Using non-traditional drawing techniques. Non-traditional drawing techniques Traditional drawing techniques at an older age

All-Russian competition of pedagogical excellence “Methodological piggy bank of a kindergarten teacher”

Municipal preschool educational institution No. 200

MASTER CLASS “NON-TRADITIONAL DRAWING TECHNIQUES”

Completed:

Teacher of the first qualification category

Malyshko Alena Igorevna

Kemerovo 2017

Master class “Unconventional drawing techniques”

Target: expand the knowledge of teachers through familiarity with non-traditional drawing techniques, as a means of developing preschoolers’ interest in visual creativity.

Tasks:

Introduce teachers to unconventional drawing techniques - milk, shaving foam;

Teach practical skills in the field of fine arts using several non-traditional methods in drawing;

Increase the skill level of teachers.

Methods and techniques: reproductive, practical, verbal, visual.

Equipment: didactic means - drawings made using non-traditional drawing techniques; tables, chairs for teachers; material for practical activities - gouache, jars of water, brushes, landscape sheets of paper, shaving foam, PVA glue, transparent plates, toothpicks, wet wipes for each teacher; audio means - presentation “Non-traditional drawing techniques”, CD player, projector, laptop, flash drive.

Preliminary work: studying Internet resources on this topic, preparing equipment.

Progress of the master class:

Relevance of the chosen master class topic:

Drawing classes solve the problems of the comprehensive development of children, which is necessary for successful learning at school.

In the process of work, children develop mental operations, teamwork skills, and the ability to coordinate their actions with the actions of their peers.

From a very early age, children try to reflect their impressions of the world around them in their visual arts. Observations of the effectiveness of drawing in kindergarten lead to the conclusion about the need to use non-traditional techniques that will create a situation of success for pupils and form a stable motivation to draw.

Drawing in unconventional ways is a fun, mesmerizing activity that surprises and delights children. There are many non-traditional drawing techniques; their unusualness lies in the fact that they allow children to quickly achieve the desired result. For example, what child would not be interested in drawing with his fingers, making a drawing with his own palm, putting blots on paper and getting a funny drawing. The child loves to quickly achieve results in his work.

The developing environment plays an important role in the development of a child. Therefore, when organizing a subject-development environment, it is necessary to take into account that the content is developmental in nature and is aimed at developing the creativity of each child in accordance with his individual capabilities, accessible and appropriate to the age characteristics of children. At home, each of us has unnecessary things (toothbrush, combs, foam rubber, corks, polystyrene foam, spool of thread, candles, etc.). Walking along the street or in the forest you can find a lot of interesting things: sticks, cones, leaves, pebbles, plant seeds, dandelion fluff, thistle, poplar. With all these items it is possible to enrich a corner of productive activity. Unusual materials and original techniques attract children because you can draw with whatever you want and how you want, and you can even come up with your own unusual technique. Children feel unforgettable, positive emotions, and by emotions one can judge the child’s mood, what makes him happy, what makes him sad.

Using non-traditional techniques:

Helps relieve children's fears.

Develops self-confidence.

Develops spatial thinking.

Teaches children to freely express their ideas.

Encourages children to creative searches and solutions.

Teaches children to work with a variety of materials.

Develops a sense of color perception, a sense of texture and volume.

Develops fine motor skills of the hands.

Develops creativity, imagination and flight of fancy.

While working, children receive aesthetic pleasure.

Let me tell you a little about them.

With children of primary preschool age it is recommended to use:

Finger painting;

Imprint with stamps made of potatoes, carrots, polystyrene foam;

Drawing with palms.

drawing on a wet sheet of paper

Children of middle preschool age can be introduced to more complex techniques:

Poking with a hard, semi-dry brush.

Foam rubber printing;

Printing with corks;

Wax crayons + gouache

Candle + watercolor;

Leaf prints;

Palm drawings;

Drawing with cotton swabs;

Magic ropes;

Subject monotype.

At older preschool age, children can master even more difficult methods and techniques:

Drawing with salt, sand, semolina;

Drawing with soap bubbles;

Drawing with crumpled paper;

Blotography with a tube;

Landscape monotype;

Screen printing;

Blotography is ordinary;

Plasticineography

Scratch.

Drawing using unconventional techniques fascinates and captivates children. This is a free creative process, when the word “forbidden” is not present, but there is an opportunity to violate the rules for using certain materials and tools. Humanity does not stand still, we are constantly developing and inventing something new. Likewise, in the field of art, many new unconventional techniques have appeared, which today I want to tell you about.

1.Drawing with cling film.

Did you know that film can also draw? It is enough to lay it on wet watercolor and move it around. The result is ice crystals or other kinds of abstractions.

2. Drawing on foil.

Drawing on foil is very different from paper. Firstly, you can clearly see how the colors mix, and secondly, the paint glides well. Suitable for developing sensory sensations in babies. You can draw with your fingers, brushes, or cotton swabs.

3. Drawing with toothpicks on PVA glue.

Pour PVA glue onto the paper and draw marks on it with toothpicks or cotton swabs. If you use a transparent plastic lid, for example, from a sour cream container, as a base, then after the design has dried, you can cut out, for example, a heart from it and hang it on a tree on a string.

4. Drawing on milk.

For bold creative experiments you will need very simple and safe ingredients:

- whole milk, it is important that it is not skimmed, it is better if it is homemade;

- food coloring diluted in water;

- a flat plate or shallow tray;

- liquid soap or dishwashing detergent.

To begin with, pour a little milk into a plate and give the child jars of paints, from which he must randomly add several drops of paints of different colors onto the milk. The resulting drawing will already be very interesting. But that is not all. You need to drop a little liquid soap or dishwashing detergent into our container. And then just watch the wonderful transformation and movement happening in the plate. Each drop, falling on the surface, starts a fantastic dance of flowers. The child will absolutely love the process itself and its unexpected results. Watching amazing transformations is very interesting and very instructive. In addition, this amazing series of transformations can be photographed and, by printing interesting abstract photographs, you can decorate the interior with the results of joint creativity with children. There can be a lot of photographs, because the movement and transformation in the plate will continue for a long time. Having carried out such an interesting experiment, next time you can invite the child to participate in the process himself and try to form a drawing. For this, the preparatory stage will be the same, but we do not pour dishwashing liquid into milk, but dip ordinary cotton swabs into it and give it to the child. When he puts them in milk, the transformation process will begin, and the baby will be able to participate in creating patterns.

I offer you another unconventional type of technique - drawing on kefir, this type of technique is called EBRU. Pour kefir into a plate. Add a few drops of paint to the kefir. Dip two cotton swabs in liquid soap and immerse them in a plate with kefir. We watch how the paints begin to create beautiful patterns. You can also get a print on a sheet of paper; to do this, you need to take a sheet of paper, place it on the milky drawing and then pull it out to dry.

5. Glue to create a 3D effect.

Very interesting drawings of a different kind are obtained with PVA glue. It or hot glue can be used to give the drawing volume and relief.

6. Salt drawing.

Apply the design with PVA glue, sprinkle with salt and let dry. Then, using a brush, we pick up paint and drip it onto the salt base. The paint spreads itself and mixes beautifully.

7. Drawing with shaving foam.

Drawing with shaving foam is a fun and interesting process. The foam is pleasant to the touch, gives new tactile sensations and a pleasant smell. Easily washes off hands, clothes and any surface.

Creativity using such an unconventional drawing technique creates positive motivation for drawing, relaxes, awakens imagination and gives a lot of positive emotions!

"Volume" paints

You will need: 2 parts shaving foam + 1 part PVA glue + paint.

First you need to mix glue and paint, then add shaving foam. Mix everything thoroughly. The paints are ready, you can apply them to the finished outline or/and show your imagination and come up with a design yourself.

Joint drawing with teachers with shaving foam using the “Volume” paint technique on a free theme.

Place “volumetric” paints in a thick food bag (or tube). Cut off the tip of the bag with scissors, you get a kind of pastry syringe. By pressing on the paint bag, we create a pattern.

To prepare the modeling mass we will need:

400 grams of starch + 100-200 grams of foam + paint

Mix everything well with your hands until you get lumps (the material looks like grains of cottage cheese or wet sand). After playing, do not throw away the modeling mass, but pour it into a regular bag or make a toy to develop fine motor skills.

To create a toy you will need modeling mass, a balloon, a funnel, and a stick for pushing the sticky mass.

8. Pointillism for children.

One of the most interesting and unusual areas of painting. This is a manner of painting pictures using separate strokes of a regular, dotted or rectangular shape. Artists, applying pure paints to canvas, counted on the optical mixing of colors in the viewer's eye, and they succeeded. For children, this technique is difficult, and therefore I bring to your attention unconventional pointillism for children.

The name of the movement in painting, pointillism, comes from the French word pointiller, which means “to write with dots.” Artists who worked in the pointillism style applied pure paints to the canvas, not previously mixed on the palette. Optical mixing of colors occurred already at the stage of perception of the picture by the viewer.

Optical mixing of three pure primary colors and several pairs of additional colors makes it possible to obtain sufficiently greater brightness than by mechanically mixing pigments.

I suggest you master the “pointillism” technique using materials that are not entirely traditional for it - colored markers (felt-tip pens). Preschool children love to experiment with visual materials. The proposed method of depicting dots using felt-tip pens allows not only to develop fine motor skills of preschoolers, their perseverance, color perception, but also to increase the emotional background, since the image using felt-tip pens (color markers) does not require drying, there will be no spreading of paints or inaccurate mixing.

10. Grisaille (French Grisaille from gris - gray)- a type of monochromatic (monochrome) painting performed in different tones of the same color. That is, all the work is done exclusively with paint of one or two colors, but of different tones (somewhere paler, somewhere darker, brighter).

11. Frottage

Technique of drawing a picture on paper, fabric. To create a pattern, a relief surface is used, which is located on the back side of the paper (fabric); this relief surface is displayed on the front side of the paper (fabric) by friction of a coloring material (for example, a pencil).

One of the most popular objects are tree leaves.

Both fresh and dry leaves are suitable for work. You need to decide on the shape and size of the leaves and assemble the composition. Very often in craftsmanship many surfaces of one specimen are used.

Dense material is not suitable for frottage. It is better to work with writing paper, use pencils of varying softness or wax crayons, pastels. However, this does not mean that the more tender the better. A very soft pencil that covers rather than shows the relief. You can try to stroke in different directions - the effects may differ significantly. Rubbing is done with caution: you should hold the paper sheet without moving the silhouette underneath it. The second option: so that the leaves do not move, they can be glued to paper (on the back side of the picture, and then drawn with crayons of different colors. The tones with which the plane is shaded to obtain an artistic result complement and cover each other.

12. Zentangle and doodling.

Combination (zendoodle) is a drawing technique that has recently become very popular. Interest in them is due to the fact that they are a good way to relax, have fun, and express your creative abilities, even if you absolutely do not know how to draw in the classical sense of the word.

These techniques are great for both adults and very young children who are just learning to hold drawing utensils.

DOODLING (from the English doodle - unconscious drawing) is drawing using simple elements (circles, squiggles, diamonds, dots, sticks, etc.). This is what ease is all about. However, these simple elements can create complex compositions that amaze the imagination. But basically this is an unconscious drawing that allows you to “turn off your brain,” which opens the way to pure creativity, not constrained by rules. Many of us indulged in this kind of drawing during boring school lessons. We don’t know and don’t think about what will happen in the end; the hand draws on its own. Whether these are various plants, non-existent worlds or just geometric shapes is not important. The main thing is to enjoy the drawing process

ZENTANGLE (from zen - poise, calmness and rectangle - rectangle) is a combination of meditation and drawing. Traditionally, squares of 9x9 cm are used to draw zentangle. Any design is placed in the square, or it is arbitrarily divided into segments, which, in turn, are filled with various elements of the same type (dots, circles, diamonds, whatever your imagination allows). Zentangle helps increase composure, concentration, promotes psychological relaxation, internal calm, improves visual coordination and fine motor skills, and also develops creativity and creativity. A mixture of these two techniques - Zendoodling - is ideal for classes with children. The simplest option is to use a coloring sheet or outline of an animal, flower, bird (anything, drawn on a stencil), and invite the child to fill it with simple elements, and then color them. You can complicate the task - break the drawing into parts and fill the resulting segments with different patterns. More An option is to invite the child to fill in the same images of animals, objects, etc. in different ways.

13. “Imprint” We will draw dandelions, but we will not draw in the usual way. This method is called "Fingerprint". You need to take a leaf from a flower and apply green paint to it, then take this leaf, turn it over and print it on a clean sheet of paper.

Then we take the flower itself, apply only yellow paint on it and also make prints with flowers or crumple a paper napkin into a ball, dip it in yellow paint and put a print on the paper.

14. “Drawing with soap bubbles” Place a spoonful of gouache in a glass and pour in liquid soap mixed with water. We take a cocktail straw and start foaming the solution so that the bubbles rise in the glass. When the foam has risen, take thick paper and lean it against the soap foam. This way, you can go through all the colors with one sheet of paper. For creativity, it is better to take thick paper. The resulting prints can be completed and made into a painting,

15. Drawing with a fork “Hedgehog on the forest edge” Let's get to work. The sheet of paper should be positioned horizontally. In the center of the sheet, using a brush and brown paint, draw an oval; without waiting for it to dry, lengthen it on one side, highlighting the nose. Next we will need a fork and green gouache, we draw the grass while our hedgehog dries. We completely dip the fork into the paint and use the application technique to leave imprints. It is also possible for the prints to extend onto the hedgehog, this will give an idea of ​​the versatility (hedgehog in the grass). We wash the fork thoroughly; then we will need red and yellow gouache in our work. Using the same technique with a fork and paint, we plant flowers on some blades of grass. Now you need to make needles for the hedgehog. Repeating the same steps, only using black gouache, we draw needles for the hedgehog. We are moving on to the final stage of our work. We finish painting our hedgehog’s eye and nose using a brush and black gouache.

Conclusion

Children really like unconventional ways of drawing. This promotes the development of creative thinking, imagination, creativity, expanding ideas about the world around us and, like regular drawing, develops fine motor skills of the hand, trains the muscles of the hand, and prepares the hand for writing.

Non-traditional classes

Lots of ideas included.

Sometimes provocative

But interesting for children.

They combine in an unusual way

Material and tool.

And everything works out great

And there are definitely no indifferent people!

Result: Dear Colleagues! Our master class has come to an end. I see wonderful works using unusual techniques. And now I invite everyone to take a photo together as a souvenir of today’s meeting.

Thanks everyone for your attention!

Teacher self-education plan

Akhmadeeva Gulnara Gazizzhanovna

MADO kindergarten "Zhargal"

Topic: Non-traditional drawing techniques in older preschool age.

Goals:

To develop the ability to implement acquired knowledge about means of expression in one’s own creativity;

Develop the ability to perform a collective composition, coordinate your actions with peers;

Develop the need to create a new, unusual product of creative activity;

Develop aesthetic appreciation and the desire for creative self-realization.

Tasks:

Expand your understanding of the variety of non-traditional drawing techniques;

To form an aesthetic attitude to the surrounding reality based on familiarization with non-traditional drawing techniques;

To form aesthetic taste, creativity, imagination;

Develop associative thinking and curiosity, observation and imagination;

Improve technical and drawing skills;

To cultivate artistic taste and a sense of harmony.

Relevance of the topic:

“Childhood is an everyday discovery of the world, so we must make sure that it becomes, first of all, a knowledge of man and the Fatherland, their beauty and greatness.”

“The origins of children’s abilities and talents are at their fingertips. From the fingers, figuratively speaking, come the finest threads - streams that feed the source of creative thought. In other words, the more skill in a child’s hand, the smarter the child.” V. A. Sukhomlinsky.

All children love to draw. Having experienced an interest in creativity, they themselves find the necessary ways. But not everyone succeeds in this, especially since many children are just beginning to master artistic activities. Children love to learn new things and study with pleasure. It is by learning, gaining knowledge and skills that a child feels confident.

Drawing with unusual materials and original techniques allows children to experience unforgettable positive emotions. Unconventional drawing gives children a lot of positive emotions, reveals new possibilities for using familiar objects as artistic materials, and surprises them with its unpredictability. Original drawing without a brush or pencil relaxes the child, allows him to feel the colors, their character, and mood. Unbeknownst to themselves, children learn to observe, think, and fantasize.

The teacher must awaken in every child faith in his creative abilities, individuality, uniqueness, the belief that he came into this world to create goodness and beauty, to bring joy to people.

The relevance is that knowledge is not limited to the program. Children get acquainted with a variety of unconventional drawing methods, their features, the variety of materials used in drawing, and learn to create their own drawings based on the knowledge gained. Thus, a creative personality develops, capable of applying their knowledge and skills in various situations.

Drawing with non-traditional techniques is the most important aspect of aesthetic education. Visual activity is one of the most interesting for preschool children: it deeply excites the child and evokes positive emotions.

Non-traditional drawing techniques are ways of creating a new, original work of art in which everything is in harmony: color, line, and plot. This is a huge opportunity for children to think, try, search, experiment, and most importantly, express themselves. The problem of the development of non-traditional drawing techniques was dealt with by R. G. Kazakova, T. I. Saiganova, E. M. Sedova, V. Yu. Sleptsova, T. V. Smagina, O. V. Nedorezova, V. N. Volchkova, N. V. Stepanova and others. During their stay in the group, children have time to learn various image technologies such as: poking with a hard semi-dry brush, finger painting, cork imprinting, wax crayons + watercolor, object monotype, regular blotography, straw blotography, string blotography, spraying, poking, landscape monotype .

The inclusion of non-traditional drawing techniques in working with children makes it possible to develop the sensory sphere not only by studying the properties of depicted objects and performing appropriate actions, but also by working with various visual materials. In addition, the child’s cognitive interest is stimulated (using objects that surround the baby every day from a new perspective - you can draw with your own palm, fingers, or use a spikelet or birch leaf instead of a brush). There is a development of visual-figurative and verbal-logical thinking, and the activation of children’s independent mental activity. (What else can I draw? What can I draw with this material) Through the use of various visual materials, new technical techniques that require precision movements, but do not limit the child’s fingers to a fixed position (as when holding a brush or pencil correctly, conditions are created for the development of general motor awkwardness, development of fine motor skills. After all, instead of the traditional brush and pencil, the child uses his own palms, various signets, stencils, and the “blotography” technique to create an image. The “monotype” technique contributes to the creation of a complex symmetrical image.

It is non-traditional drawing techniques that create an atmosphere of ease, openness, relaxedness, contribute to the development of initiative and independence of children, and create an emotionally positive attitude towards activity. The result of visual activity cannot be good or bad; each child’s work is individual and unique.

Distribution of equipment by age groups.

IN senior preschool agechildren can master even more difficult methods and techniques:

Poking with a hard, semi-dry brush.

Foam rubber printing;

Printing with corks;

Wax crayons + watercolor;

Candle + watercolor;

Leaf prints;

Palm drawings;

Drawing with cotton swabs;

Using cotton pads;

Blotography with a tube.

Sand painting;

Drawing with soap bubbles;

Drawing with crumpled paper;

Blotography with a tube;

Landscape monotype;

Screen printing;

Subject monotype;

Plasticineography.

Each of these techniques is a little game. Their use allows children to feel more relaxed, bolder, more spontaneous, develops imagination, and gives complete freedom for self-expression.

Self-education work plan

1. Studying educational, reference, scientific and methodological literature:

1. A. A. Fateeva “Drawing without a brush”

2. T. N. Davydova “Drawing with palms”

3. G. N. Davydova “Non-traditional drawing techniques in kindergarten” - M. 2007.

4. I. A. Lykova “Colored palms”

5. Magazines "Preschool education", "Educator".

6. A. V. Nikitina “Non-traditional drawing techniques in kindergarten”

7. I. A. Lykova - “Methodological manual for specialists of preschool educational institutions.”

Studying Internet resources.

(maam.ru›…netradicionnye-tehniki-risovaniya, kidsmoy.su›…netradicionnye_tekhniki_risovanija…44, triz-plus.ru›…netradicionnye-texniki-risovaniya, doshvozrast.ru›

2. Development taking notes and conducting classes using non-traditional drawing techniques in the preparatory and senior groups.

3. Conducting classes in accordance with the program for club activities.

4. Consultation for parents “Meaningdrawing in unconventional ways.

Implementation into practice:

1. Development of a program for an activity group for September - May on non-traditional drawing techniques in the senior group.

2. Workshop for parents “Use of non-traditional techniques and materials in joint creativity with children.”

3. Exhibitions of children's drawings for parents.

4. Consultation for parents “Non-traditional drawing techniques in the development of preschool children.”

5. Report on the topic of self-education at the final teachers’ meeting.

Report

My job is to use non-traditional techniques in drawing in the senior group. Drawing in unconventional ways is a fun, mesmerizing activity that surprises and delights children. The developing environment plays an important role in the development of a child. Non-traditional drawing techniques are ways of creating a new, original work of art in which everything is in harmony: color, line, and plot. This is a huge opportunity for children to think, try, search, experiment, and most importantly, express themselves.

Non-traditional approaches to organizing educational activities “Artistic Creativity” make children want to draw, children become more relaxed, confident, they develop imagination, creative imagination, thinking, and curiosity. Unusual materials and original techniques attract children because the word “No” is not present here, you can draw with whatever you want and how you want.

Children feel positive emotions, and by emotions one can judge the child’s mood, what makes him happy, what makes him sad.

The work was carried out in stages:

At the first stage, the reproductive stage, active work was carried out with children to teach non-traditional drawing techniques and to familiarize themselves with various means of expression.

At the second stage - constructive, active work was carried out on the joint activities of children with each other, co-creation between the teacher and children in the use of non-traditional techniques in the ability to convey an expressive image.

I used the following tools:

Joint activities of the teacher with children;

Independent activity of children;

I used the following methods:

Verbal,

Visual,

Practical,

Gaming.

Diagnosis of children’s creative abilities at the initial stage showed:

High - %

Average - %

Short - %

I prepared exhibitions of children's drawings for parents.

I have prepared several consultations for parents.

I also compiled notes for classes on non-traditional drawing at the Creative Workshop “Skillful Hands”.

A master was held for educators at a methodological association on October 27, 2017

Diagnostics at the control stage showed:

High - %

Average - %

Short - %

Perspective:

continue to work on mastering new non-traditional drawing techniques.

Artyukhova Natalia Alexandrovna

USE OF NON-TRADITIONAL DRAWING TECHNIQUES IN ORGANIZED EDUCATIONAL ACTIVITIES WITH CHILDREN OF SENIOR PRESCHOOL AGE

Introduction………………………………………………………………………………………...3

Chapter 1. The use of non-traditional drawing techniques in working with children of senior preschool age……………………………………………………………7

1.1. Psychological and pedagogical conditions for children’s visual activities………………………………………………………………………………..7

1.2. Unconventional drawing……………………………………………...10

1.3. Types and techniques of non-traditional drawing……………………............12

Conclusions on Chapter 1………………………………………………………………27

Chapter 2. Experimental confirmation of the effectiveness of using non-traditional drawing techniques in organized educational activities………………………………………………………………………………..28

2.1. Ascertaining experiment………………………………………………………………28

2.2. Formative experiment…………………………………………………………….31

2.3. Final experiment……………………………………………………..38

Conclusions on Chapter 2………………………………………………………………41

Conclusion……………………………………………………………………………….........43

References……………………………………………………………..45

Introduction

The modern system of preschool education is aimed at creating for each child conditions in which the individual could realize himself to the maximum, relying on his existing natural potential, and prepare for the continuous development of his abilities.

Preschool childhood is a very important period in the lives of children. It is at this age that every child is a little explorer, discovering the unfamiliar and amazing world around him with joy and surprise. The more diverse children's activities are, the more successful the child's diversified development is, the more his potential capabilities and first manifestations of creativity are realized. That is why one of the closest and most accessible types of work with children in a preschool institution is artistic activity, which creates conditions for involving the child in his own creativity, in the process of which something beautiful and unusual is created. This needs to be taught step by step, from simple to complex.

Relevance Topics of the final qualifying work: Visual activities bring a lot of joy to preschoolers. The need for drawing is inherent in children at the genetic level; copying the world around them, they study it. As a rule, classes in preschool institutions are often reduced to only a standard set of visual materials and traditional methods of transmitting the information received.

In the practice of preschool institutions, the program content and methods of working with children in and outside the classroom are focused mainly only on the formation of visual skills, and little attention is paid to teaching drawing techniques.

Non-traditional drawing techniques are ways to create a new, original work. Non-traditional drawing techniques are a huge opportunity for children to think, try, search, experiment, and most importantly, express themselves.

When organizing work using non-traditional drawing techniques, educators rarely use a collective form of conducting classes. And this leads to impoverishment of content and a decrease in the artistic value of children's works. At the same time, the use of a rational combination of collective and individual forms of organizing work using non-traditional drawing techniques helps to increase the artistic level of the work performed by children, the development of their creative abilities, the development of imagination, and stimulates interest in the work performed. The possibilities of integrated classes are also poorly used, which negatively affects the formation of personally significant motives for activity and reduces interest in it.

Thus, there arises contradiction between the great opportunities for using non-traditional drawing techniques in organized educational activities and the lack of use of non-traditional techniques in the practice of a preschool institution.

Based on the contradiction, we can define problem research: what conditions need to be created for the sufficient use of non-traditional drawing techniques in organized educational activities with children of senior preschool age.

Target: theoretically identify and experimentally test the effectiveness of using non-traditional drawing techniques in organized educational activities.

Object of study: the process of using non-traditional drawing techniques in organized educational activities.

Subject of study: unconventional drawing technique.

Hypothesis: the use of non-traditional drawing techniques in organized educational activities will be effective if:

A truly creative atmosphere is created during educational activities, conducive to the free expression of the child’s creative imagination and thinking;

The technology for using classes using non-traditional drawing techniques has been thought out;

The possibilities of integrating the types of visual activities of preschoolers (modeling, drawing, appliqué) are used;

It is ensured that preschoolers are included in creative activities, during which the tasks of mastering non-traditional drawing techniques are solved;

Various non-traditional drawing techniques are used.

Based on the above, we formulated tasks:

To study psychological, pedagogical and methodological literature on the problem of using non-traditional drawing techniques in educational activities with children of senior preschool age;

Make a selection and partially test classes with non-traditional drawing techniques;

Research methods:

Study, analysis and synthesis of literature on this topic;

Analysis of the use of non-traditional drawing techniques in OOD;

Study and analysis of children's visual activity using non-traditional drawing techniques.

Methodological basis: the possibility of using non-traditional drawing techniques in organized educational activities with children of senior preschool age.

Practical significance consists in the fact that notes of organized educational activities were selected using non-traditional drawing techniques; the selected notes were used during the experiment; Methodological recommendations for parents and teachers have been compiled.

Research base: Municipal budgetary educational institution "Secondary school No. 10" MO "Akhtubinsky district" Verkhniy Baskunchak village, Astrakhan region.

The final qualifying work consists of an introduction, two chapters, a conclusion, a list of references and applications.

Chapter 1. Using non-traditional drawing techniques in

with children of senior preschool age

1.1. Psychological and pedagogical conditions of fine art

children's activities

What does a child think about when he draws? What do we think about when we see a child’s drawing? Why does a child draw, should he be helped with this or should he not be disturbed? Preschool childhood is a very short period in a person’s life, only the first seven years. But they have lasting significance. During this period, development is more rapid and rapid than ever. All aspects of the child’s psyche receive a certain development, thereby laying the foundation for further growth.

In modern conditions, educational requirements are changing significantly. They are characterized by increasing attention to the child, to his personal development line in accordance with his inclinations and his own needs. The creative development of personality is directly related to the individual characteristics of the development of thinking, imagination, speech, motor and associative systems.

In domestic theory, a system has been developed for teaching preschoolers visual arts, which distinguishes three main groups of methods: visual, verbal and practical. These methods interact closely. With a modern integrated approach to the process of education and upbringing, various options for such interaction are possible, depending on the tasks, age characteristics of children, and the content of visual activity.

The transition from middle preschool age to senior age is characterized by a number of features: the child is most synthetic towards creativity as an opportunity for self-affirmation, self-expression of his “I”; experience of productive activity allows him to act more and more actively, independently, and initiative; having his own personal position, the child is able to realize his plans, finding adequate means for this; the artistic image he creates, made in different materials, is distinguished by individuality, expressiveness, and emotionality.

The basis for this was a direct connection with the perception and reflection of reality as the most important condition for the development of an imaginative vision of the world, artistic thinking, which is impossible without the development of imagination and fantasy.

When forming a child’s imagination and fantasy, it is important to maintain a sense of proportion: fantasy, without the proper base and experience in the child’s knowledge, is easily directed along the path of empty daydreaming, which is at odds with the child’s action, with the implementation of the plan. Most of all, one should be wary of an incorrect assessment of the quality of the child’s imagination and violations of the image from its real properties and characteristics. In this matter, it is essential to take a parallel critical account of both educational measures and age-related psychological characteristics that prompt the child to certain violations of the real image. It is important to correctly understand and evaluate the cause of these violations.

Compared with younger or middle age, older preschoolers experience qualitative changes in interests, as evidenced by the research of L.P. Blaschuk. She believes that in interest in visual activity one can identify the same characteristic features that are inherent in interest in general, namely: subject orientation, effectiveness, breadth, depth and stability.

The subject focus of interest is manifested in the child’s passion for a certain type of visual activity, theme, or artistic material.

Efficiency is expressed in the degree of activity in the process of activity, when, against the background of an emotionally positive attitude towards various types, initiative, activity, and independence are manifested.

In terms of depth, interest can be: 1) superficial, aimed at external satisfaction in activity; 2) in-depth, characterized by a creative attitude in work, the desire to learn more about the types of visual activity, themes, materials, and their means of expression; 3) sustainable. Which is determined by the individual preferences of each child.

The development of children's creative abilities in older preschool age is associated primarily with the enrichment of their sensory experience and the formation of imaginative ideas.

In the preschool period, the development of figurative forms of knowledge of the surrounding world - perception, imagination, imaginative thinking - is of particular importance. The teacher’s task is to develop interest in the visual arts and the need for it.

Since creativity is the channel through which the inner life of a child’s soul can be revealed and realized in material, the primary and foremost task is to promote normal development and personal growth, which directly proportionally influence the child’s creative activity.

Drawing is one of the most important means of understanding the world and developing knowledge of aesthetic perception, as it is associated with the independent practical and creative activity of the child.

Learning to draw in preschool age involves solving two interrelated problems:

Firstly, it is necessary to awaken in children emotional responsiveness to the world around them, to their native nature, to the events of our lives;

Secondly, to develop their visual skills and abilities.

In the process of drawing, a child’s powers of observation, aesthetic emotions, artistic taste, and creative abilities are improved.

1.2. Unconventional drawing

One of the most important conditions for the successful development of children's artistic creativity is the diversity and variability of working with children in the classroom. The novelty of the environment, an unusual start to work, beautiful and varied materials, interesting non-repetitive tasks for children, the opportunity to choose and many other factors - this is what helps prevent monotony and boredom in children's visual activities, and ensures the liveliness and spontaneity of children's perception and activity. It is important that every time the teacher creates a new situation so that children, on the one hand, can apply previously acquired knowledge, skills, and abilities, and on the other hand, look for new solutions and creative approaches.

The more diverse the conditions in which visual activity takes place, the content, forms, methods and techniques of working with children, as well as the materials with which they work, the more intensely children’s artistic abilities will develop. The most interesting activities that stimulate the creative potential of children, and therefore develop their creative thinking, imagination and artistic and creative abilities in general, are various entertaining activities.

Entertaining means a quality that evokes not just curiosity, but deep, lasting interest. That is, the goal of conducting entertaining activities is to create sustainable motivation for artistic and creative activity, the desire to express one’s attitude and mood in an image. It is impossible to make all classes entertaining, and it is useless to strive for this. But the teacher not only can, but also must, introduce elements of entertainment into every lesson.

Entertaining activities are divided into two types: with traditional visual materials and with non-standard or non-traditional materials. Classes of the second type - with non-traditional materials, or rather, using non-standard drawing techniques - most often help children maintain stable motivation for artistic and creative activities. After all, it’s no secret that everything new and previously unknown always arouses the greatest interest. The visual material can be the same - for example, gouache paint. You can use it in the spraying technique, and mixing paint with cereal, salt, and painting with a glue brush on the smooth surface of cardboard, and in the technique of drawing with ink blots, monotype, diatipia, in the finger technique, splashing on the background with a mask, thread, using imprint.

One way or another, the creation of a creative atmosphere depends on the desire and ability of an adult to create conditions for the development of children's creativity.

Thus, entertaining activities are a decisive factor in the artistic development of preschool children.

The term “non-traditional” implies the use of materials, tools, and drawing methods that are not generally accepted, traditional, or widely known.

The use of non-traditional drawing techniques helps to enrich children's knowledge and ideas about objects and their use, materials, their properties, and methods of application. Children are taught to draw not only with paints, pencils, felt-tip pens, but also with tinted soap foam, a candle, and are shown how to use glue for drawing, etc. Children get acquainted with different methods of coloring paper, including colored paste, the method of spraying paint, and learn that they can draw not only on paper, but also on special glass. They try to draw with their palm, fingers, fist, edge of the palm, and create images using improvised means (threads, ropes, hollow tubes) and natural materials (tree leaves).

In classes using non-traditional image techniques, preschoolers are given the opportunity to experiment - mix paint with soap foam, paste, apply gouache or watercolor to an image made with colored chalk.

By direct contact of fingers with paint, children learn its properties (thickness, hardness, viscosity), and by adding different amounts of water to watercolors, they get different shades of color. Thus, tactile sensitivity and color discrimination develop.

Unconventional drawing techniques help children to become more interested in drawing. They look at the world around them more creatively, learn to find different shades, and gain experience in aesthetic perception. They create something new, original, show creativity and imagination, realize their plan and independently find the means to implement it.

1.3. Types and techniques of non-traditional drawing

1. Leaf printing. While walking with children in the kindergarten area, you can collect leaves from different trees that differ in shape, size and color. The leaves are covered with gouache, then the painted side is placed on a sheet of paper, pressed and removed, resulting in a neat, colored imprint of the plant. The petioles of the leaves can be painted on with a brush.

Option 2. If we place the top of the leaf next to each other each time, we will get a flower. Let's finish painting the stem, path and sun with a brush - and the landscape is ready. And if we alternate such flowers with a leaf imprint, we will get an ornament.

2. Finger painting. This is a method of touching the fingers of the hand to the surface of a sheet of paper in different ways (tips - fingertips, side of the phalanx) to obtain different prints. The finger technique allows children to organically feel the visual material, its properties - viscosity, velvety, brightness of the paint layer, and to realize the sense of rhythm as a visual-expressive property. The child dips his finger into the gouache and puts dots and spots on the paper. Each finger is painted with a different color.

3. Drawing using the poke method. If children have experience in finger painting, then this method will not cause them any difficulties. To poke, just take an object (for example, a cotton swab), dip it in the paint and hit it on the sheet from top to bottom. A clear, defined imprint will remain. If the poke is done purposefully, for example, along the finished contour and inside it, then the depicted object will turn out to have an interesting, heterogeneous texture. By rhythmically applying a poke, you can draw falling snow, decorate the finished silhouette with an ornament, or depict an arbitrary silhouette of an object consisting of identical elements.

! Recommendations for children: when performing a poke, the stick must be held vertically, the upper end should be directed towards the ceiling, only in this case the stick, after hitting the poke on a sheet of paper, will leave a clear, even imprint, otherwise the poke may turn out blurry and the image shapeless.

4. Mixing colors. Mixing colors is an amazing transformation of some colors into others. By mixing three primary colors (red, blue, yellow), you can get new ones, and by adding white and black to paints, you can get different shades of the original color. The paints are mixed on a palette or on a white ceramic tile or plate. They are placed in small portions, starting with the lightest tone, and then a dark color is introduced and the paints are thoroughly mixed together, and only after achieving the desired shade can you begin to draw on paper.

5. Blotography. The basis of this drawing technique is the blot. In the minds of many, a blot is associated with sloppiness and sloppiness. Therefore, the task of the teacher is to make blotography a teaching, developmental tool in the artistic and creative activities of children. The goal of this type of drawing is for children to understand symmetry - a mirror impression of half of the object being drawn. If you fold a sheet in half, add a few drops of liquid paint to one side and press the other side tightly, you will get unusual, bizarre patterns. You can try to see trees, flowers, and algae in them. First, we try to work with one paint, then with several.

Option 2. Moisten a sheet of paper with water. Put some ink or watercolor paint on a brush and drop it onto a wet sheet. The drop will spread. Let the paper dry and look closely at the shape and pattern of the stain. What does it look like? If the image cannot be found immediately, the work can be postponed and returned to it after a while. Having found a certain similarity with a particular object, try to fill in the missing elements so that everyone understands what you saw in an ordinary blot. The work can be complicated by using not just one color, but several. Paints, when mixed, will provide additional opportunities in searching for images.

6.Blowing up the paint (blotography with a tube, airy “blot-making”). A technique somewhat similar to blotography, in which a few drops of liquid paint are applied to a sheet of paper, but the sheet is not folded, but a tube is taken (for cocktails or the hollow part of a ballpoint pen), its lower end is directed to the center of the blot so that its end did not touch either the stain or the paper, then blow into a tube and blow the paint from the center in different directions. Children really like it when the blots have “legs” running in different directions. The stain can be influenced and controlled, transforming it into any intended object, the individual details of which are completed with a regular brush or using felt-tip pens. Efforts to inflate the paint contribute to the active work of the lungs.

A similar effect can be achieved without blowing air, but by taking a sheet with a drop and lifting or lowering it, thereby changing the direction of the liquid spreading.

7. Monotype. This technique is used for mirror reflection of objects on the water surface (pond, lake, river, etc.). A technique similar in execution to blotography: a sheet of paper is folded in half vertically, objects of the future landscape are drawn in detail on one half, and after each element of the composition is painted with paint, the sheet is folded in half along the fold line and ironed to make an imprint on the other half. After receiving the print, the original objects of the drawing are re-animated with paints so that it has clearer contours than its reflection on the “water surface” of the reservoir.

Option 2. Children like monotype both because of the ease of execution and the decorative effectiveness of the result. This technique has an element of surprise, improvisation, surprise. And children love all this very much.

This method of graphic printing is as follows: oil paint or printing ink is applied according to a certain pattern onto a glass, metal or plastic plate that serves as a printing form. A piece of dark paper is then placed and pressed onto the plate, resulting in amazing color patterns.

You can vary this method by placing a larger layer of paint between the two plates; After compression and separation of the plates, unusual, unique compositions are formed on them. All these effects are random, but they largely depend on the ability to work with paints and a sense of color.

Option 3. There is another method of monotype, the essence of which is as follows: a drawing is applied to a sheet of paper placed on a plate lightly covered with ink, as a result of which the ink partially transfers from the plate to the paper. After removing the sheet, on the side that was in contact with the plate, a pattern enriched in shades will remain turned from left to right.

8. Photocopy - drawing with a candle (candle + watercolor). The drawing is applied using a water-repellent material - a candle or a dry piece of soap; invisible contours will not be painted when watercolor paint is applied over them, but will appear, as happens when developing photographic film.

9. Bleeding pattern (wax crayons + watercolor). This mixed technique combines drawing with different materials in order to become familiar with the properties and expressive features of the visual material. The planned plot is completed with wax pencils (crayons), then watercolor paints are applied on top using a brush. The watercolor rolls off the image, the drawing appears to appear.

10. Stained glass technique - glue pictures. Using PVA glue (from a bottle with a dosing spout) the outline of the future drawing is applied to a sheet of paper (you can first make an outline with a simple pencil), time is given for the adhesive base of the stained glass drawing to dry, then the space between the contours is painted with bright colors. Adhesive borders prevent the paint from spreading and mixing.

For greater expressiveness, lines imitating metal can be covered with black gouache, carefully working with a brush.

Secret: you can draw lines with glue already painted black. To do this, you need to add black gouache to the PVA glue.

11. Caricature. If you draw some scribbles or a half-drawn outline of an object on a sheet of paper, you can see some objects in them, try to complete them, supplement them with the necessary elements, bringing them to the perception of the integrity of the object. In terms of the complexity of tasks that develop imagination and visual memory, this method of teaching is the most difficult, since it requires a certain level of development of imagination, experience, and observations.

! During the initial acquaintance with doodlegraphy, it is more reasonable to offer each child a sheet with doodles corresponding to the topic of the lesson, and later - half-drawn silhouettes of a variety of objects. If children have difficulty recognizing objects, you can use leading questions, riddles, etc.

12. Templateography. To draw an object, you need to imagine what geometric shapes it consists of. Children from an early age learn to recognize shape in toys and objects in the surrounding reality. With age, the child’s experience becomes broader and he begins to understand that every complex object can be depicted using simple components: triangles, circles, squares, ovals, rectangles.

This technique involves outlining pre-prepared templates - geometric shapes - in order to compose and depict a separate object or plot picture.

! Recommendations for children: each template must be applied as close as possible to the drawn outline of the previous shape, without leaving gaps between them. With one hand, hold the template firmly on the surface of the sheet, and with the other hand, trace it around it with a pencil.

13. Living objects. Part of any creative process is the ability to see the world figuratively, with the childlike spontaneity inherent only in a child, with a belief in miracles on an emotional and sensory level. This method of drawing is based on existing visual experience, the ability to express one’s attitude towards the object being drawn in various ways and expressive means through color, lines, the transfer of characteristic poses, and facial expressions.

14. Spray. The paint needs to be dissolved in water, and then using a toothbrush and comb (pencil, stick) apply it to the paper by spraying. We dip the toothbrush into the paint, then place it vertically above the paper and a comb (pencil, stick), like a bow, and draw it from the bottom up along its bristles. A hail of splashes hits the surface of the paper. If you change the color of the paint each time, the background will consist of different droplets.

Option 2. If you pick up a lot of paint with a toothbrush or brush and shake it off in the direction of the paper with your hand, you can get a blot. A pile of blots creates a motley background.

Option 3. The child picks up paint on a brush and hits the brush on the cardboard, which he holds above the paper. Paint splashes onto the paper.

15. Combing paint. This is a painting technique in which a special comb, a toothed stack or an ordinary fork is drawn across wet paint and straight and wavy lines, long or short, are scratched on it. This gives volume to the drawing and an unusual structure to the depicted objects.

16. Drawing with foam rubber, polystyrene foam, crumpled paper, eraser stamps, cork, potato stamps (imprint). A piece of foam sponge, polystyrene foam or crumpled paper, etc. is good for drawing. They can either smear paint on paper or dab it onto the surface of a sheet. This type of technique is very suitable for depicting animals, as it conveys the texture of the fluffy surface of the object, as well as for creating colored backgrounds in different compositions (image of snow cover, water surface, leaf fall, etc.).

17. Line drawing. This drawing technique is called “SCRITTLE” - the pencil is pressed against the paper, as you move, the pressure weakens, and the tip of the pencil comes off the sheet, leaving a visible mark on it, the so-called stroke. A stroke is a line, a line drawn with one movement of the hand, short or long, thin or thick, etc. A drawing made with a stroke can be colored, or it can be tone, that is, black or gray. Distraction from color allows you to focus on a more accurate representation of the shape, structure of the depicted objects, movements, and composition of the drawing. With the help of a stroke, you can talk about the nature of an object, the properties of the material, convey its softness or prickliness, kindness or aggressiveness, reveal the image of the hero, positive or, conversely, negative, express your personal attitude towards him.

! The method of shading is painstaking work that requires effort and perseverance. In some cases, trying to finish the work quickly, children begin to speed up the pace of movement, this disrupts the rhythm of the drawing, the direction of strokes, the distance between strokes, and the quality of the composition suffers, so it is recommended to include finger exercises in the drawing process.

18. Drawing music. If you imagine that certain colors correspond to sounds, and certain spots correspond to combinations of sounds, then you can draw music in the form of a free image of lines, spots, and various patterns. At the same time, aesthetic sensations will bring children closer to the world of music and teach them to perceive and experience art from the inside.

19. Drawing with threads. Initially, on a sheet of thick white or tinted paper (or on colored cardboard), the outline of the future drawing is drawn with a simple pencil, PVA glue is applied from a bottle with a dosing spout over the finished silhouette of the drawn object, and then the image is laid out with colored threads. This method of drawing requires the composition to dry so that the threads stick. Instead of glue, you can use double-sided tape, which an adult sticks along the drawn contour, and the threads are easily glued to the sticky base.

20. Painting with salt. The drawing drawn with paint is sprinkled with salt. The salt is saturated with paint and, when dried, creates the effect of a grainy structure that conveys three-dimensionality to the image. When the drawing is dry, you need to shake off all excess. Against such a background, a seascape or an image of space will look impressive.

21. Scratching is a method of making a drawing by scratching paper or cardboard painted over with ink with a sharp object.

A thick sheet of paper is rubbed with a candle, mascara is applied over the wax layer, to which a few drops of liquid soap are added. Previously, the surface of the sheet can be covered with gouache of one color or paint spots of bright colors can be applied without gaps, then the image will be colored. When the base is dry, use a pointed object to scratch the design down to the paint layer.

22. Batik is painting on fabric. You can use old sheets. The fabric is pre-starched, ironed, stretched onto a frame or a candy box, or a mat of any shape is made. Drawing is done with gouache or watercolor paints along the intended pencil outline or spontaneously, without prior preparation.

23. Poking with a hard, semi-dry brush. The child dips the brush into the gouache and hits the paper with it, holding it vertically. When working, the brush does not fall into the water. In this way, the entire sheet, outline or template is filled. The result is an imitation of the texture of a fluffy or prickly surface.

24. Drawing with your palm. The child dips his palm (the entire brush) into the gouache or paints it with a brush and makes an imprint on paper. They draw with both the right and left hands, painted in different colors.

25. Paper tearing. The child tears small pieces or long strips from a sheet of paper. Then he draws with glue what he wants to depict, puts pieces of paper on the glue. As a result, the image is three-dimensional.

26. Rolling paper. The child crumples the paper in his hands until it becomes soft. Then he rolls it into a ball. Its sizes can be different: from small (berry) to large (cloud, lump for a snowman). After this, the lump is dropped into glue and glued to the base.

27. “Familiar form - new image.” The child traces the selected object with a pencil. Then he turns it into something else by drawing and painting it with any suitable materials. When tracing the foot, the child takes off his shoes and places his foot on the sheet. If a figure is traced, whatman paper is attached to the wall, one child presses against it, the other traces it.

28. Blotography with a string. The child dips the thread into the paint and squeezes it out. Then he lays out an image from a thread on a sheet of paper, leaving one end free. After this, he places another sheet on top, presses it, holds it with his hand, and pulls the thread by the tip. The missing details are completed.

29. Embossing. The child draws with a simple pencil what he wants. If you need to create many identical elements (for example, leaves), it is advisable to use a cardboard template. Then an object with a relief surface is placed under the drawing, and the drawing is colored with pencils.

30. Watercolor crayons. The child wets the paper with water using a sponge. Then he draws on dampened paper with crayons. You can use the techniques of drawing with the end of a chalk and flat. When the paper dries, it becomes wet again.

31. Poking. The child places the blunt end of a pencil in the middle of a square of colored double-sided paper measuring 2*2 cm and wraps the edges of the square onto the pencil with a rotational movement. Holding the edges of the square with his fingers so that it does not slip off the pencil, the child dips it into the glue. Then he glues the square onto the base, pressing it with a pencil. Only after this does he pull out the pencil, and the folded square remains on the paper. The procedure is repeated many times until the desired amount of paper space is filled with folded squares.

32. Draw using a coarse or fine grater. The paper should be put on a grater and painted over with the side of a wax pencil, and then the entire surface should be covered with ink or paint. This way you can get beautiful wrapping paper for gifts.

33. Coloring using a plastic bag. The cellophane bag is covered with paint, a sheet of paper is placed on top of it and lightly smoothed with the palm of your hand. Then the paper is removed. This technique can be used when depicting a seascape or water in an aquarium.

34. Watercolor wash. The amount of paint is diluted in a jar with the calculation nm of the entire sheet of paper. The sheet is tinted using a thick brush so that the paint does not have time to dry. While the paint is still wet, blot it here and there with a cotton swab. Some of the paint can be removed with crumpled tissue paper - there will be a different effect - or the paint can be removed with a clean, dry brush. A unique effect can be obtained if you blot the paint with a clean sponge or spray clean water over the wet paint.

35. Painting with a household brush. The paper is painted over with large strokes of one color (along its entire length or width), and when it dries, another color is applied on top of this color. The paint should be undiluted so that the bristles of the brush leave streak marks.

36. The effect of cracked canvas. The surface of the paper is completely covered with wax chalk. The painted sheet crumples. Having straightened the paper, you need to paint over all the cracks with dark paint. This creates the effect of a cracked canvas. When the paint has dried, the paper can be ironed with a hot iron, after placing the work between two newspapers.

It is no longer possible to draw on such a background, since the paint will flow down the wax, but the paper prepared in this way can be used for appliqués.

37. Foam painting. Detergent is poured into a bowl of water. Everything is thoroughly mixed until abundant foam appears. Colored ink is splashed onto the foam. A sheet of paper is placed on the colored foam and immediately rises. A color imprint remains on the paper.

Colored foam can be transferred to glass and an imprint can be made from it. Then the drawing will turn out even more abstract and interesting.

Having seen a specific image in the resulting print, you can outline its outline with a felt-tip pen or ink, adding (drawing) details so that it becomes more defined and understandable to others.

38. Unfamiliar tracks. Any objects can leave marks. The more abstract the trace, the more interesting the work. It’s convenient to “paint” stains with plastic candy boxes. Their shape is different, and due to the uneven surface, the prints are fuzzy.

Let's apply the paints of the desired shades to the palette and, dipping the cell in them, leave a mark on the paper. Using a brush, pencils, and felt-tip pens, we will add elements to get the image created by our imagination. The same effect can be achieved using a piece of fabric, a sponge, etc.

39. Straight and curved lines. In order to get a straight or broken line as an imprint, you will need a piece of thick cardboard. We cut strips of cardboard of different thicknesses. Dip the edge of the cardboard in paint and print a straight line on the paper. The thickness of the line depends on the thickness and type of cardboard (thin, thick, corrugated).

To get curved lines, dip the edge of the cardboard in paint and, bending it slightly, apply a print. If you print several curved lines converging in the middle, you will get a stylized flower.

40. Cardboard prints with shift. To create a pattern of flowers, you can use the technique of drawing with cardboard, moving it in a certain way. To print wedges, you need to dip the edge of the cardboard in paint and press it to the paper, then move the cardboard, holding it by the top edge. The bottom edge remains pressed to the paper. You can make a flower from several petal wedges.

To make a diamond, you need to press the edge of the cardboard to the paper and evenly move it diagonally. To obtain a zigzag line, you need to move the cardboard up and down diagonally. If you want to draw a hilly surface, you can print it with long wavy lines using a wide piece of cardboard. The lines must overlap each other. For each flower you need to take a separate piece of cardboard.

41. Drawing on the sand. In order to create a drawing in the sand, you need to prepare a base. To do this, apply an even layer of glue to a sheet of cardboard and, without allowing it to dry, pour sand through a sieve. After a while, shake off the excess sand. If some places are left empty, you need to reapply glue and sprinkle with sand.

The dry surface of the cardboard will resemble sandpaper. You can paint with gouache on this surface. A rough surface will create a smooth transition of colors and obtain a visual stereo effect. This method is very convenient for depicting landscapes.

An additional volume effect can be achieved by layering sand.

42. Drawings from cereals and grains. Working with cereals is also interesting and exciting. Semolina, like sand, can be glued onto a cardboard base, and then, after letting it dry, painted with paints.

Semolina can also be used to add additional special effects to the drawing. Let's say you are painting a winter landscape and you need to depict trees standing in the snow, or frost lying on the branches. To do this, you need to apply PVA glue to the pencil drawing and sprinkle semolina on top. If you want to shade the drawing, you can do it with paints, after letting the glue dry.

Using cereals and grains as a mosaic, you can create multi-colored compositions. The simplest one is a contour image. Glue is applied to the pencil drawing and the outline is laid out using cereal. A more complicated stage of work is creating a complete image from cereals (a jug, an image of an animal, flowers, etc.). If you choose grains of different shades, you can achieve a variety of effects: shadow, partial shade, highlight, variegated colors of animals, etc.

Cereals have their own color and shades: rice - from white to yellowish, millet-yellow; buckwheat - many shades of brown; pearl barley - white-gray; semolina is white, but it can easily be painted in any other colors, etc. Using the color scheme of cereals and grains, you can create various pictures of a mosaic nature, where not only the color, but also the shape of the grains themselves will play a role in the image.

The grains can be secured with glue or plasticine. To do this, you need to prepare a cardboard tablet, spreading it with a layer of plasticine (2-3 mm). The design is applied in a stack and then laid out from the cereal.

43. What is an airbrush? Children really like this technique of splashing paint and obtaining various decorative effects. It can be used both individually and for collaboration. From the technical side, it does not present any difficulties: for this you need highly diluted paint (preferably tempera), which is sprayed onto paper or canvas using a syringe or a spray gun (airbrush).

The easiest way to quickly obtain images is to display several objects that will serve as a stencil model, or cut out figures from cardboard: leaves, lace, starfish and shells, leaving an imprint of their whimsical shape against the background of spray paint. Applying new layers of paint allows you to achieve the effect of depth. But do not forget that dark colors are splashed last.

Conclusion for Chapter 1.

The term “non-traditional” implies the use of materials, tools, and drawing methods that are not generally accepted, traditional, or widely known.

Non-traditional methods of depiction are quite simple in technology and resemble a game. Every child will be interested in drawing with their fingers, making a drawing with their own palm, putting a blot on paper and getting a funny drawing. Children often copy the model offered to them. Non-traditional technology is an impetus for the development of imagination, creativity, independence, initiative, and expression of individuality. By combining and using various methods of depiction in one drawing, preschoolers can independently decide which technique to use to make this or that image more expressive.

Chapter 2. Experimental confirmation of the effectiveness of using non-traditional drawing techniques in organized educational activities with children of senior preschool age

Research work on the use of non-traditional drawing techniques in organized educational activities was carried out on the basis of the Municipal Budgetary Educational Institution Secondary School No. 10 of the Akhtubinsky District, Verkhniy Baskunchak village, Astrakhan Region, with children of the senior group.

The purpose of the pedagogical research: to determine the most effective methods and techniques that promote the development of the creative imagination of older preschoolers in the process of using non-traditional drawing techniques.

The research work took place in three stages:

A confirmatory experiment in which the level of development of children’s imagination and the ability of children to use non-traditional drawing techniques were determined;

Formative experiment aimed at selecting and testing OOD using non-traditional drawing techniques

A control experiment that allowed us to evaluate the effectiveness of using non-traditional drawing techniques in organized educational activities.

2.1. Ascertaining experiment

To determine the level of development of children’s imagination, a creative task “Completing circles” was carried out, author Tamara Semenovna Komarova.

The creative task of completing the drawing of circles, which was of a diagnostic nature, is as follows: children are given a landscape sheet with circles of the same size (diameter 4.5 cm) drawn on it in 2 rows (3 circles in each row). The children were asked to look at the drawn circles, think about what kind of objects they could be, complete the drawing and color them to make it look beautiful.

To determine the children’s ability to use non-traditional drawing techniques, the lesson “Let’s give mom a vase” was selected and conducted using the non-traditional foam printing technique.

Objectives: To expand and consolidate children’s knowledge about this visual technique. Develop a sense of form, color, composition. Encourage children to add additions to the work: a frame, decorations on a vase, etc. Cultivate neatness and aesthetic taste.

Materials and equipment:

Stencils depicting vases of various shapes, attached with paper clips to thick white A4 paper. Foam sponges, gouache in plates, brush. Samples of finished works. Cut-out pictures depicting vases.

1. Organization of children;

2.Demonstration of samples;

5.Analysis of children's work;

6. Summing up.

Results of the ascertaining experiment: during the lesson “Let’s give mom a vase,” all children showed interest in the content and technique of the image. The children’s work shows a rather low level of work performance; the manifestation of creativity and independence is not reflected, because the children followed the teacher's model.

We analyzed the children’s work during the learning period, talked with the teacher in order to have a reliable picture of the children’s mastery of the material, and came to a conclusion based on the analysis.

Having defined the criteria, three levels were identified:

low: taking a long time to complete the work, completing only small, insignificant details;

medium: acceptable performance of work within a time period, completing drawing of large, full-fledged details;

High: completing the drawing of details that give the drawing a plot character and convey the characteristic features of the subject.

Table 1. Results of the ascertaining experiment.

The method of mathematical statistics made it possible to find out in % terms the level of use of non-traditional drawing techniques by each child.

Based on the results of the creative task and lesson, the following results were obtained (Table 1): high level - 0 children; average level - 4 children, which was 33%, low level - 8 children, which was 67%

After conducting the ascertaining experiment, the goal of the formative experiment was outlined on the problem of using non-traditional drawing techniques in OOD.

2.2. Formative experiment

Goal: using non-traditional materials, to encourage children’s desire to combine different materials, add new elements, obtaining a subject or plot image.

To achieve this goal, activities of an entertaining nature were selected, as they contained interesting content and non-traditional material. The formative experiment consisted of a series of classes in which threads, food straws, and a fork were used. From a large arsenal of types of non-traditional techniques, we chose the following: blotography with a tube (blowing paint), drawing with threads, drawing with a fork. The choice of these techniques is not accidental:

- firstly, they are the most favorable for the development of creative imagination, since their results are unpredictable and individual;

- secondly, they are technically accessible to preschool children;

- thirdly, the process of performing an image using the named techniques is exciting, interesting, and associated with positive emotional experiences.

When selecting and organizing classes, we relied on the following principles:

1) freedom of choice by the child of visual material;

2) unlimited time frame;

3) positive acceptance of the work result.

OOD 1. “Beautiful pictures from threads.”

Objectives: Continue to teach children various unconventional methods of drawing, introduce them to new unusual visual material; develop color perception, the ability to select appropriate color combinations for your composition; learn to use glue carefully, apply it to the outline of the design in a thin stream; teach how to lay out the thread exactly along the drawn contour, develop coordination of movement, fine motor skills of the hands.

Materials and equipment: landscape sheet with a ready-made background; a bottle of PVA glue with a dosed spout; multi-colored pieces of thread;

Organization and methodology:

1. Organization of children;

2. Artistic word;

3.Game motivation;

4. Explanation;

5.Independent activities of children;

6.Analysis of children's work;

"Drawing with colored threads." This drawing technique evoked positive emotions in the children and a desire to work in this technique. Only one child was able to name his work and complete the complete image. Despite this, this technique is useful in working with children as a psychotherapeutic tool.

OOD 2 “We are wizards.”

Objectives: To introduce children to one of the non-traditional drawing techniques - blowing paint (blotography with a tube), to show its expressive capabilities; show children the possibility of obtaining images using air and a tube; learn to complete the details of objects (blots, to give them completeness and similarity with real images; learn to see the unusual in the ordinary; develop imaginative thinking, imagination, fantasy, interest in creative activity; develop color perception, a sense of composition, the ability to draw conclusions.
Materials: Gouache paints, painting brushes, album sheets, napkins, jars of water, disposable spoons; tape recorder, audio recording “Spring” (Seasons) by A. Vivaldi.

Organization and methodology:

1. Organization of children;

2. Explanation and demonstration of creation;

3.Independent activities of children;

4.Analysis of children's work;

OOD 3 “Drawing with a fork.”

Educational. Teaching children methods and techniques of non-standard drawing techniques.

Developmental. Development of creative thinking and imagination when creating a drawing using an unconventional method.

- educational. Cultivating accuracy, independence, and attentiveness when working with gouache and a fork.

Materials and equipment: sheets of A4 paper; sheets of paper ½ A4; gouache; markers; disposable plastic forks; napkins; cups - sippy cups.

Organization and methodology:

1.Butterfly breathing exercises;

2.Explanation and demonstration of paint blowing;

3. Helping children with work;

4.Formation of collective works;

5.Analysis of children's work

During the formative experiment, the approach to the methodology of conducting classes was changed. In order not to tie children to the sample, the display of the sample was excluded. During the examination, the artistic merits of the material were clarified with the children, they encouraged them to determine how to create such works, the technology of the image was shown, the show was not complete, but only the principle of creation was demonstrated. Before the start of children's activities, during the work and during the analysis of children's activities, creative manifestations were emphasized, highlighting expressive means. The use of such technology allowed drawing classes to become more interesting and productive. The children had little knowledge of the interesting techniques used in drawing. They were engaged in traditional types of drawing, and the selected and conducted classes allowed them to develop an interest in drawing in children, while showing creativity, initiative, provoking a state of inspiration and creative impulse.

The children really enjoyed working with non-traditional materials. The works were more successful and expressive.

Drawing with unusual materials and original techniques allows children to experience unforgettable positive emotions. The result is usually very effective and almost does not depend on skill and ability. Non-traditional methods of depiction are quite simple in technology and resemble a game.

Conducting classes using non-traditional techniques:

Helps relieve children's fears;
- develops self-confidence;
- develops spatial thinking;
- teaches children to freely express their ideas;
- encourages children to creative searches and solutions;
- teaches children to work with a variety of materials;
- develops a sense of composition, rhythm, color, color perception;
- a sense of texture and volume;
- develops fine motor skills of the hands;
- develops creativity, imagination and flight of fancy;
- while working, children receive aesthetic pleasure.

Thus, all the proposed non-traditional techniques aroused interest among the children and a positive attitude towards them, but in the first lessons they felt insecure, the images were created of the same type. In subsequent lessons, the children quickly became involved in the activity, showed more independence, and when looking at given forms, they offered options for images. Children learned to think through a plan, motivate the choice of visual media, learned to independently create artistic images in drawings, set goals and achieve them. Children learned to interact with each other.

Children happily cover one sheet of paper after another with spots, strokes, and strokes, depicting either autumn leaves swirling in the air or snowflakes smoothly falling to the ground. Children boldly take on art materials; preschoolers are not afraid of their diversity and the prospect of independent choice. They take great pleasure in the process of doing it. Children are ready to repeat this or that action many times. And the better the movement turns out, the more pleasure they repeat it, as if demonstrating their success, and rejoice, attracting the attention of an adult to their achievements.

Drawing develops vision and the ability to see. The child learns the concepts of “vertical” and “horizontal”, hence the linearity of early children’s drawings. Then he comprehends the forms, properties of materials, and gradually comprehends his surroundings. This happens faster than the accumulation of words and associations, and drawing makes it possible to express in figurative form what the child has already learned and what he cannot always express verbally. Drawing not only promotes the development of vision, coordination of movements, speech and thinking, but also helps the child organize rapidly acquired knowledge and increasingly complex ideas about the world.

Visual activity is perhaps the most interesting activity for preschoolers. It allows the child to reflect his impressions of the environment in visual images and to express his attitude towards them.

At the beginning of our experience, children's works were monotonous, colorless, lack of accuracy; in a word, the drawings were monotonous and poor in color scheme. All children love to draw, but creativity cannot exist under pressure and violence. After all, drawing for a child is a joyful, inspired work that should not be forced, but it is very important to stimulate and support the child, gradually opening up new possibilities for visual activity. Non-standard approaches to organizing visual activities surprise and delight children, thereby arousing the desire to engage in such an interesting activity. Original drawing reveals the child’s creative capabilities, allows you to feel the colors, their character and mood.

Non-traditional drawing methods develop logical and abstract thinking, imagination, observation, attention and self-confidence in children.

It is very interesting to watch how children depict in their drawings: smell, noise, and finishing the blot. They skillfully improvise and fantasize, which is not always possible for adults. It is difficult for a child to communicate, but with the help of drawing he conveys his mood and, thanks to systematic work, by the end of preschool childhood he pleases everyone with his magnificent works.

The child should have the right and the opportunity to independently choose visual materials: colored and simple pencils, watercolors, gouache, pastels, ink, charcoal, sanguine, crayons, wax candles, plasticine, clay, shells, glue, gouache in tubes, various waste materials. All this material must be in a place accessible to the child during his entire stay in the garden; if this is not possible, then during classes it is mandatory. The choice of material on which the image will be printed must belong to the child, access to various materials must be free. It can be white, colored, velvet paper, patterned or plain fabric, cardboard, plywood, foil.

Non-traditional drawing methods can be used not only in art classes, but also in other classes and in free time. Children's interest in visual arts increases. Having experience in drawing in various ways, children themselves suggest them, you just have to offer them a drawing topic.

2.3. Control experiment

The final experiment was carried out with the aim of: finding out the level of development of creative imagination; ability to use various non-traditional drawing techniques. The experiment was carried out in 3 stages: diagnostics of creative development according to the method of T.G. Kazakova, in the form of a repeated OOD on the topic: “Let’s give mom a vase” and a final OOD on the topic: “Snow-covered tree.”

According to the method of T.G. Kazakova:

Assignment: children are given a standard sheet of paper with 6 circles of the same size drawn on it (4.5 cm in diameter). The children were asked to look at the drawn circles, think about what kind of objects they could be, complete the drawing and color it to make it look beautiful. Analysis of task results.

High level - endows objects with original figurative content, mainly without repeating the same close image.

Middle level - gives figurative meaning to all or almost all circles, but allows almost literal repetition (for example, a muzzle) or decorates objects with simple, frequently encountered objects in life (ball, ball, ball, etc.)

Low level - could not provide all the circles with an imaginative solution, did not complete the task completely and carelessly.

OOD: “Let’s give mom a vase.”

Objectives: to find out the level of improvement in the quality of work, whether there has been an increase in the development of creative imagination.

Organization and methodology:

1. Organization of children;

2.Demonstration of samples;

3.Game motivation, explanation, tasks;

4. Find out the sequence of work, encourage the ability to plan your actions;

5.Analysis of children's work;

6. Summing up.

During the educational activities, all children showed interest in the content and technique of the image. The children’s work shows a fairly high level of work performance, reflects the manifestation of creativity and independence; the children no longer followed the teacher’s model and did not copy their peers.

OOD "Snow-Covered Tree".

Developmental: Develop creative individuality, creative imagination, find out the independence of choosing color combinations; determine the level of technical skills: add suitable details to the object, convey the characteristic features of the object in the drawing. Develop creativity and imagination.

Educational: to cultivate the ability to admire the beauty and diversity of natural forms. Cultivate an interest in drawing.

Organization and methodology:

1. Organization of children;

2.Demonstration of samples;

3.Game motivation, explanation, tasks;

4. Find out the sequence of work, encourage the ability to plan your actions;

5.Analysis of work.

Having defined the criteria, we identified three levels:

Low - they use all the blanks assigned to them, without correlating them with the intended image. They have difficulty choosing forms, violate proportions, and do not understand the use of rhythm in composition;

Middle - children know how to create an image, becoming attached to the teacher’s model, make changes in the use of color, proportions and shapes are conveyed in a recognizable way;

High - children who can create an image, convey the shape of an object or parts, add small details to the characteristics of the image, and introduce new original ones.

table 2 Results of the control experiment

According to the results of the experiment, it was revealed (Table 2): 1 child has a low level, which is 8%; 3 children have an average level, which is 25%; 8 children have a high level, which is 67%.

Results of the control (final) experiment: during the lesson, all children showed interest in the content and technique of the image. The children’s works demonstrate a fairly high level of work performance, reflecting the manifestation of creativity and independence, as the children fantasized.

The use of non-traditional materials created enormous motivation, the expectation of novelty and a strong interest in drawing. Simple manipulations with the material, accessible to children, enhanced the effect of anticipation of the final result, contributed to the development of creative imagination and more rapid development of the expressive properties of materials for conveying images. The work done convincingly proves the effectiveness of using non-traditional means and drawing techniques in mastering their expressive capabilities and will serve as potential for the development of the creative imagination of older preschoolers.

Conclusion according to chapter 2. The use of non-traditional drawing techniques in organized educational activities with preschool children means mastering the expressive capabilities of visual material when creating an image, mastering the harmony of color combinations, comprehending the beauty of those created through one’s own creativity, i.e. mastering the conventions of the language of fine art.

Studying the state and attitude of educators towards drawing as a type of artistic activity in the practice of preschool institutions allows us to assert that drawing, when properly organized, contributes to the development of the creative imagination of preschoolers.

The experimental work we carried out confirmed the conclusions of scientists about the availability of creative activities for preschoolers.

Observations of children during organized educational activities using non-traditional drawing techniques during school hours helped us find out that they arouse interest in children and serve as a high emotional outburst, are remembered for a long time, promote closer communication with teachers, and create comfortable communication.

Against the backdrop of emotional upsurge, children more often show their individuality and artistic creativity.

The use of non-traditional materials and drawing techniques when working with preschoolers is a powerful stimulus for activity, for finding a way to create an image, for selecting materials that correspond to the characteristics of the depicted object. In children's works, the material used, its variety and combinations helped children achieve expressiveness of images.

Conclusion

Everything unusual attracts the attention of children and makes them wonder. Children develop a taste for learning new things, research, and experimentation. Children begin to ask questions to the teacher and each other, their vocabulary is enriched and activated.

As you know, children often copy the model offered to them. Non-traditional drawing techniques allow you to avoid this, since the teacher, instead of a ready-made sample, only demonstrates a method of working with non-traditional materials and tools. This gives impetus to the development of imagination, creativity, the manifestation of independence, initiative, and the expression of individuality. By using and combining different methods of depiction in one drawing, preschoolers learn to think and independently decide which technique to use so that this or that image turns out to be the most expressive. Then they analyze the result, compare their works, learn to express their own opinions, and they have a desire to make their drawing more interesting and different from others next time.

Non-traditional drawing techniques require compliance with the sequence of actions performed. Thus, children learn to plan the drawing process. Working with non-traditional drawing techniques stimulates positive motivation in the child, causes a joyful mood, and removes fear of the drawing process.

Many types of non-traditional drawing help increase the level of development of hand-eye coordination (for example, drawing with crayons on wet paper). Correction of fine motor skills of the fingers is facilitated, for example, by such an unconventional drawing technique as finger painting. This and other techniques require accuracy and speed of movement (you need to perform the next action before the paint has dried), the ability to correctly determine the force of pressure on a material or tool (so that the paper does not tear, the crayon does not break), patience, accuracy, attention (otherwise the result can be and not reach).

Drawing using non-traditional drawing techniques does not tire preschoolers; they remain highly active and efficient throughout the entire time allotted for completing the task.

Non-traditional drawing techniques allow the teacher to take an individual approach to children, taking into account their desires and interests. Drawing with several hands, as a collective form of creativity, brings children together. They develop communication skills and develop emotionally warm relationships with peers. Children easily learn moral standards and rules of behavior.

The use of non-traditional drawing techniques contributes to the intellectual development of the child, correction of mental processes and the child’s personal sphere.

Non-traditional drawing develops aesthetic perception, imagination, creative independence, makes it possible to use objects familiar to children as artistic materials, and allows preschoolers to engage in drawing not obsessively, but with pleasure.

The practical significance of the final qualifying work is that:

Abstracts of organized educational activities on entertaining drawing using non-traditional drawing techniques have been selected.

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Natalia Aleksandrovna Nikolaeva
Using non-traditional drawing techniques with preschool children

Preschool age is that period, when visual activity can become, and most often is, a sustainable hobby not only for gifted children, but for all children. For the development of creative imagination, a special organization of visual activity is necessary. There are many types that allow children to develop their intellectual ability in visual arts.

It can be said that non-traditional techniques allow, moving away from the objective image, expressing feelings and emotions in a drawing, gives the child freedom and instills confidence in his abilities. Owning different technicians and ways of depicting objects or the surrounding world, the child gets the opportunity to choose.

Drawing:

One of the child's communication methods;

It is of great importance in the formation of personality;

It is one of the important means of understanding the world and developing aesthetic perception, as it is associated with the child’s thinking, independent, practical and creative activity.

Drawing develops:

Intellectual abilities of children;

Memory, attention, fine motor skills;

Teaches you to think, analyze, measure and compare, compose and imagine.

In the process, the child’s observation, aesthetic perception, artistic taste, and creative characteristics are improved. And if children draw like children, then many adults also draw like children, no matter what results they achieve in other areas. Moreover, adults usually perceive with fear a proposal, something draw. The reason for this phenomenon is the generally accepted culture of our society. After all, it is much more important to be able to read and write than paint. Therefore, one should not be surprised that adults do not know how to paint, and children, upon graduating from primary school, stop engaging in visual arts and, thus, stop the development of skills drawing. But, as experience shows, the presence of creative abilities plays an important role in a person’s life.

What are they good for? unconventional techniques?

They do not require highly developed technical skills, enable more "relief" demonstrate the capabilities of some visual media, which allows you to develop the ability see expressiveness of forms. You need to remember a simple rule - there are no untalented children, there are undiscovered children. And we, adults, must help reveal these talents.

The relevance is that knowledge is not limited to the program. Children are introduced to diversity unconventional ways of drawing, their features, variety of materials, used in drawing, learn to create their own drawings based on the knowledge gained. Thus, a creative personality develops, capable of applying their knowledge and skills in various situations.

Data techniques do not tire preschoolers, they remain highly active and efficient throughout the entire time allotted for completing the task. This is very important for the future of our children, since time does not stand in one place, but moves forward and therefore it is necessary use new developing technologies:

Personality-oriented (problematic issues and situations);

Communication (heuristic conversation and dialogue, expansion and activation of the dictionary);

Gaming (originality of plot, motivation);

Pedagogical (confidential conversation, stimulation, advance success, pause).

I base my work on the following principles:

From simple activities to complex activities.

The principle of visibility is expressed in the fact that children have a more developed visual-figurative memory than verbal-logical memory, so thinking is based on perception or representation.

The principle of individualization ensures the involvement of each child in the educational process.

Connecting learning with life: the image should be based on the impression received by the child from the surrounding reality.

Technicians Images can help reduce arousal in children who are overly emotionally disinhibited. I would like to note that unconventional drawing, for example, playing blots captivates children, and the more the child is engaged, the more he concentrates. Thus, use of unconventional techniques images promote cognitive activity, correction of mental processes and personal sphere preschoolers in general.

All children successfully cope with work in unconventional drawing technique.

Learning with unconventional drawing techniques occurs in the following directions:

From drawing individual items to drawing plot episodes and further to the plot drawing;

From using simple types unconventional technology images to more complex views;

From use method of imitation to independently fulfill the plan;

From using one type in a drawing techniques for using mixed media images;

From individual work to collective depiction of objects and subjects unconventional drawing techniques.

Tasks in working with children:

Teach children to choose materials for unconventional drawing and skillfully use it.

Help children master various technical work skills non-traditional techniques.

Instill interest in drawing with non-traditional techniques.

Develop creativity and imagination.

Encourage children to be active when choosing a topic.

To cultivate in children the ability to work individually and create collective compositions, to develop emotionally positive emotions in response to a proposal paint, formation of skills use experience to achieve the goal.

To develop children's aesthetic sense of form, color, rhythm, composition, proportion.

Develop a sense of collectivism, camaraderie, and the desire to help each other.

Learn to empathize with the mood conveyed in the drawing.

Conditions necessary for the successful mastery of visual arts and the development of children's creative abilities.

The process of developing creative abilities in elders preschoolers will be successful, if the following pedagogical conditions:

1. Providing educators preschool institutions with didactic material;

2. Creating an emotionally-comfortable atmosphere for children’s learning;

3. Timely diagnosis and development of creative abilities in children.

4. The relationship between upbringing, learning and creativity. In this regard, we pay great attention to the development of independence. Children are given the opportunity to express their own ideas. This is expressed in classes on a free topic.

5. A necessary condition for the formation of artistic creativity is the integration of various contents and various types of artistic activity and art.

6. The teacher’s creative approach to the selection of educational content based on integration, as well as to the organization of classes with using various methods and techniques.

7. Creation of an artistic and aesthetic environment. Children take an active part in this. Together we decorate the hall for celebrations and create elements of scenery for dramatization games. We use in the design of the kindergarten, children's drawings, crafts, collective and individual collages.

8. Usage in the pedagogical process of the game, the game situation.

9. Proper placement of the fine art center. It should be located near the toilet room. In which children could wash their hands after work, change water in jars, wash brushes, etc. used in an art class. The space around the desktop should be free. Children should move freely during group work without disturbing each other.

10. Another most important condition for the development of children’s visual abilities is the organization of an interesting, meaningful life for the child in a preschool educational institution and family, enriching him with vivid impressions, providing emotional and intellectual experience, which will serve as the basis for the emergence of ideas and will be the material necessary for the work of the imagination.

11. Taking into account the individual characteristics of the child is one of the main conditions for the development of visual abilities in the learning process. It is important to take into account temperament, character, and characteristics of certain mental processes (for example, the dominant type of imagination, and even the child’s mood that day.

Non-traditional drawing techniques in older groups

Watercolor + wax crayons

9Candle + watercolor

Fingerprints - Tamponing

Leaf prints

Crumpled paper + hard dry brush

Drawing on crumpled paper

Charcoal drawing

Subject monotype

Monotype through glass

Line drawing

Drawing with semolina

Plasticine graphics

Painting with salt

Pouring paint

Nitcography

Blotography blowing

Drawing with glue

Iris-Folding

Sand painting.

Let's look in more detail at unconventional drawing techniques, used in working with children of senior preschool age.

1. Poking with a hard semi-dry brush (O. A. Belobrykina).

Means of expression: texture of color, color.

Materials: hard brush, gouache, paper of any color and format, or a cut out silhouette of a furry or prickly animal.

Image acquisition method: the child dips a brush into the gouache and hits the paper with it, holding it vertically. When working, the brush does not fall into the water. In this way, the entire sheet, outline or template is filled. The result is an imitation of the texture of a fluffy or prickly surface.

2Imprint with crumpled paper (M. Shklyarova).

Means of expression: stain, texture, color.

Materials: a saucer or plastic box containing a stamp pad made of thin foam rubber impregnated with gouache, thick paper of any color and size, crumpled paper.

Image acquisition method: The child presses the crumpled paper onto an ink pad and makes an imprint on the paper. To get a different color, change both the saucer and the crumpled paper.

3. Photocopy (R. Romanova).

Means of expression

Materials Images: technique Working with a candle has a specific name - photocopy. Word "photo" In the title technology indicates its involvement in photography and is explained by the fact that the effect obtained when using a candle, as if in a simplified form, reproduces the process of developing photographic film. And it is achieved as follows way: the child puts some image on a sheet of white paper or simply puts bold dots; After this, the entire sheet is evenly covered with ink (preferably dark color). An amazing trick occurs - the image made by the candle and not visible on the white paper appears right before your eyes.

4. Wax crayons + watercolor (R. Romanova).

Means of expression: color, line, spot, texture.

Materials: wax crayons, thick white paper, watercolors, brushes. Method of obtaining Images: a child draws with wax crayons on white paper. Then he paints the sheet with watercolors in one or more colors. The chalk drawing remains unpainted.

5. Candle + watercolor (R. Romanova).

Means of expression: color, line, spot, texture. Materials: candle, thick paper, watercolor, brushes. Method of obtaining Images: a child draws with a candle on paper. Then he paints the sheet with watercolors in one or more colors. The candle pattern remains white.

6. Subject monotype (A. Ilyina).

Means of expression: spot, color, symmetry.

Materials: thick paper of any color, brushes, gouache or watercolor.

Image acquisition method: the child folds a sheet of paper in half and on one half of it draws half of the depicted object (items are chosen symmetrical). After drawing Each part of the object, until the paint has dried, the sheet is folded in half again to make a print. Then the image can be decorated by also folding the sheet after drawing several decorations.

7. Regular blotography (O. A. Belobrykina).

Means of expression: spot.

Materials: paper, ink or thinly diluted gouache in a bowl, plastic spoon. Method of obtaining Images: The child scoops up gouache with a plastic spoon and pours it onto paper. The result is spots in a random order. Then the sheet is covered with another sheet and pressed (you can bend the original sheet in half, drip ink onto one half, and cover it with the other). Next, the top sheet is removed, the image is being considered: Determines what it looks like. Missing parts finishing drawings.

8. Blotography with a tube (O. A. Belobrykina).

Means of expression: spot.

Materials: paper, ink or thinly diluted gouache in a bowl, plastic spoon, tube (drink straw).

Image acquisition method: the child scoops up paint with a plastic spoon, pours it onto the sheet, making a small spot (a drop). Then blow on this stain from a tube so that its end does not touch either the stain or the paper. If necessary, the procedure is repeated. Missing parts finishing drawings.

9. Blotography with a string (O. A. Belobrykina).

Means of expression: spot.

Materials: paper, ink or thinly diluted gouache in a bowl, plastic spoon, medium-thick thread.

Image acquisition method: the child dips the thread into the paint and squeezes it out. Then he lays out an image from a thread on a sheet of paper, leaving one end free. After this, another sheet is placed on top, pressed, holding it with your hand, and pulls the thread by the tip. Missing parts finishing drawings.

10. Spray (R. Romanova).

Means of expression: point, texture.

Materials: paper, gouache, hard brush, piece of thick cardboard or plastic (5x5 cm).

Image acquisition method: The child puts paint on a brush and hits the brush on the cardboard that he holds above the paper. Paint splashes onto the paper.

11. Leaf prints (E.K. Brykina).

Means of expression: texture, color.

Materials: paper, leaves of various trees (preferably fallen ones), gouache, brushes.

Image acquisition method: The child covers a piece of wood with paints of different colors, then places it on the paper with the painted side to make a print. Each time a new leaf is taken. Petioles of leaves can be finish painting with a brush.

12. Watercolor crayons (R. Romanova).

Means of expression: spot, color, line.

Materials: thick paper, watercolor crayons, sponge, water in a saucer.

Image acquisition method: The child wets the paper with water using a sponge, then draws on it with crayons. Can use drawing techniques the end of the chalk and flat. When the paper dries, it becomes wet again.

13. Poking (M. Shklyarova).

Means of expression: texture, volume.

Materials: squares of colored double-sided paper (2x2 cm in size), magazine and newspaper paper (for example, for hedgehog needles, pencil, PVA glue in a bowl, thick paper or colored cardboard for the base.

Image acquisition method: the child places the blunt end of a pencil in the middle of a square of paper and turns the edges of the square onto the pencil with a rotational movement. Holding the edge of the square with a finger so that it does not slip off the pencil, the child dips it into the glue. Then he glues the square onto the base, pressing it with a pencil. Only after this does he pull out the pencil, and the folded square remains on the paper. The procedure is repeated many times until the desired amount of paper space is filled with folded squares.

14. Landscape monotype (A. Ilyina).

Means of expression: spot, tone, vertical symmetry, image of space in a composition.

Materials: paper, brushes, gouache or watercolor, damp sponge, tiles.

Image acquisition method: The child folds the sheet in half. On one half of the sheet a landscape is drawn, on the other it is reflected in a lake or river (imprint). The landscape is done quickly so that the paints do not have time to dry. The half of the sheet intended for the print is wiped with a damp sponge. The original drawing, after a print is made from it, is enlivened with paints so that it differs more from the print. For monotype you can also use a sheet of paper and a tile. A drawing is applied to the latter with paint, then it is covered with a damp sheet of paper. The landscape turns out blurry.

Availability the use of non-traditional techniques is determined by the age characteristics of preschoolers. So, for example, work in this direction should begin with the following technician, How finger painting, palm, tearing paper, etc., but in older preschool age the same techniques will complement the artistic image created using more complex: blots, monotypes, etc.

Creating a background also applies to non-traditional drawing techniques. Usually children draw on white paper. This way you can see it more clearly. It's faster that way. But some subjects require a background. Many children make the background with a brush. But there are other ways to do it background:

Cotton wool or a piece of foam rubber soaked in water and paint;

Wide semi-dry brush for whitewashing ceilings, using 2-3 colors("Scottish cell");

Gouache paints are applied in a free manner onto a sheet of paper, a plastic bag is pressed on top, and dried with it ( "marble effect") .

15. Glue paintings (O. A. Belobrykina)

Means of expression Materials: paper, brushes, gouache or watercolor, acrylic paint, PVA glue, semolina, buckwheat or rice cereal.

Draw A simple pencil sketch on cardboard. Using a narrow nozzle with PVA glue, trace the outline of the design. Squeeze out the glue carefully, smoothly moving along the contour. Let it dry. Then cover the drawing with acrylic paint. Let it dry. To get the effect "old gold", apply black shoe polish to a soft cloth and wipe the design.

Drawing a drawing with a pencil, coat large parts with PVA glue until the glue dries, sprinkle with semolina. Let the glue dry, shake off excess grains and carefully paint with paints.

Note: possible for imagery in work use buckwheat, pasta of various shapes.

16. Drawing with plasticine(O. A. Belobrykina)

Means of expression: texture, volume.

Materials: paper, brushes, gouache or watercolor, plasticine, stack.

Plasticine is applied with your finger to a sheet of paper with a preliminary drawing and rubbed, gradually looms a certain picture.

Certain parts are cut out of plasticine and attached to the base. (sheet of paper, wooden board).

17. Scratch (M. V. Dobuzhinsky)

Means of expression: texture, volume, spot, color, line.

Materials: paper, crayons, soap, candle, gouache, toothpicks.

Take a sheet of paper and cover it (without spaces) crayons, soap or candle. After this, a layer of mascara is applied with the addition of dishwashing detergent. If the mascara does not fit well, in those places where there are gaps, you should touch them up after drying. When the workpiece is completely dry, you can begin paint. To do this, you will need an empty ballpoint pen or a toothpick. With these devices the image is scratched.

18.Sand-Art (sand painting)

Features of working with sand under light tables: Drawing sand is simple. Sand drawing is beauty. Plastic. Reducing stress.

19. Technique Iris folding originated in Holland. This technique simple enough and interesting for any person age, children especially like it, since the resulting image pleases the eye with its volume and bright spatial design. Today it is widely used when creating works in this technology received satin ribbons, velvet paper, gift paper and colored cardboard.

In conclusion I would like to say following: drawing for a child - joyful, inspired work, which is very important to stimulate and support, gradually opening up new possibilities for visual activity. And the main thing is that unconventional drawing plays an important role in the overall mental development of the child. After all, it is not the final product – the drawing – that is valuable in itself, but the development personalities: building self-confidence in one’s abilities, self-identification in creative work, purposefulness of activity.

Creativity enriches a child’s life with new experiences and feelings: having overcome difficulties, the child experiences pleasure, he is pleased with the achieved result - with his drawing he brought pleasure to others. This gives rise to a new desire in children, a new desire for a more complete, creative expression of feelings, thoughts and moods, and contributes to the comprehensive and harmonious development of children's individuality, the formation of a truly creative personality.

Renata Dil
Consultation “Non-traditional painting techniques”

"This is true! Well, what's going on here?

hide? Children love to draw! On

paper, on asphalt, on the wall, and in

tram on the window." E. Uspensky.

Visual activity, in particular, children's drawing, contains great opportunities. As researchers of children's fine arts note (Sakulina N.P., Komarova T.S., Grigorieva G.G., it is a means of mental, graphomotor, emotional, aesthetic and volitional development of children. In the process of drawing, all mental functions: visual perception, representation, imagination, memory, mental operations.

Visual activities, including drawing, modeling and appliqué, are one of the most interesting activities for preschool children. It allows the child to reflect in visual images his impressions of the world around him, to express his attitude towards it. At the same time, visual activity is invaluable for the creative development of a child.

The formation of a creative personality is one of the important tasks of pedagogical theory and practice at the present stage. Author V. A. Sukhomlinsky notes following: “The origins of children’s abilities and talents are at their fingertips. From the fingers, figuratively speaking, come the finest threads-rivulets, which are fed by the source of creative thought. In other words, the more skill in a child’s hand, the smarter the child.” As many teachers say, all children are talented. Therefore, it is necessary to notice and feel these talents in time and try to give children the opportunity to demonstrate them in practice, in real life, as early as possible.

If conditions are created in time for the creative development of a child, visual activity will become a bright and favorable means of his self-expression and development. Creativity enriches a child's life. Working on creating an artistic image, the child strives for creative expression of feelings, thoughts, experiences and moods. Creative activity contributes to the development of children's individuality, the formation of aesthetic feelings and attitudes towards the surrounding reality.

An important role is played by the development of sensory abilities in children through various technician in visual arts.

For the mental development of children, a gradually expanding stock of knowledge based on ideas about the various forms and spatial position of objects in the surrounding world, various sizes, and a variety of shades of colors is of great importance. When organizing the perception of objects and phenomena, it is important to pay attention to the variability of shapes, sizes, colors, and different spatial positions of objects and parts.

Mastering as many different visual arts as possible technician allows you to enrich and develop the inner world of children. Speaking of fine art techniques and materials, it is necessary to clarify that they are divided into traditional and non-traditional. In the first case, we know almost everything from paints to various crayons, but in the second we find it difficult to answer. But you can paint with a toothbrush, cotton wool, fingers, palm, tampon, crumpled paper, candle, chasing paint with a tube (drop) on a sheet of paper.

All children love to draw when they are good at it. Sometimes they get very upset if something doesn't work out. The first failures cause irritation or disappointment. Drawing with pencils and brushes requires a high level of proficiency drawing technique, formed skills and knowledge, work techniques. Very often, the lack of this knowledge and skills quickly turns a child away from drawing, because as a result of his efforts, the drawing turns out to be incorrect, it does not correspond to the child’s desire to get an image that is close to his plan or the real object that he was trying to depict. Therefore it is necessary to use such drawing techniques, which will create a situation of success for children and form a stable motivation for drawing.

Try asking children aged 5-7 years to draw something. Ask for a house, they will draw a house, a tree, a car, a mother, a father, a beloved dog or a harmful cat. Children draw everything and do it with pleasure, without asking unnecessary questions. Slightly older children increasingly refuse requests. Why?

Exactly unconventional techniques Drawing allows a child to overcome the feeling of fear of failure in visual activities. Data technology Drawing helps children feel free, liberated, see and convey on paper what is difficult to do with ordinary methods and materials.

In classes in visual arts using unconventional techniques, children develop approximately - research activity, fantasy, memory, aesthetic taste, cognitive abilities, independence. The child uses color as a means of conveying mood and experiments. By direct contact of fingers with paint, children learn about it. properties: thickness, hardness, viscosity. Work with non-traditional techniques images stimulates positive motivation for drawing activity, causes a joyful mood in children, relieves fear of paint, fear of not being able to cope with the drawing process. Many types unconventional Drawing helps to increase the level of development of visual-motor coordination. For example, drawing on glass, painting fabric, drawing with chalk on velvet paper.

If an overly active child needs a large space to develop his activities, if his attention is scattered and extremely unstable, then in the process unconventional When drawing, the area of ​​his activity narrows, the amplitude of movements decreases. Large and imprecise hand movements gradually become more subtle and precise. Unconventional techniques images contribute to the development of cognitive activity, correction of mental processes and the personal sphere of preschool children in general. Drawing classes are very important when preparing a child for school; thanks to drawing activities, children learn to maintain a certain position of the body, arms, tilt of a pencil, brush, adjust the scope, pace, pressure, meet a certain time, evaluate work, and finish what they started.

Unconventional techniques– this is an impetus for the development of imagination, creativity, the manifestation of independence, initiative, and expression of individuality. By using and combining different methods of depiction in one drawing, children learn to think, independently decide which use technology so that this or that image turns out expressive. Drawing using unconventional techniques the images do not tire the children; they remain highly active and efficient throughout the entire time allotted for completing the task.

1. Drawing on a tray Pour semolina onto the tray and draw various lines with your finger.

2. Drawing with your palm. We dilute gouache paint in a saucer, lower our palm into it, and leave an imprint on a sheet of paper.

3. Drawing with the edge of the palm.

4. Finger painting. (Viburnum berries).

5. Drawing with a pinch. (Footprints in the snow).

6. Drawing with berries. Take a juicy berry, press it to a sheet of paper and draw a variety of lines.

7. Drawing with a toothbrush.

8. Drawing with a rope. We show children how it is possible "paint" using the most ordinary rope. Let's start with the simplest ones drawings: fish, mouse, heart, etc.

9. Drawing with a plastic bottle (from shampoo, glue, which is tightly wrapped with a thin clothesline, paint is applied with a sponge, then we roll the bottle along a sheet of paper.

10. Monotype, paint is applied to cellophane or a piece of paper, maybe on glass, and then this piece is applied to the paper on which the image is applied.

11. Drawing with a candle. It turns out "magic drawing"- it is there and it is not visible. Then paint is applied and the design appears on a colored background.

12. You can draw on wet paper; first, the sheet is moistened with clean water, and then the image is applied with a brush or fingers. It looks like it's blurry in the rain or fog.

13. It’s interesting to draw with paint straight from the tube, but you need to teach your child to squeeze it onto the paper by turning the tube in the right direction.

14. Blotography. Place a blot on a piece of paper, determine what it looks like and fill in the missing details.

15. Dot pattern - the entire pattern consists of individual dots, applied with the tip of a brush or fingers, the dots can be of different sizes.

16. Drawing with glue. An outline drawing is applied to a blank sheet of paper using office glue. (a hole is cut out on the cap) so that the pattern is convex. Wait until the glue dries and then apply paint, and the paint is liquid so that it flows freely.

17. Use of seals and stamps, cork stamps, potato or carrot stamps.

18. Using stencils, drawing with a pipette, toothpaste.

WITH technology"Soapy painting» I met last summer, during a trip with my daughter to Novosibirsk, we visited the Galileo entertainment and educational center, including getting tickets to "Laboratory of Amazing Discoveries", in this laboratory the most interesting experiments are carried out, where children are told in a form accessible to them about the properties of various objects, liquids, bodies.

One example was the creation of paintings using "soapy" painting» .

That same year I included this topic in my work program.