Modeling in the senior group autumn still life of vegetables. Modeling an object from salted or choux pastry “Autumn still life”

Creating psychological comfort in groups kindergarten

(seminar - workshop)

Tasks:

1. Introduce educators to the components of psychological comfort and emotional well-being of children in a group.

2. To promote the effective use of educational and educational actions aimed at personally oriented interaction with the child.

Equipment: presentation, test “Pedagogical communication styles”, diagnostic tools.

Plan of the seminar.

3. Influence of stylespedagogical communication on favorable psychological comfort in the group.

4. Diagnostic tools for educators to assess the psychological climate in a kindergarten group and the emotional well-being of the child.

7. Discussion, summing up teachers.

1. The problem of psychological health at the present stage.

(slide 1) Most often, teachers and parents, regarding their understanding of the term “health,” talk about the stability of physical well-being. But, in essence, health is a combination of several components.

(slide 2) The famous psychotherapist Elisabeth Kübler-Ross put forward the following idea: human health can be represented as a circle consisting of 4 squares: physical, emotional, intellectual and spiritual. Unfortunately, many of us begin to understand quite late the importance of not only physical, but also emotional health, both of ourselves and in relation to the child.

Why is it so important to maintain the emotional (mental, psychological) health of children?

Surely each of us can answer this question by determining(slide 3) consequences of psychological discomfort for a child: - the appearance of phobias, fears, anxiety, increased aggressiveness; - the transition of psychological experiences into somatic disorders, when a child who has received psychological trauma becomes physically ill; - manifestation of psychological trauma received in childhood, in a more mature age period in the form of psychological defense - a position of avoidance, the manifestation of aggressive behavioral reactions.

Questions about psychological comfort and mental health should be addressed primarily to teachers, since most time children are in kindergarten. But many may argue that there are objective reasons why it is possible to fully create psychological comfort in a kindergarten group: - large groups; - one teacher in the group; - unfavorable family situation. Yes, that's the reality. But who will help our children if not ourselves?

2. Creating psychological comfort in kindergarten to preserve and strengthen the psychological health and development of the child’s personality.

(slide 4) It is known that as soon as you cross the threshold of a group, you can feel the atmosphere of relaxedness or closedness, calm concentration or anxious tension, sincere fun or gloomy wariness that is present in the group.

(slide 5) The atmosphere in a kindergarten group is determined by:

1) The relationship between the teacher and children;

2) Relationships between the children themselves;

3) Relationships between educators;

4) The relationship between educators and parents.

(slide 6) A good climate in a group occurs when all its members feel free, remain themselves, but at the same time respect the right of others to be themselves. The teacher has a very significant influence on the quality of the group climate. In fact, it is the teacher (and not the children, as we usually think) who creates a certain climate in the group.

The first step that an educator interested in creating a favorable atmosphere in a group must take is to create and analyze the group situation.

3. Influence of styles pedagogical communication on favorable psychological comfort in the group. (slide 7)

Let us find out what style of pedagogical communication is suitable for our teachers, I will hand out questionnaires to you, you fill them out. At the end we will count the points and get the result.

Questionnaire “Style of pedagogical communication”

Read the question carefully. Select your most preferred answer.

1. Do you think that a child should:

• shares his thoughts and feelings with you
• only tells you what he wants
• keeps his thoughts and experiences to himself.

2. If a child took a toy or pencil from another child without asking, then you:

• talk to him confidentially and give him the opportunity to make his own decision
• Children will figure out their own problems
• notify all children about this and force them to return what they took with an apology

3. An active, fussy, sometimes undisciplined child during the lesson was focused, careful and completed the task well, as you would do:

• praise him and show all the children his work
• show interest, find out why it turned out so well today
• tell him “I would always do this.”

4. The child did not say hello upon entering the group. What you will do:

• make him say hello
• don't pay attention to him
• immediately enter into communication with him without mentioning his mistake.

5. Children study quietly. You have a free minute. What would you rather do:

• calmly, without interfering, observe how they communicate and work
• help, suggest, make a comment
• mind your own business (recording, preparing)

6. Which point of view seems correct to you:

• the child’s feelings and experiences are still superficial, passing quickly, and should not be paid attention to
• a child’s emotions and experiences are important factors, with their help you can effectively teach and educate
• a child’s feelings are amazing, his experiences are significant, they need to be treated with care, with great tact

7. Your starting position in working with children:

• the child is weak, unreasonable, inexperienced, and only an adult can and should teach and educate him
• The child has many opportunities for self-development; the adult should maximize the child’s activity
• the child develops uncontrollably, is influenced by heredity and family, so the main task is for him to be healthy, fed, and not violate discipline.

8. How do you feel about your child’s activity:

• positive - without it, full development is impossible
• negative - it often interferes with purposeful and planned training and education
• positively, but only when the activity is controlled by the teacher.

9. The child did not want to complete the task under the pretext that he had already done it at home, your actions:

• they would say “well, no need”
• would force you to do the work
• They would offer to complete the task

10. Which position do you think is correct:

• a child should be grateful to adults for taking care of him
• if a child does not realize the care of adults for him, does not appreciate him, then that is his business, he will regret it someday
• The teacher should be grateful to the children for their trust and love

Answer Number of points by number of questions

1 2 3 4 5 6 7 8 9 10

a 2 3 2 2 3 1 2 3 1 2

b 3 1 3 1 2 2 3 1 2 1

c 1 2 1 3 1 3 1 2 3 3

TOTAL: ____________
25-30 points – gravitates towards a democratic style
20-24 points – authoritarian style predominates
10-19 points – characterized by a liberal style

• Teacher – leader, organizer; children - performers (non-independent, lacking initiative)
• The principle of the teacher: “Trust, but verify” (there is a lack of respect and trust in the child’s personality);
• Expectation of unquestioning obedience, obedience;
• Does not take into account relationships between children;
• Does not admit mistakes;
• Low assessment of children's capabilities;

• Publicly points out to the child his mistakes and shortcomings in behavior.

(slide 9) Liberal (permissive) style

• The teacher is lacking initiative and is not responsible enough;
• Overestimates children's capabilities;
• Does not check whether its requirements are met;
• Indecisive;
• In the power of children;
• Takes into account relationships in the group;

• Man of moods.

(slide 10) Democratic style

• The teacher takes into account the characteristics of the children’s age, optimally divides functions between himself and the children;
• Studies and takes into account interpersonal relationships;
• Shows maximum demands, maximum respect;
• Feels a need for feedback from children;

• Able to admit mistakes;
• Prefers a fruitful conversation with the child alone.

4. Diagnostic toolsfor educators to assess the psychological climate in a kindergarten group and the emotional well-being of the child. The psychologist introduces teachers to methods for assessing the psychological climate and emotional well-being of a child in a kindergarten group. These techniques are on tables for teachers to study.

(slide 11) Look, before you lie the methods for studying the assessment of the psychological climate and emotional well-being of a child in a kindergarten group.

• Drawing “I am in my kindergarten group.”
• Color diagnostics "Houses".
• Analysis “The atmosphere in my group.”
• Sociometry.

Using these methods, you can determine whether children are comfortable in the group, how children emotionally perceive the group, what the atmosphere is in the group, and who the leaders and outsiders are in the group.Explain each method.

Thus, having become familiar with practical developments in the field of study emotional states preschoolers, we understand that creating emotional well-being and comfort affects all areas of mental development. The results obtained represent an estimate professional activity, the success of educational and educational actions.

5. The emotional well-being of the teacher as a condition for the positive emotional state of children. A set of exercises to relieve emotional stress among teachers.

Before moving on to recommendations for creating psychological comfort in kindergarten groups, I would like to highlight Special attention psychological comfort of teachers. Everyone knows that children have a developed intuitive ability to grasp the emotional state of adults. Children very easily become infected with negative emotions, so the teacher needs to arrange a psychological shower for himself, which will help him relieve unnecessary emotional stress.The psychologist conducts a set of exercises that help increase energy potential.

(slide 12) A set of exercises to relieve teachers’ emotional stress .

Exercise “Warm-up - self-assessment”

target: relieving stress and fatigue, creating an atmosphere of psychological and communicative comfort, awakening interest in work colleagues.

All teachers participate.

Tasks:

➢ if you think that your emotional state helps you communicate with others, clap your hands;

➢ if you know how to hear only good things, no matter what sounds are said around you, smile at your neighbor;

➢ if you are sure that each person has his own individual style of external manifestations of emotions, touch the tip of the nose;

➢ If in a store you reject the clothes offered without trying them on just because the salesman didn’t smile at you, shake your head;

➢ if you think that emotions are not so important when learning, close your eyes;

➢ if you can't resist arguing when people disagree with you, stomp your foot;

➢ if you believe that the dominant sign of your emotions depends only on external stimuli, wink;

➢ If you express anger by slamming your fist on the table, turn around;

➢ if you can surprise your friends with an extraordinary act, wave your hand;

➢ if you enter an unfamiliar room and get to know someone, and instantly feel hostility or affection, cover your mouth with your hand;

➢ if you think you don't always get the good things you deserve, jump;

➢ if you are sure that the negative emotions you are experiencing have only undesirable consequences for you, nod your head;

➢ If you believe that your students' emotions depend on whether you are emotional, dance.

A set of exercises that help increase energy potential.

1. Standing, squeeze your shoulder blades together, smile, wink with your right eye, then with your left, repeat: “I’m very proud of myself, I’m good for a lot.”

2. Placing his palm on his chest: “I am smarter than everyone else in the world”; stretching his arms above his head: “I’m not afraid of anyone”; tense your buttocks: “It’s a miracle how good I am”; relax your buttocks: “Now I’ll live to be a hundred.”

3. Bouncing on your right leg, then on your left leg, repeat: “I am cheerful and energetic, and things are going great.”

4. Rubbing your palm against your palm, repeat: “I attract luck, I become richer every day.”

5. Standing on tiptoes, hands clasped above your head in a ring, repeat: “I am warm a ray of sunshine, I deserve the best."

6. Putting it on your forehead left palm, then right, repeat: “I solve any problems, love and luck are always with me.”

7. Hands on hips. While bending your body forward and backward, repeat: “Any situation is under my control. The world is beautiful and I am beautiful."

8. Hands on the waist, tilting to the right - left, repeat: “I always take care of peace and a smile, and everyone will help me and I will help.”

9. Clasping his hands, taking a deep breath: “And everything works out for me.”

10. Clenching his fists, making rotations with his hands: “There is no obstacle in my way, everything will work out as it should.”

Thank you, you can sit down. We rested a bit. Now let's move on to the recommendations.

To create conditions for a psychologically comfortable stay of a child in kindergarten, it is necessary:

Accept every child for who they are.

(slide 13) Remember: there are no bad preschoolers. There are bad teachers and parents.

In professional activities, rely on the voluntary help of children, include them in organizational aspects of caring for the premises and area.

Be an entertainer and participant in children's games and fun.

In difficult situations for a child, focus on his age and individual characteristics: to always be with them, and not to do anything instead of him.

Involve parents in educational process and turn to them for support in cases of unusual situations.

- (slide 14) Remember: the child does not owe us anything. It is we who must help the child become more independent and responsible.

Imposing your rules and demands against the will of children is violence, even if your intentions are good.

There should not be too many prohibitions and strict requirements. This leads to passivity and low self-esteem in students.

A quiet, shy child also needs your professional help, just like a notorious fighter.

(slide 15) Each kindergarten group creates a psychologically comfortable environment for children. Creating such an environment includes:

Organization of a zone for psychological relief;
- teaching aggressive children ways to express anger in an acceptable form;
- teaching children the ability to control themselves in various situations, self-regulation techniques;
- teaching children conflict-free communication through emotional and educational games;

Increasing the self-esteem of anxious, insecure children;
- teaching children cooperation skills and coordinated actions in a team.

Also a very important element of the psychological comfort of children in the group is– (slide 16) Psychological speech settings

Purpose of speech settings– creating positive things in the group emotional background, atmosphere of goodwill and security.

The main purpose- creating a good mood.

They can be carried outin the morning, after charging, the children and the teacher stand in a circle, holding hands. When pronouncing speech settings, the teacher’s voice must fully correspond to what he is saying, that is, the voice and facial expressions must convey goodwill and the joy of meeting, etc.

Approximate speech settings that should show children that they are welcome and set them up for friendly relationships with adults and other children.

Show your imagination, give vent to your creative potential:

Examples of psychological speech settings:

Today I am glad to see you in kindergarten, in our group! We will all spend this day together. May this day bring joy. Let's try to please each other.

I am glad to see all the children in our group healthy, cheerful, good mood. I really want us all to maintain this mood until the evening. And for this we should all smile more often, not offend each other and not fight. Let's rejoice in each other.

Hello my dears! Today it is cloudy and damp outside. And in our group it is warm, light and cheerful. And we have fun from our smiles, because every smile is a little sun that makes you feel warm and good. Therefore, today we will smile at each other more often.

Now come up with one psychological setting yourself and demonstrate it.

Such forms of relationships in which the teacher, with the help of various arguments, convinces the child of the advantages of one or another action have a very good effect on the development of children. In this case, the choice is left to the child. This type of relationship involves individual approach to the characteristics and current conditions of children. It is this kind of unobtrusive care that children most need and thank the adult for their sincere affection for them.

7. Reflection. Summarizing.

Let's summarize the seminar.

What new things have you learned about yourself?

How did you feel after doing the stress relief exercises?

How do you create psychological comfort in groups, share your experience?

(slide 17) Thank you for your attention!

Methods for studying the assessment of the psychological climate and emotional well-being of a child in a kindergarten group.

Color diagnostics “Houses”

This technique was developed based on the “Color Relationship Test” by A.M. Etkind.

Purpose of the technique – determination of the emotional state reflecting the child’s attitude towards the preschool institution.

Color diagnostics are carried out individually with each child: during the first month of visiting kindergarten, after three and six months of being in a preschool institution.

Children are offered in game form choose one of the houses different color. The following colors are used in the technique: blue, green, red, yellow, purple, brown, gray, black.

Instructions: “This is the girl Katya (boy Kolya). Katya (Kolya) goes to kindergarten. Choose a kindergarten for Katya (Kolya).”

After choosing a house, a conversation is held with the child:

Does Katya like going to kindergarten?

What will Katya do in kindergarten?

What does Katya like most about kindergarten?

What doesn’t Katya like about kindergarten?

During diagnostics, indicators are recorded and logged.

Types of response to a task:

I. A sharply negative reaction to the proposed task.

Opting out.

II. Negative reaction.

1. The child is reluctant to enter into a play situation. There is practically no speech accompaniment. There is tension in behavior. Selected additional colors– brown, gray, black. He gets nervous when answering questions. It all comes down to the fact that being at home with your mom (or other family members) is better.

2. The child quickly agrees to take part in the task. During the diagnosis, irritability, aggressiveness, dominance negative emotions, greater mobility. Houses are chosen in gray, black or brown colors. There is a reluctance to communicate with children and some adults. Greater speech activity is noted.

III. Indifferent reaction to the task.

There is practically no speech accompaniment. Sluggish responses to questions are noted. The answers indicate more the need to attend kindergarten, since parents need to go to work. The choice of colors is the same as in the second group (gray, black, brown).

IV. Anxious reaction.

1. There is a quick and willing involvement in the task, but at the same time nervousness and great mobility are manifested. The houses are chosen purple or red. From the answers to the questions it follows that children like to play in the garden, but there are difficulties in relationships with others. During the diagnosis, active speech accompaniment of actions is observed.

2. A friendly reaction to the game situation, but during diagnostics, attention is drawn to indecision, both when choosing the color of the house and when answering questions. In kindergarten, preschoolers in this group want to play more with children, and also for adults (teachers) to give them great attention. Select green or Blue colour. At the beginning of the task, there is an almost complete absence of speech accompaniment; by the end of the technique, the child uses speech much more often.

V. Positive reaction to participation in the task.

Active and friendly participation in the task. The houses are chosen yellow or red. In kindergarten I like to play and communicate with children and adults. I don't like the actions of some children. The choice of houses and the actions of children are accompanied by speech.

Based on the data obtained, three types of children’s attitudes towards kindergarten can be distinguished:

1. Negative attitude.This type of attitude towards kindergarten is observed in children with a clear predominance negative emotions during diagnostics (I and II response groups).

2. Ambivalent attitude.This category includes children who showed an indifferent or anxious reaction to the proposed task (response groups III and IV).

3. Positive attitude.This type of relationship to educational institution observed in children with a clear predominance positive emotions during the task (V type of response).

Scheme for monitoring a child’s behavior during a psychological examination

Methodology: color diagnostics "Houses".

Target: determination of the emotional state reflecting the child’s attitude towards the preschool institution.

Last name, first name of the child ________________________________________________

Group ____________________________________________________________

Age ___________________________________________________________

The date of the ___________________________________________________

conclusions to determine the type of relationship a child has with kindergarten:

____________________________________________________________________________________________________________________________________

Test for emotional attitude.

Material: sheet of paper, colored pencils.

Younger and middle children are given ready-made cards with 5 circles drawn. Older children are asked to draw 5 circles across the cell.

You can choose your own questions.

Children are seated one at a time at the table.

1. Fill in the first circle with the color you want your colors mood when you go to kindergarten.

2. Fill in the second circle with the color that matches your mood when doing math.

3. Fill in the third circle with the color of your mood when you play.

4. Fill in the fourth circle with the color of your mood when you go home.

5. Fill in the fifth circle with the color of your mood when you go to bed.

Carry out up to 3 times.

Color designation

Red – excited, enthusiastic attitude.

Orange – joyful, pleasant.

Yellow – warm, friendly.

Green – calm.

Blue – sad, unsatisfactory.

Purple, brown - alarming.

Black – sadness, despondency.

If one or more activities are constantly painted black, then the teacher should immediately pay attention to this. For example, in the classroom: review the structure, content so that the child finds it interesting, and so on for each type of activity.

Analysis of “The atmosphere in my group”

Teachers are invited to analyze the group situation using the following scheme:

The situation in the group.

1. What is the atmosphere in my group? (General impressions.)

2. Why do I think this?

3. What aspects of the atmosphere in my group do I rate as positive?

4. What aspects of the atmosphere in my group do I rate as negative?

The relationship between the teacher and the child.

1. Which of the children do I have good contact with?

2. What explains this?

3. Which of the children do I not have such a good relationship with?

4. How can this be explained?

Relationships between children.

1. Which children have good relationships?

2. What caused this?

3. Which children often quarrel with each other?

4. Why is this happening?

5. Which children are often bullied?

6. Why is this happening?

Thus, having familiarized yourself with practical developments in the field of studying the emotional states of preschoolers, you understand that creating emotional well-being and comfort has an impact on all areas of mental development. The results you receive also represent an assessment of your professional activities and the success of your educational and educational activities.

Test to check the psychological comfort of children

in a kindergarten group.

The most convenient option to understand how comfortable the students feel in the group is to invite the children to make a drawing on the topic “I am in my kindergarten group.” This does not take up much time from the teacher during the working day, and you can reflect on the results at your leisure.

The expected drawings of children can be divided into three groups:

1. The child draws only the building.

2. The child draws a building with elements of a playground.

3. The child depicts himself in the room or on the street.

The first group of drawings is the most alarming. If there is nothing in the picture except a building, it means that the baby perceives the kindergarten as something alienated, faceless. This means that life in kindergarten does not evoke in him positive emotions and is not identified with the events taking place there.

The situation that inspires the most optimism is when a child depicts himself in a drawing: this means that the events taking place in kindergarten are personally significant for him. But the analysis of the situation is not limited to this.

You need to pay attention to other elements of the picture: are there children, a teacher, a playing field, toys in the picture. Their presence indicates that the child has depicted in his work many different connections and relationships to them. The playing field, for example, is a very important element.

If the child depicts himself standing on the carpet, floor or ground (children often depict their support as a straight line), this is a good indicator. This means that he “stands firmly on his feet” and feels confident. It’s good if the picture shows flowers, the sun, birds - all these are details that indicate “peace” in the soul.

You need to try to understand what the child is expressing when drawing the teacher. On the one hand, her appearance in the picture is a positive thing. This means that a teacher for a child is significant character, whose presence he must reckon with. But it is important how the teacher faces the child - with her back or face, how much space she takes up in the picture, how her hands and mouth are depicted. The emphasis on the mouth and the many lines around it may indicate that the child perceives the teacher as a carrier of verbal aggression.

It is also important color scheme Pictures.

A positive emotional mood is indicated by the child’s use of warm colors (yellow, pink, orange) and calm, cold colors (blue, cyan, green).

Richly purple, which covers quite large areas of the picture, may indicate the stress that the child is experiencing, and the abundance of red may indicate an overabundance of emotional stimuli.

Abuse of black color, thick, pressing paper, shading, similar to crossing out, signal the child’s increased anxiety, his emotional discomfort.

Note. A patterned drawing cannot be considered diagnostic when a child depicts familiar and familiar elements that he has drawn many times, and a patterned drawing made in a drawing class.

During testing drawing, the teacher should not comment on the children’s actions and tell them directly or indirectly what elements to add to the drawing.

In this case, it is also impossible to evaluate children’s work. It’s better if the teacher simply asks you to give him a drawing as a souvenir.

Some elements of the drawing may be incomprehensible to the teacher, and some will lead to false conclusions. A drawing, for example, may only reflect situational anxiety or mental discomfort of a child associated, for example, with family conflicts, which he could witness in the morning, or with feeling unwell, with an upcoming visit to the doctor, etc.

Therefore, to have a true picture psychological state child in the group, the test must be repeated after two weeks.

Diagnostic technique “Secret” (“Gift”)

(developed by T.A. Repina, modified by T.V. Antonova)

Target: identifying the position (sociometric status) of the child in the kindergarten group, his attitude towards children, as well as ideas about the attitude of his peers towards him; the degree of children's goodwill towards each other, their emotional well-being.

The experiment is carried out by a teacher-psychologist and (or) a senior teacher individually with each child, preferably in the first half of the day. Children with a teacher are in group room. The teacher-psychologist invites one of the children of the group to the bedroom (or dressing room), offers to sit at a table on which pictures or toys in the amount of three items are pre-arranged.

Instructions: “Today, all the children in your group, in secret, so that no one knows about it yet, are giving each other pictures (toys). Here on the table there are pictures (toys) that you can give. And other children will give it to you, because today everyone gives gifts to each other. Do you want to give pictures (toys) to the children of your group? (Having received a positive answer, the adult continues). Then please choose the picture (toy) that you like best. Which of the children in your group would you like to give it to? Why?

(Having received an answer, the adult offers to put a gift under the pillow of the named peer if the experiment is carried out in the bedroom, or in the locker if they are talking with the child in the dressing room). Which child do you want to give the second picture (toy)? Why? And the third?”

After all the gifts have been laid out, the adult asks the child questions: “Are there any children in your group to whom you don’t want to give at all? Why? Which child do you think will give you? Why? Which child wouldn’t want to give it to you? Why?"

The answers are recorded in the protocol. At the end of the experiment, the adult thanks the child and asks him to keep the secret. To exclude the possibility of collusion, the child is escorted to another room. When all the children in the group make their choice, the educational psychologist identifies the children who did not receive anything and puts 1 or 2 pictures (toys) for them, and then invites everyone to the bedroom (or dressing room) room to receive gifts from their peers. In this case, it is advisable to record the behavior and statements of children.

2nd grade. Lesson No. 6 Date_______

School: Gymnasium "Self-Knowledge" Number of students: 16

Teacher: Melnik G.M.

Subject:"LET'S MAKE A STILL LIFE."

Target: Acquaintance with the genre of “still life”, making a relief composition.

Tasks:

Educational:

- teach how to perform a relief composition;

- teach how to work with various forms;

- define: still life, relief.

Educational:

- develop in students a sense of regularity and peace through individual creative activity.

Bring up:

- calmness, tranquility, attention through human value center (inner peace)

Creative task for students: create a relief composition using existing knowledge.

Value: Inner peace

Qualities: Calmness, tranquility.

Materials: Sheets of cardboard, plasticine, stacks, oilcloth - a backing or a special board for working with plasticine.

Materials for the lesson: visual material - reproductions depicting still lifes, a sample of a relief still life, staging a simple still life of two objects.

Form of work: Individual.

Method: Verbal, visual, problem-search, practical.

LESSON PLAN:

1. Organizing time.

2. Motivation educational activities

3. Studying new material.

4. Multilingualism.

5. The order of work.

6. Independent work.

7. Summing up and evaluating the work.

DURING THE CLASSES:

Organizing time.

Hello guys. Today in the lesson, we will get acquainted with one of the genres of fine art - still life, we will also get acquainted with “relief” - in sculpture, and we will perform a relief composition.

Motivation for learning activities

Hanging in front of you are several Kazakh works folk artists, let's look at paintings in the still life genre together.

Teacher: What is shown in the picture?

Children: flowers in a vase and fruit.

Teacher: Where were the objects depicted in the paintings taken?

Children: The flowers grew in the yard or in the field, the vase was in the cafe, the fruit was in the refrigerator.

Teacher: A still life can be made from any household items, and not just from flowers and fruits. Still life is like a piece of life. If we look at our desks, we will also see a small still life.

Learning new material.

Children, let's explain to you what a still life is.

Teacher: What do you think a still life is in fine art?

Children's answers: Still life is objects that create a single composition.

Teacher: The word still life is translated as frozen, frozen nature.

What objects can be depicted in a still life?

Children's answers: Teapot, mug, cucumber, flower, etc.

Teacher: That's right, vegetables, fruits, flowers, household items - all of this is depicted in a still life. But not only artists can create still lifes, but also sculptors. Tell me guys who is a sculptor?

Children: A sculptor is an artist who makes sculpture.

Teacher: What do you think we call sculpture?

Children: Sculpture - the art of creating three-dimensional works of art by carving, sculpting or casting. Relief still life- This is a semi-volume image.

Teacher: What qualities should a sculptor have in order to create a work of art?

Children: patience, perseverance, hard work.

Teacher: The works of artists and sculptors are completed over a long period of time; in order for the sculptor to produce a sculpture, he must be restrained, peaceful, and patient. If the artist did not get some element of the still life on canvas, then he can easily draw new item and even change it, but if the sculptor does not have patience and calm, then he will have to start creating a sculpture for a new one.

Multilingualism.

Teacher: let's read how the word still life is written in three languages.

Still life – still life

The order of work.

Let's prepare the background of our relief.

Mark a block of plasticine and roll it out on the surface of a sheet of cardboard.

Knead and roll into layers (thickness 3-5mm) bars of plasticine on a substrate or board for still life objects.

Using the sharp end of the stack on the plasticine, we outline the pattern of objects and cut them out according to the intended pattern.

We transfer and attach, pressing tightly onto the objects of the still life, onto the background base and decorate them with ornaments.

6. Stages of practical activity.

Work correctly with plasticine.

Use material sparingly.

Correctly place still life objects on the base.

7.Independent work

During practical work, make targeted walks.

1. Monitoring the correct execution of the relief composition.

2. Providing assistance to students experiencing difficulties.

3. Control of the volume and quality of work.

8. Summing up and evaluating the work

Hold an exhibition of works.

Criteria for evaluating work.

1. Proportional layout in the sheet.

2. Correct forms (proportions, structure)

3. Accuracy of execution.

4. Completeness.

Express – exhibition. Ask questions to children.

Which works did you like best and why?

Children name their favorite works and evaluate them according to the criteria together with the teacher.

CLEANING WORKPLACES.

The purposes of this methodological development are a study of interdisciplinary connections between sculpture, drawing and composition. Volumetric image objects in relief, development of observation skills, visual memory and the ability to use composition, including decorative composition. Also, the purpose of this methodological development is to summarize the work on the subject “Sculpture” for the last four years of the art class of the Duminici Children's Art School. As well as transferring the accumulated experience to fellow teachers of art classes at art schools.

The objectives of this methodological development are to teach relief sculpting to students in an art class at an art school. It is necessary to take into account the limitation of the hourly load for the subject "Sculpture". Except classical still life the task of decorative composition is set. IN in this case The task of sculpting a decorative frame is being completed. As a result, the connections between sculpture, drawing, and composition, including decorative ones, are studied. It is very important to combine work both from life and to perform compositional tasks.

Still life sculpting

Modeling a still life is impossible without basic knowledge of drawing and linear perspective.

A class on sculptural relief should be taught in a high school art school. By this age, the final positioning of the hand occurs and fine motor skills of the fingers develop. Students master sculpting clay and have sufficient skills in working with stacks.

At the beginning of the process of making a still life, an introductory conversation is held. The concept of relief is given. Examples of relief, bas-relief and high relief are studied. In addition to the blackboard and chalk, a classroom computer is used; it is treated as educational photos, as well as masterpieces of world sculpture from different times.

After this, the still life fund is analyzed. The objects from which the still life is composed are selected. Productions are selected differentially. It is necessary to take into account the age and level of training of students. It is very interesting to carry out this exercise in a complex. Drawing, grisaille, modeling.

The dimensions of the future plinth and the pattern are the same. A3 format or, roughly speaking, 30x40 centimeters. The performance itself is placed below eye level, the “horizon”, of the shortest student. As a rule, this is a stool or chair. Simple drapery with a minimum of folds is used.

First executed pencil drawing. Attention is paid to the design of the still life. The plane of the table is carefully aligned, and all the rules of perspective are observed. Then, the drawing is translated through glass. All this is done solely due to the fact that the limit on hours per sculpture is very small. Therefore, drawing and grisaille can be done in drawing and painting classes. Grisaille is made using a multi-layer technique watercolor painting. The main thing at that stage is to analyze the volume and depth of the production. Of course it's not traditional technique“grisaille” is something more conventionally adapted to school conditions and requirements. It's more of an architectural wash using black watercolor.

After the preparatory stage, we move on to preparing the plinth. On a piece of hardboard, plywood or linoleum we apply a layer of sculptural plasticine with a thickness of two to three millimeters. The size of the plinth, as mentioned above, is equal to the drawing. We have a structural drawing, “grisaille”, on which we worked out the future volume, we move on to creating the so-called “cardboard”.

The very concept of cardboard, its origin and application is given at the orientation lesson. Tracing paper made through glass on a plinth scale of 1:1 is applied to the surface where sculptural plasticine is applied in an even layer. Then the stylus, it is the old one ball pen. On tracing paper, through holes are made. The technique is also known from medieval frescoes. The drawing was applied under the reliefs in approximately the same way. Only instead of pressing, dusting with coal was used. The step is applied every 3-4 millimeters. We remove the "cardboard". Connect the dots with lines. On the plinth we get a diagram of the future still life.

Now you need to finalize the structural drawing, or “grisaille” of your choice. But drawing is preferable. It is better to work using both preparatory works. In the drawing we begin to work out plans for the future relief. A thin marker is better suited for these purposes. We make the foreground lines bold, the middle and background lines thinner accordingly. For greater attention, check the boxes “more” and “less”, as in mathematics.

Let's start sculpting. For these purposes, flesh-colored sculptural plasticine is better suited. It is softer for children's hands. Of course, it would be better to use clay. But due to the special requirements of the school, plasticine is preferable. He can easily tolerate a break between classes. We apply plasticine to the more massive foreground. To better convey depth and perspective, we sculpt from the corner of a table or stool. The sculptor's main tool is his hands. But metal stacks are also widely used in the work. The main condition is that they are dull enough to avoid injury. We apply the plasticine in crushed lumps, giving the necessary volume to the foreground. We level it with steel stacks in the form of a carving or shoe knife. Let's move on to the middle shot. We start modeling with the most large object, jug, bottle, geometric shape. When sculpting figures of rotation, it is necessary to pay attention to the clarity of the arcs along the axes. To do this, you can cut out small templates. We carefully make the transition between objects and the table plane lines. The main thing is to follow the rules of perspective and avoid objects “hovering” above the plane.

Here we are faced with the peculiarities of relief sculpting. It is useful to make a “handwriting” of the relief views from below, above, and from the side. That is, study again how objects of rotation behave on a plane. It is very useful to conduct demonstration experiments with objects immersed in water. A regular basin is suitable for this. It is very valuable to periodically take photographs of the work. Moreover, it is now quite accessible. Almost everyone has a camera on their phone. Let's get back to sculpting. Plans in relief convey the depth of work and linear perspective. Therefore, the drapery cannot be convex, for example, of a jug or a stool on which it stands. Therefore, moving on to the final stage of sculpting, it is necessary not only to combine the still life plans, remove the unnecessary and add the necessary. Perform final finishing. Bring polish. To do this, students use water and their fingers. At the end of the work, an analysis of the completed still life is carried out. The reliefs are taken to the drawing class, where they are compared with the initial setting. There is a discussion of the work. Analysis of mistakes and successes. Because it’s easier and more pleasant to find someone else’s mistake.

Modeling a decorative frame

Decorative sculpture in art classes Children's art schools, as a rule, follow the path of creating round sculptures using fairy-tale or genre scenes. From the point of view of the new requirements for an additional pre-professional program in the field of decorative and applied arts, this is not enough. Modeling of decorative ornaments is also necessary for future woodcarvers and ceramists.

Preparatory work on sculpting a decorative frame begins with studying historical heritage. IN primary school At art schools, ornament was studied in decorative composition classes. The concept of rappaport of static and dynamic composition in ornament was given. In high school, time is allocated to study stucco patterns. The historical excursion begins with the study of ornament through the centuries. From Ancient Egypt, Greece, Rome to Europe of the Renaissance, Baroque, Art Nouveau. Domestic wood and stone carvings are studied separately. Ship, house, temple. For an introductory conversation, both the teacher’s literature and printouts from the Internet are used. Using the example of the still life fund, sketches of acanthus, etc. are made.

The next stage is the compilation stage. Students are given the task, based on the studied material, to make several sketches in a free manner. They are not presented with a specific imitation of one of the styles they have seen. Rather, on the contrary, freedom of creativity is encouraged in every possible way. As a rule, work is performed in bilateral symmetry, but there may also be asymmetrical options.
After the sketch stage is completed, the “cardboard” is completed. If the work is symmetrical, one side can be done, which is then copied through glass.

The work is carried out with sculptural plasticine on a plinth made of hardboard, plywood or linoleum. A layer of plasticine of two to three millimeters is applied to the plinth. A drawing is pinned onto it from “cardboard”.

The modeling technology does not present any great difficulties, since the plasticine is selected for its softness, and the room is warm. The opposite may occur, the plastic mass is too soft and sticky. But here we must take into account the strength of children's hands. In extreme cases, the plasticine is heated in hot water, and then wrapped in canvas. In this way, its plastic properties can be improved.
During the modeling process itself, it is important that the student understands the algorithm of work. There are two sculpting options. The first consists of the production of “semi-finished” parts, which are then assembled according to the principle of a designer. The disadvantage of this method is that in a hurry, the parts are poorly attached to the plinth. After some attempts, the student understands that they need to be attached more reliably, “smeared on.” The second option is more labor-intensive. It implies widespread use of all kinds of stacks. On the finished drawing, a layer of plasticine of about three centimeters is applied to the plinth. And then it is trimmed with stacks and loops.

The complexity of this method is that the plasticine “sole” covers the drawing transferred from the cardboard. And the student may become confused and panic. Therefore it is important that preparatory drawing was always at hand. And the work itself was done in parts. You should not immediately make a thick plinth for trimming. No more than a quarter of the drawing.

Because total There are not enough hours for the subject “Sculpture”, then it is advisable to carry out these exercises in the third, largest quarter. The assessment may be taken into account when summing up the annual results.

The use of these exercises significantly diversifies educational process and arouses genuine interest among students...

MCOU DOD "Duminich Children's Art School"

Methodological development on the subject of additional education "Sculpture"

On the topic: "Relief modeling in the senior classes of the art department of the art school"

Performed by the teacher of MKOU DOD Sergey Karpikov

Duminichi 2012

List of used literature:

P.P. Gnedich "History of Art". M. Eksmo 2007

E. Lanteri "Modeling" M. 1963 "Publishing House of the USSR Academy of Arts"

B.R. Vipper "Introduction to historical development art. Sculpture section". M. 2004 Ast-Press

A.A. Melnik "Basic principles of constructing sculptural relief" M. 1985. "Higher School"

Review

Farnieva S.I.

Having looked through the educational material, I note its methodological completeness, interdisciplinary connection, as well as the teacher’s real concern for the safety of execution educational assignments for students. For my part, I would like to add a couple of professional recommendations. They relate to achieving a sense of volume of objects. To prevent objects from appearing to be cut in half and glued to the background, it is necessary to make a separation from the background along the silhouette on the line of the horizontal axis of the base, and the height of the most convex part is not higher than this size. This creates a feeling of the object being rounded on the invisible side and generally makes the object three-dimensional.

Congratulations once again on a good and necessary methodological development.

Modeling objects from salted or choux pastry

« Autumn still life"

Tasks.

1.Teach children to create volumeny compositions (still lifes) from saltyth test. 2.Improve the imagenew technology (choose yourselfmethod and techniques of sculpting).

3.Develop a companypositional skills - do not placehow many objects, creating a harmoniouscomposition (large ones in the center or on foreground, small on top or side).

Integration different types activities

Preparation of material.

Salty dough. Mix the ingredients inthis ratio: for 150 g of flour - 300 gsalt, 3 tablespoons of any wallpaper glue (suhotpot), 100 ml water - stir untilcool dough. Add to part of the mixturecolor dye. It's good to do it right awayseveral required colors. Store the dough inplastic bags or plastictightly sealed boxeslids (a piece of dough of each color inseparate bag) in the refrigerator.

Crafts from salt dough needs to be dried very well in the oven at temp.round 100-110 degrees. It will take quite a whilebut a lot of time - 5-6 hours. Crafts fromsalt dough are similar to real culinary masterpieces, except thatthey cannot be eaten. But theircan be varnished and stored for many years.

Choux pastry. Mix thoroughly300 g flour, 100 g salt, 200 ml water, 1 teaa spoonful of vegetable oil. Transfer the mixture to a saucepan and heat with constant stirring over low heat until a thick lump forms. Cool the dough and knead well with your hands. To get a test different colors Divide the dry mixture into parts, add to eachfood coloring of desired color (orat least cocoa powder) and only thenmix with water. Store the custardthen in the refrigerator, placing in tightplastic bags or plasticboxes with sealed lids. Behindboiled dough can be used a lotmultiples like plasticine.

Materials, tools, equipment

Material prepared in advance - withflax or choux pastry. Rotarydisks, planks or oilcloths, stacks (or forsharpened sticks), paper and cloth napkins, plastic plates orframes for composing compositions.

Progress of the lesson:

Educator:

Our autumn garden is beautiful:

There are plums and grapes in it,

On the branches like toys

And apples and pears...

We'll go to the garden early in the morning

And we'll invite all the neighbors.

And let's wave to the sun,

“Thank you, autumn!” - let's say.

(U. Rashid)

From cofruits and berries picked in the garden can be composed beautiful still life. Guys,still life is a composition compositionnew utensils.

Slowly walk around the still life and racelook at it from all sides.

(Children look at a beautiful still life of fresh fruit, which is placed on the teacher’s table or in the center of the room, if the children can sit around.)

Educator:

Let's go tooWe will create unusual still lifes - stucco.

Need to spread outinto 4-5 groups (optional), sit from differentsides of the still life and mold it likepicture,laying outfashioned fruityou're on the plate.To do this, you must definitely agree on who will sculpt what, so that the still life looks like a real one.

(Help the children divide into groups and set upto discuss the collective plan).

Educator:

Guys, how can you blind apple with a ruddy side? (Answer options are being discussed.)

There are 2 ways with two- and three-color buildings are depicted and I

1st method is that 2-3 comoa bowl of salted dough of different colorsmelt into one and from it the conceivedform;

2nd method: the form is molded froma lump of one color, and then a small lump of another color is smeared onto iteta.

Before starting work, we remember once again that from different stationsOron still life looks

differently.

Result:

Let's nowwe'll deliver the workon one table and considertheir. What is the name ofcomposition compositionlinen from flowers, vegetables, fruits andnew utensils? (Still life)

What beautiful compositions you have created! In thatstill life of the largest fruits (for example, apple and pear)lie in the middlee plates, and beautifully placed aroundsmaller fruits and berries (abricwasps, cherries and grapes).

Sabaktyn bagdarlamasy

Lesson plan

The plan of the lesson

Seungeup / Class /class : 2

Pәn / Subject / Subject: art

Sabaktyn takyryby / Lesson topic / Theme: making a relief composition, a still life of two objects (modeling)

Sabaktyn ulgіsi / Type of the lesson: combined.

Sabaktyn turi/Type of lesson/ Kind of the lesson: practical lesson.

Maksaty/Lesson Objectives/Objectives:

bilimdik / educational / educational: to introduce students to relief composition, to teach competent layout taking into account the perspective of distortion.

damytushylyk/ developing/ developing : develop fine motor skills hands, coordination of movement, eye, observation.

tarbielik / educational / bringing-up: cultivate love for fine arts, responsibility, perseverance, love of adult work.

Kornekі kurandar/Equipment/Resources:

Adis/Method/Method: explanatory-illustrative, verbal, practical.

Sabaktyn zhospary/ Lesson plan/ Plan:

I . Organizing time.

II . Psychological and pedagogical attitude.

III . Updating knowledge.

IV . Learning new material.

V . Physical education minute.

VI . Practical work.

VII . Lesson summary. Assessing student work.

Sabaktyn Barysy/Lesson progress/The lesson’s going:

Organizing time:

Salemetsiz be balalar!

Hello guys!

Good afternoon children!

Otyryndar! Sit down!

II . Psychological and pedagogical attitude:

In art lessons we discover all the diversity of life around us. I will read you a poem by M. Voloshin. Listen, let these words inspire you to get active.

See everything, understand everything,
To know everything, to experience everything,
All shapes, all colors
Take in with your eyes
Walk all over the earth
With burning feet
Perceive everything and embody it again!

III . Updating knowledge.

Guys, now I will name the items that we need for work, and you can check their presence with your eyes. Whoever has everything ready, raise your hand (plasticine, colored cardboard, wet wipes)

What is sculpting? (Modeling is the creation of sculptural works from plastic materials)

What types of modeling do you know? (subject, plot and decorative)

Let us repeat the safety rules when working with plasticine.

Rules for safe work with plasticine.

While sculpting, you should not touch your face, eyes or clothes with your hands.

Choose the desired color of plasticine for the job.

2. Cut the required amount of plasticine into a stack.

3. Warm a piece of plasticine with the warmth of your hands so that it becomes soft.

4. When finished, dry your hands well with a dry soft cloth and only then wash them with soap.

IV . Learning new material

Lesson topic message

During the lesson, we will perform plasticine appliqué on disks, namely a still life. Look at this composition, tell me what objects the still life consists of.

That's right, guys. This is a torso and an apple.

Tell me how to Kazakh language will there be an apple? (Alma) In English? (Apple)

Which city in Kazakhstan is famous for apples?

Who knows what a torso is?

(Torsyk is a classic Kazakh vessel made of leather, designed for storing liquids, primarily kumys. Unfortunately, the art of making waterproof torsyks is disappearing from our lives, but kumys or shubat was preserved in it for a significant time, without losing its medicinal properties. Nowadays, only torso-shaped souvenirs remind us of ancient invention Kazakhs.)

Introductory conversation

Relief is a type of sculpture in which the image is convex (or recessed) in relation to the background plane.

The main types are bas-relief, high relief, counter-relief.

When making reliefs, children learn how to use a tool, various sculpting techniques, and most importantly, beautiful decorative filling of space.

Bas-relief

This is a relief in which the convex image protrudes above the background plane, as a rule, by no more than half the volume.

Work on the relief is carried out in several stages: first, the base is covered with a thin layer of plasticine, then a drawing is applied to it in a stack, then a stucco ornament is laid out according to the drawing. The edges are firmly adhered to the base.

The relief can be made in another way: a pattern is applied to the plate, and the excess plasticine around it is carefully removed with a stack, as if scraped out. As a result, the background is lowered, and the relief remains raised above the plane of the plate.

High relief

This is a relief in which the convex image protrudes above the background plane by more than half the volume. Some elements may be completely separated from the plane.

Counter-relief

And this relief, on the contrary, goes deeper into the surface; it is, as it were, a “negative” of the bas-relief.

The counter-relief pattern can be scratched or pressed with a stick, a stick, a finger, or a stamp.

Types of plasticine applique

Plastic and brightperfect for making appliqués, as it is easy to process, give the required form. And the application itself retains its shape for a long time. Forplasticine applique you will need multi-colored plasticine, cardboard (colored or white), in addition, the application can be done on a glass surface, then covering it with the same piece of glass and inserting it into a frame.

The subject for the applique can be any drawing from a book or magazine that can be transferred to the surface using carbon paper.

Plasticine applique can be done in different ways.

First you need to transfer the drawing you like onto a sheet of cardboard or with a marker onto glass, fill each section of the picture with plasticine of the appropriate color, which can be done with small balls, flagella or whole parts, giving the edges the desired shape with a stack.

Types of plasticine applications:

whole piece applique

applique made of plasticine flagella.

applique made of plasticine balls (plasticine mosaic)

applique on glass

an unusual type of application - application on disks (DVD, CD, etc.)

V . Physical education minute

One two three four five,

Everyone is so necessary

Strong and friendly.

Now guys, let's massage our fingers, right hand We massage the fingers of our left hand, and now, on the contrary, with our left hand we massage the fingers of our right hand.

VI . Practical work

Now let's get to work. First, let me show you how to do it, and then you will do it.

Ped. Show (step by step)

Place the disk in front of you. To begin, apply the drawing with a marker (pencil) to the disk.

Then we will need plasticine. We choose the color we need. Cut off half of the plasticine. We soften it before work. And apply it in small pieces along the contour of our drawing. Afterwards we fill in the entire drawing. When finished, remove the excess from the stack. This is the kind of still life we ​​should get.

VI . Lesson summary. Assessing student work

Guys, what composition did we meet today?

What is relief?

What objects does our still life consist of?

How do you say apple in Kazakh? In English?

What is a torso?

Well done ripples!

Analysis and evaluation of student work

The guys in the first row show your work to the guys in the second and third row. Now the second - to the first and third. And the third - to the first and second.

Well done boys!

Now let’s clean up our workplace, and I’ll go around and give you an assessment.