Chapter 1. Theoretical and methodological foundations of artistic visual activity
Big role in development creativity, enriching the spiritual potential of the individual belongs to artistic culture in general and fine arts in particular. Fine art is aimed primarily at the general aesthetic development of the individual, which is especially important in the era of globalization, which is characterized by the blurring of cultural boundaries between different societies and, as a consequence, the leveling of the individual at the level of mass culture. However, before revealing the theoretical and methodological foundations of artistic and visual activity (hereinafter referred to as HFA), we need to establish its essential characteristics and the specifics of functioning in modern society.
1.1 Artistic and visual activities
Human artistic and visual activity unfolds in diverse forms, which are called types, genera and genres of art. And although the abundance and diversity of these forms may seem like a chaotic heap, in reality they are a naturally organized system of forms. Thus, aesthetic theory has established that, depending on the material means with the help of which works of art are constructed, three groups of art forms objectively arise:
1) spatial, or plastic (painting, sculpture, graphics, artistic photography, architecture, decorative and applied arts and design), i.e. those that deploy their images in space;
2) temporary (verbal and musical), i.e. those where images are built in time;
3) spatio-temporal (dance, acting and all synthetic arts based on it - theater, film art, television art, variety and circus art, etc.), i.e. those whose images have both extension and duration, physicality and dynamism.
Each type of art has generic and genre divisions. Thus, in literature there are epic, lyric, drama; in fine arts - easel, monumental and decorative, miniature types; in painting - the genres of portrait, landscape, still life, etc.; Among the genres of stage art are tragedy, drama, comedy, vaudeville, etc. Thus, art, taken as a whole, is a historically established system of various specific methods artistic development world, each of which has features that are common to all and individually unique. Art originated in ancient times, in the Stone Age. For primitive man, the initial forms artistic activity- the creation of myths, songs, dances, images of animals on the walls of caves, the decoration of tools, weapons, clothing, the human body itself - were of great importance, as they contributed to the unity of groups of people, developed them spiritually, helped them realize their social nature, their difference from animals, that is, they served to “humanize man.” At this initial phase of its development, art was not yet an independent form of activity, since all spiritual production was here directly intertwined with material production, and the various spheres of spiritual culture had not yet separated from each other. Accordingly, in this era, art is inseparable from practical activity, from religion, from games and other forms of communication between people; it has an “applied” character. With the further development of culture, art gradually became isolated into a specific area of activity - into artistic production as such, however, a number of branches of artistic activity remained subordinate to religion for a long time, and some still retain their inextricable connection with various types utilitarian activities - technical (architecture, arts and crafts, design), journalistic and communication (artistic essays, journalism), agitation and propaganda (oratory, posters, advertising art, design art), sports (rhythmic gymnastics, figure skating ) etc. In all these cases, art gives the practical activity with which it is merged the ability to have an emotional and psychological impact on a person. However, even in those forms that arose when art became an independent sphere of activity, it remained a social phenomenon in content, in functioning, and in accordance with the laws of its development. All types of art mutually enrich each other, exist in mutual connection, and each of them complements the others. Together they carry the fullness of the artistic consciousness of the era and are capable of multifaceted, comprehensive reflection of life in its complex processes. That is why in the history of art both the preservation of the specific characteristics of individual arts and their mutual influence and mutual enrichment have always been observed.
The art form we are considering refers to spatial (plastic) forms of art, and the following main areas of artistic activity can be attributed to the art form:
1. Fine arts.
3. Design.
1.1.1 Fine arts
Fine art combines painting, graphics, sculpture, and artistic photography, which are closely related to each other. It is perhaps the most ancient among other types of art and, in essence, has accompanied man since prehistoric times. Even in the Paleolithic era, primitive people created many cave images, paintings and works of applied art that reproduced specific facts and phenomena of everyday life. A distinctive feature of these first manifestations of a person’s artistic gift is a kind of naive realism, vigilance of observation, an as yet unconscious, but irresistible desire to master and understand life in a figurative form. From these first signs of the awakening thirst in man for the artistic exploration of reality, fine art, developing over centuries and millennia, became more and more widespread and revealed its almost inexhaustible creative possibilities.
Fine art has the ability to capture life in a visual form. With all the differences that exist between painting, graphics, sculpture, artistic photography, they all share some common features: unlike literature and music, theater and cinema, which are capable of unfolding reproducible events in time, the fine arts, deprived of this possibility, impart, however, the phenomena of life they depict are directly visible. Key Feature fine art lies in its inherent amazing ability to convey all the diversity and complexity of life, its dynamism through the depiction of one event or moment. Fine art is the art of displaying, reproducing and creating visually perceived reality using visual means and with varying degrees of convention.
Decorative and applied art - the art of making household items, which, however, have not only utilitarian significance, but also have certain artistic qualities - in a number of respects can be considered by analogy with architecture. Like architectural structures, works of decorative and applied art, as a rule, do not lose touch with the practical purpose of the object. On the contrary, their artistic essence appears in organic connection with it. A weakening of the connection, and even more so a break with the practically useful purpose of an object, most often leads to the loss of its aesthetic merits: measure disappears, proportions are violated, and expediency is destroyed. The specificity of works of decorative and applied art lies in the fact that their artistic qualities are not an addition or application to the utilitarian purpose of a thing, but serve as a means of identifying it. At the same time, in modern decorative and applied art the functional principle does not always appear so clearly. In the life of a modern person, in his everyday life, such works of art that are purely decorative in nature and, without having any utilitarian purpose, delight with their aesthetic significance, occupy a significant place.
Decorative and applied arts are divided into certain types, either depending on the material from which the product is made (bone, glass, varnish, wood, etc.), or depending on the technology of processing the material (ceramics, products from various types of baked clay; artistic carving, printed and decorative fabrics, artistic embroidery, etc.), or, finally, for functional purposes (clothing, furniture, dishes, household utensils). The functional principle seems to be the most rational, although it has certain limitations.
In order for an object to become a work of art, it must not only be processed “according to the laws of beauty,” but also carry a certain ideological and emotional content. For this purpose, the material is used properly, the most appropriate form of the object is taken into account (its proportions, rhythmic repetitions, tectonic structure), the ratio of scales between the individual parts of the object and the person acquires special importance, and a special method of processing the surface of the object is used - decor. Therefore, the skill of an artist who creates beautiful things is a significant manifestation of objective activity that carries deep aesthetic expressiveness. The impression made by applied art can often be as strong as that of a painting or sculpture. In modern conditions, the emergence of new materials poses new challenges for applied art. The artist’s task is not to imitate new materials (plastics, synthetic materials, plastics, polymers, etc.) under old ones (crystal, glass, wood), but to identify the peculiar and unique expressive properties inherent in these materials themselves. Products of decorative and applied art are made both by handicraft and industrial methods.
In applied art, the form of a product, its architectural design, carries within itself both the utilitarian essence of the object and its aesthetic expressiveness. At the same time, the forms of applied art products are historically changeable: in different eras they are characterized by a predominant difference in motives - luxury, mannerism or, on the contrary, simplicity, naturalness, etc. Modern reality expresses a tendency towards simplicity, conciseness, refusal of excessive detail, towards small size and economy. Decorative and applied arts have deep folk roots and are widespread. Because of this, its significance is especially great, since it directly enters into everyday life. Artistically designed things not only decorate everyday life, but also play a huge role in the formation of artistic taste.
1.1.3 Design
Design is a creative activity whose purpose is to determine the formal qualities of industrial products. These qualities include mainly those structural and functional relationships that make the product into a single whole, both from the point of view of the consumer and from the point of view of the manufacturer. Design seeks to embrace all aspects of the human environment that is created by industrial production. Being a creative method, process and result of the artistic and technical design of industrial products, their complexes and systems, design is focused on achieving the most complete compliance of created objects and the environment as a whole with human capabilities and needs, both utilitarian and aesthetic.
The following main areas of design are distinguished:
Industrial – mass design of industrial goods, design of 3-dimensional objects, where the designer is required to use all his professional skills);
Styling design - artistic adaptation of a ready-made form (interior-exterior) or improvement of the technical part of the object;
Graphic design – design of symbols, logos, services of designers designing printed products, etc.;
Publisher art – so-called folk (urban) design;
Non-design – organizes the processes of production, service, sales, training;
Kitsch is a primitive design aimed at the mass consumer;
Art design – piece, luxury design, etc.
1.2 Theoretical and methodological foundations of CID
Any image is a distant copy of the original and bears the stamp of convention. For example, the closest image of a person to the original can be called a wax sculpture. The person is “depicted” accordingly in his reflection in the mirror.
A man draws with his eyes. To expand the possibilities of drawing, hands are supplied with visual materials (pencil, felt-tip pen, charcoal, chalk, pastel, brush and others), which can leave marks on paper and other material substrates and media. Thus, the eyes, with the help of their hands, make traces - lines and spots that make up the image.
The eyes draw by measuring: “To draw is to measure” (Le Corbusier). Eyes are measured by comparing sizes with each other. For mutual comparison, at least two sizes are needed. If the sizes differ greatly from each other, then this will be obvious, they will be noticeable to the eye without any measuring instruments, additional devices or effort - just look and see the difference. In order for the hands to follow the directions of the eyes correctly, they must be coordinated with the eyes (it is necessary to “link the eyes and hands”).
The HID methodology can be divided into three main areas: 1st relates to methodology for teaching children, 2nd – to vocational training methodology and 3rd – to the methodology of teaching adolescents and adults “from scratch”. There are many books, teaching aids and videos on teaching fine arts, made in the style of teaching crafts. Many children's art studios work in the same style.
The main element in the training of professional artists is academic drawing school. The school of academic drawing teaches you to master the technology of visual representation of the world and purposefully apply it in all types of activities. To master academic drawing, two qualities are needed: 1) the level of development of visual thinking; 2) special visual skills and knowledge.
Some people are born with a fairly high degree of development of visual thinking. It is these people who are able to master fine art. It is with them that art schools work, which do not teach from scratch. Art schools improve the skills of those who are born with a natural predisposition to draw.
The ability to draw is associated with the development of imagination. Artists know that a person draws not what he sees, but what he knows. Visual knowledge is acquired through the development of visual skills. As a result, a person not only begins to see wider and deeper - he acquires the ability to think visually, produce high-quality ideas and images, transform the environment and improve his inner world.
Mastering academic drawing is associated with the development of intellectual perception of the world around us. Intellectual perception is based on certain knowledge. This knowledge is not given by nature from birth, but is acquired through the learning process. Academic drawing or classical drawing from life is the ability to construct three-dimensional figures on a two-dimensional plane of a sheet using graphic means. To do this, you need to master special visual skills and knowledge. These skills and knowledge must be mastered in test mode, since the perception and presentation of each person is individual.
The ability to draw from life can be mastered “from scratch” in a week; you can master professional academic drawing and qualitatively prepare for an art university “from scratch” in a year. It all depends on motivation (a strong desire, a vital need), mental flexibility and the correct established methodology.
There is a certain gap between a person who is prejudiced in his inability to draw because he has not received a normal art education, and a person who is able to perceive existing techniques designed specifically for those who are already able to draw. This gap can be filled from both sides: on the one hand, to develop normal methods of teaching the visual arts to children from a very early age, so that they subsequently have the opportunity to seriously study the fine arts; on the other hand, to develop special methods for teaching the fine arts to teenagers and adults “from scratch” so that later, if they wish, they could also seriously study the fine arts.
2.1 Features of teaching CID and preparation for teaching CID
Teaching a specific type of art is impossible without understanding the mental mechanisms that generate and develop creative activity. Many teachers and developers of educational technologies lose sight of the fact that initially art, like any other type of human activity, is a product of our psyche, and not vice versa. It is the system of feelings, ways of thinking, aesthetic and moral ideals, and modeling techniques that underlie the creation of any creative work. The experience of the school education system shows that if you teach children art without taking into account the mental mechanisms of cognition and creative activity, then a whole group of students will be poorly involved in the creative process and results creative development will be low. Therefore, the developing role of art should be closely related to the development of the sensory-emotional sphere, perception and fantasy, intellectual operations, modeling tools and skills, speech and thinking, aesthetic and moral norms and ideals, self-concept, and individual picture of the world. As a result of practicing art, the student begins to proceed more from the model of the world he has created than from objective reality. And the present and future of the student depends on how broad, multidimensional and flexible it is.
As for the teacher of fine arts, his most important professional quality is his readiness for creative artistic and visual activity, which allows him, on the one hand, to create works of fine art, and on the other, to pedagogically competently involve schoolchildren in this process. Graphic art is an effective tool for learning and reflecting life, introducing the values of art and culture, educating and developing creative abilities, personal self-realization in artistic creativity. As a core area of art education and aesthetic education Graphics objectively have an integrating interdisciplinary nature, which is fundamentally important for the formation of the future teacher’s readiness for creative artistic and visual activities. Graphic training of a future teacher primarily performs motivating, professionally-guiding, personal-creative and control-corrective functions.
2.2 Composition and stylization in decorative art
Stylization as a work process is a decorative generalization of depicted objects (figures, objects) using a number of conventional techniques for changing shape, volumetric and color relationships. Stylization is a method of rhythmic organization of the whole, thanks to which the image acquires signs of increased decorativeness and is perceived as a unique motif of the pattern (then they speak of decorative stylization in the composition).
Stylization is divided into two types:
a) external, superficial, not having an individual character, but presupposing the presence of a ready-made role model or elements of an already created style (for example, a decorative panel made using Khokhloma painting techniques);
b) decorative, in which all elements of the work are subordinated to the conditions of an existing artistic ensemble (for example, a decorative panel, subordinate to the environment of the previously established interior).
Decorative stylization differs from stylization in general in its connection with spatial environment, therefore, for greater clarity, it is necessary to consider the concept of decorativeness.
Decorativeness is usually understood as the artistic quality of a work, which arises as a result of the author’s understanding of the connection between his work and the object-spatial environment for which it is intended. In this case, a separate work is conceived and realized as an element of a broader compositional whole. Decorative stylization is characterized by abstraction - mental distraction from insignificant, random features from the artist’s point of view in order to focus attention on more significant details that reflect the essence of the object.
With the development of interior design, the need arose to create works of decorative and applied art that, without stylization, would not meet modern aesthetic requirements. In order for the entire composition to look harmonious and natural, you need to follow the basic principles of design:
1. Balance(balance of interacting or opposing forces in a composition. In such a composition there is no feeling that any part of it dominates the rest. Balance is achieved through the correct placement of objects, object size and color. Balance can be symmetrical (top picture), asymmetrical (bottom picture), radial (objects are located in a circle and diverge from one point).
2. Contrast(the interaction of opposing elements of the composition, such as color, size, texture, etc. Examples: large and small, rough and smooth, thick and thin, black and white).
3. Significance and subordination(highlighting the so-called center of interest, on which the viewer’s attention is supposed to be focused. Objects must be in a hierarchy of importance and subordination. If all objects have the same importance, then the user’s attention is scattered).
4. Directing attention (controlling the movement of the viewer's gaze to draw his attention to significant elements).
5. Proportions.
6. Scale.
7. Repetition and rhythm.
8. Unity in diversity (the combination of various elements of a composition into a single integral structure, subordinate to a single concept).
2.3 The role of decor in decorative painting
Decor - a set of elements that make up the external design of an architectural structure or its interiors; can be picturesque, sculptural, architectural. A distinction is made between “active” decor, which corresponds to the structure of the building and is associated with its function and form, and “passive” decor, which does not correspond to the divisions of the form and is used only to decorate the building. In architecture, decor often refers to the entire non-structural part of a structure.
The specific nature of the design and the special structure of the pattern motif pose complex tasks of transforming natural forms into decorative images by simplifying the elements. When performing the task of supplying a pattern, you need to “forget” that the object has volume, is located in space, is endowed with a variety of color shades in a light-air environment, etc. The main thing here is not the image as such, but the transformation of the real form into the intended motif. At the same time, the ornamental form is conveyed flatly, even specially emphasizing the flat convention of the language of decorative and applied art. It is necessary to learn to create beautiful, rhythmic and emotionally rich compositions as ornamental structures, which later turn out to be the basis for work in the decorative finishing of products. Also learn to understand the correspondence between the plastic and technological qualities of materials.
The structure of a decorative design is based on generally accepted laws of composition. The theory of composition in decorative and applied arts is developed on principles and objective laws. In the general system of these patterns, the main place belongs to tectonics, which includes such values as proportionality of parts and the whole, weight of form, tension of structural material - in other words, this is a visible reflection in the form of all its manifestations - proportions, metric repetitions, character, etc. .
Compositional searches when working on a drawing for a product are associated with taking into account the visual perception of the mass of this product. Its character takes into account the size and shape of the product, color, texture and texture (natural pattern) of the material, the degree of illumination of the surface, etc., therefore, the development of the decorative pattern of the product is carried out taking into account aesthetic requirements in the spirit of established artistic traditions. Decorative and applied arts are fundamentally “laconic”.
In decorative products, the main role should be played by the transformation of color into light without the image of chiaroscuro. The impression of light is born in the organ of vision as a result of the optical composition of the color of saturated chromatic spots. This is the light produced by applied natural and artificial spots of color.
An important type of decoration of products in the decorative and applied arts is an ornament composed of rhythmically alternating elements of the plant and animal world, as well as geometric shapes. Main feature In addition to rhythm, ornament is stylization, that is, a decorative generalization of all kinds of natural forms by simplifying their design. Ornaments are divided into flat and relief. A special group includes those that combine relief and color. Depending on the purpose and purpose, there are three main types of ornament: ribbon, mesh and compositionally closed.
It must be especially emphasized that the idea of the product must be complete. To do this, attention, judgment, memory and spatial imagination must be put into action.
LIST OF REFERENCES USED
1. Alekseeva, V. ... What is art / V. .. Alekseeva. – M.: name of the publishing house, 1991. –… p.
Vipper, B. ... Articles about art / B. ... Vipper. – …………….
A. Zis. Kinds of art. M., 1979
Kagan M. Morphology of art., Various. ed.
Oksana Angelova
The role of visual activity in a child’s life
Visual activities begins at an early age baby. Drawing is one of the important means in understanding the world, developing knowledge of aesthetic perception, as it is directly related to creative independent practical activities of a preschooler.
Education baby in preschool age, drawing offers two tasks:
Form fine arts skills;
Awaken u baby emotional responsiveness to the surrounding world, native nature, family.
Visual activities is the most accessible form of creativity baby. This is the very first type that a little person masters. Child can neither read nor write yet, but already enjoys drawing doodles on paper. If you support and guide child in this activity, you can achieve the development of body, soul, mind. “The origins of children’s abilities and talents are at the tips of their fingers. 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 child", stated V. A. Sukhomlin. That is why activities in preschool age are so important visual arts. It is important to teach children to see beauty, the richness and beauty of nature, and to appreciate various works of art. Also, in the process of drawing, visual-motor coordination and manual writing skills develop.
In classes on visual arts children develop speech: the name and assimilation of shapes, colors and their shades, spatial designations, helps to enrich the vocabulary.
In progress visual arts combines physical and mental activity. To create a drawing, you need to make every effort, master certain efforts. Classes in kindergarten By visual arts is an important tool for comprehensive development preschooler. Classes in drawing, modeling, appliqué, design, promote moral, mental, physical and aesthetic education baby. Visual activities closely related to knowledge of the environment life. First, of course, this is an acquaintance with the properties of the material. (pencils, paints, paper, clay, etc.),knowledge of the connection between actions and the result obtained.
Summarizing the experience of studying the formation visual activities L. S. Vysotsky, identifies 4 degrees of child development drawing:
First stage of drawing cephalopod: schematic image made from memory baby, very far from the actual transfer of the object.
The second stage of the emerging feeling - form and line, when the drawings convey the formal relationships of the parts while maintaining the schematic Images.
The third stage of plausibility Images, in which the diagram disappears, the drawing takes on the form of a silhouette or outline.
The fourth stage of plastic Images, manifests itself in children from 11-13 years old, when child able to convey in a drawing the features of light and shade, perspective, movement, etc.
It is believed that at the age of 4-5 years the stage of drawing by observation begins. For example, N. M Sokolnikov, V. S Kuzin and many other authors believe that classes on isoactivity is of great importance for the development of cognitive activity, aesthetic and moral education preschoolers. As E. A. Rozhkova points out, quality children's drawing is that the soul is imprinted in them baby fascinated by the world around her.
Visual activities for children, has now been studied quite widely. By the end of 3 years life,child shows great interest in visual arts, realizing that he can translate any content into a drawing. Under the guidance of an adult, mastering the basic techniques of working with a pencil, paints, brush, baby The result is quite bold, free and confident work. The child draws independently and boldly; this feeling must be supported and developed in every possible way. This important condition for the precondition of creative manifestation child in visual arts.
During drawing, the accumulated creative energy is released. baby, feelings and mind are balanced
Fine art and its types.
Fine art is a creative reflection, reproduction of reality in artistic images on the plane and in space, for which the mandatory conditions are:
High craftsmanship
Impact on culture
Painting
Sculpture
Architecture
Periods of development of children's visual activity
Pre-figurative period. A child leaves marks with a writing object without any intention. In young children who grow up in a favorable social environment, the prerequisites for drawing arise in the process of manipulation. First, scratching. Conventionally divided into 2 stages: 10 months-1.5 years- amorphous, chaotically arranged strokes that are made without fixing the gaze on a sheet of paper. It is characteristic that the child does not care what he draws. 1.5-2 years - the child realizes the connection between a moving object and the traces left behind. The child tends to write with the writing side. The productive stage of this stage is characterized by a smaller range of movements and compact strokes in several places on a sheet of paper. Having reached the period, the child begins to focus on the shape of the mark left on the surface. One of the most important achievements in a child’s mental development occurs at an early age - the connection between objects.
The period of transition to iso consisting of 2 stages: recognition of images in a random combination of lines and intentional depiction of objects in the surrounding world, when there is an initial plan. The peculiarity is that the child is not able to recognize what he has drawn. Achievements are the emergence of an image task, that is, activity is determined by a plan. The emergence of intentional imagery leads to a leap in thinking. And the formation of graphic skills. Iso period. 3, 5 years and beyond. - see question 6.
Question. The period of visual activity and its stages (from 3 years)
1)Schematic drawing - the first own buildings are schematic. They are characterized by a primary generalization of the graphic form, an elementary image of a feature, which allows one to recognize only the class of the depicted object, without reflecting the relationship between the part and the whole. Simplification, disproportion, incorrect spatial image.
2) Plausible drawing - from 5-10 years
It is characterized by the fact that children try to depict the actual appearance of an object. The drawing acquires color, a stable ratio of objects in size appears, the entire volumetric sheet, the drawing becomes a plot one, seasonal emblems appear, a person has hair, a neck, fingers, an image of movements appears by the age of 6.
3) A realistic image or stage of using an activity to consciously express attitudes towards the world around us.
Use of color in children's drawings
Color is considered from 2 positions:
As a sign of an object
As a means of expressing attitude to reality
There are 4 stages
1) Color doesn't matter
2) The color correlates with the color of the depicted object but is applied locally, the child seems to mark it
3) Completely painting the outline in the desired color
4) The use of colors and shades that are adequate to the design and close to the real thing
The main directions of using visual arts in psychological and pedagogical work with children and adolescents
Research techniques based on the study of graphic skills are called drawing techniques.
Drawing techniques:
Projective techniques
Graphic techniques that allow assessing psychophysical development
Projective techniques are based on the idea that in all manifestations of an individual, such as creativity, expression, preference, personality is embodied, including hidden, unconscious motivations, aspirations and conflicts.
The popularity of the techniques is determined by:
- Iso activity is a typical activity, usually interesting for a child.
- Due to the peculiarities of self-awareness, the stimulus of numbers is not sufficiently differentiated; in most cases, the child cannot express his attitude to reality in words, because words analyze the inner world. Therefore, drawing creates conditions for the expression of not only the conscious, but also the unconscious. Using the design of methods, the internal state of the child, his attitude to the world around him is studied. When performing the method, the reflection of social connections, the child’s position in the family, and the child’s attitude towards other family members are graphically conveyed. The sequence of drawing the family is noted by recording. spontaneous comments.
Method of action allows you to identify special interactions with the environment and features of the motivational need sphere, combines drawing and storytelling.
“Two houses” technique allows you to assess the child’s relationship with peers. The child is offered 2 houses in the picture, one is beautiful with toys, and the other is not so much. And the specialist asks the child to determine which house he will send his classmate to, etc.
“Beautiful drawing” technique. Assessing the level of emotional development provides insight. Ask your child to draw something beautiful and present this drawing at the end.
Disadvantages of drawing techniques: allow you to identify shortcomings motor development and perception, which does not allow us to draw conclusions about cognitive development in general.
When carrying out a projective technique, interpretation largely depends on the experimenter. Not all children can discuss the results.
Drawing techniques cannot act as the main ones in assessing social media. situation or cognitive capabilities, but in most cases allows you to identify children who need closer study
Use of activity in diagnostics cognitive development
QUESTION 24
Aesthetic education in drawing lessons is carried out in several directions and involves the formation in students of purposeful visual activity, aesthetic perception and aesthetic feelings, an evaluative attitude towards works of fine art and
self-made drawings. Of particular importance for the development of aesthetic perception and aesthetic
systematic demonstration of works of art accessible to mentally retarded children: paintings, sculptures, products of folk craftsmen, toys, etc. has a sense of feeling. At the initial stage of training, students become familiar with illustrations in children's books. The aesthetic impact of colorful, elegant pictures is exceptionally great. To a certain extent, this is facilitated by children’s knowledge of the content of illustrated literary works. Working with illustrations by Yu. Vasnetsov, V. Konashevich, E. Rachev, V. Suteev, A. Kanevsky, A. Pakhomov and other artists helps the teacher carry out the tasks of aesthetic education. The curriculum provides for conversations with students in grades IV-VI on works the best masters domestic fine arts. The teacher directs efforts, first of all, to arouse in students an interested attitude towards the picture and ensure its sufficiently complete perception. Aesthetic perception presupposes an interest not only in the content of a work of art, but also in the means of depiction. Through images of art, it is possible to show children the richness and diversity of shapes and colors of the surrounding world. Composition is of great importance for understanding the artist’s intention. Characters located in a certain way can emphasize the main idea, which makes it easier to perceive and understand what is depicted. The more fully the visual means used by the artist are revealed, the more clear it will become for students the main idea works, the stronger their experiences and feelings will be.
In drawing lessons, toys are often used (colored cubes, balls, pyramids, turrets, nesting dolls, etc.), which serve as teaching aids in teaching children to distinguish and name quantities, colors, and shapes. The toy is often used as a model for drawing from life. Some toys are essentially miniature sculptures. These include toys made of wood (for example, the works of Bogorodsk craftsmen “The Man and the Bear”, “Pecking Hens”, “Little Goats”, etc.), porcelain, stone, plastic, etc. For younger mentally retarded schoolchildren, such toys are most accessible to perception. in which any action is clearly shown or a plot familiar to them is conveyed (for example, “Tops and Roots”). Using toys and sculpture in lessons
small forms, it is important to teach children to understand what they see, to talk not only about what is depicted, but also how it is depicted. A significant place in the aesthetic education of schoolchildren is occupied by demonstrations of patterns and ornaments (artistic wood carving, embroidery, knitting, lace, wallpaper, tapestries etc.), which are used in decorative painting. This helps students understand the features of constructing patterns, select the necessary elements, the most successful combinations colors. Introducing auxiliary school students to art broadens their horizons and teaches them to see and experience beauty. The perception of works of art influences emotions, increases sensitivity and activity, and leaves a noticeable mark
Awareness of children. For aesthetic education, the direct practical activities of schoolchildren are of great importance. Their active actions during the development of graphic movements, during the formation
the ability to convey color, rhythm, symmetry, composition enhances the process of perceiving beauty and contributes to the accumulation of aesthetic impressions. As general development and in connection with drawing classes, many forms and properties of what is depicted become for students an example of the beautiful and attractive. Involving children in teacher-controlled activities, the child’s awareness that he can draw an interesting object himself, perform rhythmic constructions, convey beautiful color combinations, carefully fill in decorative
elements of a sheet of paper, provide all possible assistance in the design of the classroom & everything, this has more advantages than simple contemplation of objects or samples. Of particular correctional and developmental importance is the purposeful organization of observations of students (on the street, in the park, in the forest, in the field, on construction, etc.). In the process of special observations, objects are recognized, children analyze their shape, color, spatial relationships, determine specific features, similarities and differences. Identification of these properties and their subsequent reflection in drawings develops students intellectually and aesthetically relations. Based on the development of thinking and speech, the prerequisites are created for the formation of elementary aesthetic judgments. Through
emotional perception of beauty, students are prepared to aesthetically evaluate their own drawings, drawings of comrades, and works of art. Systematic demonstration and study of a variety of
the taste of selected objects (both natural and various types of dummies, stuffed animals, toys, as well as artistically executed samples) contribute to the fact that even younger mentally retarded schoolchildren, after some time, are able to make the first generalizations. And although children lack the necessary words, and assessments of what they observe are very elementary and fragmentary, meeting with beauty in fine arts lessons
awakens aesthetic feelings in them. Aesthetic sense and evaluative attitude are observed in students when perceiving works of fine art. However, the nature of the assessments given by children is very heterogeneous and depends primarily on the individual capabilities of the students and the effectiveness of the work carried out with them. The statements of elementary school students when viewing an artistic painting are usually of a stating nature. Most often, children grab individual objects that are familiar to them and name them, without connecting them with the content of the picture as a whole. Insufficient recognition of the depicted objects (characters) prevents the establishment of correct connections and relationships between them, gives rise to various types of errors when determining the theme of a work of art, and causes an inappropriate emotional response. At the same time, younger schoolchildren are happy with the picture they like, again ask to see it, and with appropriate promptings they can not only list the objects depicted, but also determine their color, size, and shape. Fine arts lessons have a beneficial effect on development emotional and aesthetic perception and high school students. Thanks to systematic studies, schoolchildren are able, in particular, to determine the main idea of a work of art, understand the relationships between characters, and describe the action depicted. Under the guidance of a teacher, they can compare one picture with another and conduct a comparative analysis of them. Students are able to identify some of the visual means used by the artist. High school students have favorite paintings that they give preference to when viewing and analyzing. Using a system of educational, correctional and developmental activities throughout schooling helps to a certain extent overcome the shortcomings of emotional aesthetic development students.
Decorative drawing.
Ornament (geometric, plant, zoomorphic, anthropomorphic, combined)
Stylization is a decorative generalization and highlighting characteristic features objects using a number of conventional objects.
Stylization occurs through the gradual generalization of form, the transformation of a three-dimensional form into a planar one, and the replacement of real color with a conventional one.
The role of decorative drawing in teaching schoolchildren with intellectual disabilities.
Decorative drawing is considered the simplest type in learning to draw. It is expected to make patterns and ornaments.
Advantages of decorative drawing. Does not require a high level of development of graphic skills, does not involve complex analysis of the design of the object. Technically accessible to mentally retarded schoolchildren. Lines of different directions. The ability to reproduce the resulting graphic image, the ability to regulate the pressure on the pencil.
Decorative drawing can clarify geometric shapes. Geometric shapes are considered as a transition to the assimilation of the shapes of objects.
Decorative drawing allows you to clarify and expand spatial concepts. To clarify ideas about color, they learn to correlate the color of the details of their drawing with the standard, to observe the rhythm and symmetry of the coloring of elements.
Decorative drawing involves the sequence of composing patterns using ready-made samples, from these elements, composing patterns according to a given scheme, and composing patterns independently.
Life drawing lesson.
The correctional and developmental value of life drawing lessons is difficult to overestimate. In
During classes, the following is carried out: the formation of perceptual actions, i.e. the ability to examine objects by shape, color, size and determine their position in space; education of meaningful, differentiated perception of objects and phenomena of the surrounding reality; qualitative improvement of visual performance; development of intellectual operations (analysis, synthesis, comparison, planning); correction of spatial representations; development of speech as a regulator of activity and a means of communication; education of aesthetic feelings and aesthetic attitude towards the environment; the formation of positive personality qualities: independence, the ability to complete work begun, correctly assess one’s capabilities, etc.
The inability to properly perceive the object of the image does not allow students of the correspondent school to make a drawing that would be sufficiently similar to nature. In this regard, one of the primary tasks is to to form in them clear ideas about the simplest objects in shape, their proportions and sizes. In other words, they must be taught to identify parts of nature, determine their shape, color, as well as their relative position. An indispensable condition for such activity is the comprehension of a visually perceived object, which cannot be carried out without active analyzing perception.
To organize such perception in drawing lessons, it must be directed to certain properties of the object. Analyzing consideration of an object goes through several stages. At each of them, students become familiar with one of the properties
nature. The sequence of stages and specific goals are determined by the teacher. The result of this work is - Gestalt.
1 Observation, detailed study and analysis of the subject should always precede the drawing process. Developing the ability to “see” in children, the teacher asks a series of questions: “What is the name of the object? What is the item made of? Where is the item used? How many parts are there in an item? What shape are the parts of an object? What color is each piece? How are the parts of the object arranged? Students answer the teacher’s questions, name and show parts of the object, and list their properties. To master the concept of a particular form or consolidate the image of a familiar form, it is recommended to use tables on which the corresponding form is depicted in different proportions and positions.
Purposeful observations and the development of analytical and synthetic activity have a strong impact on the dynamics of graphic images. To further activate students, overcome passivity of perception and improve mental operations in the process of drawing from life, it is important to select objects that can be analyzed by dividing them into parts. A children's construction set can be very useful in this regard.
Along with observing and studying an object in real life, it is sometimes advisable to organize an examination of an image of the same object.
The explanatory drawing made by the teacher on the blackboard is very effective remedy training. Its purpose is to clearly demonstrate both the technical techniques of work and the sequence of drawing. Using such a drawing in the initial period of training greatly simplifies the planning task.
Students must understand and remember each stage of constructing a drawing. To do this, they repeat the sequence of actions. Speaking helps them better understand how to complete a task. Only after this do children move directly to
drawing. When establishing the order of stages of work, it is necessary to observe the principle of transition from the general to the specific. This principle is of particular importance because special school students often begin the image with details, forgetting about the general shape of the object.
While working on a drawing, the teacher draws the children’s attention to the object of the image, encourages them to take an additional look at the nature, and asks control questions: “What did you draw? What should I draw now? What are we going to draw next? After finishing the drawing, students talk about how they worked on it. It is important to teach schoolchildren to report not only what they did in a verbal report, but also how they solved visual problems.
The next stage of teaching children to plan work is to jointly draw up a plan for constructing a drawing during a conversation with the teacher. At this stage, the amount of assistance provided to students may vary. It depends on the general preparedness of the students, on the degree of complexity of the full-scale production, on the goals and objectives of the lesson itself. A significant role in the development of students’ ability to plan their activities belongs to visual aids, and primarily to schematic drawings that show the main stages of constructing an image. Using them, children, under the guidance of the teacher, determine the order of work, talk about it and remember it. After this, the teaching aid is removed; otherwise, students will draw while looking at the diagram, and the natural object will be ignored. Moreover, mentally retarded children still need help in their practical activities. However, this assistance is of a completely different nature, and its share is significantly reduced.
Visual activity and its types
Visual activity is the first productive activity of a child, during which impressions and knowledge about the world around him are transmitted using a variety of visual means.
In kindergarten, visual activities include activities such as drawing, modeling, appliqué and design. Each of these types has its own capabilities in displaying the child’s impressions of the world around him. Therefore, the general tasks facing visual activity are specified depending on the characteristics of each type, the uniqueness of the material and the methods of working with it.
The themes of the drawings can be varied. The guys draw everything that interests them: individual items and scenes from the surrounding life, literary characters and decorative patterns, etc. They can use expressive means of drawing. Thus, color is used to convey similarity with a real object, to express the attitude of the painter to the object of the image and in decorative terms. By mastering the techniques of composition, children begin to reflect their ideas in plot works more fully and richly.
However, awareness and technical mastery of drawing techniques are quite difficult for a small child, so the teacher must approach the subject of the work with great attention.
In kindergarten, colored pencils, watercolors and gouache paints, which have different visual capabilities, are used mainly.
A linear shape is created with a pencil. At the same time, one part after another gradually emerges, various details are added. The linear image is then colored. This sequence of drawing creation facilitates the analytical activity of the child’s thinking. Having drawn one part, he remembers or sees in nature which part he should work on next. In addition, linear outlines help in coloring the drawing by clearly showing the boundaries of the parts.
In painting with paints (gouache and watercolor), the creation of a form comes from a colorful spot. In this regard, paints are of great importance for the development of a sense of color and form. It is easy to convey the color richness of the surrounding life with paints: clear skies, sunset and sunrise, blue sea, etc. When executed with pencils, these themes are labor-intensive and require well-developed technical skills.
The kindergarten program defines the types of graphic materials for each age group. For older and preparatory groups It is recommended to additionally use charcoal pencil, colored crayons, pastel, sanguine. These materials expand children's visual capabilities. When working with charcoal and sanguine, the image turns out to be one-color, which allows you to focus all your attention on the shape and conveyance of the texture of the object; colored crayons make it easier to paint large surfaces and large shapes; pastel makes it possible to convey a variety of shades of color.
The uniqueness of modeling as one of the types of visual activity lies in the three-dimensional method of depiction. Modeling is a type of sculpture that includes working not only with soft materials, but also with hard ones (marble, granite, etc.) - Preschoolers can master the techniques of working only with soft plastic materials that are easy to handle - clay and plasticine.
Children sculpt people, animals, dishes, vehicles, vegetables, fruits, toys. The variety of topics is due to the fact that modeling, like other types of visual activities, primarily fulfills educational tasks, satisfying the cognitive and creative needs of the child.
The plasticity of the material and the volume of the depicted form allow a preschooler to master some technical techniques in modeling faster than in drawing. For example, conveying movement in a drawing is a complex task that requires a long learning curve. Modeling makes the solution to this problem easier. The child first sculpts the object in a static position, and then bends its parts in accordance with the design.
The transfer of spatial relationships of objects in modeling is also simplified - objects, as in real life, are placed one after another, closer and further from the center of the composition. Issues of perspective in modeling are simply removed.
The main means of creating an image in modeling is the transfer of a three-dimensional form. Color is used sparingly. Usually those works that will later be used in children's games are painted.
The main place in modeling classes is occupied by clay, as the most plastic material. Well prepared, it can easily be handled by even a 2-3 year old child. Dried clay works can be stored for a long time. Plasticine has less plastic capabilities. It requires preliminary warming, while in a very hot state it loses its plasticity and sticks to the hands, causing unpleasant skin sensations. Preschoolers work with plasticine mainly outside of group classes.
In the process of practicing appliqué, children become familiar with the simple and complex shapes of various objects, parts and silhouettes of which they cut out and paste. Creating silhouette images requires a lot of thought and imagination, since the silhouette lacks details, which are sometimes the main characteristics of the object.
Applique classes contribute to the development mathematical representations. Preschoolers become familiar with the names and characteristics of the simplest geometric shapes, gain an understanding of the spatial position of objects and their parts (left, right, corner, center, etc.) and quantities (more, less). These complex concepts are easily acquired by children in the process of creating a decorative pattern or when depicting an object in parts.
In the process of classes, preschoolers develop a sense of color, rhythm, symmetry, and on this basis, artistic taste is formed. They don’t have to make up the colors or fill in the shapes themselves. By providing children with paper of different colors and shades, they develop the ability to select beautiful combinations.
Children become familiar with the concepts of rhythm and symmetry already in younger age when distributing elements of a decorative pattern. Applique classes teach children to plan the organization of work, which is especially important here, since in this type of art the sequence of attaching parts is of great importance for creating a composition (large forms are glued first, then details; in plot works - first the background, then background objects, obscured by others, and last but not least, objects of the foreground).
Performing applicative images promotes the development of hand muscles and coordination of movements. The child learns to use scissors, cut out shapes correctly by turning a sheet of paper, and lay out the shapes on the sheet at an equal distance from each other.
Construction from various materials is associated with play more than other types of visual activities. Play often accompanies the design process, and crafts made by children are usually used in games.
In kindergarten, the following types of construction are used: from building materials, construction sets, paper, natural and other materials.
In the design process, preschoolers acquire special knowledge, skills and abilities. By constructing from building materials, they get acquainted with geometric volumetric forms, gain ideas about the meaning of symmetry, balance, and proportions. When designing from paper, children's knowledge of geometric plane figures, concepts of sides, angles, and center are clarified. The children learn the techniques of modifying flat shapes by bending, folding, cutting, gluing paper, resulting in a new three-dimensional shape.
Working with natural and other materials allows children to show their creativity and acquire new visual skills.
For constructive work, as a rule, ready-made forms are used, by connecting which children get the desired image. All types of construction contribute to the development of constructive thinking and creative abilities of children. The child needs to imagine in advance the object being created (mentally or based on an existing sample), the shape of its parts, mentally try on the ready-made forms he has, determine their suitability and then use them (connect individual parts, add details, if necessary, use coloring). The complex process of developing constructive thinking requires careful and clear guidance from the teacher. All considered types of visual activity are closely related to each other. This connection is carried out primarily through the content of the work. Some topics are common to all types - depictions of houses, transport, animals, etc. So, if preschoolers of the senior or preparatory groups depicted a hare during modeling or appliqué, then the knowledge gained in these classes about its shape, size, ratio of parts can be used in plot drawing without special training session. At the same time, it is important to consider whether preschoolers have the necessary visual and technical techniques for this work - the ability to draw rounded shapes and arrange objects on a sheet of paper.
The connection between various types of visual activity is carried out through the consistent mastery of formative movements in working with various materials. So, it is better to start getting acquainted with the round shape with modeling, where it is given volume. In the application, the child gets acquainted with the flat shape of a circle. In drawing, a linear outline is created. Thus, when planning work, the teacher must carefully consider the use of what material will allow children to quickly and easily master image skills. The knowledge acquired by preschoolers in classes with one type of visual activity can be successfully used in classes with other types of work and with other material.
Visual activity is a specific figurative cognition of reality. In order to draw or sculpt any object, you must first become familiar with it, remember its shape, size, design, color, and arrangement of parts.
L.S. Vygotsky, developing the ideas of cultural-historical psychology, considered a child’s drawing to be graphic speech, occupying an intermediate position between a pointing gesture and orally, on the one hand, and written speech, on the other. Children's drawing, from the point of view of L.S.
Vygotsky, is a form of social sign, and mastering drawing can be considered one of the means of cultural development. [Vygotsky L.S., 1982]
Analysis of the periodizations of the development of drawing allows us to distinguish two large stages: pre-figurative and pictorial. The appearance of the pre-visual stage is a manifestation of the child’s general orientation-exploratory activity (E.A. Ekzhanova; V.S. Mukhina), an expression of motor activity (R. Zazzo, I. Luke), imitation of the activity of an adult (K. Buhler; E.I. Ignatiev), transmission of brain gestalts.
At this stage, the child still has no interest in the result of the activity; he is concerned about the process itself. He does not have object images, but he begins to master the sign function through mastering the ability to establish relations of conditional substitution between objects.
The development of substitution in visual activity passes through all stages of the child’s development. In early childhood, the child masters individual properties of objects in objective-practical, manipulative activities. In preschool age play activity the child begins to use object substitutes. Gradually, the child moves from replacing the object-means with a toy to replacing it with a word.
The transition from one stage to another is associated with the formation of interest in the result of the activity and the emergence of a plan (drawing plan, intention).
The change in the relationship between the idea and its implementation follows the path of transition from the name after the image to the name before the start of drawing [Bühler K., 1930]. Here we can see the relationship between the development of planning and nomination. On the other hand, the relationship between the plan and its implementation develops along the path of ever greater realism, i.e. bringing the image closer to the depicted object. Visual activity contributes to the development of a sense of rhythm necessary for mastering and improving the motor sphere. [Mednikova L.S., 2004]
The role of drawing in the development of perception of space and spatial concepts should be especially emphasized. The development of perception, ideas and other mental processes in children is impossible without the active participation of thinking. In the course of visual activity, the child is forced to perform a number of intellectual operations: comprehend the structure of a visually perceived object, outline the sequence of the drawing, compare the drawing with the object, compare parts of the drawing with each other, etc. Analysis, synthesis, comparison, planning and some other mental actions ensure the correct completion of the task.
Childhood is a period of intensive development of physiological and mental functions. Drawing plays the role of one of the mechanisms for implementing a program for improving the body and psyche.
In the first years of a child's life, the development of vision and motor skills, as well as sensorimotor coordination, is especially important. From a chaotic perception of space, the child moves on to learning such concepts as vertical and horizontal. And the first children's drawings that appear at this time are naturally linear. Drawing is involved in the formation of visual images, helps to master forms, and coordinate perceptual and motor acts.
As for the characteristic features of a child’s drawing, they clearly reflect the stages of development of the child’s visual-spatial-motor experience, which he relies on in the process of drawing. Thus, children under about 6 years of age do not recognize a spatial image; they only draw a front or top view. Teaching in this way is extremely ineffective: even when learning to draw in circles, children in an informal setting prefer to perform those images that correspond to their level of development and which, by the way, they themselves consider more correct.
Visual activity requires the coordinated participation of many mental functions. According to a number of experts, children's drawing also contributes to the consistency of interhemispheric interaction. In the process of drawing, concrete-figurative thinking is coordinated, which is associated mainly with the work of the right hemisphere of the brain, as well as abstract-logical thinking, for which the left hemisphere is responsible.
It is worth noting that the child’s awareness of his surroundings occurs faster than the accumulation of words and associations, and drawing provides him with the opportunity to most easily express in figurative form what he knows and experiences, despite the lack of words. It is important to know that most experts agree that children's drawing is ??? one of the types of analytical-synthetic thinking. By drawing, the child, as it were, forms an object or thought anew, formalizing his knowledge with the help of drawing, studying patterns relating to the objective and social world. Children, as a rule, do not draw an object, but a generalized knowledge about it, denoting individual features exclusively with symbolic signs.
Drawing, thus, acts as a similar analogue of speech.
Being directly connected with the most important mental functions - visual perception, motor coordination, speech and thinking, drawing not only contributes to the development of each of these functions, but connects them with each other, helping the child organize rapidly acquired knowledge, formulate and record a model of an increasingly complex idea of the world.
TO adolescence drawing, apparently, basically exhausts biological functions, its adaptive role is reduced. The child moves to a higher level of abstraction; the word comes to the forefront, allowing him to convey the complexity of events and relationships with much greater ease than drawing.
The nature of the formation of visual activity can be clearly seen in the comparison of this process at the level of normal development and with mental retardation. Moreover, the diagnostic value of graphic products as an indicator of the level of intellectual development is clearly evident.
Classes in drawing, modeling, and appliqué in a mass kindergarten are combined under the name “Visual activity” or productive activity, since their result is the child’s creation of a certain product: drawing, appliqué, and modeling. The importance of visual activities for the comprehensive development and education of a preschooler with dysarthria is great and multifaceted. Acting as a specific figurative means of understanding reality, it is of great importance for the mental education of a child, which in turn is closely related to the development of speech. [Filippova S.O., 1999]
Activities with paper, scissors, plasticine, paints and pencils enrich children's understanding of surrounding objects and contribute to the manifestation of mental and speech activity. Using visual activities, the teacher can determine the level of intellectual and emotional development of children.
As part of visual arts activities, children are taught drawing, modeling, and appliqué. Visual activity can be considered not only as one of the types preferred by children preschool activities, but also as a tool for correction and development.
Visual activities lead preschoolers with speech impairments to understand that visual art reflects the world through lines, colors, shapes. Also, the child’s visual activity, in turn, introduces us to his inner world, his fears and joys. During this period, children become acquainted with different types and genres of fine art, the ideas about which deepen in the process of visual activity.
Objectives in teaching this type of art:
- 1. education of children with problems of emotional and aesthetic feelings, emotional responsiveness when perceiving works of art;
- 2. development of the ability to understand their content, its unity with the means of expression in different types of fine arts;
- 3. formation of an evaluative attitude towards the results fine arts, your own and your peers, skills and abilities in fine, decorative, constructive activities;
- 4. development in children of the motor “alphabet” of visual actions, image techniques spatial orientations, ideas about the basic means of “figurative language”;
- 5. formation of the child’s creative manifestations in various types of fine arts;
- 6. leading the child to understand that art is everywhere (at home, in kindergarten, on the street); that it gives people pleasure, decorates everyday life and that it should be treated with care. [Groshenkov I.A., 2001]
Visual activity develops individual mental operations, such as comparison, generalization, analysis, synthesis, abstraction, concretization, classification. Thinking is organically connected with speech, which is a tool of thinking, a way of transmitting information, a regulator of human communication and one’s own behavior. [Vygotsky L.S., 1996]
In childhood development, the word precedes the image, and at 2 - 3 years old the child can already communicate using speech with other people, and drawing at this time is still in the pre-figurative scribbling stage of dynamic graphic exercises and has no obvious semantic meaning. But when the drawing becomes “similar” and recognizable, then the child strives to name it, the image acquires a name. The drawing acquires a vicarious, symbolic meaning for him, which marks an important step forward in his thinking. He discovers and begins to master a new language of communication - through an image that can be perceived and corresponded by others.
Drawing has long become the leading activity of children, having a multifaceted impact on their development. Under its influence, their nominative speech is transformed into one rich in definitions, with figurative and colorful characteristics. [Vygotsky L.S., 1991]
For a child, drawing also acts as a special form of speech and a system of easily digestible and easy-to-use graphic signs, which can serve to record and convey externally his internal feelings and thoughts. Definition children's creativity E. A. Flerina was one of the first to give: “We understand children’s visual creativity as a child’s conscious reflection of the surrounding reality in drawing, modeling, design, a reflection that is built on the work of the imagination, on the display of his observations, as well as the impressions he received through the word , picture and other types of art. The child does not passively copy the environment, but processes it in connection with accumulated experience and attitude towards what is depicted.” He “completes” with words what he cannot depict. Further research into children's creativity further clarified this definition. N.P. Sakulina considers a child’s visual activity as the ability to depict, the ability to correctly draw an object, and the ability to create an image that shows the attitude of the person drawing to it. This ability of expression is an indicator of children's creativity. [Sakulina N.P., 1959]
The implementation of these directions in the practical education of children is carried out in classes in painting, modeling, appliqué, as well as during the organization of vernissages of children's works in kindergarten, acquaintance with book illustrations, reproductions of paintings, familiarization with objects of arts and crafts, holding conversations about art and visiting exhibitions.
Thus, the use of visual activities comprehensively develops the preschooler, forms basic moral categories, artistic taste, and also influences the formation of individual mental operations. Applying in teaching various shapes and techniques of visual activity, the teacher can expand the range of children’s ideas about the environment. In turn, by analyzing children's works, you can learn about the child's feelings and experiences, his inner world. The relevance of using visual activities for correctional purposes is due to the fact that it is one of the main types of activity in this age group.
Creativity in any form is necessary for a child's development. Visual activity in this matter is multifaceted. With its help, creative abilities are formed, morality is nurtured, the habit of work is instilled, and the functioning of mental functions is improved.
How visual activity develops in preschool age
The child makes his first attempts at creative images in drawing. Cognitive interest encourages the child to take a pencil or felt-tip pen and move it along a sheet of paper. The development of visual activity in preschool age begins with the first scribbles and subsequently goes through several stages or stages.
Three-year-old children are only capable of chaotic “patterns.” Some people simply draw circles and curlicues intertwined with each other. Others strive to imitate adults if they show them the basics of fine art. There may be attempts to draw straight lines or even the semblance of simple shapes.
After finishing the “staining,” the child examines the result and realizes that his actions led to a result—a certain image. Psychologists call this stage of development pre-imaginative.
By the age of 4, a child acquires greater accuracy in drawing lines, and also understands that a drawing can reflect a certain plot or idea. Looking at the interweaving of lines, he begins to understand how to “fold” them so that the result is not an abstraction, but a house, a mother, a sun. The child uses his powers of observation and notices the characteristic features of objects that can be depicted.
At first, the image is more emotional than graphic, characterized by subjectivity. It is quite difficult for adults to recognize the idea, but a child can change the name of his painting at different times. The sun turns into an orange, simple zigzags become a fence.
In the drawings of older preschoolers, the concept is quite recognizable. Moreover, at this age children make special efforts to make the depicted object resemble the real one. An important point is that at 6-7 years old a preschooler is not yet ready to draw from life. All images are unique, made from memory based on own ideas children. Updating one's experience helps the child find ideas on how to portray what is planned.
The visual activity of a preschooler is characterized by the following features:
- At a younger age, the child first draws or sculpts a figure, then studies the result and gives a name to his work. The kids are not yet ready to work according to the original plan.
- Older children pick up plasticine or pencils with the intention of creating something specific. Considering that the skill is still in the development stage, the resulting picture may be very far from what was intended.
- During the work, ideas for the image may change. While already practicing, the baby can understand that instead of a mother, a tree is obtained, and instead of a cat, a bunny. Then he easily changes the original idea.
- Due to insufficient elaboration, finished work often requires additional comments. The child always talks about the drawing or sculpted figure and explains the purpose of the individual elements.
- Technical drawing skills are developed - use of a pencil, chalk, appropriate pressure, etc.
Fine creativity is for preschoolers, so it is especially important for their development. Regular play ends when the child gets bored with the activity. When practicing any type of fine art, he sees the result of his actions, which motivates him to continue the exercises.
Types of visual activities
Child psychologists identify three types of visual activities that most effectively contribute to the development of creativity in preschool children: drawing, appliqué, and modeling. It is important not to focus on one variety, but to work with a preschooler in all three areas.
Drawing
In preschool age, it is difficult to meet a child who would not be delighted at the opportunity to draw, therefore drawing as a form of visual creativity is the basis for the development of artistic skills. It is useful to use all possible tools: pencils, crayons, different types paints
In the interval from 3 to 7 years, a preschooler goes through several stages of learning to draw. It's best to start with pencils. It is important to teach your child to first draw the outlines of the intended object.
Starting with simple ones geometric shapes, in the future you can move on to graphically constructing more complex forms. They are connected, details are added, and the intended image gradually appears. The second stage is coloring; ready-made lines make the task easier by setting clear boundaries.
Exercises using gouache and watercolors help the child master drawing on a different principle. At first, simply color spots are depicted, the baby realizes that with his own hands he can depict the sky as blue, the forest as green, and the sea as blue.
Using paints is much more difficult from a technical point of view, so it is better to devote the first lessons with your child to mixing different colors and focusing on shades. For the further development of creative abilities, it is important which features were highlighted to produce the desired color.
Charcoal and colored crayons should be used to teach older children preschool age when primary skills have been mastered. The use of these tools helps the child develop the ability to convey the shape of an object and understand how parts of an object are depicted convexly using shading.
Modeling
Modeling is, first of all, the creation of a three-dimensional figure, which helps to develop spatial thinking. For preschoolers, the main materials and equipment are plasticine, clay, and stacks.
Creativity begins with simple shapes - roll a ball, make a bar or a triangle. Modeling is convenient because parts can be connected, their shape can be changed, and things that have gone wrong can be corrected. By doing modeling, the child learns the concepts of volume, proportions, three-dimensional shape, and the structure of objects. With a well-developed skill, complex objects are produced: toys, cars, animals.
It should be noted that, despite the variety and multi-colored plasticine bars, the most expressive medium is clay. It is plastic, moreover, it can be dried, put the product on a shelf - the baby will be able to see the result of his own labor for a long time.
Application
Application is a special type of visual activity of a preschooler, developing artistic taste and intellectual abilities, requiring intense mental work. Having a ready-made stencil makes it somewhat easier to create the final painting, but the shapes that need to be cut out have complex shapes. The application includes many details that do not always have distinct features that help to recognize the desired location.
For example, when creating an image of a clown, there may be many details of his costume that individually appear to be just semicircles or irregularly shaped squares. In the process of selecting a place for gluing, the child learns to understand the sizes and correct location of the elements relative to the center.
Applique kits often use many shades, especially if it is designed for older preschoolers. The ability to understand and distinguish colors develops.
If the application is carried out without using a ready-made diagram, then there is enormous scope for imagination. Preschooler using colored paper And natural materials, learns to combine them, to see harmonious and inappropriate combinations. All this shapes aesthetic judgments and artistic taste.
An additional bonus of the application is the formation. You have to string beads, cut them strictly along the lines of the figure, and carefully glue small parts.
Forming interest in preschoolers in visual arts
Each child is already an individual. The difference in characters and preferences entails an individual choice of the baby’s favorite activities.
There may be a problem in developing interest in creative activities.
The attraction to visual arts may fade, especially if the child seems to be unable to do anything.
However, interest can be revived by using additional methods of teaching preschoolers to draw.
How play techniques promote creativity
Before entering school, play contributes to the learning of preschoolers and is the main activity of the child. Therefore, the best and simplest solution to interest the baby is to draw or sculpt while playing. To do this, you should create a so-called game “problem”:
- The toys are hungry, they need to be fed (fashion fruits and vegetables);
- There is a strong wind outside, and the dolls do not have a house;
- The doll wants a new beautiful outfit, but tailors first make sketches;
- In an unequal battle, the superhero broke his weapon, it is important to help him;
- We need to make a shelter base from alien attacks;
- Mashenka is so busy with work that she doesn’t have time to decorate the rooms of the house.
Such game techniques help to revive the attractiveness of drawing and modeling and to steadily consolidate interest in what is depicted, because the child has motives for why he is doing this.
Using non-traditional art techniques
It is useful to resort to non-traditional techniques visual activity: something new seems like a miracle to a child. Pencils can be replaced with a candle - a very unusual tool. Monotype is almost magic: the drawn half of a butterfly on the fold of a sheet suddenly turns into a whole one thanks to the imprint.
Using a stain of ink and a tree branch helps create bushes and trees. Using cling film and creating a print from ribbed wallpaper adds a new experience. Creating a textured image of an object by mixing soap with water and paint has a similar effect.
You can achieve delicate shades by applying watercolors to damp Whatman paper, and painting on fabric opens up new boundaries of painting possibilities. Drawing with fingers or palms is a great motivator when you need to involve younger preschoolers in an activity. The use of unconventional techniques and methods of depiction awakens interest even when the child avoids creative activities.
The comprehensive influence of visual activities on children's development
Any type of visual activity has a positive effect on the development of perception, spatial thinking, and artistic taste of a preschooler. Based on the above, creativity abilities are formed. Therefore, visual activity as a means of developing creative abilities is considered one of the most effective.
Fine arts contribute to the development of creative potential through learning to see beauty and the ability to independently create beautiful objects. Improves aesthetic and visual perception.
Drawing is a synthetic activity that promotes the development of spatial concepts in preschoolers. The child learns to correlate the sizes and shapes of real objects and create their projections on a sheet of paper. Drawing relies not only and not so much on mental operations, requiring analysis and identification of characteristic features of the object that will serve as a model for the image.
Modeling and appliqué, as already noted, develops fine motor skills and skill of hand. Creating creative products is impossible without first thinking through at least a few steps, so children develop planning skills.
In the process of visual activity, self-control skills are laid. When drawing or making a model from plasticine, a preschooler constantly checks his result with how he imagines the image. This is a significant achievement in the development of personality and an indispensable quality in organizing independent activities in the future.
