figures each time appear in a new functional meaning, replacing different parts of the same object.
In the process of solving such tasks, children demonstrate established skills in plot construction, and in any subject environment, that is, there is a transfer of skills developed in previous classes to new conditions. This is an important indicator of the development of children's operational components of imagination, increasing its plasticity, flexibility, and development of creativity.
In subsequent lessons, children are asked to create any objects they wish from given geometric shapes. They draw not only objects that are well known to them from previous classes, but also completely new objects, both real and fantastic. Thus, in the process of special education, all students develop general principles for solving creative constructive problems and develop creative thinking skills.
Literature
1. Petrovsky and reality. M., 1968.
2. , Dyachenko and exercises for the development of mental abilities in preschool children. M., 1989.
3. Vygotsky and creativity in childhood. M., 1954.
4. Vygotsky’s age periodization of child development // Questions of psychology. 1972. No. 2.
5. Davydov of developmental education. M., 1986.
6. On the main directions of development of imagination in children // Questions of psychology. 1988. No. 6.
7. Can Kirillov be made from a square? // Questions of psychology. 1981. No. 6.
8., On some features of the development of imagination in preschool children // Questions of psychology. 1987. No. 1.
9. Kirillov’s forms of creative imagination in children // Preschool education. 1971. No. 2.
10. Leites manifestations of giftedness // Questions of psychology. 1988. No. 4
11. Manuylenko, imagination in preschool children in play // Preschool education. 1953. No. 7.
12. , Soshina creative imagination of primary schoolchildren in conditions of normal and impaired hearing. M., 1999.
13. Elkonin games. M., 1978.
We often hear that the key competency that adults and children should develop is creativity and creative approach. Why is it so important today (and will be even more important tomorrow), why look for several answers to one question and how to learn all this - read in our article.
What is the use of creativity?
Creative child? What for? - someone will say. Let him be educated, well-mannered, in touch with himself - isn’t this enough for a happy and successful life? But futurists and educators are increasingly saying that creativity will be a valuable tool in society when our children grow up. After all, the world is changing: future generations will have to seriously face the problems of hunger, overpopulation and migration, ecology, depletion of oil reserves and the transition to other energy sources - and the world will inevitably change, in most areas. This means that the value of such people who know how to find successful and atypical solutions to complex problems - large and small, bypassing stereotypes and ossified logic - will increase cosmically. That is, creative people will be needed. And if we usually attribute creativity to the sphere of art and inspiration, then creativity is more like a craft; it helps to solve everyday problems.
creative person can save or earn huge amounts of money: for example, Peter Ueberrouth, during the preparation of the Olympic Games in Los Angeles in 1984, proposed a number of new ideas, and the city earned $ 250 million from the games, although organizers usually spend millions of dollars on the Olympics. A creative person can make life easier for hundreds and thousands of people: let’s say, David Kelly and his company IDEO once invented a computer mouse commissioned by Steve Jobs, and now they create humane control systems for hospitals, hotels and large companies. Creatives touch our hearts, lift our spirits and make us look at the world differently - at least when they create commercials and slogans. And in general, people with a pumped-up creative streak not only receive a decent income, but also live more fun than others, because they know how to escape from inconvenient schemes and pressured situations. IN Hard time they will not get stuck in the position of a victim, but will find the strength and means for good and correct actions.
Another argument in favor of developing creativity: today the very approach to education is changing. Thanks to gadgets and information networks, we have quick access to almost any data. This means that it is important not just to learn a topic, but to learn how to quickly and flexibly work with information, to develop those qualities that technology cannot take away from us: leadership, empathy and, of course, creativity.
Simple remedies for every day
“Okay, you convinced me! - a caring parent will say. “Let my son or daughter grow up creative and conquer everyone, what is needed for this?” There are general recommendations in this regard that help create an atmosphere, nutritious soil for children creativity so that it heads and grows stronger year after year. And there are specific methods that help raise creativity to the level of skill: after all, we teach children to eat with a spoon and fork, we teach them to write in calligraphic handwriting, to speak polite words on autopilot - and in the same way you can teach a child to turn on creativity. But let's start with simple things.
* Let your children's imagination run wild. Children are able to see Living being in a stick or a bag of cereal, they “entertain” adults with crazy ideas for global projects - how to build a pipeline from cocktail straws between two apartments in order to transfer juice to each other in the morning, they are able to create something out of nothing. Do not criticize children for their “unrealistic” fantasies; on the contrary, support them.
* Let the child draw. Make sure that your son or daughter always has enough paper and convenient colored pencils or markers for drawing, so that they can always draw their fantasies and ideas (and, ideally, hang them on the wall). Capturing creative ideas in images is an important habit; it organizes consciousness and strengthens the connection with reality.
* Give your child space to implement their projects. Let him have the right to build castles out of pillows, stick road markings on the floor with tape, and build them on bedside tables and shelves. paper cities for toys and stretch a “monorail” made of sewing thread between the closet and the bed. At least within the confines of her room or play corner - let the child make her wishes come true.
* Instead of “right” - say “great”, “interesting”,“curious”, “excellent”. Instead of “wrong” - “why?”, “maybe”, “let’s look at it this way”... Teach your child to defend his position, argue, and lead a discussion.
* Show your child that learning is fun and interesting. Good picture books can help with this - with poems and fairy tales, about science and history. Movies, cartoons and science shows that are currently available. Your joint trips, walks and conversations. Let the child learn even before school, with its organizing and disciplinary approach, that acquiring knowledge and getting to know the world can be an exciting adventure.
* Introduce your child to different foreign languages and cultures. Show him a cartoon in German, play a video where kids his age speak English or Japanese. If you eat rolls together in a “Japanese” restaurant or pasta in an “Italian” cafe, draw your child’s attention to this, tell him a little about the traditions of these countries so that he can see the world as a weave of multi-colored threads, and not a strange vinaigrette.
* Provide children with cultural background. Play good music and talk about composers, show reproductions of paintings, photographs architectural masterpieces, go with your child to theaters and museums. One thing is important: that the child is interested, so try to captivate and hook him, and if something bores the child, leave it. Many adults remember with longing how in childhood they were “stuffed” with the Philharmonic and galleries, and this did not serve them well.
* Encourage humor. Jokes, irony, humor are special processes, very close creative approach. They also allow us to move away from stereotypes and serious, frowning patterns, give a new perspective on the world, revive emotions and nourish spontaneity. Therefore, make jokes yourself, encourage your child to do so, read funny and paradoxical poems and fairy tales - Yunna Moritz, “Mother Goose”, Zakhoder, Kharms.
Methods for developing creativity
And now - about special means for the development of creativity. Many techniques have already appeared in the world that help adults and children tune in to the creative wave and find creative solutions to a variety of problems. Today, these techniques are actively used in business, politics, advertising, management and, of course, education. Let's talk about three popular systems that you can easily familiarize yourself with from books and introduce them into your communication with your child, and use some tools in family life.
Design Thinking
The term “design thinking” was born in Silicon Valley in the 60s of the last century, then honed at Stanford University and then came to the masses. Design thinking looks at the world as a complex mechanism, the work of which can always be improved, given a more convenient design, and convenience for humans is key moment. In design thinking, when solving any problem, we first look at the people for whom we are looking for a solution, try to understand their values and needs, observe them “with open eyes”, without preconceived schemes. So empathy is one of the pillars of design thinking. Another pillar is collective creativity: a group of people is smarter than each individual participant, so it is important to pick up and develop each other’s ideas and collaborate. So design thinking is always about teams. And these teams always think visually, putting their ideas down with pencil on paper, creating model solutions out of Lego to test how it will work.
So design thinking techniques can be very attractive for a child and the whole family, as if they are inviting them to participate in creative play. And the goal of the game is to improve something in the life of the family or come up with something new interesting solution tasks. What to give your grandmother for her anniversary, how to relieve your mother of housework, how to help your brother do his homework and not forget about sections and clubs? Such creative work is a very inspiring experience; it gives a lot of pleasure from joint searches and takes away the fear of coming up with something new.
For example: Mom gets tired of working in the kitchen, she lacks the gratitude of her household and time for various nice things, she dramatically announces to the family that she can’t do this anymore. The family looks at the mother with curiosity and tries to solve the problem in a designer way. The first stage is empathy, we try to understand the mother, what does she want? - tasty and healthy food for everyone, a clean and cozy kitchen, she is not ready to give up on unwashed dishes and flatly refuses to feed her family with semi-finished products. The second stage is to focus on the problem: how can we help mom, and start generating ideas. We listen and write down everything, especially the children’s suggestions: buy a dishwasher (yes!), hire a housekeeper (no!), cook only porridge and pasta (dad does not agree), everyone cooks for themselves (mom rolls her eyes), prepare food for the week ahead , growing food in pots, and what can each family member do in the kitchen? my daughter wants to decorate dishes with chocolate - the flow of ideas is becoming more and more fun and fantastic. When the flow dries up, we select from the list those ideas that everyone liked and can be implemented, draw a diagram: for breakfast, mom prepares porridge (omelet, croutons), dad lays out plates, spoons and pours tea, daughter washes fruit and decorates plates with chocolate. Children can make the scheme using Lego. The next morning we test the solution.
"Think like a designer." Zhanna Liedtka and Tim Ogilvy. http://www.mann-ivanov-ferber.ru/books/dizain_myshlenie_dlya_menegerov/
Theory of solving inventive problems
This theory began to be developed in the 40s of the last century by Heinrich Altshuller, a Soviet inventor and science fiction writer. He examined more than 40 thousand patents and identified 40 standard methods that inventors use. After this, Altshuller created an algorithm for solving inventive problems and formulated the main laws of development of technical systems. Today the method has become widespread in many countries of the world, the technique is adapted for the education of children of all ages, it is used in higher education, in business consulting and solving problems in the economic and social sphere. Theoretical TRIZ is quite heavy and difficult to understand; it contains a lot of technical terms and diagrams. But if you use practical aids For children, classes become fun and interesting. And although truly effective classes can only be taught by a trained TRIZ teacher, tasks from TRIZ collections can still greatly advance the creativity of both the child and the parent.
The TRIZ methodology says that there is no need to give children ready-made explanatory schemes, but rather to encourage the child to independently look for connections and patterns of phenomena. A child should not rely on stereotypes; in TRIZ he is taught to look at events, analyze them and establish a system of guidelines for finding solutions himself. First, the child learns to find and distinguish the contradictions that surround him everywhere: what is common between a flower and a tree, between a picture and a door? Then the child is encouraged to fantasize, to invent: to come up with a new comfortable chair, to find a way to survive on a desert island where there are only boxes of candy. Then comes the solution of fairytale problems and inventing different fairy tales using TRIZ techniques. As a result, the child learns to find a way out of any situation, uses non-standard, original solutions problems.
For example: We give the child a research task from the TRIZ collection. When the mother bear goes hunting, she leaves the cubs alone, but when she returns, the cubs behave very strangely - as soon as they see their mother, they climb onto thin trees, and only when she comes very close do they go down to her. Why do they behave this way? - We give the child the opportunity to express ideas and gradually guide him. Do the cubs want to see their mother better from above? Do they want to surprise her? Maybe they are afraid? Do you not immediately recognize your mother from afar? Why then on thin trees? A thin tree will support a small bear cub, but a large bear will not be able to climb it and will remain below. Perhaps the cubs hide like this just in case? After all, suddenly it’s not mom, but someone else’s angry bear - so we found the correct answer. At the same time, it is not so much the answer that is important as the child’s research path to it; this is what teaches him to look for connections, try different approaches, and choose the best solution.
Books.“Denis is an inventor. A book for developing the inventive abilities of children of primary and secondary school." Gennady Ivanov. http://www.ozon.ru/context/detail/id/19962312/
"TRIZ classes in kindergarten." Svetlana Gin. http://rutracker.org/forum/viewtopic.php?t=3364912
“150 creative tasks about what surrounds us.” Alexander Gin, Irina Andrzheevskaya. http://www.labirint.ru/books/228479/
Lateral thinking
The term “lateral thinking” was proposed in the late 60s by Edward de Bono, today he is one of the world’s most authoritative experts in the field of creativity, a “management guru.” The term was so successful that it was included in the Oxford English Dictionary. “Lateral” means “lateral”, it is opposed to the usual “vertical” logical thinking and seeks to solve difficult problems using unusual “lateral” methods or elements that are usually ignored by logical thinking. We all remember the funny puzzles that children use to entertain each other: “Why is the tram moving?” - “Because he has a plan?” - "No! On the rails! I asked “where does the tram go?” And this is a kind of lateral thinking, when consciousness is slightly restructured and learns to see non-standard patterns in familiar reality.
Lateral thinking has the same basis as insight or humor, but it can be learned as a skill and used intentionally. Already familiar to us, Peter Ueberrouth, who helped Los Angeles earn money at the Olympics, admitted that he used lateral thinking methods when developing his concepts. It is believed that lateral thinking involves restructuring the patterns in which our experience and memory are organized, helping to change stereotypes, move away from constraining patterns and create new ones. And to do this, you need to abandon logical solutions lying on the surface, trust insights, doubt assumptions, grasp new ideas, find new entry points into the problem.
For example: One of the ways to enable lateral thinking is to draw up the so-called “PLUMIN” - a map of your attitude to the situation, in which the PROS, CONS and simply INTERESTING points will be noted. Only after this there is no need to compare whether there are more pros or cons, there is no need to analyze them logically. The point is that already during this simple work we turn on unused reserves and assess the situation broadly. During the preparation of “PLUMIN”, children and adults often change their attitude towards the situation, find unexpected decision, and the brain learns special concentration and extra-logical search for solutions. Let's say a boy doesn't know whether he should continue going to yoga, something pushes him away and confuses him. He sits down at the table, divides the sheet into three zones and fills them out: pros - classes are held close to home, they are led by an interesting trainer, he likes the sensations of some asanas, it is good for health; cons - you need to get up early on Sunday and go to class, some children in the gym behave stupidly, the coach jokes about the state of mind and karma; It’s interesting to get to know new people, to feel your body... My head suddenly becomes clear: “Yes, I’ll probably continue going to yoga!” - this is how, in the process of work, new angles of the situation and new lines of development open up. If the child is not writing yet, he can quickly draw the pros and cons.
Books.“I'm right - you're wrong,” Edward de Bono. http://www.labirint.ru/books/110653/
"Six Thinking Hats" by Edward de Bono. http://www.labirint.ru/books/97575/
Creativity is an important skill for most different areas life. In work and study, it helps to see solutions to complex problems. In communicating with close and distant people, it helps to better understand them and find approaches to them. In love, creativity, in the life of the soul - it also allows you to notice and realize new perspectives and valuable opportunities. Develop Creative skills not difficult - don’t be afraid to experiment, and you will definitely discover new talents of your child and see new facets of his personality!
Svetlana Voronina
Monotype. Drawing on a theme« winter tree» .
Monotype- This graphic technique. Translated from Greek language monotype - one print.
This is a simple but amazing technique painting with paints(watercolor, gouache, etc.). It consists in the fact that a design is applied on one side of the surface and imprinted on the other. Monotype Children really like it. It helps them develop fantasy, imagination, and spatial thinking. This is a fun and interesting activity.
I offer a photo report on drawing.
Subject: « winter tree» .
Target: introduce children to unconventional techniques drawing - monotype. Continue to teach children to work with gouache, develop creative imagination, thinking, fantasy. Cultivate an interest in creativity.
The children independently chose the background for their work; for some it was night, for others it was evening, for others it was day. To begin, the children folded the sheet in half vertically and only half of the tree was painted. The drawing was made at the fold line. After which the sheet was closed and ironed with the palm. Having opened it, the children were delighted with what they had achieved. Admire our works. Be happy for us. We succeeded.
"Hello, forest, wonderful forest, full of fairy tales and miracles!"
Publications on the topic:
Nothing brings children such joy as creating a miracle with their own hands. I was convinced of this by introducing the children to drawing techniques.
Goals: introduce children to new things (for them) natural phenomenon- snow. Tasks: fix the season (winter); introduce the poem.
Summary of GCD for drawing in non-traditional techniques in the senior group “Winter Tree” Tasks; Educational area (artistic and aesthetic development): - teach children to create independently in a certain sequence.
Summary of an open lesson in preparatory group on the topic “Sleeping winter forest”. Drawing using landscape monotype.
Summary of an open lesson in senior group on the topic “Winter tree”. (non-traditional drawing technique). Tasks: Continue introducing children.
Summary of a lesson on artistic and aesthetic development in the middle group “Winter Tree” Goal: to consolidate children’s ideas about winter and trees in winter. Objectives: Educational: teach children to use non-traditional appliqué techniques;
We will make the winter tree using the mosaic applique technique. To complete the work we will need: - blue cardboard (background) - a barrel made of...
Lesson objectives:
- create a landscape using the monotype technique;
- create conditions for the development of a full perception of the surrounding world through the connection of all sensory channels, for the formation of research actions, the development of an emotional and aesthetic attitude towards the subject or phenomenon under study.
1) develop skills in working in the “monotype” technique;
2) teach techniques of the “monotype” technique, depicting nature;
3) develop children’s creative activity and creative abilities by creating quick and effective work;
4) cultivate interest and love for art.
Lesson type: combined.
Type of lesson: drawing from an idea.
Method: explanatory and illustrative.
Techniques: pedagogical demonstration, comparison.
Equipment: computer, projector.
Materials: A3 paper, oil paints, low-smelling solvent, plexiglass, brushes, napkins, roller.
During the classes
I. Organizational moment
II. Introductory conversation
The topic of our lesson: “Landscape using monotype technique.”
What is monotype?
Monotype is a unique non-circulation technique that combines the qualities of printmaking and painting. Monotype: two words: “mono” and “type”. Monotype (from “mono” - one and the Greek “typos” - imprint, imprint, touch, image...) is a type of printed graphics.
Works made using the monotype technique are characterized by subtlety of color relationships, smoothness and softness of the outlines of forms, which outwardly brings monotype closer to watercolor.
The monotype technique has been known since the 17th century, but it became widespread only from the end of the 19th century. Among the most famous masters: Italian Giovanni Castiglione (1616-1670), Englishman William Blake (1757-1828), Frenchman Edgar Degas (1834-1917), who combined monotype with tempera (“Concert at the Ambassador Café”). Slide 3
The appearance of monotype in Russia is associated with the name of Elizaveta Sergeevna Kruglikova, who re-discovered this technique at the beginning of the 20th century and created her own school. At the beginning of the twentieth century, the Russian artist Elizaveta Kruglikova, who was working on color etching, independently “discovered” monotype. Lyrical, contemplative, calm landscapes, bouquets of roses, daisies, and daisies are immediately remembered when the artist’s name is mentioned. Slide 4
The main difference between monotype is the uniqueness of the work, and a large element of chance in the final result. Using monotype it is easier to create an abstract image than a figurative one. However, even in the creation of visual images, monotype has great potential for entertainment and surprise.
The main difficulty when performing fine art with flowing paints is to anticipate and control the behavior of the paint after separation of the matrix and paper.
The element of unpredictability, uniqueness, ease of implementation, and wealth of possibilities well characterize monotype as a graphic technique.
Monotype as a graphic technique
The method of performing monotype can be described simply - any coloring substance is applied to any smooth or textured hard surface, then printing is done by pressing the target surface of the print onto the matrix.
With this type of graphics, one print (mono) is obtained on paper from glass (copper sheet, etc.) on which paints are applied. Place a sheet of paper on top and press it to the surface. An impression is formed on the paper with unusual patterns that cannot be repeated by the artist. The image on the print is random (stokha) in nature. After printing, the artist selects those prints that satisfy him in terms of aesthetic appeal and subject matter. Of the many prints, only a few are selected.
Let's move on to a more detailed consideration of the material part of this technology.
Let's start with colors. This technique is omnivorous in relation to paints! “Watercolor, gouache, tempera, acrylic, oil paints, etching, typographic, for complete tearing you can also use construction types of paints. Paints are used both with thinners and pure form- depending on the tasks. The choice of surfaces from which impressions can be made is also wide and varied: paper, different kinds cardboard, plastic of different thicknesses, plates of different metals: zinc-copper-steel-brass. And also glass, hardboard and plywood! Canvas and wood, stone! The main thing is that the surface texture corresponds to the artist’s tasks and goals.”
Regarding the types of paints, it should be noted that depending on the purpose, the artist must vary the thickness and fluidity of the paint according to the goals of his work. With high fluidity, the paint forms characteristic fractal formations, and with high density or, conversely, with strong dilution and a thin layer of application, textures similar to dotted or formed small spots. These textures are uniform when the paint is thinned and repeat the movements and texture of the brush (like a semi-dry ink brush) when the paint is thick. However, a final generalization cannot be made here - it all depends on the type of paint material chosen by the author. For example, when working with oil, fractal formations will most likely be in the area of the volumetric texture of one color spot.
As for the surface, any choice will determine the type of work. The wettability of the matrix surface and its ability to absorb ink and solvent (water or other) should be taken into account as factors important to the creation of the work. In particular, for example, with watercolor monotype, if the surface absorbs the dye strongly and high transparency is required, then white spots should be expected. With monotype, for example, gouache, if the surface strongly absorbs the solvent, then we can assume that the paint density will be higher, etc.
Thus, with the help of the ink material, the surface of the matrix and the surface on which the print is made, the final result can be indirectly controlled.
Paint is also applied to the surface using various tools: the artist’s hand and fingers, brushes, palette knives, various spatulas, including curly ones. Rollers with different textures are also used. And finally, whatever comes to your creative mind.
Etching machines are used to make prints from sheets of plastic and metal sheets. To make a print from a lithographic stone, a lithographic printing press is used.
To remove paint from the printing surface, they use everything from simple fabric to all sorts of specific materials: matches, steel sponge for cleaning dishes, cotton swabs...
Methods for creating a monotype
The first method, one of the simplest, is also called - “fractal monotype”.
Take the selected hard surface, in a creative impulse apply paint with the tool you need, lay paper on top, press it on top with your hands or a rubber roller. Smoothly remove the sheet. Examine the resulting impression. As a rule, this method is quite difficult to manage. Especially if you use water-based paints: watercolor, gouache, acrylic, tempera. Then many artists, peering at the resulting print, try to see some image, landscape, composition and slightly modify the print, trying to enhance and reveal what they saw in the monotype.”
It should be noted that the creation of the image and the location of fractal patterns can be controlled. This is done by placing more fluid paint where fractal patterns should appear. The important thing is that the patterns begin to appear when the surface tension film is broken, which happens when the work is separated from the matrix. Thus, the direction of branching of fractals can be controlled using the direction of separation of the work. That is, if you tear the work from top to bottom, that is, by the top edge, then the fractals will most likely branch in the opposite direction.
Second way. Slide 6
When paint is applied to plates of metal or plastic, paper is placed on top and an impression is made using an etching or lithographic press. In this technique, as a rule, oil and etching paints are more often used. This method allows you to accurately control the creative process and accurately predict the desired creative result. Here you can create almost picturesque realistic works. To prevent ink oil from sticking to the paper, it is moistened with water before printing!
Third way. Slide 7
You paint a work of art with oil paints on canvas or cardboard. Then you apply paper, fabric or the same canvas - carefully, but maybe not very carefully. It all depends on your temperament. You press the paper, also using various pressing techniques. As experience shows, you can make up to three prints, and none of them will repeat the previous one. The result is very subtle paintings that can be finished on top of the monotype. But it will already be mixed media.
Fourth way. Slide 8
This method requires the artist to draw with firm confidence, since corrections are impossible.
Take plastic or glass. Use a roller to apply an even layer of paint to the desired area or the entire surface of the sheet, having previously removed excess oil from paint, laying it out on newspaper for a while. If you are not sure that you can immediately draw and compose the work on a sheet of paper, then, before you put it on the paint, with light movements of a simple pencil you can outline the main composition and after that, without pressing, lower the sheet onto the surface rolled with paint . And then you begin to draw what you have outlined, working with a pencil, a simple pen, or a brush handle - it all depends on the thickness of the line you want to get.
It is advisable not to rest your hands on the paper. After completing your exercises on paper, carefully remove the sheet.
Like any type of monotype, it can be modified and completed.
Fifth way. Slide 9
Pour water into the photo tray. Take printing inks, dilute them in different jars until liquid with gasoline or a special solvent. Then you take brushes and, depending on the internal painting state, splash paint onto the water, adjusting which color you need more or less of. And then the fun begins: by mixing the paints with the handle of the brush, you can see the unique pattern that you think is necessary.
You need to work quickly, but carefully: place a sheet of paper on the water (one edge, and then only, as if in an arc, the second edge). And it must be removed in the same way: first one, and then the second one in an arc. Mixing in water, the colors create amazing picturesque combinations, like in a kaleidoscope.
Sixth method - mixed technique Slide 10
When the created monotype is taken as a base and then modified with various other materials: oil pastel, dry pastel, acrylic, oil, tempera, textured pastes, and so on.
The very beauty of monotype is that there is unpredictability in it, which brings this amazing feeling of expectation of a miracle to monotype! Albeit a small one, but still a miracle that makes the artist’s heart tremble with joy. The monotype process is probably the most exciting of all the activities! Slides 11-23
III. Formulation of the practical work assignment
Exercise. Draw a landscape using the monotype technique.
Before moving on to practical work, let's remember what “landscape” is?
A genre in which the main subject of the image is nature, wild or transformed by man, is called landscape(from the French paygag - nature).
The diversity of nature has given rise to various types of landscape genres in the fine arts.
In the work of landscape artists, what is interesting is not the fact of a realistic depiction of nature, but rather the reflection of a subjective, individual view of it. Yours emotional condition people often associate with the state of nature. Landscapes are able to express people’s feelings, as in them artists creatively reproduce views of nature. It appears to them colored by emotions, for example, “joyful” or “gloomy,” although these states are not at all inherent in nature.
IV. Briefing
First stage:
For work we will need material:
- A3 paper;
- oil paints;
- roller;
- brushes;
- a cloth or napkins for wiping paint from brushes and from the surface;
- plexiglass;
- a jar of solvent;
- palette for mixing colors;
- newspaper.
Third stage:
Selecting a topic color range(depending on the emotional coloring of the landscape motif). The work is carried out in the same way as you paint from life or fantasize, come up with your own color combinations colors. Try to take the color clean, bright, saturated. The shades of color are noble and pleasant to the eye.
You can correct the pattern on the glass using a spatula or cotton swabs. Spray with solvent.
Fourth stage:
After we have completed the sketch in color, we take a sheet of paper, previously moistened with water, so that the oil does not stick to the paper, and apply it to the painted surface.
Fifth stage:
The next step is that you need to carefully press down the sheet and roll it with a roller. On top, depending on the idea, you can draw details with the handle of the brush.
Sixth stage:
Next, you carefully remove the sheet of paper from the plexiglass. Please note that the drawing must be removed by holding a corner of the sheet and slowly lifting the second corner of the sheet so that the sheet does not move when removed from the surface.
Seventh stage:
Then the resulting print can be finalized by clarifying the details of the drawing.
V. Practical work
During work, the music of Vivaldi “The Seasons” and sounds of nature are played.
