Materials for non-traditional drawing techniques. Non-traditional drawing techniques in older preschool age

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materials

Content

1.1. Concept and essence……………………………………………………………….

1.2. The nature of non-traditional technologies…………………………….

Chapter II. Features of using non-traditional drawing techniques in classes with older preschoolers………………….

2.1. Diagnostics of the use of non-traditional drawing techniques in classes with children of senior preschool age………………...

2.2. Analysis of practical pedagogical experience in using non-traditional drawing techniques when working with children of senior preschool age……………………………………………………………………..

Conclusion………………………………………………………………..

Bibliography……………………………………………………….

Application

Introduction

Relevance . The problem of the development of children's visual creativity is currently one of the most pressing, both theoretically and practically: after all, we are talking about the most important condition for the formation of an individual’s uniqueness already in the first stages of its formation.

Analysis of modern practice of preschool education allows us to say that the potential opportunities of preschool childhood for the development of creativity are not always fully used, while the preschool period of childhood is generally recognized as the initial stage in the development of the child’s inner world, his spirituality, and the formation of universal human values.

In visual activities, the formation of the child’s spiritual world takes place, with a special role given to art (L.S. Vygotsky, T.S. Komarova, B.M. Nemensky, B.M. Teplov, V.T. Tikhomirova, E.A. Flerina, etc.).

The study of psychological and pedagogical literature revealed that in older preschool age a special type of activity develops - creative activity, due to which visual activity, along with play, is the leading type of activity (N.A. Vetlugina, L.S. Vygotsky, N.P. Sakulina, E.A. Flerina, D.B. Elkonin), children have an early manifestation of creative feelings, the artistic perception of children of the world around them, interest, and evaluative attitude towards what is depicted, visual materials, and means of expression are noted.

The effective process of artistic education, the development of children's creativity, activity, and imagination are facilitated by the variety of visual materials provided to children, a departure from traditional and familiar ones, and the search for new solutions.

To develop imagination, creative thinking, creative activity in the practice of preschool art education, it is recommended to use non-traditional drawing techniques that demonstrate an unusual combination of materials and tools. The undoubted advantage of such techniques is their versatility. The technology for their implementation is interesting and accessible to both adults and preschool children. Therefore, the techniques under consideration are introduced into the practice of preschool art education.

The use of such techniques turns an ordinary fine arts lesson into a real holiday for children, as if they are plunging into a magical fairy-tale world and becoming little wizards. Non-traditional techniques develop the creative imagination of children in the best possible way, promote emancipation, and help the child realize all his fantasies in practice (this cannot be achieved in regular classes, the scope of the lesson is too strictly defined).

Object of study : unconventional drawing techniques.

Subject of study : the use of unconventional drawing techniques in.

Purpose of the study : study the features of using non-traditional drawing techniques invisual activities for children of senior preschool age.

Research objectives :

Reveal the concept and essence of non-traditional drawing techniques.

Consider the nature of the main non-traditional drawing technologies.

To diagnose the frequency of using non-traditional drawing techniques in classes with children of senior preschool age.

Based on observation and analysis of the teacher’s practical experience in using non-traditional drawing techniques in working with older preschoolers, characterize the features of their use.

Research methods : abstracting scientific literature on the research topic; analysis of the practical experience of teachers on the problem of using non-traditional drawing techniques, questionnaires, methods of statistical and qualitative analysis, analysis of the teacher’s plan for drawing classes.

Approbation of research results : diagnostic questioning, observation of the practical experience of teachers was carried out on the basis of a state preschool educational institution of a general developmental type - Trudarmeysky kindergarten "Cheburashka". At the stage of diagnosing the use of non-traditional drawing techniques, 9 educators, as well as 12 parents, took part. The analysis of the effectiveness of the lesson using non-traditional drawing techniques involved 17 drawings by children of senior preschool age in the named kindergarten.

Work structure : the course essay contains an introduction, 2 chapters, a conclusion, and a bibliography. The introduction substantiates the relevance of the stated topic, formulates the object and subject of the research, and sets the goals and objectives of the work.

The first chapter, “Theoretical foundations for the use of non-traditional drawing techniques in classes with children of senior preschool age,” is an abstract review of scientific sources in terms of the topic of course research. First of all, the conceptual apparatus of the work is determined: artistic techniques, non-traditional drawing techniques, painting techniques, graphic techniques, etc. This chapter also describes the main types of non-traditional drawing with children of senior preschool age.

Second chapter "Features of using non-traditional drawing techniques in classes with older preschoolers"is practice-oriented. The first paragraph of the chapter provides an analysis of the results of a survey aimed at identifying the frequency of use of non-traditional drawing techniques in classes with older preschoolers, both in kindergarten and at home. Also for this purpose, the teacher’s monthly plan for conducting drawing classes in the senior group of the kindergarten is analyzed. The second paragraph is a description of observation of a teacher’s practical experience in using non-traditional drawing techniques in working with older preschoolers. At the end, a conclusion is made about the advisability of using such techniques in classes with children of senior preschool age based on an analysis of children's drawings and pedagogical situations. The features of using these techniques are also highlighted.

The conclusion is a summary of the research results and a summary of the overall results of the work. This part of the course essay highlights the important conclusions of the work done. The text ends with a course bibliography in the form of an alphabetical list of the studied literature and an appendix that presents: a questionnaire form for parents and educators, a plan for the educational work of the teacher, planning drawing classes in the senior group of kindergarten for a month.

Chapter I . Theoretical basis for the use of non-traditional drawing techniques in classes with children of senior preschool age

1.1. Concept and essence

Artists understand drawing technique broadly: “this includes the technique of line, shading, a certain manner of drawing and writing and the way of using certain materials (paper, canvas, wood, pencil, charcoal, pastel, oil paint, watercolor, gouache, tempera, etc. ) in accordance with their properties, their visual capabilities" .

In the visual arts, technique (from the Greek “skillful and art, skill”) is understood as a set of special skills, methods and techniques by which a work of art is performed.

The concept of technology in the narrow sense of the word usually corresponds to the direct, immediate result of the artist’s work with a special material and tool (hence the technique of oil painting, watercolors, gouache, tempera, etc.), the ability to use the artistic capabilities of this material; in a broader sense, this concept also covers the corresponding elements of a pictorial nature - the transfer of the materiality of objects.

Drawing technique, in the figurative expression of P.P. Chistyakov, is “...the language of the artist. Without knowing this language, the artist will not be able to convey to the viewer the intent of his work.” The great importance of quality of execution for expressing the artist’s ideas was noted by Russian artists I. E. Repin, I. N. Kramskoy and others.

In his monograph “Painting Technique,” ​​D. I. Kiplik points out that painting technique should be considered “a special branch of knowledge, the subject of study of which is the rational construction of a painting from the point of view of its material essence.” Knowledge of technology will give the artist the opportunity not only to create durable works, but also to make the best use of painting materials from an artistic point of view.

Thus,under drawing technique should be understood: mastery of materials and tools, ways of using them for the purposes of representation and artistic expression . “The concept of technology includes the development of the eye and hand, their coordinated activity. Particular importance is attached to skillful, correct depiction of the contour and shape of the object. Drawing in kindergarten is aimed at teaching artistic activity within the limits accessible to preschool children." .

An important condition that ensures a child’s creative solution to a visual problem is the mastery of graphic skills. Researchers point out that poor mastery of the instrument, one’s own hand, ignorance of the expressive capabilities of materials, how to draw with them, and various kinds of difficulties in solving visual problems prevent the child from conveying what was intended in the drawing, giving rise to dissatisfaction with oneself, which can provoke a refusal to draw altogether. Therefore, one of the independent and important tasks facing the teacher is to help the child master drawing techniques. “It is important to teach children drawing techniques so that they can freely use it when solving any visual task, and most fully express their impressions of the life around them in a drawing. In kindergarten, it is necessary to immediately, within accessible limits, formulate the correct drawing technique for all children, so that later it will have to be relearned.” .

The definition of drawing technique that is accepted in the fine arts is mainly applicable to the technique of children's drawing. The difference lies in the fact that in a preschool child, the initial development of various and subtle hand movements that are necessary for drawing and which can be called drawing movements occurs. Mastering a contour line, a stroke, a spot as expressive means of drawing constitutes a special task for a small child, which the child cannot solve on his own.

To create a drawing, it is necessary to have, on the one hand, clear ideas about those objects and their qualities that should be drawn, on the other hand, the ability to express these ideas in graphic form on the plane of a sheet of paper, to subordinate the movement of the hand to the task of depiction. Consequently, not only a special organization of children’s perception is required in order to form the necessary ideas, but also the development of hand movements, the formation of graphic skills and abilities.

The study of children's drawings by researchers (V.P. Zinchenko, N.P. Sakulina, T.S. Komarova, E.A. Flerin, etc.) indicates that little attention is still paid to teaching drawing techniques in preschool institutions. Children do not know how to correctly hold the instrument with which they draw (pencil, brush), do not know rational ways of moving the hand when drawing, which is why these movements are often uncertain, inaccurate, constrained, which in turn causes excessive muscle tension in the hand, leading to rapid fatigue. . Poor command of the instrument, one’s own hand, ignorance of materials, methods of drawing with them, their expressive capabilities causes difficulties in solving visual problems and prevents the child from conveying what was intended in the drawing. Therefore, mastering the graphic side of drawing is an important condition for ensuring a creative solution to a visual task and developing the ability to draw.

“Research by psychologists on the formation of motor skills through various methods of learning has made it possible to identify and test the most effective ways of teaching graphic skills and abilities” .

Of great importance in the formation of the correct methods of action with a pencil and brush, in the development of formative movements and their qualities, is the organization of children’s orientation and research activities, aimed at familiarizing themselves with the action of the hand before depicting an object. The result of this activity is the formation of children's ideas about the movement of the hand during the image. In this regard, we highlight the examination of objects before their depiction and the inclusion in this process of hand movement along the contour of the object, which makes it possible to connect the subsequent action (when drawing) with the examined and depicted shape of the object.

Considering the effective role of passive movements (movement of the child’s hand by the teacher’s hand) in the early stages of the formation of motor skills, this method was used in the second youngest, and sometimes in the middle group; in older groups, the main place was given to the imitative actions of children. When determining the methodology for teaching graphic skills to children, researchers rely on data from psychological studies on the formation of motor skills conducted under the guidance of A. V. Zaporozhets .

Based on the variety of drawing techniques in the fine arts and taking into account the capabilities of preschool children, it is advisable to enrich the technical side of children's drawing. This can be achieved by diversifying the methods of working with colored pencils and paints already known in wide practice and using new materials (graphite and charcoal pencils, sanguine, watercolor, colored wax crayons), as well as combining different materials and techniques in one drawing.

The acquisition by all children of the same skills and abilities does not prevent individual manifestations in the creative solution of a visual task. Moreover, mastering graphic skills allows children to freely use them when creating an image.

In the process of drawing, a child improves his powers of observation, aesthetic perception, aesthetic emotions, artistic taste, creative abilities, and the ability to independently create something beautiful using accessible means.

“Drawing classes develop the ability to see beauty in the life around us, in works of art. Own artistic activity helps children gradually come to an understanding of works of painting, graphics, sculpture, and decorative and applied art.” .

The child’s visual activity acquires an artistic and creative character as he masters the methods of depiction. The product of artistic and creative activity is an expressive image.

Research by N.P. Sakulina show that it is necessary to teach children a certain way of perceiving an object, examining it . However, in order to draw this or that object, it is not enough to have a clear idea of ​​its shape, color, structure; it is necessary to be able to express these properties of the object in graphic form on the plane of a sheet of paper, to subordinate the movement of the hand to the task of depiction.
One might think that the movements aimed at performing the drawing are sufficiently organized by the process of drawing itself. However, this is not so: children should be taught drawing techniques.

“Mastering technology is an independent and important task.
Observations of the drawing process show that children have great difficulty in creating images if they do not have graphic skills." . And when they cannot depict what they want, this causes dissatisfaction with themselves and a refusal to draw at all. Sometimes, not knowing the technical techniques of drawing, children themselves try to find them. Most often, these are incorrect techniques: the hand with the tool moves awkwardly, blocks the drawing, preventing you from seeing the lines appearing on the paper. As a result, the shape of the object in the drawing is distorted, causing grief to the little artist.

It is interesting that V.M. Bekhterev treated children's drawings as “an objective witness to the manifestations and development of the child’s psyche” and in this regard attached great importance to the study of the nature of children’s drawings. “When analyzing children’s drawings, according to the scientist, the development of coordination of the child’s fingers should be taken into account. He gave a big role to teaching the child the ability to hold and use a pencil correctly.” .

At first, E. A. Flerina spoke out against any adult intervention in the child’s creative process. Her later work already talks about the need for adults to guide children’s artistic activities. Moreover, E. A. Flerina was still very careful in raising the issue of attention to technical skills and the correct use of material. She recommended showing the correct techniques only in extreme cases, mainly giving children the opportunity to find these methods and techniques themselves and adapt to the instrument. Further, the author emphasizes that “the speed at which children master an instrument when shown is only an apparent achievement: much more useful for a child is independent adaptation to the instrument, acquired by him as a result of a series of trials.” .

Further, the researcher puts forward the task of developing the movements of a child’s hand and believes that the shape of images in the early stages of children’s drawing (meaning children 3-4 years old) is determined by the movement of the hand and increased visual attention to the results obtained.” .

N.P. Sakulina emphasizes the need for sensitive and attentive guidance in children’s drawing as the only correct path for their artistic and creative development throughout her entire teaching and research activities.

Children's interests are kept within the limits of manipulation with a variety of materials. Along with drawing with pencils, crayons and paints, it is proposed to draw with paint without a brush - smearing it with your fingers, drawing with wax dripping from a lit candle, wood glue, smoke, mustard, paint with Vaseline, etc. All these methods of creating an image are much more difficult than drawing with a pencil and brush. But in most cases, the task of creating an image is not set. If children strive to move on to the image, they are again returned to manipulating” with materials, suggesting new possibilities. Even children 7-9 years old are captivated by trying out different materials that are new to them to create non-objective compositions.

Of course, this manipulation with materials also has positive features: a wealth of technical techniques, materials, the use of different paints, soft crayons, ink, pencil, a variety of combinations of these materials in one drawing, but it distracts from the transfer of objective content. What is observed is not essentially freedom of self-expression, but a firmly directed formation in children of an attitude towards drawing as an activity that is primarily not visual.

Based on the variety of types of visual techniques in the fine arts and taking into account the capabilities of preschool children T.S. Komarova considers it advisable to enrich the technical side of children's drawing. This can be achieved by diversifying the methods of work, using paints and pencils already known in wide practice and using new materials (colored wax crayons, watercolors, etc.), as well as combining different materials and techniques in one drawing.

Technique of execution, manner of doing work, methods of using certain materials (paper, canvas, wood, pencil, charcoal, pastels, watercolors, gouache, oil paints, etc.) in accordance with their properties and visual capabilities, refers to traditional drawing techniques , whilenon-traditional visual techniques – “these are techniques that allow you to create a drawing using a variety of means and materials at hand and distinguish these drawings from traditional ones in execution” (M. Shklyarova)

Visual activities bring a lot of joy and are inherent in children at the genetic level. But, as a rule, classes in a preschool institution are often reduced to a standard set of materials and traditional methods of transmitting received information, which implies mastering the drawing of objects with thin lines using a brush. For many children this technique is difficult. The result is an aesthetically poorly executed drawing and lost interest in this activity. The motivation for success when using non-traditional artistic techniques is preserved due to the peculiarities of their use: the speed and relative ease of obtaining silhouettes or details of the desired shape, their proximity to real-life forms and textures and, finally, the novelty of the method as a factor in maintaining attention.

Let's look at the main differences between traditional drawing techniques (watercolor, pastel, gouache, mosaic, charcoal, sanguine, sauce) from non-traditional(monotype, blotography, fingergraphy, linotype, spraying, tamponing, drawing on crumpled paper, drawing with plasticine, printmaking, scratch paper, seals, stamps, matrices, cliches, batik, wax crayons).

So that children can learnenough freedom to depict any subject that interests themphenomena in drawing, modeling, appliqué, they need to be introduced to differentdrawing techniques, visual materials (coloredpendants, gouache, watercolors, crayons, pastels, felt-tip pens:soft round, flat, adhesive; sanguine, charcoal and plainpencil, etc.), says M.A. Vasilyeva.

Colored wax crayons They draw softly and give a wide textured line. They are used for plot and decorative compositions. The child is taught to hold the crayon stick with three fingers just below the middle in order to see what line will turn out. Do not squeeze or press hard on the chalk with your fingers (as it gets warm in your hand, it breaks). Wax crayons for drawing are usually used at the age of 5-7 years. Children are explained that when coloring a drawing with colored chalk, it is impossible to achieve a solid color, since the chalk lies on the paper with gaps, resulting in a soft, muted color. This is beautiful and expressive, because many things in nature do not have an even, smooth color (for example, earth, grass, tree trunks, etc.). Drawings in which colored wax crayons are combined with gouache-white (for example, “Winter City”) and watercolor (“Late Autumn,” “Summer”) look expressive.

When combining crayons with watercolors, everything is first drawn with colored wax crayons, and then the sky is covered with watercolors. You can start with watercolors and then draw with crayons. Watercolor does not dissolve crayons, so there are no streaks.

Charcoal pencil “Retouch” is similar to an ordinary black pencil, but much softer. By drawing with it, the child can get a wider line of matte velvety black color. The pencil is fragile, so you need to draw with it easily, without strong pressure.

Sangina - red-brown pencils of different shades, have a beautiful warm color. Sanguine leaves a wide textured brushstroke and is used to depict branches, trees, animals, and humans.

Charcoal pencil and sanguine require careful work. You need to place a paper napkin under your right hand so as not to stain the drawing.

The combination of different materials allows you to achieve great expressiveness of the design. Thus, the combination of sanguine, charcoal pencil and white gouache when drawing a winter forest allows you to convey color contrast (dark silhouettes of trees against a background of white snow) and the rough texture of the trees.

Pastel - short sticks of soft tones, 24 or more per box. Pastel is a fragile, free-flowing material that requires lightness and a certain amount of caution. Therefore, it is used only at the age of 6-7 years, when children have mastered how to work with colored chalk. Pastel allows you to convey soft transitions of shades of different colors.

Felt pen gives a bright rich color; As soon as you touch it to the paper, a mark remains. Hold the felt-tip pen like a pencil. Considering its qualities, a child from 1.5-2 years old is given first a felt-tip pen and then a pencil, since the child’s hand, which is not yet strong enough, is not able to press the pencil so as to get a clear mark. The technique of painting with paint is still difficult for them. Gradually, when the child’s hand gets a little stronger, they give him pencils for drawing.

An important role is played by consideration of the productof fine arts, especially book graphics.

Each type of visual activity has its own capabilities and means for depicting objects and phenomena, together making it possible to display reality in a diverse and versatile way.

Drawing with paints , applying strokes on paper attracts the child’s attention even in pre-preschool age. Children about one and a half years old are already willing to do this, but such activities at first have the nature of fun, playing with a pencil. In early preschool age, drawing takes on the character of an image. Children draw in kindergarten with pencils and paints. By painting with paints, a child has the opportunity to more holistically, albeit undifferentiated at first, convey the shape of an object and its color. Linear pencil drawing allows you to more clearly convey the parts and details of an object. In this process, visual control over the movement of the drawing hand, over the line forming the contour of the object, is of great importance. Drawing with colored materials (pencils or paints) allows you to convey the color of objects. Children, drawing patterns, decorate squares, circles, stripes, as well as toys they sculpted from clay and made from paper.

So, children start drawing early. But if at 2.5 years old a child can become more relaxed in drawing (the main desire is to leave marks on paper with a pencil or paint) and do it quickly, without having a specific plan, then already in the preparatory group for school, indecision and fear of not being able to cope with the work appear. And the desire to create at primary school age may disappear altogether due to the inability, in the child’s opinion, to draw something correctly. The reasons may be different, including the wrong approach of the teacher to teaching visual arts.

Until now, teaching children to draw was viewed only as children mastering realistic drawing using manual techniques, the diversity of which was manifested only in the variety of properties of materials while maintaining generalized drawing movements. At the same time, the variety of graphic techniques, including printing techniques, has not been studied or investigated for their use in children's drawing as a means of increasing the development of creative abilities, the expressiveness of images and objects depicted by children, which served as the basis for calling these techniques “non-traditional” for preschool education.

1.2. The nature of non-traditional technologies

The process of visual creativity can be considered from the point of view of expressing the inner world of the creator, his feelings and experiences. The sooner work is organized aimed at developing the child’s emotional and sensory world, the brighter he and the products of his creativity will be.

“We must remember that every person has creative capabilities, expressed in an inclination and expression of interest in any type of activity - artistic, musical, literary, communicative, etc.,” I.V. rightly believes. Davydova.

Numerous studies in the field of children's visual creativity by domestic scientists (N.P. Sakulina, E.A. Flerina, N.B. Khalezova, Y. Shibanova, etc.) have convincingly shown that without targeted, adequate guidance, children begin to feel creative helplessness, and As they get older, they lose interest in visual arts. Modern approaches to the development of preschool children in visual arts, to the content and methods of education and training are based on the search for “the golden mean between children’s carefree playful attitude to drawing and mastery of the means of visual activity to the extent that ensures their development.”

The choice of non-traditional drawing techniques as one of the means of developing children's visual creativity is not accidental. “Most non-traditional techniques relate to spontaneous drawing, when the image is obtained not as a result of the use of special artistic techniques, but as the effect of playful manipulation,” writes A. Ilyina. This method of unconventional depiction can be called “happening” (translated from English as “happening”). With it, it is not known what kind of image will be obtained, but it is certainly successful in terms of the result and thereby increases the interest of preschoolers in visual activities and stimulates the activity of the imagination.

In addition, according to G.N. Davydova, “non-traditional techniques expand the artistic capabilities of children, which allows them to realize their life experience to a greater extent, free themselves from unpleasant experiences and establish themselves in the positive position of a “creator”.”

The undoubted advantage of such techniques is their versatility. The technology for their implementation is interesting and accessible to both adults and preschool children. Therefore, the techniques under consideration are also introduced into the practice of preschool art education in order to actualize and develop the creative capabilities of children.

Non-traditional drawing techniques, like traditional ones, are characterized by a linear-graphic and pictorial way of creating an image. The considered non-traditional drawing techniques will allow you to reflect objects and phenomena on a plane, in color, in space. They form the creative abilities of preschoolers, develop their imagination, but most importantly, they will contribute to:

the emergence of new opportunities and ways of artistic and aesthetic exploration of reality;

finding different ways to convey figurative content by children;

creating search situations when children combine methods of representation, preferring the most expressive ones;

creating conditions for the most effective artistic and aesthetic development of preschool children.

N.P. wrote about the need and possibility of finding such ways of interaction that, on the one hand, preserve the advantages of children’s creativity, and on the other hand, will help the child master the means of self-expression. Sakulina. Those. You must use different drawing techniques in class: traditional (pencils, paints) and non-traditional (soap foam, candle, etc.).

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.

Non-traditional image techniques make it possible to avoid copying a sample, since the teacher, instead of a ready-made sample, only demonstrates a method of working with non-traditional materials. This gives impetus to the development of imagination, creativity, the manifestation of independence, initiative, and the expression of individuality.

Working with non-traditional painting techniques stimulates positive motivation, evokes a joyful mood, and removes fear of the drawing process.

Many types of non-traditional drawing help to increase the level of development of hand-eye coordination (for example, drawing on glass, painting fabric, drawing with chalk on velvet paper, etc.)

The use of non-traditional techniques makes it possible to use a collective form of creativity. It brings children together, develops communication skills, and creates a special emotional atmosphere.

Interest in the content of the drawing encourages children to do their work better and strive to achieve expressiveness of the image. Children feel satisfaction that they liked their work, that their peers expressed their approval and noted it. But the teacher gives a positive assessment based on merit, i.e. for really good quality, expressiveness, beauty.

We studied the section “Visual activities” presented in the program “From childhood to adolescence” in order to identify the presence or absence of information on the use of non-traditional drawing techniques in working with children of senior preschool age.

In the section of the program “Development of children’s aesthetic perception and productive activities,” the tasks are formulated and the content of work on visual arts is described.

T.N. Doronova writes that the variety of types, forms and genres of art that children are introduced to as part of the program allows them to be shown various patterns of artistic activity and introduced to the means of expression used by folk craftsmen and professional artists.

It is important for parents and teachers to remember that, in accordance with the requirements of the program, it is unacceptable in the learning process to impose on children content that is alien to them, the tastes of adults, or to instill externally borrowed skills.

According to the author of the program, “a child’s knowledge about life, his desires and interests should be naturally woven into his artistic activity, and all technical skills, all knowledge about means of expression should be acquired in the process of joyful and voluntary formulation of his plans.”

Timely and complete development of the child, according to T.N. Doronova, “can only occur on the basis of joint actions with adults, who should awaken the child’s creative activity and help him realize it when creating certain images.” In addition, it is very important to help the child maintain interest in the content that interests him, penetrate deeper into the development of new artistic techniques, achieve the desired result and enjoy his activities.

As a result of analyzing the content of the section “Development of aesthetic perception of children and productive activities,” we came to the conclusion that in kindergarten classes children master techniques for working with visual materials and learn to use expressive means to realize an artistic concept. They can experiment with color and shape, achieving expressive images.

Children develop the ability to control a tool (in drawing - a pencil and a brush), develop a variety of hand actions, coordination of movements of both hands, actions of the hand and eye, and visual control.

One of the most important qualities of any artistic activity is its creative nature. Therefore, the tasks for children are thought out by the author of the program in such a way that each child has the opportunity to implement content that is close and interesting to him in his creative work.

In addition, one of the conditions for the implementation of the “From Childhood to Adolescence” program is cooperation with parents. Therefore, parents need to be active and spare no effort or time for the development of their child. This means that in the family, for the development of the child, it is necessary to create appropriate conditions: purchase bright, high-quality gouache, a large set of felt-tip pens, and paper of different textures and colors.

The methods of A.M. are of considerable interest. Strauning and O.A. Belobrykina, dedicated to non-traditional drawing techniques.

“Methodology for creatively activating the thinking of preschool children,” authored by A.M. Strauning, Doctor of Pedagogical Sciences, professor, representative of an interesting trend in pedagogical practice TRIZ (Theory of Inventive Problem Solving). But we will dwell in more detail on O.A.’s technique. Belobrykina. The author describes in detail various non-traditional drawing techniques, the use of which is very effective in the development of creative imagination, speech, thinking, and perception of the world of children.

According to the author, drawing using unconventional techniques will allow the child to find answers to numerous questions (after all, every child is a “walking why”).Let us dwell in more detail on non-traditional drawing techniques,used in working with children of senior preschool age.

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.

Method of obtaining an image: 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.

Finger painting (G.N. Davydova).

Means of expression: spot, dot, short line, color.

Materials: bowls with gouache, thick paper of any color, small sheets, napkins.

Method of obtaining an image: the child dips his finger in the gouache and puts dots and specks on the paper. Each finger is painted with a different color. After work, wipe your fingers with a napkin, then the gouache is easily washed off.

Palm drawing (G.N. Davydova).

Means of expression: spot, color, fantastic silhouette.

Materials: wide saucers with gouache, brush, thick paper of any color, large format sheets, napkins.

Method of obtaining an image: a child dips his palm (the entire brush) into gouache or paints it with a brush (from the age of five) and makes an imprint on paper. They draw with both the right and left hands, painted in different colors. After work, wipe your hands with a napkin, then the gouache is easily washed off.

Potato stamp imprint (M. Shklyarova).

Materials: a bowl or plastic box containing a stamp pad made of thin foam rubber impregnated with gouache, thick paper of any color and size, potato stamps. Method of obtaining an image: the child presses the signet onto a stamp pad with paint and makes an impression on the paper. To obtain a different color, both the bowl and the signet are changed.

Foam rubber impression (M. Shklyarova).

Means of expression: stain, texture, color.

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

Method of obtaining an image: the child presses the foam rubber onto a stamp pad with paint and makes an impression on the paper. To change the color, use another bowl and foam rubber.

Foam impression (M. Shklyarova).

Means of expression: stain, texture, color.

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

Method of obtaining an image: the child presses the foam onto a stamp pad with paint and makes an impression on the paper. To get a different color, change both the bowl and the foam.

Imprint with eraser stamps (M. Shklyarova).

Means of expression: stain, texture, color,

Materials: a bowl or plastic box containing a stamp pad made of thin foam rubber impregnated with gouache, thick paper of any color and size, stamps from an eraser (the teacher can make them himself by cutting a design on the eraser with a knife or razor blade).

Method of obtaining an image: the child presses the signet onto a stamp pad with paint and makes an impression on the paper. To change the color you need to take another bowl and signet.

Imprint with crumpled paper (M. Shklyarova).

Means of expression: stain, texture, color.

Materials: 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.

Method of obtaining an image: a child presses crumpled paper onto a stamp pad with paint and makes an impression on the paper. To get a different color, change both the saucer and the crumpled paper.

Photocopy (R. Romanova).

Materials: wax crayons, thick white paper, watercolor, brushes. Method of obtaining an image: the technique of working with a candle has a specific name -photocopy . The word “photo” in the name of the technique 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 in the following 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 a dark color). An amazing trick occurs - the image made by the candle and not visible on the white paper appears right before your eyes.

Wax crayons + watercolor (R. Romanova).

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

Materials: wax crayons, thick white paper, watercolor, brushes. Method of obtaining an image: the 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.

Candle + watercolor (R. Romanova).

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

Subject monotype (A. Ilyina).

Means of expression: spot, color, symmetry.

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

Method of obtaining an image: the child folds a sheet of paper in half and on one half of it draws half of the depicted object (objects are chosen symmetrical). After painting each part of the object while the paint is still wet, the sheet is folded in half again to make a print. The image can then be decorated by also folding the sheet after drawing several decorations.

Regular blotography (O.A. Belobrykina).

Materials: paper, ink or thinly diluted gouache in a bowl, plastic spoon. Method of obtaining an image: 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 examined: it is determined what it looks like. The missing details are completed.

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

Means of expression: stain.

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

Method of obtaining an image: a child scoops up paint with a plastic spoon, pours it onto a sheet, making a small spot (droplet). 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. The missing details are completed.

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

Means of expression: stain.

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

Method for obtaining an image: the child dips a 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. The missing details are completed.

Spray (R. Romanova).

Means of expression: point, texture.

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

Method of obtaining an image: 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.

Leaf prints (E.K. Brykina).

Means of expression: texture, color.

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

Method of obtaining an image: the child covers a piece of wood with paints of different colors, then applies it to the paper with the painted side to obtain a print. Each time a new leaf is taken. The petioles of the leaves can be painted on with a brush.

Watercolor crayons (R. Romanova).

Means of expression: spot, color, line.

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

Method of obtaining an image: the child wets the paper with water using a sponge, then draws on it 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.

Poking (M. Shklyarova).

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

Method of obtaining an image: 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.

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.

Method of obtaining an image: the child folds the sheet in half. On one half of the sheet a landscape is drawn, on the other half 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 tiles. A drawing is applied to the latter with paint, then it is covered with a damp sheet of paper. The landscape turns out blurry.

The availability of using non-traditional techniques is determined by the age characteristics of preschoolers. So, for example, you should start working in this direction with techniques such as drawing with your fingers, palm, tearing paper, etc., but in older preschool age these same techniques will complement the artistic image created using more complex ones: blotography, monotype and etc.

Creating a background also refers 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 make a background:

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

With a wide semi-dry brush for whitewashing ceilings, using 2-3 colors (“Scottish check”);

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”).

21. Drawing on a sheet rubbed with sandpaper (M. Shklyarova)

Means of expression: texture, volume.

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

Use sandpaper to rub a dry, clean sheet horizontally and vertically. Moisten the sheet with water and draw any plot. The drawing looks like a canvas.

22. Glue paintings (O.A. Belobrykina)

Means of expression: texture, volume, spot, color, line. Materials: paper, brushes, gouache or watercolor, acrylic paint, PVA glue, semolina, buckwheat or rice.

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 “old gold” effect, apply black shoe polish to a soft cloth and wipe the design.

After drawing the design 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: you can use buckwheat and pasta of various shapes for figurativeness in your work.

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

Means of expression: texture, volume.

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

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

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

24. 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) with crayons, soap or a 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 start painting. To do this, you will need an empty ballpoint pen or a toothpick. Using these devices, the image is scratched.

Thus, using the example of some unconventional techniques in drawing, we can say that a wide variety of materials, ease of execution of work that does not require special skills, provide the child with a high emotional uplift and independence.

Older preschoolers need to be introduced to the most unconventional visual technologies. Each technology has its own harmony of color and line; each can serve as both a way to create a separate work and an original part of a masterpiece. Not all children are given the ability to wield a brush or pencil; some find it difficult to express themselves in line; others do not understand and do not accept the variety of colors. Each child can choose a technology that is close to him in spirit and does not make him suffer when comparing his work with the work of more capable children. Children should be offered rather than imposed; children should be helped rather than forced. And to help a child find himself, it is necessary to offer him as many different ways of self-expression as possible. After all, any non-traditional visual technology gives the child the opportunity to choose, think, search, try, etc.

The ability to use various materials and techniques develops the creativity of older preschoolers and ensures the liveliness and spontaneity of children's perception and activity. It is important that in the classroom children not only apply the acquired knowledge and skills, but also can look for new solutions and creative approaches. The more diverse the conditions in which visual activity takes place, as well as the materials with which children work, the more intensively their artistic abilities will develop. The availability of using non-traditional techniques is determined by the age characteristics of older preschoolers.

conclusions

Analysis of scientific literature on the research topic allowed us to draw the following conclusions:

In the process of drawing, children of senior preschool age develop observation, aesthetic perception, aesthetic emotions, artistic taste, creative abilities, and the ability to independently create something beautiful using accessible means. Drawing classes develop the ability to see beauty in the surrounding life, in works of art. Their own artistic activity helps children gradually approach an understanding of works of art. After all, no matter how many movements there are in the visual arts, each is beautiful in its own way, since each has line and color, in each they are harmoniously combined.

According to researchers (T.S. Komarova, N.P. Sakulina, E.A. Flerina, P.P. Chistyakov), the process of mastering drawing techniques is an independent and important task. Observations of the drawing process show that children of senior preschool age experience great difficulty in creating images if they do not have graphic skills.

By drawing technique, researchers refer to the mastery of materials and tools and the ways in which they are used for the purposes of representation and artistic expression.

Traditional drawing techniques mean the technique of execution, the manner of doing work, the ways of using certain materials (paper, canvas, wood, pencil, charcoal, pastels, watercolors, gouache, oil paints, etc.) in accordance with their properties and visual capabilities.

Non-traditional artistic techniques are techniques that allow you to create a drawing using a variety of means and materials at hand and distinguish these drawings from traditional ones in execution.

Fine non-traditional techniques (poking, leaf imprint, cork printing, drawing with palms, drawing with cotton swabs, etc.) have great potential in the artistic and aesthetic education of preschoolers. Their use in working with children of senior preschool age will increase preschoolers’ interest in creativity, allow them to master the methods of creating a drawing, awaken the desire and ability to create beauty themselves, which in general will improve the quality of children’s work and the development of children’s independence.

The ability to use various materials and techniques develops the creativity of older preschoolers and ensures the liveliness and spontaneity of children's perception and activity. The more diverse the conditions in which visual activity takes place, as well as the materials with which children work, the more intensively their artistic abilities will develop.

Chapter II . Features of using non-traditional drawing techniques in working with children of senior preschool age

2.1. Diagnostics of the use of non-traditional drawing techniques in classes with children of senior preschool age

As we noted in the first chapter, non-traditional drawing techniques are an interesting and promising way to structure classes with children of senior preschool age. However, despite all their advantages, educators do not actively use them in their work. In order to confirm this assumption, we conducted a survey of teachers and parents, and also analyzed the plan for drawing lessons in the senior group for a month.

Questioning.

At the survey stage, 21 people took part in the diagnosis. To determine how often such drawing techniques are used in working with older preschoolers, a questionnaire of 5 questions was developed aimed at identifying different aspects of the use of such techniques. More details about the application form can be found in the appendix (Appendix 3).

The first question was aimed at finding out how well educators and parents understand what drawing techniques and non-traditional techniques in particular are: “Define the concept of “non-traditional drawing techniques.” According to the survey results, only 42.8% of respondents have an understanding of non-traditional techniques of fine art. Here are some successful, in our opinion, answers: “These are techniques that use some non-traditional drawing materials or tools”; “This is drawing not with paints and pencils, but maybe with something not related to painting. Or maybe use paints in a new way”; “It’s using traditional materials in new and unusual ways.” 23,8 % respondents reduced this concept to individual materials or types of non-traditional drawing: “this is drawing with your hands”, “drawing not with a brush and paints”, “finger painting, scratching on ink, wax drawing”. Such answers cannot be considered correct, since non-traditional drawing techniques represent a vast number of types of non-traditional drawing; they cannot be reduced to individual techniques, materials, and tools. The remaining 33.4% found it difficult to answer the first question. We can conclude that parents and educators do not have a sufficiently accurate idea of ​​what drawing techniques can be called non-traditional. Accordingly, in their work they may confuse, say, drawing with wax and wax crayons, or mistake the use of sauce or sanguine for an unconventional way of drawing with children. That is why it is necessary not only to conduct classes with children using non-traditional techniques, but also to increase the level of awareness of parents and educators in this area.

Second question: "List drawing techniques that you think are unconventional " The purpose of this question was to find out what drawing techniques are already familiar to parents and educators. This is how the absolute majority of respondents answered this question – 85.7%. The remaining respondents – 14.3% found it difficult to answer. The most popular non-traditional drawing techniques include the following: drawing with fingers or hands – 38%; drawing with wax – 24%, blotography with a tube (or blowing from a blot) – 24%, monotype – 19%, use of stamps – 9.5%. It should be noted that the answers to this question showed: the majority of respondents intuitively correctly define the types of non-traditional drawing (since only 42.8% formulated a definition of non-traditional techniques). Accordingly, these types are best known to children, and perhaps many parents and educators have already tried to draw using these methods. To obtain accurate information about this, we formulated the third question.

The purpose of the third question was to find out whether parents and educators use non-traditional drawing techniques in classes with children: “Do you draw with your children at home or in kindergarten classes using non-traditional drawing techniques? " This question is a closed-ended question and requires a “Yes” or “No” answer. 33.3% of respondents answered the question affirmatively, and 57.1% answered negatively. 9.6% of respondents did not give any answer. The results of the analysis of this issue show that the degree of use of non-traditional types of drawing among parents and educators is extremely low. Only a third of respondents engage in such creative activities with children. This state of affairs narrows the developmental and educational value of the system of fine arts classes. Based on the answers to this question, we can conclude about the need and relevance of developing classes using non-traditional drawing techniques for children of senior preschool age.

Fourth question: "How often do you use non-traditional drawing techniques in your classes with children? " The purpose of this question was to determine the frequency of use of non-traditional techniques. From the responses received, it will be possible to draw a conclusion about the demand for this type of drawing in the pedagogical process. So the following answer options were suggested for the question: “I don't use it at all " - 66.7%; "I use it 3-4 times a month " - 9.6%; "I use it once a month or less " - 23.8%. All this indicates that non-traditional drawing techniques are not in demand in the pedagogical process, but this is undeserved. As the first chapter shows, their inclusion in work with preschoolers will increase the developmental potential of classes, will contribute to the development of interest in drawing, the development of creative activity, etc. Due to the fact that non-traditional drawing techniques are extremely rarely used when working with older preschoolers, it was necessary to identify the reason for this state of affairs.

Next question: "For what reasons do you not use or rarely use non-traditional drawing techniques in art classes for older preschool children? "was aimed at finding out the reasons for the undeserved neglect of these techniques. Thus, three main groups of reasons can be distinguished: due to difficulties in organizing work – 38%; due to a lack of methodological developments on these techniques - 23.8%; due to an insufficient level of knowledge about techniques - 38.2%.

Thus, summarizing the survey materials, we can draw the following conclusions: non-traditional drawing techniques are not used often enough when working with children of senior preschool age, both in kindergarten and at home. Their developmental and creative potential is not revealed in the pedagogical process. The reason for this, firstly, is the insufficient level of knowledge on this issue among educators and parents. Such gaps can be eliminated through the exchange of pedagogical experience of educators, holding seminars on this issue, publishing leaflets and wall newspapers for parents. Secondly, the lack of demand for these types of drawing is associated with the fear of organizational difficulties: “children will get dirty themselves and the furniture », « you need to watch the child constantly, otherwise he will do something terrible », « it’s very difficult to do everything, it takes time and you have to cover the table, it turns out messy », « This kind of work requires a lot of preparation - it’s difficult to paint over 20 sheets of paper. ", etc. However, practicing unconventional drawing techniques also means developing neatness, attentiveness, and the ability to organize your workplace and clean up after yourself. Conducting such classes will teach older preschoolers to keep their clothes, furniture, tables and floors clean. As a result, the child will learn to independently avoid unnecessary stains and his level of neatness will increase. And from this point of view, practicing non-traditional drawing techniques turns out to be useful. The third reason for the reluctance to use such techniques is the insufficient number of methodological developments. There are no uniform requirements for conducting such classes, or guidelines for the use of methods and techniques. All this complicates the process of using non-traditional types of drawing in classes with older preschoolers. From all this, we conclude that it is necessary to develop an experimental lesson and the demand for such work, both on the part of educators and in order to increase the effectiveness of fine arts classes.

Results of the analysis of the drawing lesson plan for the senior group for a month (Appendix 1).

Confirms the results of the survey and analysis of the teacher’s plans for conducting drawing classes in the senior group. So, according to the plan of educational work (Appendix 2), drawing classes are held 2 times a week - on Monday and Wednesday. Thus, a total of 8 drawing classes are planned per month. Of these, 7 classes are conducted using traditional drawing techniques: pastel, gouache, colored pencils, watercolor, graphite pencil. And 1 using palm and finger painting.

At the same time, the objectives of the classes invariably include the development of children’s creative thinking, creative activity and creative abilities. All this indicates that non-traditional drawing techniques would be an excellent means of developing these aspects of a child’s personality. Also, lesson topics freely allow for an unconventional approach to their implementation. So we can offer the following non-traditional drawing techniques in classes on the following topics: “Golden clouds” - the use of stamps, monotypes; “Flying saucers and aliens from outer space” - scratching or drawing with colored soap foam; A “cover for a book of fairy tales” may involve the use of elements of drawing with wax crayons and watercolors, monotype, and finger painting. Thus, it is possible to increase the number of drawing lessons using non-traditional painting and graphic techniques, while maintaining the goals, objectives and topics planned by the teacher. At the same time, the creative potential of working in the visual arts with older preschoolers will be increased, and children’s interest in such activities and drawing in general will increase.

Summarizing the diagnostic materials, we can conclude that it is necessary to more actively use various non-traditional drawing techniques when working with older preschoolers.

2.2. Analysis of practical pedagogical experience in using non-traditional drawing techniques when working with children of senior preschool age

In this part of the course work, we will present the results of observing a teacher’s lesson using non-traditional drawing techniques in the senior group of a kindergarten. The methods and techniques used in the lesson, their educational and educational value will be analyzed. At the end of the paragraph, an analysis of the children’s work completed in this lesson is presented.

The topic of the lesson is “In the underwater kingdom” . This formulation of the topic of the lesson made it possible not only to engage the child’s imagination and develop his imagination, but also to broaden the horizons of preschoolers, cultivate a love of nature, and respect for animals. All this meets the goals of aesthetic education and child development.

This lesson used the technique of drawing with palms and fingers. This choice is determined, firstly, by the need to develop students’ fine motor skills. In this case, working with the fingers and palm allowed us to develop the small muscles of the hand and will contribute to the development of fine motor skills by drawing individual small details and forming the general shape of underwater inhabitants. Secondly, the new method of using hands as a direct tool for applying paint expanded preschoolers’ understanding of artistic possibilities and helped overcome the boundaries of traditional brush painting. Thirdly, drawing with hands: palm and fingers, allowed not only to simulate the silhouette of underwater inhabitants, but also to work on the details and color of the drawing, to use all possible means of expressiveness of the drawing: color, line, spot, silhouette, etc. Fourthly, drawing palm and fingers found a positive emotional response among older preschoolers. Fifthly, such work did not require any expensive materials or lengthy preparation.

Before proceeding with the characterization of the course of the lesson, it is necessary to determine the system of goals and objectives that the teacher set during the lesson. Sopurpose of the lesson was the formation of artistic thinking and moral traits of children. In order to achieve the goal it was necessary to solve suchtasks :

Educational:

Continue to teach children to independently and creatively reflect their ideas about nature using the palm drawing technique.

Learn to convey a simple plot by depicting sea creatures.

Learn to turn handprints into fish, jellyfish, octopuses, and draw various algae.

Educational:

Develop a cognitive interest in nature.

Develop imagination, color perception, sense of composition.

Develop children's creativity and cognitive abilities.

Develop aesthetic perception, interest and a positive attitude towards the results of drawing.

Educational:

Foster independence in creating images.

To cultivate curiosity, artistic taste and interest in the fine arts.

Corrective:

Develop memory, attention, thinking.

Develop fine motor skills of the hands and large muscles of the shoulder girdle.

Improve the grammatical structure of speech, develop coherent speech.

Develop sensorimotor skills.

Before the actual lesson, the teacher turned onpreparation stage. At this stage, the children looked at photographs of fish, watched a fragment of the BBC film “The Living Planet” about the underwater world, and had a conversation on the topic “who lives under water.”

Progress of the lesson

Teacher's opening speech

Guys, today I invite you to an exciting sea voyage. You already know that most of our Earth is covered with water. The life of all people is closely connected with the seas and oceans. The water that evaporates from the surface of the seas and oceans waters the Earth. More than half of the living creatures on Earth live in the oceans. Let's close our eyes and be transported to the seashore with clear, gentle water glowing from the sun.

Children listen to the teacher, then sit on the carpet.

Main part of the lesson

Expressive spoken reading

Poem by N.A. Ryzhova "About Water".

Have you heard about water?

They say she's everywhere!

In puddles, in the sea, in the ocean

And a water tap.

Like an icicle freezes

Fog creeps into the forest,

It's boiling on your stove,

The kettle steam hisses.

Dissolves sugar in tea.

We don't notice her

We are used to the fact that water is

Our companion always!

Frontal conversation

Who else needs water?

Where do they live?

What can you see at the bottom of the sea or river?

Guys, algae living in the depths of the sea not only serve as food for marine animals, but also enrich the water with oxygen and clean it of bacteria.

Listening to the sound of the sea

Guys, let's listen to the sound of the sea.

Continuing the conversation

What feelings did you get when listening to the sound of the sea?

What associations emerged?

Guys, I have prepared a number of illustrations and photographs of the seabed, look at them.

Which inhabitants did you recognize?

Set of breathing exercises “Inhabitants of the Sea”

Guys, let's take a breath of sea air.

1- take a deep breath through your nose, rise on your toes, arms to the sides, up.

2- exhale while pronouncing a long sound “A-A-A”, return to I.p.

"Seaweed"

I.p. - legs apart, hands below.

1- raise your arms straight up in front of you, tilt your torso to the right.

2- straighten up, arms up, return to I.p. (alternating right and left sides)

"Jellyfish"

IP - feet shoulder-width apart, knees slightly bent, arms bent at the elbows in front of the chest.

1- spread your arms to the sides and slowly draw circles in front of you, straighten your legs, rise on your toes, pull in your stomach, stretch your neck.

2- return to I.p.

"Sea Horse"

I.p. - basic stance, hands on the belt.

1 - lunge forward with the right foot.

2-3- springy swaying, I.p. (alternating right and left leg)

"Flying Fish"

1-2 - jumping in place on two legs.

"Sea breeze"

IP - feet shoulder-width apart, hands below.

Take as much air into your lungs as possible, inhale through your nose, puff out your cheeks, smoothly bend forward and down, lightly tapping your cheeks with your fists, exhale the air in small portions.

Listening to the song of Vodyanoy from the cartoon “I am Vodyanoy, I am Vodyanoy...”

Guys, let's listen to a song from a familiar cartoon. Think about who the main character of the song is and what trouble he has.

Frontal conversation

-Who sings this song?

-Who is Vodyanoy?

- Guys, Vodyanoy is the spirit of water. Our ancestors believed that such a merman lives in lakes, ponds, and rivers and protects its body of water.

- What trouble does Vodyany have in the song?

- This is bad? Why?

- Guys, let's help our Vodyanoy, don't you agree?

Motivation to work

- To help Vodyany, you and I need to draw him friends who will live with him at the bottom of the sea. But the drawing will be unusual.

Frontal conversation

- Guys, look at the materials and tools prepared for you. What do you think is missing?

- What can you replace the brush with?

- Guys, today we will draw with our palms and fingers.

- How can you depict octopuses and fish using this technique?

- Guys, what can you draw in our drawing with your fingers?

- Well done guys, now I’ll show you how we’ll work with you

Teacher demonstration with comments

- We’ll depict multi-colored octopuses by making a palm print: we touch the paint (we use different colors) in the saucer with our palm, spread our fingers, put our palm on the sheet and make a print. Different fish can be drawn either with your palm or with your fingers. To make the image expressive, let’s draw in the missing details: eyes, fins, scales. The shape of the fish should be oval, with a tail and fins.

- It is convenient to draw algae, pebbles, bubbles with the tip of the index and middle finger of the leading hand; I suggest dipping 2 fingers (can be in different colors) into the paint at the same time and drawing with them simultaneously.

Independent artistic activity of children

And now we go to our workplaces and begin to create friends for our sad, lonely Vodyanoy.

The children listen carefully to the poem.

Children answer the teacher’s questions:

- Fish, crayfish, whales, dolphins, octopuses.

- In the sea, river.

- Algae, pebbles, soil, marine life.

Children listen to a recording of the sounds of the sea.

- A feeling of calm, fun, I wanted to go to the sea, I remembered summer.

Children looking at illustrations

- Octopus, jellyfish, shark, various fish, corals.

Children perform breathing exercises while standing.

Listening to Vodyanoy's song

Answers to conversation questions:

- Water.

- The one who lives in the forest lake.

- A merman is like a spirit of water.

- Nobody wants to be friends with him!

- Of course it’s bad! Yes!

- the merman has no one to play with, he cannot tell anyone anything interesting. One is sad.

- Yes!

Children listen to the teacher.

Children answer the conversation questions:

- There are not enough brushes.

- With a cotton swab, a paper tube, your finger.

- By placing your palm with paint on the sheet.

- You can draw patterns on fish, algae, and pebbles on the bottom.

Children watch the teacher’s actions and listen to explanations of the work.

Children go to their work stations, choose art materials and tools as they wish, and begin to complete a creative task.

The final part of the lesson

Physical education lesson “How nice it is to swim in the river”

-Guys, while our work is drying, let’s rest a little and play.

How nice it is to swim in the river! (Swimming movements)

Shore on the left, shore on the right. (Turns left and right)

The river is a ribbon ahead. (Stretching - arms forward)

There's a bridge at the top - look. (Stretching - arms up)

To swim even faster,

We need to row faster.

We work with our hands.

Who will keep up with us? (Swimming movements)

And now it's time for us, brothers,

Lie on the sand.

We are crawling out of the river (Walking in place.)

And we relax on the grass!

Exhibition of children's works

All children’s works are combined into a single composition “Sea”, around Vodyanoy. It turned out to be an underwater kingdom.

Generalizing frontal conversation

- Guys, look at our beautiful underwater kingdom, are our friends successful?

- Will Vodyanoy feel lonely now?

Guys, Vodyanoy is so grateful to you that he sent a sweet gift - “Sea” candies.

Children perform physical education movements after the teacher and repeat the words of the poem.

Children come to the board and hang their works around Vodyanoy.

Children tell who they drew. The teacher praises the children for their creative work.

As can be seen from the course of the lesson, the main methods used by the teacher were frontal conversation, independent creative work of children, demonstration by the teacher, physical education, listening to the sound of the sea and a children's song, visual aids were also used - drawings, illustrations, photographs. The use of this system of methods made it possible to make the lesson rich, developing, dynamic and interesting. Before the immediate independent work of the children, a preparatory conversation was held, which prepared the children for visual activities and led them to the topic of the lesson itself. Thanks to her, the children became familiar with the figurative system of drawing, with the elements of composition and plot of the work. The inclusion of the fairy-tale character Vodyanoy in the course of the lesson allowed the teacher to create additional motivation for work and make the lesson entertaining.

Before drawing with palms and fingers, the teacher demonstrated the technique of work. This structure of the lesson allowed us to avoid further mistakes in drawings and failures associated with the technical side of drawing. The show was accompanied by comments that focused the children's attention on the main components of drawing and technique.

During independent work, the teacher did not interfere with the children’s creative ideas and only helped with advice if difficulties arose with equipment or tools. All this contributed to the manifestation of children’s independent artistic abilities. However, many children had difficulty with the individual plot and composition. In this case, the teacher did not impose his own point of view, but suggested looking at photographs of fish, thinking about what color the fish or octopus, jellyfish would be, what shape it would be, what kind of fins the fish would have, what kind of pebbles. After such a conversation, many children began to work on their own and completed the task successfully.

The exhibition that followed the work highlighted the children's achievements and, at the same time, united their works into a single whole. This technique provided the basis for developing respect for the work of another child and uniting the team of children. The introduction of the motives of “help” and “friendship” into the lesson formed the basis for the moral education of preschool children, in particular such qualities as responsiveness, kindness, and the ability to make friends.

During the lesson, the children were active, answered the teacher’s questions with pleasure, listened with attention and interest to the poem about water at the beginning of the lesson and the teacher’s story about Vodyanoy. A warm, friendly atmosphere of cooperation was created between the children and the teacher. In case of any difficulties, the teacher always found the necessary auxiliary questions so that the child himself could solve the problems that arose. This approach made it possible to implement the method of “small discoveries” in the classroom.

Overall, the session was fun and active. The selected methods and techniques were aimed at alternating different types of activities: listening, speaking, playing, creative work, and moving gymnastics. This prevented preschoolers from getting bored and gave dynamism to the course of development and education.

In order to find out how successful the use of unconventional drawing techniques has become in comparison with conventional techniques, we analyzed children's drawings.

During the lesson, 17 works by older preschoolers depicting underwater inhabitants were received. To analyze children's drawings, we developed a system of criteria for assessing the success of work:

Match the image of the drawing to the topic of the lesson. In other words, it should be clear what is shown in the drawing, since in this case the task was not free-representative drawing.

The presence of small details and additional design. This criterion is aimed at assessing the elaboration of the drawing, i.e. how carefully the child implemented his plan, how much he deviated from the teacher’s initial demonstration.

Originality of the work. The purpose of the criterion is to identify the independence of the child’s plan, the difference between his work and the teacher’s demonstration. This criterion is very important, since non-traditional drawing techniques do not involve repeating samples, but are aimed at independent creativity. Naturally, imagination in the classroom is limited by the topic, but in other respects children can exercise complete freedom. For originality, criteria such as composition, plot, color scheme, shape and appearance of the fish itself, additions with original details that were not shown by the teacher are assessed.

So, all the children’s work met the first criterion – 100%. This indicates that the teacher managed to convey the topic of the lesson to the children and managed to formulate the task in such a way as to avoid misunderstanding.

The second criterion for assessing the results of a lesson on children's work considered the detail of the drawings. So we identified three types of detail: 1. High. This level assumed the presence of various small details on the sea inhabitants themselves: spots, stripes, detailing of scales, eyes, etc.; additional background decorations: seaweed, pebbles, other fish, shells, corals, etc. 29.4% of the works corresponded to a high level of detail. 2. The average level of detail required careful study of only the underwater inhabitants themselves or only the background. Most children completed drawings at this level. Most of the children's works contained detailing of fish and octopuses, jellyfish, stingrays and a lack of detail in the design of the seabed - 58.8%. 3. Low level of detail. In this case, neither the sea inhabitants nor the bottom and background were worked out. The drawings at this level assumed only silhouettes and the presence of 2-3 details in the background design: seaweed, pebbles. In the experimental group, 11.8% of works corresponded to this level. Summarizing the results of this criterion, we note that in general the level of detail of the work is quite high. This was facilitated by conversation questions aimed at identifying the content of the underwater world, its inhabitants, and the contents of the underwater bottom. To increase the elaboration of the work, you can also add to the lesson a conversation about fish and underwater inhabitants: what kind of fins they can have, why some fish have long fins and others have short ones, how underwater inhabitants can move, who it could be besides fish. This will increase the cognitive potential of the lesson.

The third criterion was creative. It was he who assessed the level of independence and creativity when performing work. So, in terms of composition, the work of all the children was done the same way - in the center of the picture there is one sea resident, which stands out in size. Based on the chosen color and design, the inhabitants of the underwater world turned out to be different. The filling of the background and bottom was again the same - long algae of the same type, round pebbles. However, there were drawings where the color of algae and pebbles varied, small fish were additionally made, and shells appeared at the bottom. This uniformity of work, in our opinion, is due to the fact that the children mainly repeated the teacher’s demonstration. That is why it is advisable to include in the lesson a display of finished works of different types, this will help distract children from one template. Thus, 64.7% of children’s works can be called original in color, appearance of the inhabitants of the sea world, and their design. 29.4% of the works had an average degree of originality. Only the color or shape, the silhouette of the inhabitants of the underwater kingdom, and the shape of the fins were changed. A low degree of originality accounted for 5.9% of the works. There was nothing added to these drawings that would distinguish them from the teacher’s display. Let us note that, in general, the majority of children showed more creativity in this lesson than when working with traditional materials. Thus, the teacher pointed out that when working in traditional techniques, only 3-4 children show any difference from the demonstration. Therefore, we can conclude that the use of non-traditional drawing techniques really stimulates the creative activity of children.

Summarizing the results of the analysis of the teacher’s lesson and the analysis of the drawings, we conclude that the goals set at the beginning of the lesson were realized at a high level. This confirms our assumption that the inclusion of non-traditional drawing techniques makes it possible to increase children’s interest in fine arts classes, and also stimulates children’s independent creative activity. Such findings indicate the need to more often include such activities in the pedagogical process of working with older preschoolers.

Also, observing the work of the teacher during the lesson made it possible to identify a number of features of classes using non-traditional drawing techniques:

conclusions

We carried out diagnostics in the form of a survey of teachers and parents, which showed the need to develop classes using non-traditional drawing techniques, aimed at children of older preschool age. During the survey, we found out that such classes are rarely conducted at home and in kindergarten due to the complexity of the organization, lack of methodological developments on the topic, or due to ignorance about such techniques. These results were also confirmed by an analysis of the teacher’s drawing lesson plan for the month, which included only one lesson out of 8 using non-traditional drawing techniques. However, the use of these techniques is promising material for the development of a number of the most important qualities of a child: creative activity, independence, imagination, etc. .

To identify the features of such a lesson using non-traditional drawing techniques, we analyzed the teacher’s lesson in drawing with his palm and fingers. During the observation of the lesson, the main methods of organizing children's work and a number of features of constructing a lesson using non-traditional drawing techniques were identified.

Conclusion

The ability to be creative is a specific human feature, which makes it possible not only to use reality, but also to modify it.

The problem of developing the abilities of preschoolers is today in the focus of attention of many researchers and practitioners working in preschool education; there are many articles, teaching aids, collections of games and exercises, both on the development of various mental processes at this age, and on the development of various types of abilities of general and special focus.

The problem of general and special abilities invariably attracted the attention of Russian psychologists back in the 40s - 60s. last century. The works in this area of ​​prominent domestic scientists are well known: B.M. Teplova, S.L. Rubinshteina, B.G. Ananyeva, A.N. Leontyeva, A.G. Kovaleva and others.

In relation to visual activity, it is important to highlight the content of the abilities that manifest themselves and are formed in it, their structure, and the conditions of development. Only in this case is it important to purposefully develop a methodology for developmental teaching of visual arts.

Visual activity is a reflection of the environment in the form of specific, sensually perceived images. The created image (in particular, a drawing) can perform different functions (cognitive, aesthetic), since it is created for different purposes. The purpose of the drawing necessarily influences the nature of its execution. The combination of two functions in an artistic image - image and expression - gives the activity an artistic and creative character, determines the specifics of the indicative and executive actions of the activity. Consequently, it also determines the specificity of abilities for this type of activity.

The conditions under which a child reacts emotionally to paints, colors, shapes, choosing them at will are very important. Thanks to the education of artistic images in the fine arts, the child has the opportunity to perceive the surrounding reality more fully and vividly, which contributes to the creation of emotionally charged images by children.

For the most effective development of artistic and creative abilities, it is necessary to use entertaining activities. The purpose of entertaining activities is to create sustainable motivation, the desire to express one’s attitude and mood in an image.

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

In the practical part of the course research, we turned to diagnosing the level of use of non-traditional drawing techniques when working with children of senior preschool age. As a survey and analysis of a drawing teacher’s work plan showed, classes using such techniques are conducted quite rarely. So, out of 8 drawing classes per month, only 1 was planned using non-traditional drawing techniques. Having visited and analyzed this lesson, we identified the features of its implementation, for example the following:

The effectiveness of such a lesson increases when fairy-tale characters are included, and the lesson is conducted in the form of a journey or a fairy tale.

Before the creative work of older preschoolers, it is necessary to conduct an introductory conversation, where the elements of composition, plot, and images of the future drawing will be revealed.

Before drawing itself, it is necessary to provide instructions on the use of unusual tools and materials. It would be appropriate for the teacher to show the elements of the technique, but you should not create the entire drawing to avoid children copying the original sample.

While drawing, the teacher should not limit the children’s imagination or interfere with their creative ideas. The advice may only concern drawing techniques.

The selected non-traditional visual technique must correspond in its expressive capabilities to the theme of the lesson, abilities and age characteristics of older preschoolers.

During the lesson, educational and developmental tasks of the pedagogical process were implemented. As the subsequent analysis of the products of activity (drawings) and pedagogical situations of the lesson showed, the use of non-traditional drawing techniques makes it possible to increase the interest of children in visual arts classes, and also stimulates the independent creative activity of children. Such findings indicate the need to more often include such activities in the pedagogical process of working with older preschoolers.

Bibliography

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Brykina E.K. Children's creativity in working with various materials. / under scientific ed. T.S. Komarova. – M.: Ped. Society of Russia, 2002. – 147 p.

Vetlugina N.A. Artistic creativity and the child. – M.: Education, 1972.- P.156.

Greek V.A. I draw with a stroke. – Mn.: Skaryna, 1992. – 110 p.

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Find material for any lesson,

Understanding the world around them, children try to express their impressions about it through cognitive and creative activities: playing, drawing, telling stories. Drawing provides enormous opportunities here. To give children the opportunity to express themselves in a variety of ways, you can practice drawing with your child both in traditional techniques and in the most unusual ones. The more interesting the conditions in which the child’s visual activity takes place, the more rapidly his creative abilities will develop. Let's see what children's drawing techniques can be used for the development of a child.

Traditional painting techniques

The foundation for the overall comprehensive development of a child is laid in early preschool age. Drawing is one of the most important means of child development, during which the child learns about the world and forms an aesthetic attitude towards it.

When drawing, a child develops a wide variety of abilities, namely:

• the child learns to visually evaluate the shape of an object, navigate in space, distinguish and feel colors
• trains eyes and hands
• develops the hand.

“Did you know that drawing is one of the main ways for a child to develop his senses, fine motor skills, sense of shape and color? With the help of this simple and exciting activity, children convey their attitude to reality.”

The success of upbringing and learning depends on what forms and methods a teacher or parent uses in creative activities with a child.

Thus, the main technique for children of primary preschool age is to demonstrate how to use a pencil and paints. At the same age, passive drawing is effective: when an adult guides the baby’s hand. When the baby grows a little, visual arts are taught using the information-receptive method: children study the shape of an object, tracing it with their hand, feeling its outlines. Such exploration of the subject helps the child create a more complete understanding of the subject. The next stage is the choice of drawing technique.

Traditional children's drawing techniques:

1. Drawing with a simple pencil.
2. Drawing with colored pencils.
3. Drawing with felt-tip pens.
4. Painting with a brush - watercolor, gouache.
5. Drawing with wax crayons.

When starting to choose a drawing technique for your baby, you need to pay attention to his age and interest. To be useful and educational, drawing must first of all be fun.

Drawing with paints and pencils

Children enjoy drawing, especially if they are good at it. Even drawing using traditional techniques such as painting with paints and pencils requires certain skills. If the skills are missing, then the drawing may not turn out the way the little artist intended, as a result of which the child may become upset and no longer want to draw. Younger preschoolers are not yet skilled enough in drawing.

Let's see how you can teach your child to draw with paints and pencils.

Learn to paint with paints

Today, a child’s first use of paints is finger painting. As soon as your baby has learned to hold a brush in his hand, invite him to paint with it. For the first lessons it is better to use: it does not need to be diluted with water and it leaves a bright trace. Show your child this painting technique as “dipping”: a brush with paint should be applied to the paper with all its bristles. This will create an imprint - a leaf, a light, a trace of an animal, a flower, etc. Children can use this simple technique when depicting natural phenomena that are familiar to them. It will be interesting to draw on dark-colored paper (for example, blue) with white gouache. This is how you can depict, say, snowfall. The next stage of painting with paints is the image of straight and wavy lines.

Typically, a child masters working with paints and brushes by the age of 3.5–4 years. From this age, the baby can be given paints at his disposal: let him paint what he wants. And parents just need to suggest topics for drawing and show the correct techniques.

Let's start drawing with a pencil

At first, it is better to give the baby not a pencil in his hand, but a felt-tip pen: they leave a bright mark even when the child’s hand presses lightly. When your hand gets stronger, put a pencil in his hand. Draw different shapes together by moving your child's hand. This way he will gradually understand how to move the pencil to get the desired drawing. Repeat the movements many times, strengthening them.

"Advice. Support your child’s interest in drawing by providing good conditions for creativity: quality supplies, a separate table and chair in a bright place, appropriate for the child’s height.”

Children's unconventional drawing techniques

Non-traditional techniques for children's drawing stimulate the development of imagination and creative thinking, the manifestation of initiative and independence in the child. In the process of such drawing, the preschooler will improve his powers of observation, form an individual perception of art and beauty, and try to create something beautiful. And unconventional drawing also brings children a lot of positive emotions.

Let's see what non-traditional drawing techniques you can practice with your child at home.

For children of primary preschool age:

1. Finger drawing. The kid dips his fingers in gouache and applies paint to the paper.
2. Drawing with palms. The little one applies gouache all over his palm and makes prints on paper, which can later become funny pictures.

For children of middle preschool age:

1. Foam imprint. The child dips a piece of foam rubber into the paint and makes an imprint on the paper.
2. Imprint with cork.
3. Combined drawing with wax crayons and watercolors. The child draws an image with wax crayons on paper, and then paints over only a sheet of paper with watercolors, without affecting the drawing.
4. Drawing with cotton swabs or drinking straws. By dipping them in paint and applying them in different ways, you can create an interesting picture.

For children of senior school age:

1. Drawing with sand or salt.
2. "Spray." By picking up paint on a brush and hitting it on the cardboard above the paper, the child will receive a whole fireworks of paint splashes that will fall on the paper.
3. Drawing with crumpled paper. Pieces of crumpled paper are painted and pressed onto the paper where the painting is planned to appear.
4. Klyasography. You can blow colorful blots through a cocktail straw. Or you can put them with a regular plastic spoon. Using your imagination, blots can be turned into funny characters or landscape elements.
5. Monotype. By covering thick paper or ceramic tiles with a thick layer of paint, and then applying a sheet of paper, we get a blurred print on the paper that can become the basis for a landscape.
6. Engraving (grattage). After painting a sheet of paper with a thick layer of gouache, try scratching it out together with your child using toothpicks.

We use various materials

“Did you know that various non-traditional children's drawing techniques are becoming more and more popular every day? When drawing, kids act as they please.”

The beauty of non-traditional drawing techniques is that in the creative process a child can use a variety of materials and their combinations. That’s why these drawing methods are very interesting for both children and adults: there are no limits to imagination and self-expression.

What combinations of materials can be used when drawing to make the creative process enjoyable and the picture to turn out unusual and expressive?

1. Imprints of natural materials. If you cover leaves, cones, flowers with different paints, and then apply them to paper, you will get a print. Having completed the missing details, the child will come out with an excellent one.
2. Plasticine. You can not only sculpt figures from plasticine, but also draw on paper with it. This method is called plasticineography.
3. Whatever is at hand. Using a wooden spool of thread, the thread itself, buttons of different sizes and shapes, a cardboard tube, a fresh orange peel, an ear of corn, a knitting needle and anything else you can find around the house and use for creativity, you can draw. Each item leaves its own unique imprint. With a little imagination, you can create unusual paintings using completely everyday objects. The coil will leave a mark that looks like a wheel or two tracks, a button - a circle with dots. You can cut unusual stamps from orange peel, for example, in the form of a spiral. And the function of a paint roller will be performed by a corn cob or a cardboard tube.

Drawing is an excellent leisure activity for a preschooler, a job that should not be forced. However, it is important to support the child and positively evaluate the results of his creativity. Expand your child's creativity. Traditional drawing will teach your child how to properly use a brush, paints, pencils and felt-tip pens, teach you to recognize and draw different shapes, and distinguish colors. And non-traditional drawing techniques will help him become more creative, emotionally stable, confident in his abilities, and proactive.

Nesterova I.A. The use of non-traditional techniques in the visual activities of preschool children // Nesterov Encyclopedia

As is known, a child’s visual activity acquires an artistic and creative character as he masters the methods of depiction. The product of artistic and creative activity is an expressive image. One of the tasks of teaching drawing in kindergarten is to teach children to depict objects and phenomena as a means of figuratively reflecting life impressions.

The variety of non-traditional techniques in teaching visual arts

The image requires clear, distinct ideas, as well as the ability to express them in graphic form. When creating a drawing, the child controls his actions by representing the depicted object and evaluates them. The ideas needed for drawing are formed in the process of perception. Research by N.P. Sakulina shows that it is necessary to teach children a certain way of perceiving an object, examining it. However, in order to draw this or that object, it is not enough to have a clear idea of ​​its shape, color, structure; it is necessary to be able to express these properties of the object in graphic form on the plane of a sheet of paper, to subordinate the movement of the hand to the task of depiction.

As noted by T.S. Komarova: “One might think that the movements aimed at making a drawing are sufficiently organized by the process of drawing itself. However, this is not so: children should definitely be taught drawing techniques.”

Thus, mastering technology by preschool children is an independent and important task.

At present, points of view on the problem of artistic development and the conditions for the formation of artistic abilities are rapidly changing, the change of children's generations and their preferences, the emergence of new artistic techniques and techniques. In this regard, the methods of work of teachers in the field of fine arts with preschoolers must also change.

The choice of non-traditional drawing techniques as one of the means of developing children's visual creativity is not accidental. Most non-traditional techniques relate to spontaneous drawing, when the image is obtained not as a result of the use of special artistic techniques, but as the effect of playful manipulation.

Non-traditional techniques expand the visual capabilities of children, which allows them to realize their life experience to a greater extent, free themselves from unpleasant experiences and establish themselves in the positive position of a “creator”.

The idea of ​​using non-traditional techniques in the process of teaching visual arts is not new and the need to use non-traditional techniques in organizing the visual creativity of preschool children is not in doubt. After all, the variety of visual materials provided to children, the departure from traditional, familiar ways of creating drawings, and the search for new creative solutions contribute to the development of children's creativity, activity, and imagination. Children love novelty, they are interested in a variety of materials, and as a result, children receive a successful product of activity.

Visual arts technique and its role in image creation

Childhood is a period of intense development, change and learning - this was the definition given by psychologist L.F. Obukhova. She writes that this is a period of paradoxes and contradictions, without which it is impossible to imagine the “process of development.” Childhood is the most favorable for the development of creativity.

The development of creativity is one of the “bridges” leading to the development of artistic abilities.

Unfortunately, the modern mass “school” still retains an uncreative approach to the acquisition of knowledge. Often learning comes down to memorizing and reproducing action techniques and typical ways to solve tasks. Monotonous, patterned repetition of the same actions kills interest in learning. Children are deprived of the joy of discovery and may gradually lose the ability to be creative.

Visual activity in modern research is interpreted as one of the forms of a child’s artistic exploration of the surrounding reality, during which he reflects the world with the help of artistic means.

In the process of drawing, sculpting, and appliqué, the child experiences a variety of feelings:

1. rejoices at the beautiful image he created,
2. gets upset if something doesn't work out,
3. strives to overcome difficulties or gives in to them.

He acquires knowledge about objects and phenomena, about the means and methods of their transmission, about the artistic possibilities of fine art. Children’s ideas about the world around them deepen, they comprehend the qualities of objects, remember their characteristic features and details, master fine arts and abilities, and learn to use them consciously.

In modern theory and practice of preschool education, visual activity is considered as the most accessible means that provides preschool children with ample opportunities for a full and meaningful expression of impressions about the life around them, experiences, and manifestation of their spontaneity and emotionality. Artistic activities develop memory, attention, fine motor skills, teach the child to think, analyze, measure and compare, compose and imagine.

At first, children develop an interest in visual aids, manipulations, and traces. left on a sheet of paper, from working with a pencil or brush and only gradually, by mastering visual techniques, motivation for creativity appears - the desire to get results, to create an image.

Modern pedagogical and psychological research proves the importance of visual creativity for the intellectual and artistic development of children in preschool age.

After all, it is in visual activity that the formation of artistic creativity occurs, the development of which is possible without teaching children how to implement ideas, convey objects, and phenomena. This training is aimed at creating an artistic image for children and is closely dependent on the development of abilities for visual activity.

One of the conditions for the development of children’s creative abilities is the use of a variety of visual arts techniques.

The concept of "technology" has several meanings. Let's consider the interpretation of the concept of "technology" from different sources.

Technology is a set of techniques, devices and material resources used to carry out the production process and obtain the best result.

What is art technique?

Soviet artist D.I. Kiplik in his book “Painting Technique” indicates that painting technique should mean a special branch of knowledge, the subject of study of which is the rational construction of a painting from the point of view of its material essence. Knowledge of technology will give the artist the opportunity not only to create durable works, but also to make the best use of painting materials from an artistic point of view.

The technique of drawing by artists is understood broadly: this includes the technique of line, shading, a certain manner of drawing and writing and the way of using certain materials (paper, canvas, wood, pencil, charcoal, pastel, oil paint, watercolor, gouache, tempera, etc.) in accordance with their properties, their visual capabilities.

In the fine arts, technology (from the Greek technike - skillful and techne - art, skill) is understood as a set of special skills, methods and techniques by which a work of art is performed.

However, technique is also understood more narrowly: as a direct, immediate result of the artist’s work with a special material and tool (hence the expression: the technique of oil painting, watercolors, gouache, etc.), the ability to use the expressive capabilities of the material, and more broadly: as, for example, the method transfer of the materiality of objects. The technical side of visual activity is subordinated to the task of creating an expressive image in a drawing.

Representatives of the realistic movement in fine art have always attached great importance to drawing technique, paying special attention to its development.

The concept of technology includes the development of the eye and hand, their coordinated activity. Particular importance is attached to skillful, festive depiction of the contour and shape of objects.

The teacher needs to teach children technology so that they can freely use it when solving any problem, and most fully express their impressions of the life around them in their work. In kindergarten, it is necessary to immediately, within accessible limits, formulate the correct drawing technique for all children, so that later they do not have to be retrained.

The definition of drawing technique that is accepted in the fine arts is mainly applicable to the technique of children's drawing. The difference lies in the fact that in a preschool child, the initial development of various and subtle hand movements that are necessary for drawing and which can be called drawing movements occurs. Mastering a contour line, a stroke, a spot as expressive means of drawing constitutes a special task for a small child, which the child cannot solve on his own.

In drawing, as in any tool activity, the socio-historical experience of people is fixed. It is necessary for the child to correctly perceive the methods of action in drawing from an adult, who reveals to him this experience, embodied in each specific instrument. An adult’s demonstration appears to the child as a model of action that needs to be followed and learned by children only through training in various techniques of visual activity.

The image in the drawings is created using a variety of materials. Artists use various materials in their work: a variety of paints (oil, gouache, watercolor), sauce, charcoal, sanguine, pastel and many others. There are often cases when different materials are used to create an expressive image in one work (for example, charcoal, sanguine, gouache; whitewash, watercolors and colored pencils). It is necessary to teach children to use these materials in accordance with their means of expression, and also to teach them to combine available materials in visual creativity.

Traditional techniques of visual arts include those that are most often used in children's institutions, in preschools, schools, specialized art schools, art schools, in orphanages, in boarding schools, in various art studios, in creative houses. Visual activities in kindergarten are aimed at teaching artistic and creative activities within the limits accessible to preschool children.

There are three traditional types of children's artistic and visual creativity:

1. drawing,
2. modeling,
3. applique.

Figure 1. Drawing techniques for preschoolers according to T.S. Komarova and N.P. Sakulina:

Thus, the following technical skills of older preschoolers develop:

1. learn to draw straight lines in different directions and of different widths, draw arcs, circles, oval shapes, wavy lines, apply the brush flat to make a stroke;
2. practice light, without excessive tension movements with a pencil and brush, moderate pressure on the paper with a pencil and regulation of pressure to obtain shades of colors, drawing thin lines with the end of the brush, wider stripes with the side of the pile;
3. the ability to arbitrarily change the pressure on a pencil to obtain colors of different intensities is developed.

Young children cannot yet control the movements of their hands, so they cannot roll clay, squeeze it with their palms with the necessary force to get a flat shape, they cannot independently take a pencil correctly, or subordinate the movement of their hand with a pencil to create an image of a particular object. Children need to be taught both the movement itself and its qualities:

1. strength,
2. duration,
3. orientation, etc.

Hand movements aimed at making a drawing are not born from the process of drawing itself, because the child is just beginning to create. Therefore, he should be taught how to draw.

According to T. S. Komarova, teaching children drawing techniques should be carried out “not on its own, not for the sake of technical perfection of the image, but so that the child can expressively and without much difficulty create the image he wants.”

If a child does not control his hand, each artistic movement is difficult for him, his hand quickly gets tired and the process of creating an image does not bring joy. At the same time, mastering a line, a stroke, a spot as a means of expression, learning how to hold a pencil, a brush correctly, and how to use them rationally is a rather difficult task that a child cannot solve on his own. It is necessary that he correctly perceive the methods of action in drawing from an adult.

In the process of targeted learning, children develop courage in action, confidence, and freedom to use tools and materials. They acquire technical ease and freedom, which is one of the incentives for drawing, creating an image of an object or phenomenon. If children hold a pencil incorrectly - with a pinch, in a fist, with crooked fingers, then the hand quickly gets tired, and the image is distorted. And the result is dissatisfaction, grief, loss of interest.

The drawing technique includes both movements and their perception, that is, movement under the control of vision and motor sensations.

In modeling, it is necessary to develop such hand movements that would allow children to transform a lump of clay or plasticine, obtain various shapes from it, and create images.

Children gradually master pinching small lumps of clay from a large one, rolling them with a straight movement (sticks, cylinders, etc.), circular movements (balls, berries, balls, etc.), flattening, stretching. They learn to flatten lumps, press in, and pull out small parts and details of the image. They are taught a variety of finger sculpting techniques, the use of stacks, and sculpting in parts and from a whole piece. Thanks to this, children are able to convey more subtle features of the shape of objects.

Mastering the technique of modeling promotes the development of hand movements, allows children to convey various objects of reality in this type of visual activity, and depict simple scenes from life and fairy tales.

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

Figure 2. Traditional techniques for teaching applications in preschool educational institutions

In the process of visual creative activity, the child learns:

1. independent transfer of previously acquired knowledge to a new situation;
2. vision of a new function of an object (object);
3. seeing the problem in a standard situation;
4. vision of the structure of the object;
5. ability to make alternative solutions;
6. combining previously known methods of activity with new ones.

The visual movement of the hand when drawing, sculpting, or applique is associated with muscle-motor sensations, the perception of the movement itself kinesthetically and visually: the child sees how the hand moves and feels this movement.

Applique develops a decorative sense, contributes to the development of color sense and compositional skills in children, as it gives them the opportunity, before gluing, to try to arrange cut-out figures in different ways and choose the best option for their placement.

In appliqué classes, just like in drawing and modeling classes, children develop the ability to depict objects and phenomena of the environment, to express their impressions and ideas. To do this, it is necessary that children gradually master the technique of folding images from parts and gluing them, and most importantly, master the technique of independently cutting out the shape of objects.

The child’s visual activity acquires an artistic and creative character gradually, as a result of the accumulation and refinement of images and representations and mastery of methods of representation. The product of artistic and creative activity is an expressive image.

The technical side of visual activity is subordinated to the task of creating an expressive image in a drawing. It is this goal that determines the choice of a particular material for drawing. When thinking through the lesson, the teacher selects the material in which the image of the object can be particularly expressive, interesting, beautiful, and will give both children and others aesthetic pleasure. But this will be possible only if children well master the visual and expressive capabilities of each material.

Programs for teaching preschoolers drawing techniques

The use of modern techniques of visual creativity in the education of preschool children is determined by the program content. We decided to analyze the sections of programs for preschool institutions on visual arts for the diversity of the use of visual techniques.

IN education, training and development program in kindergarten developed by M. Vasilyeva and aimed at developing the artistic creativity of a preschooler, the following areas of work on the artistic education of children have been identified:

1. experience of artistic impressions of art images;
2. some knowledge and skills in the field of various types of artistic activity;
3. a system of creative tasks aimed at developing in children the ability to create new images, using the means of different types of art;
4. creating problematic situations that activate creative imagination;
5. creation of a materially enriched environment for artistic activities.

The implementation of this program material can be based on the use of modern techniques of visual creativity.

IN program "Childhood" In the section “Fine arts and artistic activities of children,” attention is mainly paid to the development of visual skills necessary for plot drawing. The disadvantage of these tasks is that the task of developing creativity and imagination is not separately identified, what means of expressiveness should be used when creating a drawing are not indicated, the tasks are given in general terms, and there is no specification of these tasks.

IN "Rainbow" program work with children in visual arts is carried out in two directions: in the process of aesthetic perception of nature, beautiful objects and works of fine art in drawing and modeling classes and in the process of free activity.

The advantage of the “Rainbow” program can be confidently called the fact that the content covers all aspects of a child’s life in kindergarten; learning and development occurs not only in a specially allotted time, but throughout the child’s entire activity. The program also includes subsections “On the influence of one color on another”, “Color and light”, which contain information on the development of color perception, which is very important for the development of children's creativity.

But this program also has some disadvantages:

1. there are no clear tasks for the development of plot drawing,
2. The main focus is on teaching technical techniques and the ability to work with visual material.
3. The subsection “How to develop children’s imagination” is presented separately, but, unfortunately, it talks about developing imagination only in the classroom.

Of course, this program can serve as a stimulus for the teacher’s free creativity in the education and development of children, but at the same time, information about the possible development of children’s creativity is not presented here, and accordingly, the teacher will not pay special attention to this issue.

IN "Development" program in the section “Visual activity” it is said that for children of senior preschool age the main artistic task is to convey relationships of various types through visual activity. This problem is solved by constructing an expressive plot-figurative composition that reflects the features of such relationships. At this age, much attention is paid to the construction of two figurative compositions and a subject-based drawing that conveys paired relationships. Such tasks will require analysis of methods of interaction between objects, features of actions and visual characteristics of interacting characters, and analysis of their emotional relationships. We can conclude that this program is aimed at developing intellectual abilities rather than creative ones. Even in art classes, the child is placed in a situation of mental activity, which promotes mental development rather than creative development.

The analysis allows us to conclude that in modern preschool education programs the use of non-traditional techniques of visual activity has not been sufficiently developed. Today there is a choice of options for art preschool education and it is determined by the presence of variable, additional, original programmatic and methodological materials that are not sufficiently scientifically substantiated and require theoretical and experimental testing in the specific conditions of a preschool educational institution.

Modern techniques of visual creativity develop in children logical and abstract thinking, imagination, observation, attention and self-confidence. The variety of materials poses new challenges and forces us to always come up with something new.

With the connection between teaching image techniques and creativity, a child of senior preschool age has the opportunity to independently master various artistic materials, experiment, and find ways to convey an image in drawing, modeling, and appliqué. This does not prevent the child from mastering those methods and techniques that were unknown to him.

With this approach, the learning process loses the function of direct following, naming methods. The child has the right to choose, to search for his own option. He shows his personal attitude to what the teacher offers. Creating conditions under which a child reacts emotionally to paints, colors, shapes, choosing them at will, is necessary in the creative process. This condition is the use of modern techniques of visual creativity.

Problems of using non-traditional visual techniques

The term non-traditional can be considered as “not traditional”, “associated with a retreat, rejection of traditions”, “fresh”, “innovative”.

Non-traditional visual techniques are an effective means of depiction, including new artistic and expressive techniques for creating an artistic image, composition and color, allowing for the greatest expressiveness of the image in creative work.

From the above, the definition of non-traditional drawing techniques follows - these 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.

A positive attitude towards the use of non-traditional visual techniques did not develop immediately.

Figure 3. Approaches to teaching fine arts in preschool educational institutions

In the first case, children acquire skills useful in life, but do not gain experience in solving artistic problems and do not become familiar with art. This is learning without creativity. In the second case, a favorable environment and conditions for creativity are created for children without providing targeted influence. Children gain experience of free self-expression, but this is creativity without learning. It rises on the wave of “age-related talent,” as if apart from the child himself, and with it fades away... a small child “does not take possession” of his own creative potential. We need a third way - the path of purposeful guidance of the creative development of children.

In the 90s of the 20th century, there was great interest on the part of teachers in the use of a variety of visual techniques. This circumstance is explained by the fact that it was at this time that the education system in Russia was actively changing, new variable pedagogical programs and technologies appeared.

At present, points of view on the problem of artistic development and the conditions for the formation of artistic abilities are rapidly changing, the change of children's generations and their preferences, the emergence of new artistic techniques and techniques. In this regard, the methods of work of teachers in the field of fine arts with preschoolers must also change.

Today, teachers and psychologists oppose traditional didactic teaching methods used in preschool education, which often force children to act within established patterns, against the imposition of stereotypical ideas that do not excite the child’s imagination, do not excite the child’s imagination, but bore him, suppress his creativity and do not stimulate the development of a creative personality.

Thus, the idea of ​​using non-traditional techniques in the process of teaching visual arts acquired relevance in the 90s of the last century.

The need to use non-traditional techniques in organizing the visual arts of preschool children is not in doubt. After all, the variety of visual materials provided to children, the departure from traditional, familiar ways of creating drawings, and the search for new creative solutions contribute to the development of children's creativity, activity, and imagination. Children love novelty, they are interested in a variety of materials, and as a result, children receive a successful product of activity.

The task of activating children's creative abilities leads teachers to the need to find new ways of artistic expression. However, after studying program materials on visual arts, we noted that they recommended a limited range of artistic techniques, which restrained the creative abilities of preschoolers and negatively affected the expressiveness of their work. This is the contradiction between the advisability of using non-traditional artistic techniques in children's visual activities and the insufficient theoretical and methodological elaboration of this issue. .

Currently, techniques such as scratching, monotype, and sanguine drawing, which were once unconventional, are becoming traditional.

The experience of using non-traditional techniques is based on the idea of ​​learning without coercion, based on achieving success, on experiencing the joy of the world, on the sincere interest of the preschooler in performing a creative task using non-traditional techniques. Such tasks put the child in the position of a “creator”; it activates and directs children’s thoughts, bringing them close to the line beyond which the emergence of their own artistic ideas can begin.

The positive point is that in addition to the main programs in modern preschool institutions there is a choice of variable, partial and original programs that reveal the positive aspects of using a variety of non-traditional techniques.

T.S. Komarova, N.P. Sakulina, A.A. Melik - Pashaev suggest the use of a variety of visual techniques in working with preschool children as an option for a way out of this current situation.

Practical research by O.A. Belobrykina, R.G. Kazakova, G.N. Davydova, A.A. Fateeva and other teachers in the field of using non-traditional techniques were openly tested in preschool educational institutions and showed their significance for increasing the level of expressiveness of drawings, increasing the efficiency of mastering artistic and expressive techniques in creating an image or composition.

I.A. Lykova developed the “Colored Palms” program, which includes long-term planning and a series of classes using non-traditional drawing techniques by age.

Modern magazines on preschool education "Preschool Education", "Preschool Teacher", "Preschool Pedagogy", "Senior Educator", "Hoop", "Modern Preschool Education", etc. publish many articles devoted to the problem of using techniques in the visual activities of preschool children age. They present the experience of teachers, describe non-traditional techniques, and also offer lesson notes using a variety of non-traditional techniques.

The true value of non-traditional techniques lies not in the quality of the work, but in the fact that children get joy from the process itself.

We designate non-traditional techniques as modern. And we will consider the modernity of this or that technology according to the criterion of application, use in working with preschoolers, at the present time.

The use of a variety of non-traditional techniques develops children's creative potential. The variety of visual techniques allows the teacher to set new tasks for children and stimulates creative activity. In addition, non-traditional techniques develop in children logical and abstract thinking, imagination, observation and, most importantly, self-confidence. Children's interest in visual arts increases. They look at the world around them more creatively and learn to find different shades. Gain experience of aesthetic perception. Children create a new original product. They show creativity, realize their plans, and independently find the means to implement them.

Non-traditional techniques play a big role in the development of children. The desire to create is an internal need of a child; it arises independently and is characterized by extreme sincerity. In classes using non-traditional image techniques, preschoolers are given the opportunity to experiment. Everything unusual attracts children and makes them wonder. The children develop a taste for learning new things and research. Children 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 image techniques allow one to avoid this, since the teacher, instead of a ready-made model, only demonstrates how to operate 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. Working with non-traditional image techniques stimulates positive motivation in the child, evokes a joyful mood, and does not tire.

Researchers indicate that the use of non-traditional drawing techniques helps reduce arousal in children who are overly emotionally disinhibited. Thus, M.I. Chistyakova notes that unconventional drawing captivates children, and the more passionate the child is, the more he concentrates. The zone of its activity narrows, the amplitude of movements decreases. Thus, the use of non-traditional image techniques contributes to the intellectual development of the child, correction of mental processes and the personal sphere of the preschooler.

Research activities perform a therapeutic function, distracting children from sad events, grievances, relieves nervous tension, fear, and provides a positive emotional state. Also, in the process of visual activity, the child experiences different feelings - he rejoices at the beautiful image he has created, is upset if something does not work out, and strives to overcome difficulties. The child improves his observation and aesthetic perception, artistic taste, creative abilities, and develops special skills.

Teachers, due to their busy schedules, rarely use non-traditional techniques. Undoubtedly, the advantage of such techniques is the versatility of their use. The technology for their implementation is interesting and accessible to both adults and children, which is why the non-traditional technique is very attractive to children, as they open up great opportunities for expressing their own fantasies, desires, and self-expression in general.

According to the famous child psychologist A.A. Melik-Pashayeva, “an artistically gifted child does at his childhood level the same thing that a real artist does at another level, but a bad, albeit professionally skilled, painter cannot do anything.”

T.S. Komarova writes that based on the diversity of drawing techniques in the fine arts and taking into account the capabilities of preschool children, it is advisable to enrich the technical side of children's drawing. This can be achieved. diversifying the methods of working with paints and pencils already known in wide practice and using new ones, as well as combining different materials and techniques in one drawing.

Experience shows that one of the important conditions for the successful development of children's artistic creativity is diversity and variability in 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 each time the teacher creates a new situation, so that, on the one hand, children can apply previously acquired knowledge, skills, abilities, and on the other hand, look for new solutions and creative approaches. This is what evokes in a child positive emotions, joyful surprise, and a desire to work creatively.

T.S. Komarova points out: “However, it is often difficult for educators to introduce variety into all moments of work and into free children’s activities, to come up with many options for activities on topics. Drawing as a type of artistic and creative activity does not tolerate templates, stereotypes, once and for all established rules, and yet In practice, we often encounter exactly this situation (The tree is drawn from the bottom up, because it grows this way, and the house is like this,” etc.)

To prevent children from creating a template (draw only on a landscape sheet), the sheets can be of different shapes: in the shape of a circle (plate, saucer, napkin), square (handkerchief, box). Gradually, our baby begins to understand that you can choose any piece of paper for a drawing: this is determined by what is to be depicted

The availability of using non-traditional techniques is determined by the age characteristics of preschoolers.

Features of visual activity of preschool children at different age stages.

In a child in the third year of life, the leading type of attitude towards the world around him remains the attitude towards objects, orientation towards objects and ways of using them. The child discovers not just a world of objects, but also a world of adults interacting with each other. However, a child of primary preschool age cannot always act on his own, like an adult, and the inability to realize this desire gives rise to the so-called crisis of three years.

The contradiction between the child’s desire to act like an adult and the inability to realize this child’s desire to act like an adult, to realize the “I myself” position and his limited capabilities.

In the period from two to three years, visual activity is focused on the objective world and the leading type of activity is object-tool activity. A discovery made by a child on a piece of paper greatly attracts the child. The search for the content of the image in scribbles is one of the leading motivators of activity at this stage. The child accumulates experience by mastering the world. This determines the content of associative images. The associative image is not yet very stable and the child can call the same line, stroke, spot differently.

The content of children's visual activity reveals the preschooler's interest in the objective world, characteristic of this age. In the process of working with materials and reading doodles, imagination, visual and effective thinking develops, and the level of visual activity increases. The child no longer just names what happened by chance in his scribbles, he himself determines the content of the future drawing, that is, the child himself sets a goal, a visual task.

The baby’s first plans are not yet a plan in the full sense of the word, but only a theme that the child formulates with the word (“I’ll draw a car”). The initial plan is poor in content and not clear.

The little artist draws only what excites him, what interests him, what has left a vivid mark in his memory. If a child’s life is interesting and full of vivid impressions, then he has a desire to tell about it in drawing, modeling, and the themes of the image in this case are varied.

It is important to help the child master the methods of representation available to him in drawing, modeling, and appliqué; introduce the properties of materials and basic techniques for their use.

Children of primary preschool age can depict individual objects and phenomena using rhythmic strokes - colored spots, pencil strokes, felt-tip pens, straight and closed lines, vertical and horizontal, etc.

The teacher should know that by the age of three a child has a number of features presented in Figure 4.

Figure 4. Features of children by the age of three

Children in the middle group are familiar with various types of visual activities; therefore, as a rule, they have a developed interest in drawing.

As a rule, visual activity is guided by a complex of motives: interest in the material, especially if it is updated, imitation of peers and adults. However, the leading and main motive gradually becomes interest in objects, phenomena, events that the child is trying to portray. During this period, the leading motive of visual activity and play is the same - the need to experience significant aspects of reality for him, the need to once again return to those phenomena, objects, events that surprised and interested the child in ordinary life. This is most clearly manifested not so much as a result of the activity, but in the process of its implementation.

Children of middle preschool age notice the advantages and disadvantages in the works of their peers, but sometimes they cannot evaluate their own work, since children enjoy the process of depiction. Rather than from the result of the work.

In this age group, a peculiar transition is clearly evident not only in the design, but also in the drawing itself from the subject to the plot.

In older preschool age, children create variable images, preserving the characteristic features of shape, structure, color, proportional relationships, and convey the individual characteristics of objects. The leading motive of visual activity also remains the phenomena, events that the child is trying to convey in the image, but the content changes, these are already events that excite the child.

The drawings of older preschoolers are more technically competent, compositionally designed, but at the same time less expressive, this is due to the fact that children in their development are approaching the crisis of seven years. As an older preschooler masters creative skills, an internal plan of activity is formed, which is absent in a young child.

By the age of seven, a child should be able to:

1. perceive and react emotionally to the artistic image and means of expression in works of fine art of different types and genres;
2. independently create individual artistic images in various types of visual activities;
3. integrate different types of visual activities in individual and collective work;
4. independently convey the plot composition, using its different options with elements of perspective;
5. possess a set of technical skills and abilities, motivate independent selection of materials;
6. participate in team work, plan your activities in drawing, modeling, appliqué, give a motivated assessment of the results.

The practice of preschool education shows that teachers do not always know how to flexibly, variably, and creatively apply general theoretical knowledge in specific work with children. Thus, the main focus of modern preschool education on personality development, the general mental development of the child in the context of specific types of activity often remains at the level of declarations. Communication and activity, generally recognized as the main conditions for personal development, in the pedagogical process of preschool institutions most often have a narrow didactic orientation. Their role comes down to the formation of knowledge, skills, and abilities, which are certainly important, but not the only ones in the development of the child.

The pedagogical creativity of practitioners most often does not have sufficient theoretical justification - this is at best; at worst, it is erroneous.

The full, harmonious development of a child’s personality in a preschool educational institution can only be guaranteed if competent, creative teachers work with him.

Studying the theoretical principles of using non-traditional techniques of visual creativity in working with preschool children allows us to say with confidence that they are an effective means of creative development of children, but only if the level of qualifications of the teacher working with children is high enough.

The main condition for the effective use of various visual techniques in working with children is the teacher’s knowledge on this issue.

Figure 5. Level of teacher competence

As we noted earlier, modern manuals for teachers of preschool educational institutions do not contain detailed information about the possibilities of using various techniques of visual creativity in working with preschoolers; this circumstance is the reason for the low level of qualifications of teachers in this matter.

In our opinion, there is a need to develop a manual for teachers of preschool educational institutions, which will reflect the main aspects of the use of non-traditional techniques in working with preschool children. Such a manual should contain the following information about the age-related characteristics of the visual activities of preschool children:

In the third year of a child’s life, the leading type of his relationship to the world around him remains his attitude towards objects, orientation towards objects and ways of using them. The child discovers not just the world of objects, but the world of adults acting with these objects and interacting with each other. But a younger preschooler cannot always act on his own, like an adult. The desire to live like an adult, and the inability to realize this desire, gives rise to the so-called three-year-old crisis. The contradiction between the child’s desire to act like an adult, to realize the “I myself” position, and his limited capabilities are resolved in role-playing play. In the period from two to three years, the visual activity of a preschooler is focused on the objective world and the leading type of activity is object-tool activity. The discovery made by a child that an image of some object or phenomenon can appear on a piece of paper under his influence greatly attracts the child. The search for the content of the image in scribbles is one of the leading motivators of activity at this stage. By mastering the world of objects, the child accumulates experience. This determines the content of associative images.

The child boldly and independently draws and sculpts everything. Whatever he wants, being sure that he will do it perfectly. This feeling of the baby must be supported and developed in every possible way. This is an important condition for the development of independence, a prerequisite for the child’s creative manifestations in visual arts.

With younger children, you can draw together not only on paper, but also on the sand - with a stick. For drawing, you can first offer children colored felt-tip pens with a thick rod; they are quite durable and give a bright line. You should first give one marker, and then two or three, to attract children's attention to color.

You can use colored wax crayons; they do not crumble and do not smear your hands, leaving a bright mark on the paper.

A young child shows great interest in a variety of materials; in particular, when working with gouache paints, he very often tries to get his fingers into the paints, and, moreover, to draw with his finger on a sheet. The child should not be stopped. The baby feels the object better by exploring it with his hands; in addition, finger painting will help the child master such means of expression as strokes and spots.

Children of the middle group are familiar with various types of visual activities; therefore, as a rule, they have a developed interest in drawing.

As a rule, visual activity is guided by a complex of motives:

1. interest in the material
2. imitation of peers and adults.

However, the leading and main motive gradually becomes interest in objects, phenomena, events that the child is trying to portray. During this period, the leading motive of visual activity and play is the same - the need to experience significant aspects of reality for him, the need to once again return to those phenomena, objects, events that surprised and interested the child in ordinary life. This is most clearly manifested not so much as a result of the activity, but in the process of its implementation.

Essentially, this motive remains leading throughout preschool age. Only, as in the game, its specific content changes:

1. in early preschool age it was the world of objects and actions with them;
2. on average, this is a person, his actions and interactions, relationships with other people.

The visual activity of middle preschoolers is more independent in nature, but the requirements for drawing are increased.

Children of middle and senior preschool age notice the advantages and disadvantages in the works of their peers, but it can be even more difficult to evaluate their own work, since children derive more pleasure from the process of drawing than from the result of the work.

In this age group, a peculiar transition is clearly evident not only in the concept, but also in the drawing itself from subject drawing to plot drawing. The variety of materials poses new challenges and forces us to always come up with something new. And from the spots and scribbles, in the end, a recognizable object emerges, which becomes the embodiment of the artistic image in the drawing. In the process of drawing, the child develops an unclouded joy of satisfaction from the fact that “I did this - it’s all mine!”

Characteristics of non-traditional visual techniques

The list of non-traditional techniques used in the work of preschool institutions is not diverse. Therefore, we decided to focus on the recommendations of the authors dealing with this issue.

Lykova I.A. gives the following recommendations for the use of non-traditional techniques. Work using non-traditional techniques should begin with the younger group according to the principle “from simple to complex.” The main techniques used in this early preschool age are presented in the figure below.

Figure 6. Basic techniques used in early preschool age

The middle group adds: drawing with a candle.

Key non-traditional techniques used by teachers in preschool settings are presented in the figure below. Many of them may seem quite strange? However, with regular use they give good results.

Figure 7. List of non-traditional methods used in senior groups of preschool educational institutions

In the preparatory group, to the techniques characteristic of the senior preschool group, a whole group of new, more complex ones is added, such as:

1. Embossing
2. Poking with a hard semi-dry brush
3. Drawing on wet
4. Black and white scratch paper
5. Blotography with thread
6. Batik
7. Painting with salt
8. Brushing paint
9. Double dipping of the brush.

Let us list the most famous types of non-traditional artistic and graphic techniques presented by A.V. Nikitina She recommends vividly and emotionally explaining to the children methods of action and showing depiction techniques

1. finger painting;
2. stamped with potato stamps;
3. palm painting.

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

1. foam printing;
2. cork printing;
3. wax crayons + watercolor;
4. candle + watercolor;
5. leaf prints;
6. palm drawings;
7. drawing with cotton swabs;
8. magic ropes.

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

Having analyzed the list of non-traditional techniques from various literature, we made a summary table in which non-traditional visual techniques are noted according to the age characteristics of preschool children.

Modern techniques of visual creativity develop in children:

1. logical and abstract thinking,
2. fantasy,
3. observation,
4. attention,
5. self confidence.

In the process of learning to draw, the teacher must understand that by learning the properties and qualities of various materials, children enrich their sensory experience. In addition, when using various materials, you can create a situation of free choice, so necessary in creative activity. You can draw not only with pencils and a brush, but also with thick paper.

Let's consider the most intriguing and interesting from the point of view of teaching methods and techniques.

Water printing technique.

The child first draws a landscape on plexiglass. Then, after wetting a sheet of paper, he places it on top of the image, lightly pressing the sheet against the plexiglass. Then he carefully removes it from the plexiglass. The resulting images are complemented by making a few finishing touches.

If you bring several leaves or blades of grass from a walk, place them on a sheet of paper, cover them with a thin layer of gouache, and then place the painted side on the sheet prepared for the postcard, you will get a print. Using this technique, you can make holiday cards or story pictures.

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.

"Modeling" technique

Modeling is the most dynamic, cheerful children's creativity. Even small children are attracted by the opportunity to make “real” nuts and feed them to the squirrel. Any manipulation with sculpted objects, their use in play situations significantly enriches the child’s life experience.

Modeling is a technique of fine art, the main purpose of which is a figurative reflection of reality.

Each type of visual activity develops certain qualities in children. By doing sculpting, a child gets acquainted with the three-dimensional shape of an object, the relationship of its parts, he develops the skills of working with two hands, coordination of movements, the small muscles of the fingers very actively develop, and this contributes to the development of thinking, eye, and spatial thinking. It is difficult to overestimate the importance of modeling for the development of a child.

The more often a child engages in modeling, the more varied the material from which he sculpts, the more actively his general and visual abilities develop. The child sets serious goals for himself and develops constructive thoughts. After all, it’s not enough to just portray a person, you need to make sure that he stands on his own two feet. Great intelligence is required, and the brain, like muscles, develops when it is exercised. The main expressive means of modeling is plasticity, the transmission of shape and movement.

Both clay and plasticine allow you to bend the sculpted figure, achieving a more accurate and expressive depiction of movement. Therefore, the child learns to convey movement in modeling more productively than in other types of visual activities - drawing, appliqué. Only in the process of constructing from natural materials - twigs, twigs - can a child's eye suddenly discover amazingly plastic movement, if by this time he has developed an associative fantasy. Such discoveries unusually quickly develop children's creative abilities.

Color, just like shape and movement, is a means of expression in sculpting. The visual period begins for most children at the age of 3, when imaginative thinking appears. At this age, the child masters the basic techniques of modeling, he develops skills in working with plastic materials and visual designs. This is the best time for the development of a child’s visual abilities. But they will not develop or develop very little without the competent guidance of adults. Two main conditions for the development of abilities: the child saw at close range, without haste, what happens to the plastic material when it is in the hands of an adult; This material should always be in a place accessible to the child. By the age of 5, a child has mastered the necessary skills and abilities; he has already learned to depict some animals, toys, and simple objects, but most importantly, he has acquired the ability to aesthetically evaluate his images. Only on the basis of these skills does the child begin to see some characteristic aspects of objects and react emotionally to them.

The lack of development of graphic skills prevents the child from expressing what is intended in drawings; adequately depicting objects of the objective world makes it difficult to develop aesthetic perception. The child realizes that this or that line did not work out and therefore strives to correct it. But it is very difficult to do this on paper unnoticed. Taking into account this feature of children, we can offer children the technique of “plasticine molding” or “plasticine painting”. The bas-relief picture can be changed and supplemented with details, and the objects are obtained. They paint with plasticine not only on cardboard; if you use organic glass, the works turn out like real paintings. If you put them in a candy box, you can decorate a child's room.

Technique "Products made from salt dough".

The technique is the same as using plasticine and clay, but children prepare the material for modeling themselves, using the properties of flour and water. During the preparation of the material, its different consistency is achieved, depending on the visual tasks. You can make pictures from salt dough, sculpt a variety of figures. They can become part of the picture when it is made using mixed techniques. To make salt dough products more interesting, the dough can be colored with food coloring, and cocoa powder is used to give natural shades. After drying, the products made from simple uncolored dough are painted, which allows the child to combine several types of visual techniques, which increases his interest in the creative process.

Plasticineography

In modern preschool educational institutions, the modeling technique “plasticineography” has become widespread.

Plasticineography is the creation of a sculpted picture depicting semi-volume objects on a horizontal surface.

Figure 9. Example of plasticineography. Photo by Marina Tsybanova maam.ru

The use of plasticineography in kindergarten gives teachers an excellent opportunity to develop the creativity, imagination and imagination of preschoolers.

Technique "Drawing on plaster"

For work, medical or construction plaster is used. It makes it possible to make bas-relief figures. To begin with, children are taught how to mix plaster, from which they can make figures or bas-reliefs. After the craft has frozen, the child takes it out of the mold and paints it.

The uniqueness of modeling lies in the fact that children learn a three-dimensional way of depicting objects. Fashioned objects are like small copies of real things; they can be used in the game as substitutes for surrounding objects. Children emotionally perceive the things they have fashioned and immediately begin to play with them. Even the landscape is perceived by them “as real” if it is sculpted and not painted.

"Applique" technique

The concept of “appliqué” includes methods for creating works of art from materials that differ in their properties and texture, united by the similarity of the execution technique

Appliqué is one of the types of visual techniques based on cutting, overlaying various shapes and fixing them on another material taken as a background.

Each material has its own characteristics, which have a decisive influence on the application technique. For example, paper, straw, dried plants, birch bark are attached to the background with various adhesives; fabrics, leather, fur, felt are usually sewn on; poplar fluff is applied to velvet paper without glue.

Applique is the simplest and most accessible way to create artwork, which preserves the realistic basis of the image itself. This makes it possible to widely use appliqué not only for design purposes (in the production of visual aids, manuals for various games, toys, flags, souvenirs for holidays, decorations for festive and other costumes, design of wall newspapers, stands, exhibitions, kindergarten premises), but and in the creation of paintings, panels, ornaments, etc.

Figure 10. Signs of application

Appliqué is one of the oldest ways to decorate clothes, shoes, household items, and homes, and is still used today by many peoples. The appearance of appliqué dates back to ancient times and is associated with the appearance of stitches and seams on clothes made from animal skins.

Figure 11. Modern appliqué techniques

In kindergarten, paper construction, design and sewing of soft toys are used. In addition, in older preschool age, it is possible for preschoolers to participate in such types of artistic creativity as patchwork, weaving, weaving, and embroidery.

Thus, non-traditional techniques can be used in all types of visual activities: drawing, appliqué and modeling.

The use of non-traditional techniques in children's visual arts

Currently, a relatively small range of non-traditional techniques is used in preschool educational institutions. And those that are currently used in working with children are not used systematically. Teachers do not take into account the great potential of a variety of non-traditional techniques in working with children, precisely because non-traditional techniques contribute to the development of a creative personality. Artistic creativity of preschoolers requires a positive attitude, interest on the part of the teacher, and an understanding of the specifics of using non-traditional techniques in visual arts.

In the educational process of modern educational institutions, non-traditional techniques are not used enough due to the limited availability of visual materials. Lack of awareness among teachers is expressed in insufficient preparation for classes and group work in visual arts. Preparation should be understood not only as familiarizing teachers with methodological recommendations or ready-made notes; the teacher must take a creative approach to preparing the materials used and choosing visual techniques that will be more consistent with the age characteristics of children and the tasks of fully revealing the image and intent of the image.

In addition, there is insufficient knowledge of teachers on the use of non-traditional visual techniques in working with preschool children, as a consequence of the lack of mastery of non-traditional techniques by teachers. And modern manuals for teachers of preschool educational institutions do not contain detailed information about the possibilities of using various techniques of visual creativity in working with preschoolers; this circumstance is the reason for the low level of qualifications of teachers in this matter.

conclusions

The use of non-traditional techniques in visual arts requires increased interest on the part of teachers of modern preschool educational institutions.

Visual technique is the basis for the development of children's visual activity. Teachers in modern preschool educational institutions are more inclined to use traditional techniques. A wide variety of visual techniques makes it possible to use them in all types of visual activities of preschool children.

It depends on the teacher, on his interest, how effective the use of non-traditional techniques will be in the practice of working with children. Teachers must provide the child with freedom of creative development, which is impossible without introducing into practice as many non-traditional techniques in visual arts as possible, and this is only possible if teachers pay more attention to visual arts as a type of educational activity, corners for independent artistic activity will be equipped with the necessary materials, as required by modern education of preschool children.

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Types and techniques of non-traditional artistic drawing

materials.

Today there is a choice of options for art preschool education, and it is determined by the presence of variable, additional, alternative, original program and methodological materials that are not sufficiently scientifically substantiated and require theoretical and experimental testing in the specific conditions of preschool educational institutions.

The availability of using non-traditional techniques is determined by the age characteristics of preschoolers. So, for example, you should start working in this direction with techniques such as drawing with your fingers, palm, tearing paper, etc., but in older preschool age these same techniques will complement the artistic image created using more complex ones: blotography, monotype and etc.

Poking with a hard, semi-dry brush.

Age: any.

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.

Method of obtaining an image: 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.

Finger painting.

Age: from two years.

Means of expression: spot, dot, short line, color.

Materials: bowls with gouache, thick paper of any color, small sheets, napkins.

Method of obtaining an image: the child dips his finger in the gouache and puts dots and specks on the paper. Each finger is painted with a different color. After work, wipe your fingers with a napkin, then the gouache is easily washed off.

Palm drawing.

Age: from two years.

Means of expression: spot, color, fantastic silhouette.

Materials: wide saucers with gouache, brush, thick paper of any color, large format sheets, napkins.

Method of obtaining an image: a child dips his palm (the entire brush) into gouache or paints it with a brush (from the age of five) and makes an imprint on paper. They draw with both the right and left hands, painted in different colors. After work, wipe your hands with a napkin, then the gouache is easily washed off.

Imprint with cork.

Age: from three years.

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

Method of obtaining an image: the child presses the cork to a stamp pad with paint and makes an impression on the paper. To obtain a different color, both the bowl and the stopper are changed.

Printed with potato stamps.

Age: from three years.

Means of expression: stain, texture, color.

Materials: a bowl or plastic box containing a stamp pad made of thin foam rubber impregnated with gouache, thick paper of any color and size, potato stamps. Method of obtaining an image: the child presses the signet onto a stamp pad with paint and makes an impression on the paper. To obtain a different color, both the bowl and the signet are changed.

Foam imprint.

Age: from four years.

Means of expression: stain, texture, color.

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

Method of obtaining an image: the child presses the foam rubber onto a stamp pad with paint and makes an impression on the paper. To change the color, use another bowl and foam rubber.

Foam impression.

Age: from four years.

Means of expression: stain, texture, color.

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

Method of obtaining an image: the child presses the foam onto a stamp pad with paint and makes an impression on the paper. To get a different color, change both the bowl and the foam.

Imprint with eraser stamps.

Age: from four years.

Means of expression: stain, texture, color,

Materials: a bowl or plastic box containing a stamp pad made of thin foam rubber impregnated with gouache, thick paper of any color and size, stamps from an eraser (the teacher can make them himself by cutting a design on the eraser with a knife or razor blade).

Method of obtaining an image: the child presses the signet onto a stamp pad with paint and makes an impression on the paper. To change the color you need to take another bowl and signet.

Imprint with crumpled paper.

Age: from four years.

Means of expression: stain, texture, color.

Materials: 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.

Method of obtaining an image: a child presses crumpled paper onto a stamp pad with paint and makes an impression on the paper. To get a different color, change both the saucer and the crumpled paper.

Wax crayons + watercolor.

Age: from four years.

Means of expression: color, line, spot, texture. Materials: wax crayons, thick white paper, watercolor, brushes. Method of obtaining an image: the 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.

Candle + watercolor Age: from four years.

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

Screen printing.

Age: from five years.

Means of expression: stain, texture, color.

Materials: a bowl or plastic box containing a stamp pad made of thin foam rubber impregnated with gouache, thick paper of any color, a foam swab (a ball of fabric or foam rubber is placed in the middle of the square and the corners of the square are tied with thread), stencils made of oiled semi-cardboard or transparent films.

Method of obtaining an image: the child presses a signet or foam rubber swab onto a stamp pad with paint and makes an impression on the paper using a stencil. To change the color, take another swab and stencil.

Subject monotype.

Age: from five years.

Means of expression: spot, color, symmetry.

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

Method of obtaining an image: the child folds a sheet of paper in half and on one half of it draws half of the depicted object (objects are chosen symmetrical). After painting each part of the object while the paint is still wet, the sheet is folded in half again to make a print. The image can then be decorated by also folding the sheet after drawing several decorations.

Blotography is normal.

Age: from five years.

Means of expression: stain.

Materials: paper, ink or thinly diluted gouache in a bowl, plastic spoon. Method of obtaining an image: 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 examined: it is determined what it looks like. The missing details are completed.

Blotography with a tube.

Age: from five years. Means of expression: stain.

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

Method of obtaining an image: a child scoops up paint with a plastic spoon, pours it onto a sheet, making a small spot (droplet). 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. The missing details are completed.

Blotography with a thread.

Age: from five years, Means of expression: stain.

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

Method for obtaining an image: the child dips a 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. The missing details are completed.

Spray

Age: from five years. Means of expression: point, texture.

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

Method of obtaining an image: 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.

Leaf prints.

Age: from five years.

Means of expression: texture, color.

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

Method of obtaining an image: the child covers a piece of wood with paints of different colors, then applies it to the paper with the painted side to obtain a print. Each time a new leaf is taken. The petioles of the leaves can be painted on with a brush.

Watercolor crayons.

Age: from five years.

Means of expression: spot, color, line.

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

Method of obtaining an image: the child wets the paper with water using a sponge, then draws on it 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.

Poking.

Age: from five years.

Means of expression: texture, volume.

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

Method of obtaining an image: 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.

Landscape monotype.

Age: from six years.

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

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

Method of obtaining an image: the child folds the sheet in half. On one half of the sheet a landscape is drawn, on the other half 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 tiles. A drawing is applied to the latter with paint, then it is covered with a damp sheet of paper. The landscape turns out blurry.

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 our 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 means:

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.