Methods and techniques for teaching fine arts. Project on fine arts (Fine Arts) on the topic: Didactic principles and teaching methods in the lessons of fine arts and artistic work
Didactic principles and teaching methods on lessons visual arts and artistic work
Introduction
Over the centuries, the school has accumulated quite a lot of experience in teaching children. Thus, different points of view have emerged on the concept and effectiveness of using various methods and principles of teaching.
The learning process is a rather complex phenomenon, and it cannot be represented as a simple transfer of knowledge by a teacher to students who do not yet possess this knowledge. Here, naturally, the questions arise: “What to teach?” and “How to teach?”
The laws or rules operating in any science reflect its objective, significant and stable connections, and also indicate certain trends in their development. However, these laws do not contain direct instructions for practical actions: they are only a theoretical basis for developing technology for practical activities.
The task of didactics is to, on the basis of knowledge about the objective development of the educational process, find out how, based on the laws of its development, principles and rules of teaching are developed that guide the teacher in his practical work. All this actualizes the research topic.
Object of study: lessons in fine arts and artistic work.
Subject of study: didactic principles and methods of teaching fine arts and artistic work.
Hypothesis: Correctly and skillfully organized, methodologically competent use of didactic principles and teaching methods in the lessons of artistic work and fine arts helps to increase the effectiveness of the educational process, namely:
· Helps to increase the activity and interest of students, which is reflected in the results of their work.
· Promotes the development of love for the fine arts and artistic work.
· Develops qualities such as: perception, attention, imagination, thinking, memory, speech, self-control, etc.
· Promotes the rapid and lasting assimilation of knowledge, which develops into skills and abilities.
· Forms the ability to apply acquired knowledge in practice.
C spruce work: study and substantiation of the influence of didactic principles and teaching methods on the educational process in the lessons of artistic work and fine arts.
The following follows from the goal: tasks :
1. Consider the concepts of “didactic principles” and teaching methods.
2. Consider the classification of teaching methods and principles, their relationships.
3.Identify the basic teaching methods and principles used in art and fine arts lessons.
4.Study the features of the implementation of the basic methods and principles used in these lessons.
5.Substantiate the influence of didactic principles and teaching methods on the activity of schoolchildren and the effectiveness of the educational process.
The following were used in writing the work: methods psychological and pedagogical research:
1. Study of methodological, psychological and pedagogical literature on the topic under consideration.
2. Observation of students.
3. Analysis own experience work at school.
4. Analysis of lessons in artistic work and fine arts.
Practical significance of the work: The presented material can be used as a result of preparation for lessons in fine arts and artistic work.
Research base: secondary school No. 165 in Minsk.
Workload: introduction, main part and conclusion.
1. Didactic principles and teaching methods in fine arts and artistic lessons
1.1 The concept of didactic principles of teaching and their classification
The principles of learning are a necessary tool in teaching. Thanks to these principles, the process of combining theoretical ideas with pedagogical practice occurs. The principles of teaching in pedagogy are, first of all, advisory in nature, and not mandatory. This happens because the teacher’s activity, during the learning process, can be refracted through various forms and techniques.
Principles of training are guidelines that underlie training and determine its content, methods and forms of organization.
Principles are the basic starting points of any theory, science in general, these are the basic requirements for something.
Pedagogical principles are the basic ideas, following which helps to best achieve the set pedagogical goals.
Comenius put sensory experience as the basis for cognition and learning and theoretically substantiated and revealed in detail the principle of clarity. Visibility was used before him. Humanist educators, for example Thomas More, spoke about it, characterizing education on the island as “utopia.” Books, both handwritten and printed, were often supplied with drawings before, but this was, so to speak, an empirical application of clarity without its theoretical justification, which was first given by Comenius.
He understood visibility broadly, not only as visual perception, but also as the attraction of all senses to a better and clearer perception of things and phenomena. Comenius demanded that teaching begin not with a verbal interpretation of things, but with specific observations of them.
One should observe what is possible in nature; and if it is impossible to directly observe things, they must be replaced with paintings, models, drawings.
Comenius’s great merit is in developing visualization as one of the most important didactic principles: he brilliantly substantiated, generalized, deepened and expanded some practical experience of visual teaching that already existed by that time, and widely applied visualization in practice, providing his textbooks with drawings.
Komensky insisted on systematic training. He pointed out the need to bring students to an understanding of the connection between phenomena and to organize educational material in such a way that it would not seem like chaos to students, but would be briefly presented in the form of a few basic principles. He believed that in teaching it is necessary to go from facts to conclusions, from examples to rules that systematize and generalize these facts and examples; go from concrete to abstract, from easy to difficult, from general to specific; first give a general idea of an object or phenomenon, then move on to studying its individual aspects.
According to Komensky, the sequence of training is of great importance. Everything offered to students for assimilation must be arranged so that the study of new material is prepared by previous lessons. Taking into account the age characteristics of children, Komensky advises first developing the sensations (feelings) of students, then memory, then thinking and, finally, speech and hand, since the student must be able to correctly express what he has learned and apply it in practice.
Komensky gave valuable instructions, putting forward the didactic requirement that learning be feasible for students. Children should be taught only what is appropriate for their age. Feasibility and accessibility in learning are achieved by clarity of teaching, communication of the main thing without unnecessary details.
Having put forward a didactic requirement for the strength of students’ assimilation educational material, Comenius said that it is necessary to lay a “solid foundation”, not to rush in learning, to ensure that students fully understand what is taught to them: everything that has a connection should be taught “in connection”. Each topic should be summarized in concise, precise rules.
Exercises and repetition of the material learned by students are of great importance for lasting learning. Having communicated new educational material to students, the teacher demands that the student he has called state and repeat what was said to him; calls another student to do the same. Thanks to this exercise and repetition, the teacher clearly sees what the students did not understand from his presentation. Repeated several times is firmly remembered. In this repetition aloud, a major role is played by the development of the ability to express what one has learned, and the assimilation itself becomes more distinct and lasting. To this end, Comenius recommends that students, having learned something, try to teach it to others.
“What should be done must be learned by doing,” says Comenius, giving rules according to which the exercises should be organized. “Let them learn in schools to write by practicing writing, to speak by practicing speech, to sing by practicing singing, to reason by practicing inference, etc., so that schools are nothing more than workshops in which work is in full swing.” .
For proper training skills need to be given to students a certain form and standard of what should be performed; show the use of tools (for example, when drawing, etc.) in practice, and not just tell how to use the tools. Exercises should begin with elements, and not with performing entire works; this applies to reading (first letters and syllables, then words, finally phrases), and to drawing (performing exercises on drawing individual forms), and to artistic work (first getting to know the types of seams, and then making toys), and to writing , and to grammar, and to other skills.
Having shown students a role model, the teacher must first demand strict, accurate imitation of the form; later the implementation can be more free. All deviations from the samples made by students must be immediately corrected by the teacher, who backs up his comments with a reference to the rules. When teaching, it is necessary to combine synthesis with analysis.
Comenius sought, perhaps, to more strongly develop the cognitive abilities of students, “to ignite the thirst for knowledge and ardent zeal for learning,” for which it is necessary, he pointed out, to combine business with pleasure, to encourage children's curiosity.
“In my students I always develop independence in observation, speech, practice and application,” he wrote.
No. 1 Goals and objectives of teaching f. art in secondary school.
No. 2. The patterns of manifestation of creative abilities of schoolchildren in the lessons will depict the arts. Child drawing is the predominant type of children's creativity at an early age. As a child grows and enters late childhood, he or she usually becomes disillusioned and discouraged from drawing (8-9 years). After 15-20 years of age, interest sets in again, only children who are extremely gifted experience it. respect. This cooling of children hides the transition of drawing to a new, higher stage of development, which becomes accessible to children only with favorable external stimuli. The initial period is depicted. activity – a period of active relationship to the image and surrounding things. Drawing ml. a schoolchild is almost always a depiction of an event. A significant place in classes should be given not only to observation, but also to children’s communication with elements of reality, active work with such elements. Weds that allow you to “act”. The main problem is to get children interested in drawing and other types of fine arts. To do this, use interesting and varied forms of work, form in children the relationship between observation and fine art movement, i.e. skill of the hand, obedience to its visual representation. The teenage stage of fine art activity is analytical. On Wednesday. With age, the idea and expressive task become the core around which the comprehension of methods of representation is organized. It is necessary to gradually and consistently complicate the learning process. The greatest difficulties for children are traditional searches, the transfer of figurative expressiveness of form, proportions, volume, color, flavor and space. A necessary condition for the development of student abilities is the introduction of individual game elements and games into the structure of art lessons. Play is the leading activity of a preschool child. It is always associated with the child’s experience of positivity. emotional state. Gaming moments enhance children's attention, stimulate thinking, imagination, and fantasy. Developing visual memory, eye, imagination. Games contribute to their overall development through the development of children's fine art creativity.
No. 3. Method. carried out. Fine arts classes at school. The methodology considers the features of the work of teachers. with students. Here the methods of teaching and the location of the classroom are important. material, teaching Plan, program, principles of teaching, goals and objectives of educational work in general. The methodology is based on scientific data from pedagogy, psychology, aesthetics and art history. By the word methodology we mean, first of all, a set of rational methods. methods of training and education. This is special. department of pedagogy, which studies the rules and laws of educational construction. process. Since teaching methods are developed in accordance with the teaching material, each school subject has its own tasks and its own system. Course of Study. We adhere to the classification of teaching methods developed by Lerner, Skatkin, Babansky, Makhmutov.
1. explanatory-illustrative - presenting information to students in different ways: visual, auditory, speech, etc. assimilation of knowledge.
2. Reproductive method - for the formation of skills and abilities: conversation, exercises.
3. Research - independent solution of creative problems by schoolchildren. A system has been developed that influences the development of thin. creativity of schoolchildren: developing interest in the study of fine arts, nurturing self-confidence, consistent complication of fine arts activities, mastering the means of art. Expressiveness, the use of TSO in classes, the use of a variety of artistic materials and techniques for working with them, the introduction of game elements into the structure of the lesson. Goals: to prepare comprehensively developed, educated members of society, to raise children aesthetically, to develop their art. taste, help children understand the world around them, reveal the practical significance of drawing in human life, develop the creative abilities of students, and give the right direction to their esthete. perception of the world. Education cannot be separated from education. Parts of the lesson: organization of classes, presentation of new material, independent work studying and summarizing the results of the work. When presenting the teaching. material, the teacher must constantly be faced with the task of doing everything possible so that all students understand it. The main practical task of teaching fine arts in Wed. school – mastering the basic fundamentals of drawing, techniques and drawing skills. A serious place in the teaching methods of drawing in the beginning. classes has proper organization of the student's workplace. Children Jr. age they draw very quickly, the work is done according to the first impression. The method of working with high school students becomes more flexible and individual. When pointing out shortcomings in a student’s work, it is necessary to comply with the ped. tact and show respect for the student’s personality.
No. 4. Visualization as a means of activation will depict the activities of schoolchildren. The principle of impudence consists in the fact that students go to reliable knowledge, turning to the objects and phenomena themselves as a source of knowledge. Psycho. basics of nag. closing is that sensations play a decisive role in human consciousness, i.e. if a person has not seen, heard, or felt, he does not have the necessary data for judgment. An art teacher constantly has to use bold means. Fig. from life in itself is a method of visual teaching. The process of drawing from life begins with a sensory visual perception of the depicted object, so it is necessary to ensure that the full-scale setting itself attracts the attention of the drawer to the main thing. Setting up the nature of the book. not only to install it well and beautifully in front of the painters, but also to help reveal the basic laws of realistic drawing and painting. Insolent is closely related to the correct organization of observation and analysis from nature. The principle of impudence requires such a presentation of educational material in which the concepts and ideas of the student become clearer and more specific.
Pr-r: basic position of the eyes. List the main Wed nag.. They help the student to correctly see and understand nature, its shape, structure, color and texture. One of effective techniques visual learning is the teacher’s drawing, which allows students to assimilate the capabilities of the performance technique. However, the process of constructing a drawing by hand is ped. should be well coordinated with the course of presentation of the educational material. The main thing in this case should be the teacher’s explanations; the drawing only complements the words. 1st type of drawing - work on a chalkboard - an excellent method of impudence. training. It helps to understand what he sees, influences the child’s mental development and the correctness of his judgments. The main quality of ped. drawing - conciseness of the image, simplicity and clarity. Using sparing means of graphic language, the teacher enables children to clearly understand and imagine what is being said. 2nd view – the teacher’s sketch in the margins of the student’s drawing. Type 3 is the correction of errors in a student’s drawing by the teacher’s hand. The demonstration of drawings by outstanding artists and cinema is of great educational and educational importance. Observing the principles of the head teacher. must conduct business in such a way that all students are explained and shown examples of the application of certain laws and rules of drawing. Insolent in teaching drawing from life, we consider it not as an auxiliary means of teaching, but as a leading one. The principle is visual. should permeate the entire system of teaching fine arts.
No. 5 Comparative analysis of modern concepts of teaching methods of art. art.
No. 6 Fundamentals of scientific research work in the field of children's visual activities.
No. 7 Subject of the methodology. Definition, goals, objectives, connection with subjects of special and vocational training. A methodology is a teaching method, the work of a teacher with a student, with the help of which a better assimilation of educational material is achieved and academic performance increases. The teaching method in each school subject has its own characteristics. A training system is formed from a set of teaching techniques and methods, united by a common direction. An example of a system of teaching fine arts is the pedagogical system of P.P. Chistyakov.
Of course, in the process of teaching, each teacher develops his own working methodology, but it cannot be arbitrary or random. The training system for each teacher must be built in accordance with the general objectives of the school, the goals and direction of modern development of the fine arts, and they must be at the level of modern pedagogy. The methodology deals with the development of the most appropriate methods of teaching and education, establishes the rules and laws for constructing the educational process, and proposes new teaching methods. In the concept and method of teaching comes teaching and learning, where the right to vote is given to both the teacher and the student. The teaching method is a method of teaching students, changing their personalities. Method is a Greek word that means investigation, the path of progress towards truth. Sometimes this word is associated with the way information is presented. The teaching method is a testing and systematically functioning structure of the activities of teachers and students, consciously implemented with the aim of implementing programmed changes in the personality of students.
Forms of training, in addition to the usual lesson, which allows you to apply various methods, are also excursions, student practice, homework of students, extracurricular and extracurricular activities, frontal, group and individual work of students. Since the main object of the field of teaching methodology is the schoolchild, it is impossible to do without such sciences as psychology, physiology, ergonomics and other branches of science closely related to human activity. In the field of fine arts, every researcher in his scientific work relies on the works of I.M. Sechenov, I.P. Pavlov, K.N. Karnilov, B.M. Teplov, E.I. Ignatiev and others. The most fruitful scientific research in the field of art teaching methods are those that combine theory with practice, summarizing the best teaching experience, as well as studying the best practices of art schools of the past and present. The methodology of teaching fine arts as a science theoretically generalizes practical experience, offers teaching methods that have already proven themselves and give the best results. The methodology is based on scientific data from the pedagogy of psychology, aesthetics and art history.
It forms the rules and laws of communication in the visual arts and indicates modern methods of educating the younger generation. The art of teaching is acquired through practice and many years of creative work. Teaching work, by its nature, is a creative, living activity. The teacher must be creative in his approach to the matter, since he is dealing with living people. Methodology as the art of teaching consists in the fact that the teacher must be able to approach the student correctly, immediately see what he needs, and provide him with help in time. The presentation of educational material should be simple and clear. Moreover, the teacher’s task is to reveal complex concepts to students in the most simple and accessible form.
It is not enough to explain and show a different method of work; one must ensure that this method is well mastered. And this requires great skill from the teacher. In order for a student to understand you well, explanation and demonstration alone is not enough; you also need to be able to see and feel how the student perceives the educational material, how he reacts to your words and actions. There must be a psychological contact between the student and the teacher, they must understand each other well The teacher can see through the expression of the child’s face and eyes, whether he can understand what is being discussed or not. Successful learning is not possible without contact between the teacher and the student. A methodological guide when learning to draw helps a child quickly learn the rules of constructing a realistic drawing and understand the laws of the structure of nature. As a result of properly conducted training, schoolchildren quickly get used to independence, their interest in knowledge and science increases, and a desire for further improvement in drawing is born. And all this suggests that the teacher, in addition to learning to draw well, also needs to thoroughly study those forms and methods of teaching that give the best results. To successfully master the technique, it is necessary to use all the best that has been achieved in previous eras. It is necessary to study the methods of teaching drawing in the past and find out what was positive in the methods of the past and note negative sides training.
Knowledge of the history of teaching methods contributes to the development of a holistic view of your subject. The history of teaching methods, the experience of previous generations, helps to correctly solve modern problems. Based on the general objectives of education, the school course in fine arts aims to:
1. To prepare comprehensively developed, educated members of society, capable of taking an active part in various sectors of the state, social and economic life of the country;
2. Aesthetically educate children to develop their artistic taste
3. Help children explore the world around them
4. Reveal the practical significance of drawing in a person’s life, teach how to use drawing in work, in socially useful work;
5. Give students knowledge of the elementary fundamentals of realistic drawing. Instill to demonstrate skills and abilities in the fine arts and familiarize with the basic technical techniques of work. Instill a love of work, cultivate accuracy and perseverance in work;
6. Develop the creative abilities of students, give the right direction to their aesthetic perception of the world. Develop spatial thinking, figurative representation and imagination;
7. To familiarize schoolchildren with outstanding works of Russian and world fine art. Instill interest and love for visual arts.
The program for harmonious personal development in our country requires secondary school such tasks of preparing the younger generation for life so that it corresponds to the scientific and psychological process and the level of development of modern culture. A lot of new things were introduced into the general system of secondary schools in 1960 of the last century. The primary school moved to a three-year education, and special elective courses were introduced for in-depth study of individual subjects, including fine arts.
№ 8 Lesson plan– notes, calendar plan and programs. Their relationship, taking into account the surrounding socio-demographic and geographical conditions.
No. 9 Types of extracurricular work. Organization, support, capabilities, goals. appl results. In addition to teaching in the classroom during school hours, the teacher often has to teach students outside the classroom and outside the school. Extra-curricular and extracurricular work means such activities as: Conversations, lectures and reports with the display of reproductions, slides and filmstrips, organization and leadership of drawing and painting groups, conducting excursions to museums, exhibitions and artists’ workshops, organizing various exhibitions, trips to plein air sketches, decorating the premises for holidays, organizing evenings - concerts, conducting extracurricular activities.
The organization of extracurricular and extracurricular activities pursues the same tasks and goals as during school hours. But it helps to solve these problems deeper and broader, with the use of new material, in a more serious form, relying on the active interest of students and their creative initiative.
The leading role of the teacher continues in extracurricular activities. The teacher monitors the work of students and their general development, guides this work.
Extracurricular activities must be structured in such a way that children continue to develop and improve their skills.
It is also necessary to convince children during classes that art is not fun, not entertainment, but serious work that requires effort and brings great joy. The teacher must find methods of educational work that would arouse in children an interest in beauty, a desire for beauty, and the need to create according to the laws of beauty.
To successfully manage extracurricular activities, it is necessary to draw up a plan for all activities in advance and outline their topics. Extracurricular activities of the art teacher are coordinated with the class teacher and students. It is also necessary to take into account the time of extracurricular activities, the number of activities and the age characteristics of students.
The form and nature of extracurricular work plans can be varied.
So, extracurricular and extracurricular activities develop interest and love for art, more fully acquaint students with the wonderful works of outstanding artists, and promote aesthetic education. The content of classes should be as varied as possible.
Isocircle the most common type of extracurricular activity. Art classes in school clubs are, as it were, a continuation of school classes. These are classes for those who are seriously interested in art and these classes are, to some extent, an aesthetic need for them. Organization of the work of the circle includes drawing up a lesson program taking into account the inclinations and interests of students of different backgrounds.
Art circles can be very different: drawing and painting, dpi, design, linocut, ceramics, young art critics, etc.
The teacher’s task is to involve as many students as possible in the regular work of the circle. Taking into account the age. Features of the circle need to be completed in groups. The teacher monitors the work of students and their overall development, and directs this work. and, in a more serious form, based on active
Excursions are a very interesting and meaningful type of educational work. they deepen the knowledge acquired by students in class, broaden their horizons and activate independent work on drawings. excursions are organized in order to more fully reveal a particular topic of the curriculum, to familiarize more deeply with the types of art, to give a clear idea of the specifics creative work artist. When organizing an excursion, the teacher will discuss with the children the goals and objectives of visiting the exhibition.
Conversations, extracurricular conversations are held in cases where the topic raised in class has aroused particular interest among students and they have expressed a desire to gain deeper knowledge on this issue. and also in cases where a complex topic does not provide an opportunity to fully present interesting material during class hours.
Reports, as a rule, are done by the students themselves. The teacher selects the most capable and developed as speakers.
No. 10 Types of progress recording, role of assessment. Your opinion on the appropriateness of assessments. Checking the work of the school is perceived by students as a disappointment, as constant nightmares for
teachers who, while quickly moving forward, begin to check the results achieved with fear and reluctance. When it is necessary to compare the results of a school’s functioning with its
plans. In traditional school practice, instead of the concept of “testing the school’s achievements,” they often talk about testing students’ knowledge, which has its own meaning. Nowadays, testing is given not a formal character, but a business content: not only the teacher checks the progress of students, but also the students
check the level of their knowledge. In addition, the teacher checks himself, for example, in the question of whether he correctly organized the study of what became the subject of the test. There is a very big difference in the concepts of “student knowledge” and school achievement.” The term “knowledge” means only one, albeit important, part of “school achievement.” Other important components include the ability to solve problems, perform practical tasks, develop interests and motivation to study, and develop such character traits as personal responsibility, accuracy, endurance, and efficiency. Checking school achievements in combination with their assessment is an integral part of learning. In the first case, we are dealing with the so-called current control, or educational verification. Educational testing covers the entire process of teaching and education and is designed to constantly improve the work of teachers and students.
The final test concludes the learning process and covers the previously worked part of the program. When assessing the quality of work using a five-point system, one must keep in mind that in the first grade of the first quarter, students’ work should not be assessed. It's best here
limit yourself only to conversation with students. Periodic, or quarterly 9 accounting by deducing overall assessment, for completing the student’s work during this time. Final accounting is an assessment of schoolchildren’s work for the year based on arithmetic average data. Sometimes the annual mark can; does not agree with the average data of the class magazine. Unreasonably overestimating a drawing mark is unacceptable: This loses respect not only for the teacher, but also for the subject of drawing itself. The biggest drawback is the large share of subjectivity and intuition when checking and assessing achievements. This approach is not only biased, but also obliges to be pedagogically incorrect, Another The disadvantage is the limited possibilities for analyzing school achievements* comparing school students' grades will not give an absolute result. since grades given by the same teacher for the same task, but at different time intervals, differ from each other, sometimes very significantly,
The universal method of conducting an audit is the correct formulation of questions, problems, tasks and recommendations. Some should be aimed at encouraging students to think correctly and act clearly and clearly, to understand what and how they should know and do. Daily current accounting gives the teacher the opportunity to promptly identify weak, lagging students, study the reasons for their lag and organize help for them. The teacher is making a big methodological mistake if he himself reminds the class every time of the material studied. Each drawing must be evaluated, each student must receive a mark for any work. In the normal setting of educational work, all children draw willingly and with love. Their attitude towards lessons depends primarily on
teachers. Assessment of work should be carried out systematically and recorded in the class register. The magazine consists of two parts; in the first part, data on the attendance and progress of students is recorded, in the second part, the topic of the lesson and content, homework are noted.
There are 4 types of progress recording: preliminary, current, periodic and final.
The teacher usually keeps preliminary records when receiving a new class, when it is necessary to find out what the level of knowledge and skills, degree and training in drawing of each student is.
Preliminary accounting makes it possible to methodically correctly build the educational process, based on the real understanding in the preparation of schoolchildren. Current accounting is carried out in the process academic work. Two types of current accounting are possible: directly during the execution of the task and during
presentation of the material. The current sudden and final check belongs to the number of traditional, ordinary forms of control. Its most common type, current testing, is based on the teacher’s constant study of the work of the entire class and individual students.
Its goal is to make sure that the student will master the program at the next stage of education. Conventional forms of verification are based on the use of the simplest methods: conversations and written work. The main oral test of students' knowledge and skills is conversation. Quite often, an examination is checked by a student drawing tickets with one or more questions from trained examiners.
Written work carried out for the purpose of testing the knowledge and skills of students is, first of all, homework, and along with this class work,
Observing the work of students provides additional data about their ability to organize their workplace, work order, and their performance. The assessment of each work must be objective. For subjective assessment, in addition to the teacher’s requirements, it is necessary to develop a certain criterion and evaluation system. Such a system of objective assessment should follow from the very structure of the drawing and the requirements that the teacher usually places on his students, and the method of constructing the image that both the teacher and his students adhere to. This should include both literacy and expressiveness of children’s drawings. Such a system can be expressed in successive stages of drawing evaluation,
1. How the composition was solved
2 The nature of the shape of objects: the degree of similarity of the image with objects in reality
3. High-quality constructive construction.
4. Perspective: how the student has learned the quality of perspective, how he uses it when constructing an image, how the phenomena of linear perspective are conveyed. Conveying volume: how the student uses the visual properties of drawing and painting to convey the volume of objects; how the laws of light and shade are learned, how the reflex on objects is conveyed.
5.Proficiency in equipment:
6. General impression of the work.
My personal views on the role of assessment and its usefulness vary widely. On the one hand, there are positive and negative qualities in general.
No. 11 Design, equipment and equipment of a special class . Fine Arts Cabinet A. The cabinet windows can be oriented to all sides of the horizon, including to the north. The southern location of the windows requires the use of white curtains or special blinds to protect from direct sunlight. The room should have side lighting on the left side at workplaces. Student desks should be positioned so that the light falls from the left side and the shadows falling from the hands do not interfere with writing and drawing. It is prohibited to obstruct light openings (from the inside and outside). The light openings of the office should be equipped with adjustable sun-shading devices such as blinds and light-colored fabric curtains. For artificial lighting Fluorescent lamps should be used. Lamps should be installed in rows along the cabinet parallel to the windows. It is necessary to provide for separate (in rows) switching on of lamps. For additional lighting, it is recommended to use a series of lamps with a uniform light diffuser. The coloring of the room, depending on the orientation, should be done in warm or cold tones of low saturation. Rooms facing south. They are painted in cold tones, and to the north - in warm tones. Painting in white, dark or contrasting colors is not recommended. The walls of the office must be smooth, allowing them to be cleaned wet method. Window frames and doors are painted white. The temperature in the premises was maintained within 18-21 degrees Celsius; air humidity should be between 40-60. The office must have water supply (cold and hot water) for classes in painting, decorative and applied arts, design, sculpture. One or two sinks should be located near the front door. To use various technical means The training room must have a power supply in accordance with. safety rules in accordance with requirements.
Requirements for the premises of fine art classrooms IN basic school Fine arts instruction must take place in two rooms for primary and secondary classes with an area of at least 80 square meters each. . Alternative and elective classes are recommended to be conducted in additional studios with an area of at least 36 sq.m. Organization of work places for teachers and students. The teacher's workplace in the fine arts classroom should be located in the front part of the classroom and consist of a teacher's table with a chair, a stand for equipment, a blackboard, and a projection screen. For an office, it is recommended to use a chalkboard with five working surfaces, consisting of a main board and two folding ones. These boards must have a magnetic surface. The equipment of the teacher's place should be completely determined by the teaching technology. In student tables for drawing and drawing, the working surface should change from a horizontal position to an inclined one with an angle of up to 75 degrees. The inclined position of the working surface is intended for painting and drawing classes, the horizontal position is for writing, making models and other activities. To organize group classes, it should be possible to divide the room into separate zones using movable screens, partitions or furniture.
Requirements for equipping classrooms with technical devices and devices. The fine arts room should be equipped
Projection, video and audio equipment: - slide projector, epiprojector, - graphic projector, other projectors; - color TV with a diagonal screen size of at least 61 cm with a VCR.
Requirements for equipping the classroom with educational equipment and necessary documentation. The fine arts classroom must be equipped with teaching aids for the following types of classes: drawing from life, arts and crafts classes, plastic arts; design and production of simple models, conversations about art. The range of educational equipment must correspond to the content of the curriculum chosen by the school and be guided by the current “List of educational equipment in fine arts for educational institutions of Russia”, approved by order of the Ministry of Education of the Russian Federation. The office should have a sufficient set of methodological literature for students, including a methodological journal on the subject, training programs for fine arts in a given educational institution, reference literature of a normative nature, and an educational standard for fine arts. The office should have file cabinets of reference literature, methodological literature for teachers, for students, a file cabinet of teaching aids systematized by grade, by topic, a file cabinet of teacher preparation for the lesson, a thematic file cabinet containing individual and group assignments for students. Requirements for interior design of a fine art office. The design of fine arts classrooms must meet the functional requirements of educational technology for the scientific organization of activities of students and teachers. A chalkboard should be placed on the front wall of the office. Side wall of the office, free from furniture, should be used for display. Information stands can be temporary or permanent. Temporary exhibition stands must include working and instructional stands: - working stands must contain material used in studying a specific topic of the program; - instructional stands should contain recommendations of a methodological nature and include more textual material. Long-term exhibition(portraits of artists, statements) should be placed at the top of the side wall above the temporary exhibition stands. Different fonts can be used in the design of stands: printed and handwritten, Arabic and Gothic. Headings and subheadings should be in the same style.
No. 12 Organization of full-scale production (object, still life) For a novice artist, the difficulties in performing a full-scale production lie in creative constraint on the one hand, which makes it difficult to realize their emotional manifestations in work, and in lack of professional skills, on the other. Students should develop the ability to convey apparent changes in the proportions and shape of objects, depending on their position in space, in relation to the person drawing, that is, taking into account the point of view of the person drawing and the laws of perspective. It is necessary to know the rules and laws of visual literacy and be able to apply them in practice. Along with developing the ability to work on a full-scale production, it is necessary to develop image skills from memory and presentation. “The best, and perhaps the only way to counter the advanced development of stereotypical (template) visual thinking is constant or periodic modeling of the practical conditions of educational tasks, which would imply a forced need to act contrary to the usual order of action, i.e. force to act creatively” Agreeing with the statement of V.N. Stasevich, we can assume that by placing the student in unusual conditions - the need to depict nature from memory - we provoke the student to a non-standard solution to the assigned problems. It should be noted that such tasks do not deny the presence of a full-scale setting, however, students’ work with nature should take place while simulating a situation in which the student turns to nature for study, and not blind copying. When performing a thematic still life, students are faced with the problem of creating an artistic image based on a full-scale setting. Here it is possible to use the technique of emphasizing a specific visual task, be it movement, an interesting silhouette, unexpected lighting, or spatial characteristics of the depicted nature. All this is connected with creative thinking artist. At this stage, it is very important that the artist sees the features of this still life and feels the originality of the setting. Original lighting from nature can help here, perhaps even colored lighting, which will deepen the impression and awaken the imagination of students and help in the creative development of the work. When depicting a still life, you cannot draw all objects to the same degree.. Each subject of a full-scale production requires a special treatment: one (for example, the first plan) should be more carefully analyzed, worked out in more detail; another (background) can be depicted in general outline, it is enough to express the nature of the form.
When drawing a still life from objects of different shapes and textures, you need to analyze and demonstrate in practice your knowledge of the linear constructive image of the form, find a compositional solution for the full-scale setting (choosing the size of the image of objects and their texture); skillfully introduce a background that will help to expressively show each of the objects separately and their harmonious unity.
When starting to draw a still life, the process of constructing an image must be divided into separate stages. Lack of consistency in work leads to passive, mindless copying. It is necessary to observe the following stages in performing a full-scale production:
· conduct a preliminary oral analysis of the proposed production,
· find the compositional placement of the image on the working plane of a sheet of paper,
· hand over characteristics shapes of objects and their proportions,
· give a constructive analysis of the shape of objects in a given setting and a perspective construction of these image objects on a plane,
· achieve integrity and expressiveness in the depiction of still life.
Fine arts, as one of the academic subjects in secondary schools, occupy an important place in the education of students. A careful analysis and generalization of the best pedagogical experience indicates that fine arts classes are an important means of developing a student’s personality. Fine art, especially close to younger schoolchildren for its clarity, has one of the leading places in the process of developing children's creative abilities, creative thinking, introducing them to the beauty of their native nature, the surrounding reality, and the spiritual values of art. In addition, fine arts classes help children master a range of skills in the field of visual, constructive and decorative activities.
Purpose writing this course work is to consider the features of the methodology of teaching fine arts in elementary school, namely in grades I-IV.
The work aims to: tasks:
Studying the methodology of teaching fine arts in primary school, consider its features,
Identify pedagogical conditions successful learning children of primary school age in the visual arts, as well as drawing up a thematic annual plan and lesson plan for primary school students
Chapter 1. Features of the methodology of teaching fine arts in elementary school
1.1. Pedagogical conditions for teaching fine arts in primary school
In the development of children's artistic creativity, including visual creativity, it is necessary to observe the principle of freedom, which is generally an indispensable condition for all creativity. It means that creative activities children can be neither obligatory nor coercive and can only arise from the children's interests. Therefore, drawing cannot be a mass and universal phenomenon, but for gifted children, and even for children who do not intend to later become professional artists, drawing has enormous cultivating significance; when colors and drawing begin to speak to a child, he masters a new language that expands his horizons, deepens his feelings and conveys to him in the language of images what cannot be brought to his consciousness in any other way.
One of the problems with drawing is that for children primary classes The activity of creative imagination alone is no longer enough; he is not satisfied with a drawing made somehow; in order to embody his creative imagination, he needs to acquire special professional, artistic skills and abilities.
The success of training depends on the correct definition of its goals and content, as well as on the ways to achieve the goals, that is, teaching methods. There have been debates about this issue among scientists since the very inception of the school. We adhere to the classification of teaching methods developed by I.Ya. Lerner, M.N. Skatkin, Yu.K. Babansky and M.I. Pakhmutov. According to the research of these authors, the following general didactic methods can be distinguished: explanatory-illustrative, reproductive and research.
1.2. Methods of teaching fine arts in I- IVclasses
Teaching, as a rule, begins with the explanatory and illustrative method, which consists of presenting information to children in different ways - visual, auditory, speech, etc. Possible forms of this method are communicating information (story, lectures), demonstrating a variety of visual material, including using technical means. The teacher organizes perception, children try to comprehend new content, build accessible connections between concepts, and remember information for further manipulation.
The explanatory and illustrative method is aimed at assimilation of knowledge, and to develop skills and abilities it is necessary to use the reproductive method, that is, to reproduce (reproduce) actions many times. Its forms are varied: exercises, solving stereotypical problems, conversation, repetition of a description of a visual image of an object, repeated reading and memorization of texts, a repeated story about an event according to a predetermined scheme, etc. Preschoolers are expected to work both independently and together with the teacher. The reproductive method allows the use of the same means as the explanatory and illustrative method: words, visual aids, practical work.
Explanatory, illustrative and reproductive methods do not provide the necessary level of development of children's creative capabilities and abilities. A teaching method aimed at preschoolers independently solving creative problems is called research. In the course of solving each problem, it involves the manifestation of one or more aspects of creative activity. At the same time, it is necessary to ensure the availability of creative tasks, their differentiation depending on the preparedness of a particular child.
The research method has certain forms: text problem tasks, experiments, etc. Problems can be inductive or deductive, depending on the nature of the activity. The essence of this method is the creative acquisition of knowledge and the search for methods of activity. Once again I would like to emphasize that this method is entirely based on independent work.
Particular attention should be paid to the importance of problem-based learning for children's development. It is organized using methods: research, heuristic, problem presentation. We have already considered the research one.
Another method that helps creative development is the heuristic method: children solve a problematic problem with the help of a teacher; his question contains a partial solution to the problem or its stages. He can tell you how to take the first step. This method is best implemented through heuristic conversation, which, unfortunately, is rarely used in teaching. When using this method, words, text, practice, visual aids, etc. are also important.
Currently, the method of problem presentation has become widespread; the teacher poses problems, revealing all the inconsistency of the solution, its logic and the available system of evidence. Children follow the logic of presentation, control it, participating in the decision process. In the course of a problem presentation, both an image and a practical demonstration of action are used.
Methods of research, heuristic and problem presentation - methods of problem-based learning. Their implementation in the educational process stimulates preschoolers to creatively obtain and apply knowledge and skills, helps to master methods scientific knowledge. Modern teaching must necessarily include the considered general didactic methods. Their use in fine arts classes is carried out taking into account its specifics, objectives, and content. The effectiveness of methods depends on the pedagogical conditions of their application.
As practical experience shows, for the successful organization of fine arts lessons it is necessary to create a special system of pedagogical conditions. In line with different conceptual approaches, they are defined differently. We have developed a system of conditions that directly influence the development of artistic creativity in preschool children, and we propose to consider it. We believe that this group of conditions consists of:
An important condition for the development of artistic creativity of preschool children in fine arts classes is the use by teachers of technical teaching aids, especially video and audio equipment, and special visual aids. The role of visualization in learning was theoretically substantiated back in the 17th century. Ya.A. Komensky, later the ideas of its use as the most important didactic tool were developed in the works of many outstanding teachers - I.G. Pestalozzi, K.D. Ushinsky and others. The importance of clarity in teaching was emphasized by the great Leonardo da Vinci, artists A.P. Sapozhnikov, P.P. Chistyakov and others.
Successful implementation of the principle of clarity in teaching is possible with the active mental activity of children, especially when there is a “movement” of thought from the concrete to the abstract or, conversely, from the abstract to the concrete.
At all stages of the lesson, whenever possible, creative, improvised and problem-based tasks should be introduced. One of the main requirements in this case is to provide children with the greatest possible pedagogically expedient independence, which does not exclude providing them with pedagogical assistance, as necessary. So, for example, in elementary grades, especially in the first grade, the teacher, proposing this or that plot, in many cases can draw the attention of preschoolers to the main thing that must be depicted first and foremost, and can show on the sheet the approximate location of the objects of the composition. This help is natural and necessary and does not lead to children’s passivity in visual creativity. From restrictions in choosing a theme and plot, the child is gradually led to their independent choice.
Chapter 2. Thematic planning and production of visual aids for lessons in the program “Fine Arts and Artistic Work”
This is the world - and in this world I am.
This is the world - and in this world WE are.
Each of us has our own path.
But we create according to the same laws.
May the path of the creator be long and the bread of the creator be difficult.
And sometimes I want to give some slack.
But take your palms away from your face.
And again you give your heart. And again.
Love and knowledge are like good friends.
People easily come to our lesson.
And the children shine with light.
All of us until the bell rings.
We create. We create for a reason.
We give a piece of knowledge to those
Who is the “consumer” for now?
So that he can grow as a “creator” later.
The program "Fine Arts and Artistic Work" is a holistic integrated course that includes all the main types: painting, graphics, sculpture, folk decorative arts, architecture, design, entertainment and screen arts. They are studied in the context of interaction with other types of arts and their specific connections with the life of society and man.
The systematizing method is to identify three main types of artistic activity for visual spatial arts: constructive, visual, decorative.
These three artistic activities are the basis for dividing visual-spatial arts into types: visual - painting, graphics, sculpture; constructive - architecture, design; various arts and crafts. But at the same time, each of this forms of activity is inherent in the creation of any work of art and therefore is a necessary basis for integrating the entire variety of types of art into a single system, not according to the principle of listing types, but according to the principle of the type of artistic activity. Highlighting the principle of artistic activity focuses on shifting attention not only to works of art, but also to human activity, to identifying his connections with art in the process of daily life.
The connections between art and human life, the role of art in everyday life, the role of art in the life of society, the importance of art in the development of every child is the main semantic core of the program. Therefore, when identifying types of artistic activity, it is very important to show the difference in their social functions.
The program is structured to give schoolchildren a clear understanding of the system of interaction between art and life. It is envisaged to widely involve children’s life experiences and examples from the surrounding reality. Working on the basis of observation and aesthetic experience of the surrounding reality is an important condition for children to master program material. The desire to express one’s attitude to reality should serve as a source for the development of imaginative thinking.
One of the main goals of teaching art is to develop a child’s interest in inner world a person, the ability to “deepen into oneself”, awareness of one’s inner experiences. This is the key to developing the ability to empathize.
The artistic activity of schoolchildren in the classroom finds various forms of expression: depiction on a plane and in volume (from nature, from memory, from imagination); decorative and constructive work; perception of reality and works of art; discussion of the work of comrades, the results of collective creativity and individual work in lessons; study of artistic heritage; selection of illustrative material for the topics being studied; listening to musical and literary works (folk, classical, modern).
In the lessons, play dramaturgy is introduced on the topic being studied, connections with music, literature, history, and labor are traced. In order to experience creative communication, collective tasks are introduced into the program. It is very important that the collective artistic creativity of students finds application in the design of school interiors.
The systematic development of the artistic heritage helps to understand art as a spiritual chronicle of humanity, as a person’s knowledge of the relationship to nature, society, and the search for truth. Throughout the course of study, schoolchildren get acquainted with outstanding works of architecture, sculpture, painting, graphics, decorative and applied arts, and study classical and folk art different countries and eras. Understanding the artistic culture of your people is of great importance.
The thematic integrity and consistency of the development of the program helps to ensure strong emotional contacts with art at each stage of education, avoiding mechanical repetitions, rising year after year, from lesson to lesson, along the steps of the child’s knowledge of personal human connections with the whole world of artistic and emotional culture.
Artistic knowledge, skills and abilities are the main means of familiarization with artistic culture. Form, proportions, space, light tone, color, line, volume, material texture, rhythm, composition are grouped around general patterns artistic and figurative languages of fine, decorative, constructive arts. Students master these means of artistic expression throughout their studies.
Three methods of artistic exploration of reality - pictorial, decorative and constructive - in elementary school act for children as well-understood, interesting and accessible types of artistic activity: images, decorations, buildings. The constant practical participation of schoolchildren in these three types of activities allows them to systematically introduce them to the world of art. It must be borne in mind that, being presented in primary school in game form As “Brother Masters” of images, decorations, buildings, these three types of artistic activity should accompany students throughout all years of study. They help first to structurally divide, and therefore understand, the activities of the arts in the surrounding life, and then help in a more complex understanding of art.
With all the supposed freedom of pedagogical creativity, it is necessary to constantly keep in mind the clear structural integrity of this program, the main goals and objectives of each year and quarter, ensuring the continuity of the progressive development of students.
2.1. Fundamentals of Artistic Performance (Primary School Curriculum)
1st class (30-60 hours)
You depict, decorate and build
Three types of artistic activity, which determine the entire diversity of visual spatial arts, form the basis of the first, introductory class.
A playful, figurative form of initiation comes to the aid of children (and the teacher): “Three brother masters - Master of Image, Master of Decoration and Master of Construction.” It should be a discovery for children that many of their everyday everyday games are artistic activities - the same thing that adult artists do (not yet art). Seeing the work of one or another master brother in the life around you is an interesting game. This is where the knowledge of the connections between art and life begins. Here the teacher lays the foundation for the knowledge of the vast, complex world plastic arts. This year’s task also includes realizing that “Masters” work with certain materials, and also includes the initial mastery of these materials.
But the “Masters” do not appear before children all at once. At first they are under the “invisibility cap”. In the first quarter, the “Image Master” takes off his “hat” and begins to openly play with the children. In the second quarter, he will help remove the “hat of invisibility” from the “Master of Decoration”, in the third - from the “Master of Construction”. And in the fourth, they show the children that they cannot live without each other and always work together. It is also necessary to keep in mind the special meaning of general lessons: through the work of each “Master,” they connect children’s artistic work with adult art and with the surrounding reality.
Topic 1. You are pretending.
Introduction to the "Image Master" (8-16 hours)
"Master of Image" teaches you to see and depict.
And all subsequent years of education will help children in this - help them see, consider the world. To see, you must not only look, but also draw yourself. You have to learn this. Here only the foundations are laid for understanding the enormous role of image activity in people’s lives; in future years the teacher will develop this understanding. The discoveries of the quarter also include the fact that in art there is not only an Artist, but also a Spectator. Being a good viewer also requires learning, and “Master of Image” teaches us this.
The task of the “Master” is also to teach children the primary experience of using materials available to primary schools. This experience will deepen and expand in all future work.
"Image Master" helps you see, teaches you to look
Development of observation and analytical capabilities of the eye. Fragments of nature. Animals - how they are similar and how they differ from each other.
Materials: paper, felt-tip pens or colored pencils, or crayons.
Visual range: slides depicting drawings of animals or live animals.
Literary series: poems about animals, about noses and tails.
Music series: C. Saint-Saens, suite "Carnival of Animals".
Can be depicted as a spot
Look closely at different spots - moss on a stone, scree on a wall, patterns on marble in the subway - and try to see some images in them. Turn the spot into an image of an animal. The spot, pasted or drawn, is prepared by the teacher.
Materials: pencil, crayons, black ink, black felt-tip pen.
Visual range: illustrations for books about animals by E. Charushin, V. Lebedev, T. Mavrina, M. Miturich and other artists working with spot.
Can be depicted in volume
Let's turn a lump of plasticine into a bird. Modeling. Look and think about what three-dimensional objects resemble something, for example, potatoes and other vegetables, driftwood in a forest or park.
Materials: plasticine, stacks, board.
Visual range: slides of natural volumes of expressive shapes or real pebbles, the shape of which resembles something.
Can be depicted with a line
You can tell with a line. “Tell us about yourself” - a drawing or a series of sequential drawings.
Materials: paper, black felt-tip pen or pencil.
Visual range: linear illustrations of children's books, drawings on the themes of poems by S. Marshak, A. Barto, D. Kharms with a cheerful, mischievous development of the plot.
Literary series: funny poems about life at home.
Music series: children's songs about family life.
You can also depict what is invisible (mood)
Pretend to be happy and feign sadness. Drawing music - the task is to express in the image images of musical pieces that have contrasting moods.
Materials: white paper, colored markers, colored pencils or crayons.
Music series: happy and sad melodies.
Our paints
Sample of colors. The joy of communicating with colors. Mastering the skills of organizing a workplace and using paints. Color name. What does each color remind you of in life? Game image of a colorful multicolor rug.
Materials: paints, gouache, large and thin brushes, white paper.
Artists and spectators (topic summary)
Being a spectator is interesting and challenging. You have to learn this. Introduction to the concept of "work of art". Painting. Sculpture. Color and paints in artists' paintings. Development of perception skills. Conversation.
Visual range: V. Van Gogh "Sunflowers", N. Roerich "Overseas Guests", V. Vasnetsov "Three Heroes", S. Konchalovsky "Lilac", M. Vrubel "The Swan Princess".
Topic 2. You decorate.
Meeting the "Master of Decoration" (7-14 h)
The “Master of Image,” whom the children met in the first quarter, is the “Master of Cognition,” a careful look into life. The “Master of Decoration” does something completely different in life - he is a “Master of Communication”. It organizes communication between people, helping them to openly identify their roles. Today we go on a hike, tomorrow to work, then to a ball - and with our clothes we talk about our roles, about who we are today, what we will do. More clearly, of course, this work of the “Master of Decoration” is manifested at balls, carnivals, and theatrical productions.
And in nature, we distinguish some birds or butterflies from others by their decorations.
The natural world is full of decorations
Development of observation skills. Experience of aesthetic impressions. Butterfly wing decoration. The butterfly is decorated based on a blank cut out by the teacher or can be drawn (largely, on the entire sheet) by children in class. The variety and beauty of patterns in nature.
Materials: gouache, large and thin brushes, colored or white paper.
Visual range: slides "Butterflies", collections of butterflies, books with their images.
An image of an elegant bird using the technique of three-dimensional appliqué and collage. Development of a decorative sense of combining materials, their color and texture.
Materials: multi-colored and multi-textured paper, scissors, glue.
Visual range: slides and books depicting various birds.
Music series: children's or folk songs with a pronounced playful, decorative element (ringing of a bell, imitation of birdsong).
You have to be able to notice beauty
Discreet and “unexpected” beauty in nature. Examination of various surfaces: tree bark, wave foam, drops on branches, etc. Development of a decorative sense of texture. Experience of visual poetic impressions.
Image of the back of a lizard or tree bark. The beauty of texture and design. Introduction to the technique of single-color monotype.
Materials: for the teacher - a knurling roller, gouache or printing ink diluted with water; for children - a board made of plastic, linoleum or tiles, pieces of paper, a pencil.
Visual range: slides of various surfaces: bark, moss, ripples on the water, as well as slides showing lizards, snakes, frogs. If possible - genuine bark, wood cuts, stones.
How, when, why does a person decorate himself?
All human jewelry tells something about its owner. What can jewelry tell? We look at the characters of fairy tales - what kind of jewelry they have. How they help us recognize heroes. Images of selected fairy-tale characters and their decorations.
Materials: colored paper, gouache, brush.
Visual range: slides or illustrations with characters from famous fairy tales.
Literary series: fragments of fairy tales describing the appearance of the hero.
Music series: songs of fairy-tale heroes.
"Master of Decorations" helps to make a holiday
Room decoration. Making festive New Year's garlands and stars. Decorating your classroom and your home New Year's holidays. Collective panel "New Year tree".
Materials: colored paper, scissors, glue, foil, serpentine.
Visual range: children's work completed in a quarter.
Literary series: poems about the New Year holiday.
Music series: Christmas and New Year's holiday songs, P. Tchaikovsky fragments of the ballet "The Nutcracker".
Topic 3. You are building.
Meeting the "Master of Construction" (10-20 hours)
“Master of Image” is “Master of Cognition”, “Master of Decoration” is “Master of Communication”, “Master of Construction” is “Master of Creation” of the objective environment of life.
During this quarter, his brothers remove the “hat of invisibility” from him and hand over the reins of government to him. People can explore the world and communicate only if they have a humanly organized environment. Every nation has been building since primitive times. Children also build in their games from sand, cubes, chairs - any material at hand. Before the start of the quarter, the teacher (with the help of the children) must collect as much “building material” as possible: milk cartons, yoghurts, shoes, etc.
Home for yourself
An image of a home you imagined for yourself. Development of imagination. Invent yourself a home. Different houses for different fairy-tale characters. How can you guess who lives in the house? Different houses for different things.
Materials: colored paper, gouache, brushes; or markers or colored pencils.
Visual range: illustrations of children's books depicting dwellings.
Music series: children's songs about dreaming builders.
What kind of houses can you come up with?
Modeling fairy houses in the shape of vegetables and fruits. Construction of comfortable houses for an elephant, giraffe and crocodile from boxes and paper. The elephant is large and almost square, the giraffe has a long neck, and the crocodile is very long. Children learn to understand the expressiveness of proportions and the design of form.
Materials: plasticine, stacks, rag, board.
Visual range: illustrations for the fairy tales of A. Milne "Winnie the Pooh", N. Nosov "Dunno in the Flower City", J. Rodari "Cipollino", A. Volkova "The Wizard of the Emerald City".
Literary series: descriptions of fairy-tale towns.
Music series: music for the cartoon and ballet "Cipollino".
"Master of Construction" helps to invent a city
"Fairytale City" Image of an image of a city for a specific fairy tale. Construction of a game city. Game of architects.
Materials: gouache, colored or white paper, wide and thin brushes, boxes different forms, thick paper, scissors, glue.
Visual range: illustrations of children's books.
Literary series: descriptions of a fairy-tale city from a literary work.
Everything we see has a design
Make images of different animals - a zoo construction from boxes. Make funny dogs of different breeds out of boxes. The material can be replaced with applique: various images of dogs are made by gluing pre-prepared one-color paper scraps of different geometric shapes onto a sheet.
Materials: various boxes, colored and white thick paper, glue, scissors.
Visual range: photographs of animals or reproductions of paintings depicting animals.
All items can be built
Design from paper, packaging, stands, flowers and toys.
Materials: colored or white paper, scissors, glue.
Visual range: slides from various items relevant to the task.
Literary series: poems about cheerful hardworking craftsmen.
House outside and inside
The house “looks” onto the street, but they live inside the house. "Inside" and "outside" are very interconnected. An image of a house in the form of letters of the alphabet as if they had transparent walls. How little alphabetic people could live in letter houses, how the rooms, stairs, windows are located there.
Materials: paper (white or colored), pencils or crayons.
Visual range: illustrations of children's books.
The city where we live
Assignment: “I draw my favorite city.” Impression image after the tour.
Materials: paper, gouache, brushes or crayons (teacher's choice).
Literary series: poems about your city.
Music series: songs about your city.
Generalization of the theme of the quarter
Exercise: an exhibition of works completed during the quarter. Children learn to watch and discuss each other's work. A game of artists and spectators. You can make a generalizing panel “Our City” or “Moscow”.
Topic 4. “Masters of Images, decorations, buildings” always work together (5-10 hours)
We will recognize the joint work of the “Masters” in their works of past quarters and in works of art.
The summary here is lesson 1. Its purpose is to show children that in fact our three “Masters” are inseparable. They constantly help each other. But each “Master” has his own job, his own purpose. And in a particular work, one of the “Masters” is always the main one. Here, for example, are our drawings: where is the work of the “Master of Construction” here? And now these works decorate the classroom. And in the works where the main thing was the “Master of Decoration”, how did the “Master of Image”, “Master of Construction” help him? The main thing is to remember with the guys what exactly the role of each “Master” is and what he helped to learn. The children's best work for the entire year should be displayed in the classroom. A kind of reporting exhibition. It is advisable for each child to have some kind of work on display. Children learn to talk about their works and the drawings of their comrades. At the end of the lesson, slides of works of adult art are shown, and children must highlight the “participation” of each “Master” in these works: a vase with a figurative drawing; a vase whose shape represents something; painting with an architectural building; fountain with sculpture; palace interior with bright decor, sculpture and paintings; interior of a modern building with monumental painting.
"Masters" will help us see the world of a fairy tale and draw it
Collective panel and individual images based on the fairy tale.
Materials: paper, gouache, brushes, scissors, glue, colored paper, foil.
Visual range: music from cartoons, films or ballets based on this fairy tale.
Literary series: a fairy tale chosen by the teacher.
A lesson in love. Ability to see
Observation of living nature from the point of view of the “Three Masters”. Composition "Hello, summer!" according to impressions from nature.
2nd class (34-68 hours)
You and art
The topic “You and Art” is the most important for this concept; it contains the fundamental subtopics necessary for the initial introduction to art as culture. Here are the primary elements of the language (figurative structure) of the plastic arts and the basis for understanding their connections with the child’s surrounding life. Understanding of language and connections with life are built in a clear methodological sequence. Violating it is undesirable.
The goal of all these topics is to introduce children to the world of art, which is emotionally connected to the world of their personal observations, experiences, and thoughts.
Topic 1. What and how artists work (8-16 hours)
The main task here is to become familiar with the expressive capabilities of artistic materials. Discovery of their originality, beauty and nature of the material.
Three basic colors that build the multicolored world
Primary and composite colors. The ability to mix paints right away at work is a living connection between colors. Draw flowers, filling the entire sheet with large images (without preliminary drawing) from memory and impression.
Materials: gouache (three colors), large brushes, large sheets of white paper.
Visual range: fresh flowers, slides of flowers, blooming meadow; visual aids demonstrating the three primary colors and their mixing (composite colors); practical demonstration of mixing gouache paints.
Five colors - all the richness of color and tone
Dark and light. Shades of color. Ability to mix colored paints with white and black. Image of natural elements on large sheets of paper with large brushes without preliminary drawing: thunderstorm, storm, volcanic eruption, rain, fog, sunny day.
Materials: gouache (five colors), large brush, large sheets of any paper.
Visual range: slides of nature in pronounced states: thunderstorm, storm, etc. in the works of artists (N. Roerich, I. Levitan, A. Kuindzhi, etc.); Practical demonstration of color mixing.
Pastel and crayons, watercolor - expressive possibilities
Soft velvety pastel, fluidity of transparent watercolor - we learn to understand the beauty and expressiveness of these materials.
An image of an autumn forest (from memory and impression) in pastel or watercolor.
Materials: pastel or crayons, watercolor, white, rough paper (wrapping paper).
Visual range: observation of nature, slides of the autumn forest and works of artists on this topic.
Literary series: A. Pushkin poems, S. Yesenin poems.
Music series: P. Tchaikovsky "Autumn" (from the cycle "Seasons").
Expressive appliqué possibilities
An idea of the rhythm of spots. A rug on the theme of autumn land with fallen leaves. Group work (1-3 panels), based on memory and impression.
Materials: colored paper, pieces of fabric, thread, scissors, glue, paper or canvas.
Visual range: live leaves, slides of the autumn forest, earth, asphalt with fallen leaves.
Literary series: F. Tyutchev "Leaves".
Music series: F. Chopin nocturnes, P. Tchaikovsky "September" (from the cycle "The Seasons").
Expressive capabilities of graphic materials
Beauty and expressiveness of line. Thin and thick, moving and viscous lines. Image of a winter forest on white sheets of paper (from impression and memory).
Materials: ink (black gouache, ink), pen, stick, thin brush or charcoal.
Visual range: observations of nature or slides of trees in a winter forest.
Literary series: M. Prishvin "Stories about nature."
Music series: P. Tchaikovsky "December" (from the cycle "Seasons").
Expressiveness of materials for working in volume
Depiction of animals from the native land based on impression and memory.
Materials: plasticine, stacks, board.
Visual range: observation of expressive volumes in nature: roots, stones, slides of animals and sculptural works, slides and small plastics from different materials in the original; reproductions of works by sculptor V. Vatagin.
Literary series: V. Bianchi “Stories about animals”.
The expressive power of paper
Mastering the work of bending, cutting, gluing paper. Conversion of a flat sheet into a variety of volumetric shapes. Gluing simple three-dimensional shapes (cone, cylinder, “ladder”, “accordion”). Construction of a playground for sculpted animals (individually, in groups, collectively). Imagination work; If you have an additional lesson, you can give an assignment on origami.
Materials: paper, scissors, glue.
Visual range: slides of works of architecture, models of past years made by students, demonstration of techniques for working with paper.
For an artist, any material can become expressive (summarizing the theme of the quarter)
Understanding the beauty of artistic materials and their differences: gouache, watercolor, crayons, pastels, graphic materials, plasticine and paper, “unexpected” materials.
Image of a festive city at night using “unexpected” materials: streamers, confetti, seeds, threads, grass, etc. on a background of dark paper.
Topic 2. Reality and fantasy (7-14 hours)
Image and reality
The ability to peer, see, be observant. "Image Master" teaches us to see the world around us. Images of animals or beasts seen in the zoo, in the village.
Materials: gouache (one or two paints), colored paper, brush.
Visual range: works of art, photographs of animals.
Image and fantasy
The ability to fantasize. Fantasy in people's lives. The image of fabulous, non-existent animals and birds, combining together elements of different animals and even plants. Fairy-tale characters: dragons, centaurs, etc.
Materials: gouache, brushes, a large sheet of paper, preferably colored, tinted.
Visual range: slides of real and fantastic animals in Russian wood and stone carvings, in European and Oriental art.
Music series: fantastic images from musical works.
Decoration and reality
Development of observation skills. The ability to see beauty in nature. "Master of Decoration" learns from nature. Image of cobwebs with dew and tree branches, snowflakes and other prototypes of decorations using lines (individually, from memory).
Materials: charcoal, chalk, thin brush, ink or gouache (one color), paper.
Visual range: slides of fragments of nature seen through the eyes of an artist.
Decoration and fantasy
Without imagination it is impossible to create a single piece of jewelry. Decoration of a given shape (collar, valance, kokoshnik, bookmark).
Materials: any graphic material (one or two colors).
Visual range: slides of lace, jewelry, beadwork, embroidery, etc.
Music series: rhythmic combinations with a predominance of a repeating rhythm.
Construction and reality
The "Master of Construction" learns from nature. The beauty and meaning of natural structures - honeycombs of bees, poppy heads and forms of the underwater world - jellyfish, algae. Individual-team work. Construction of the "Underwater World" from paper.
Materials: paper, scissors, glue.
Visual range: slides of a wide variety of buildings (houses, things), natural structures and shapes.
Construction and fantasy
"Master of Construction" shows the possibilities of human imagination in creating objects.
Creating models of fantastic buildings and structures: a fantastic city. Individual and group work on imagination.
Materials: paper, scissors, glue.
Visual range: slides of buildings that can awaken children's imagination, works and projects of architects (L. Corbusier, A. Gaudi), student works of past years.
"Brothers-Masters of Images, Decorations and Constructions" always work together (topic summary)
Interaction of three types of artistic activity. Design (modeling) in decorating Christmas tree decorations depicting people, animals, plants. Collective panel.
Materials: paper, scissors, glue, gouache, thin brushes.
Visual range: children's work for the quarter, slides and original works.
Topic 3. What art says (11-22 h)
This is the central and most important theme of the year. The previous two lead to it. The main task is to master the fact that in art nothing is ever depicted, decorated, or built just like that, just for the sake of skill. “Brothers - Masters”, that is, art, expresses human feelings and thoughts, understanding, that is, the attitude towards what people depict, towards who or what they decorate, with the building they express the attitude towards the one for whom and for what they are building. Before this, the issue of expression had to be felt by children in their works only on an emotional level. Now for children all this should move to the level of awareness, become the next and most important discovery. For all subsequent quarters and years of study in the program, this topic must be constantly emphasized, in every quarter, in every assignment, and reinforced through the process of perception and the process of creation. Each task must have an emotional orientation, develop the ability to perceive shades of feelings and express them in practical work.
Expression of the character of the animals depicted
Images of cheerful, swift, threatening animals. The ability to feel and express the character of an animal in an image.
Materials: gouache (two or three colors or one color).
Literary series: R. Kipling fairy tale "Mowgli".
Visual range: illustrations by V. Vatagin for “Mowgli” and other books.
Music series: C. Saint-Saens "Carnival of Animals".
Expression of a person’s character in an image; male image
If the teacher wishes, you can use the plot of a fairy tale for all further assignments. For example, “The Tale of Tsar Saltan” by A. Pushkin provides rich possibilities for connecting figurative solutions for all subsequent topics.
Image of a good and evil warrior.
Materials: gouache (limited palette), wallpaper, wrapping paper (rough), colored paper.
Visual range: slides of works by V. Vasnetsov, M. Vrubel, I. Bilibin and others.
Literary series: “The Tale of Tsar Saltan” by A. Pushkin, excerpts from epics.
Music series: music by N. Rimsky-Korsakov for the opera "The Tale of Tsar Saltan".
Expression of a person’s character in an image; female image
Depiction of fairy-tale images of opposite nature (Swan Princess and Baba Babarikha, Cinderella and Stepmother, etc.). The class is divided into two parts: some depict good people, others - evil ones.
Materials: gouache or pastel (crayons) on a colored paper background.
Visual range: slides of works by V. Vasnetsov, M. Vrubel, I. Bilibin.
Literary series: “The Tale of Tsar Saltan” by A. Pushkin.
The image of a person and his character, expressed in volume
Creation in volume of images with a pronounced character: the Swan Princess, Baba Babarikha, Baba Yaga, Bogatyr, Koschey the Immortal, etc.
Materials: plasticine, stacks, planks.
Visual range: slides of sculptural images of works by S. Konenkov, A. Golubkina, ceramics by M. Vrubel, medieval European sculpture.
Image of nature in different states
Depiction of contrasting states of nature (the sea is gentle, affectionate, stormy, anxious, joyful, etc.); individually.
Materials
Visual range: slides that capture the contrasting moods of nature, or slides of artists' paintings depicting different states of the sea.
Literary series: fairy tales by A. Pushkin “About Tsar Saltan”, “About the Fisherman and the Fish”.
Music series: opera "Sadko", "Scheherazade" by N. Rimsky-Korsakov or "The Sea" by M. Churlionis.
Expressing a person's character through decoration
By decorating himself, any person thereby tells about himself: who he is, what he or she is like: a brave warrior - a protector or a threat. The decorations of the Swan Princess and Baba Babarikha will be different. Decoration of heroic armor cut out of paper, kokoshniks of a given shape, collars (individually).
Materials: gouache, brushes (large and thin), blanks from large sheets of paper.
Visual range: slides of ancient Russian weapons, lace, women's costumes.
Expressing intentions through decoration
Decoration of two fairy-tale fleets with opposite intentions (good, festive and evil, pirate). Work is collective and individual. Application.
Materials: gouache, large and thin brushes, glue, pins, glued sheets or wallpaper.
Visual range: slides of works by artists (N. Roerich), illustrations of children's books (I. Bilibin), works of folk art.
Together "Masters of Images, Decorations, Constructions" create houses for fairy-tale characters (topic summary)
Three “Brother-Masters” together with children (groups) perform several panels, where, with the help of appliqué and painting, they create the world of several fairy-tale heroes - good and evil (for example: the tower of the Swan Princess, the house for Baba Yaga, the Bogatyr’s hut, etc. ).
On the panel, a house is created (with stickers), a background is a landscape as the figurative environment of this house, and a figure is the image of the owner of the house, expressing these images by the nature of the building, clothing, the shape of the figure, the nature of the trees against which the house stands.
The generalization can be completed by an exhibition of works based on the results of the quarter, and its discussion together with parents. Groups of “tour guides” should be prepared for the discussion. The teacher may use additional hours for this purpose. The exhibition prepared by the teacher and its presentation to parents (spectators) should become an event for students and their loved ones and help to consolidate in the minds of children the essential meaning of this topic.
Topic 4. How art speaks (8-16 h)
Starting from this quarter, you need to constantly pay attention to the expressiveness of means. Do you want to express this? And how, with what?
Color as a means of expression: warm and cool colors. Warm and cold fight
The image of a dying fire is a “struggle” between heat and cold. When filling the entire sheet, mix the paints freely with each other. The fire is depicted as if from above, going out (working from memory and impression). "Feather of the Firebird." The colors are mixed directly on the sheet. Black and white paints are not used.
Materials: gouache without black and white paints, large brushes, large sheets of paper.
Visual range: slides of a dying fire; methodological manual on color science.
Music series: N. Rimsky-Korsakov fragments from the opera "The Snow Maiden".
Color as a means of expression: quiet (deaf)and sonorous colors. Mixing with black, gray, white paints(dark, delicate shades of color)
The ability to observe the struggle of colors in life. Image of spring land (individually based on memory and impression). If there are additional lessons, they can be given on the subjects of creating a “warm kingdom” (Sunny City), a “cold kingdom” (Snow Queen), achieving coloristic richness within one color scheme.
Materials: gouache, large brushes, large sheets of paper.
Visual range: slides of spring land, stormy sky, fog, teaching aids on color science.
Music series: E.Grieg. "Morning" (fragment from the suite "Peer Gynt").
Literary series: M. Prishvin stories, S. Yesenin poems about spring.
Line as a means of expression: the rhythm of lines
Image of spring streams.
Materials: pastel or colored crayons.
Music series: A. Arsensky "Forest Stream", "Prelude"; E. Grieg "In Spring".
Literary series: M. Prishvin “Forest Stream”.
Line as a means of expression: the nature of lines
Image of a branch with a certain character and mood (individually or two people, according to impression and memory): delicate and powerful branches, while it is necessary to emphasize the ability to create different textures with charcoal and sanguine.
Materials: gouache, brush, stick, charcoal, sanguine and large sheets of paper.
Visual range: large, large spring branches (birch, oak, pine), slides with images of branches.
Literary series: Japanese tercets (tanki).
The rhythm of spots as a means of expression
Basic knowledge of composition. Changing the position of even identical spots on the sheet changes the content of the composition. Rhythmic arrangement of flying birds (individual or collective work).
Materials
Visual range: visual aids.
Music series: fragments with a pronounced rhythmic organization.
Proportions Express Character
Designing or sculpting birds with different proportions - large tail - small head - large beak.
Materials: white paper, colored paper, scissors, glue or plasticine, stacks, cardboard.
Visual range: real and fabulous birds (slides of book illustrations, toy).
Rhythm of lines and spots, color, proportions - means of expression (topic summary)
Creation of a collective panel on the theme "Spring. The Sound of Birds."
Materials: large sheets for panels, gouache, paper, scissors, glue.
Visual range: children's works made on the theme "Spring", slides of branches, spring motifs.
Summary lesson of the year
The class is decorated with children's work completed during the year. The opening of the exhibition should become a joyful holiday, an event in school life. Lessons are conducted in the form of a conversation, consistently reminding the children of all the topics of the academic quarters. In the game-conversation, the teacher is helped by three “Brother-Masters”. Parents and other teachers are invited (if possible) to attend lessons.
Visual range: children's works expressing the objectives of each quarter, slides, reproductions of works of artists and folk art, helping to develop themes.
3rd grade (34-68 hours)
Art around us
One of the main ideas of the program: “From one’s native threshold to the world of Earth’s culture,” that is, from familiarization with the culture of one’s people, even from the culture of one’s “small homeland” - without this there is no path to universal culture.
Education in this class is based on introducing children to the world of art through knowledge of the surrounding objective world and its artistic meaning. Children are led to understand that objects have not only a utilitarian purpose, but are also carriers of spiritual culture, and this has always been the case - from ancient times to the present day. It is necessary to help the child see the beauty of the things, objects, objects, works of art around him, paying special attention to the role of artists - “Masters of Image, Decoration, Construction” - in creating the environment for human life.
At the end of the year, children should feel that their life, the life of every person, is daily connected with the activities of the arts. The final lessons of each quarter should contain the question: “What would have happened if the “Master Brothers” had not participated in creating the world around you - at home, on the street, etc.?” Understanding the huge role of the arts in real life Everyday life should be a revelation for children and their parents.
Topic 1. Art in your home (8-16 h)
Here the “Masters” take the child to his apartment and find out what each of them “did” in the child’s immediate environment, and in the end it turns out that without their participation not a single object in the house would have been created, and the house itself would not have existed.
Your toys
The toys - what they should be - were invented by the artist. Children's toys, folk toys, homemade toys. Modeling toys from plasticine or clay.
Materials: plasticine or clay, straw, wood blanks, paper, gouache, water-emulsion paint for primer; brushes small size, tampons.
Visual range: folk toy (slides): haze, Gorodets, Filimonovo, Bogorodskaya carved toy, toys made from scrap materials: packaging, fabric, fur.
Literary series: proverbs, sayings, folklore, Russian folk tales.
Music series: Russian folk music, P. Tchaikovsky "Children's Album".
Dishes at your home
Everyday and holiday tableware. The design, shape of objects and painting and decoration of dishes. The work of "Masters of Construction, Decoration and Imagery" in the manufacture of tableware. Image on paper. Modeling dishes from plasticine with painting on a white primer.
At the same time, the purpose of the dishes must be emphasized: who is it for, for what occasion.
Materials: tinted paper, gouache, plasticine, clay, water-emulsion paint.
Visual range: samples of dishes from the natural stock, slides of folk dishes, dishes made of different materials (metal, wood, plastic).
Mom's scarf
Sketch of a scarf: for a girl, for a grandmother, that is, different in content, rhythm of design, color, as a means of expression.
Materials: gouache, brushes, white and colored paper.
Visual range: slides of natural motifs of scarves, scarves and fabrics, samples of children's work on this topic.
Music series: Russian folk music (as background).
Wallpaper and curtains in your home
Sketches of wallpaper or curtains for a room that has a clear purpose: bedroom, living room, children's room. It can also be done using the heel-printing technique.
Materials: gouache, brushes, cliches, paper or fabric.
Visual range: excerpts from a fairy tale, which provides a verbal description of the rooms of a fairy-tale palace.
Music series: musical excerpts characterizing different states: stormy (F. Chopin “Polonaise” in A-flat major, op. 53), calm, lyrically tender (F. Chopin “Mazurka” in A-minor, op. 17).
Your books
The artist and the book. Illustrations. Book form. Font. Initial letter. Illustrating a chosen fairy tale or constructing a toy book.
Materials: gouache, brushes, white or colored paper, crayons.
Visual range: covers and illustrations for well-known fairy tales (illustrations by different authors for the same fairy tale), slides, toy books, children's books.
Literary series: text of the selected fairy tale.
greeting card
Sketch of a postcard or decorative bookmark (plant motifs). It is possible to use the technique of scratch paper, engraving with stickers or graphic monotype.
Materials: small paper, ink, pen, stick.
Visual range: slides from wood engravings, linoleum, etchings, lithographs, samples of children's works in different techniques.
What did the artist do in our house? (summarizing the topic). The artist took part in the creation of all items in the house. He was helped by our “Masters of Image, Decoration and Construction”. Understanding the role of each of them. The shape of the object and its decoration. During the general lesson, you can organize a game of artists and spectators or a game of tour guides at an exhibition of works completed during the quarter. Three “Masters” are conducting a conversation. They tell and show what objects surround people at home in everyday life. Are there any objects at home that artists have not worked on? Understanding that everything connected with our life would not exist without the work of artists, without fine, decorative and applied arts, architecture, design, this should be the result and at the same time a discovery.
Topic 2. Art on the streets of your city (7-14 h)
It all starts "from the threshold of one's home." This quarter is dedicated to this “threshold”. And there is no Motherland without him. Not just Moscow or Tula - but precisely your native street, running “in front” of your house, well-trodden by your feet.
Architectural monuments - heritage of centuries
Studying and depicting an architectural monument, one’s native places.
Materials: tinted paper, wax crayons or gouache, white paper.
Literary series: materials related to the selected architectural monument.
Parks, squares, boulevards
Architecture, park construction. Image of the park. Recreational parks, museum parks, children's parks. Image of a park, square, collage possible.
Materials: colored, white paper, gouache or wax crayons, scissors, glue.
Visual range: view slides, reproductions of paintings.
Openwork fences
Cast iron fences in St. Petersburg and Moscow, in my hometown, wooden openwork architraves. Design of an openwork lattice or gate, cutting it out of folded colored paper and gluing it into a composition on the theme “Parks, squares, boulevards.”
Materials: colored paper, scissors, glue.
Visual range: slides of ancient fences in Moscow and St. Petersburg. Modern decorative grilles and fences in our cities.
Lanterns on the streets and in parks
What types of lanterns are there? The artist also creates the shape of the lanterns: a festive, ceremonial lantern, a lyrical lantern. Lanterns on city streets. Lanterns are the decoration of the city. Image or design of a paper lantern shape.
Materials
Shop windows
If you have extra time, you can make group three-dimensional layouts.
Materials: white and colored paper, scissors, glue.
Visual range: slides with decorated showcases. Children's work from previous years.
Transport in the city
The artist also participates in creating the shape of the machines. Cars from different times. The ability to see images in the form of machines. Invent, draw or build images of fantastic machines (land, water, air) out of paper.
Materials: white and colored paper, scissors, glue, graphic materials.
Visual range: photographs of transport. Slides of ancient transport. Reproductions from magazines.
What did the artist do on the streets of my city? (in my village)
The question must arise again: what would happen if our “Brother Masters” did not touch anything on the streets of our city? In this lesson from individual works one or more collective panels are created. This could be a panorama of a district street from several drawings glued together in a strip in the form of a diorama. Here you can place fences and lanterns, transport. The diorama is complemented by figures of people, flat cutouts of trees and bushes. You can play “tour guides” and “journalists”. The guides talk about their city, about the role of artists who create the artistic appearance of the city.
Topic 3. Artist and spectacle (10-20 h)
The "Master Brothers" have been involved in the performing arts since ancient times. But even today their role is irreplaceable. At the discretion of the teacher, you can combine most of the lessons on the topic with the idea of creating a puppet show, for which a curtain, scenery, costumes, dolls, and a poster are sequentially performed. At the end of the general lesson, you can arrange a theatrical performance.
Theater masks
Masks of different times and peoples. Masks in ancient images, in the theater, at a festival. Designing expressive, sharp-character masks.
Materials: colored paper, scissors, glue.
Visual range: photos of masks different nations and theatrical masks.
Artist in the theater
Fiction and truth of theatre. Theater Festival. Decorations and character costumes. Theater on the table. Creating a mock-up of the play's scenery.
Materials: cardboard box, multi-colored paper, paints, brushes, glue, scissors.
Visual range: slides from sketches of theater artists.
Literary series: selected fairy tale.
Puppet Theatre
Theater dolls. Petrushka Theater. Glove puppets, cane puppets, puppets. Artist's work on a doll. Characters. The image of the doll, its design and decoration. Making a doll in class.
Materials: plasticine, paper, scissors, glue, fabric, thread, small buttons.
Visual range: slides with images of theatrical puppets, reproductions from books about puppet theater, filmstrip.
theater curtain
The role of the curtain in the theater. Curtain and image of the performance. Sketch of a curtain for a performance (team work, 2-4 people).
Materials: gouache, brushes, large paper (can be from wallpaper).
Visual range: slides of theater curtains, reproductions from books about puppet theater.
Playbill, poster
The meaning of the poster. The image of the performance, its expression in the poster. Font. Image.
Sketch of a poster for the performance.
Materials: large format colored paper, gouache, brushes, glue.
Visual range: theater and circus posters.
The artist and the circus
The role of the artist in the circus. An image of a joyful and mysterious spectacle. Image of a circus performance and its characters.
Materials: colored paper, crayons, gouache, brushes.
How artists help make a holiday. The artist and the spectacle (summary lesson)
Holiday in the city. "Masters of Image, Decoration and Construction" help create the Holiday. Sketch of city decoration for the holiday. Organizing an exhibition of all works on the topic in the classroom. It will be great if you can put on a performance and invite guests and parents.
Topic 4. Artist and museum (8-16 h)
Having become acquainted with the role of the artist in our daily lives, with different applied forms of art, we end the year with a topic about art that is stored in museums. Every city can be proud of its museums. Museums of Moscow, St. Petersburg, and other Russian cities are custodians of the greatest works of world and Russian art. And every child should touch these masterpieces and learn to be proud that it is his hometown that stores such great works. They are kept in museums. In Moscow there is a museum - a shrine for Russian culture - the Tretyakov Gallery. First of all, we need to talk about it. Today the Hermitage and the Russian Museum play a huge role - centers of international artistic relations; there are many small, also interesting museums and exhibition halls.
However, the theme of "Museums" is broader. There are museums not only of art, but of all aspects of human culture. There are also “home museums” in the form of family albums telling about the history of the family, interesting stages life. There could be a home museum of toys, stamps, archaeological finds, or just personal memorabilia. All this is part of our culture. "Brothers-Masters" help in the competent organization of such museums.
Museums in city life
Various museums. The role of the artist in organizing the exhibition. The largest art museums: Tretyakov Gallery, Museum of Fine Arts. A.S. Pushkin, Hermitage, Russian Museum, museums of his native city.
Art that is housed in these museums
What is a "picture". Still life painting. Still life genre. Still life as a story about a person. Image of a still life by presentation, expression of mood.
Materials: gouache, paper, brushes.
Visual range: slides of still lifes with a pronounced mood (J.B. Chardin, K. Petrov-Vodkin, P. Konchalovsky, M. Saryan, P. Kuznetsov, V. Stozharov, V. Van Gogh, etc.).
Homework assignment: look at still lifes by different authors in a museum or at an exhibition.
Landscape painting
We look at famous landscapes: I. Levitan, A. Savrasov, N. Roerich, A. Kuindzhi, V. Van Gogh, K. Koro. An image of a landscape presented with a pronounced mood: a joyful and festive landscape; gloomy and dreary landscape; gentle and melodious landscape.
In this lesson, children will remember what mood can be expressed with cold and warm colors, dull and loud, and what can happen when they are mixed.
Materials: white paper, gouache, brushes.
Visual range: slides with examples of picturesque landscapes with a pronounced mood (V. Van Gogh, N. Roerich, I. Levitan, A. Rylov, A. Kuindzhi, V. Byalynitsky-Birulya).
Music series: The music in this lesson can be used to create a certain mood.
Portrait painting
Introduction to the portrait genre. Portrait from memory or idea (portrait of a friend, friend).
Materials: paper, gouache, brushes (or pastel).
Visual range: slides of picturesque portraits of F. Rokotov, V. Serov, V. Van Gogh, I. Repin.
Museums keep sculptures by famous masters
Learning to look at sculpture. Sculpture in the museum and on the street. Monuments. Park sculpture. Sculpting a human or animal figure (in motion) for a park sculpture.
Materials: plasticine, stacks, cardboard stand.
Visual range: slides from the sets “Tretyakov Gallery”, “Russian Museum”, “Hermitage” (works by A.L. Bari, P. Trubetskoy, E. Lansere).
Historical paintings and paintings of everyday life
Acquaintance with works of historical and everyday genre. An image representing a historical event (on the theme of Russian epic history or the history of the Middle Ages, or an image of one’s daily life: breakfast in the family, we play, etc.).
Materials: large sheet of colored paper, crayons.
Museums preserve the history of artistic culture, the creations of great artists (topic summary)
A “tour” through the exhibition of the best works of the year, a celebration of the arts with its own scenario. To summarize: what is the role of the artist in the life of every person.
4th grade (34-68 hours)
Every nation is an artist (image, decoration, construction
in the creativity of the peoples of the whole earth)
The goal of artistic education and training of a child in the 4th grade is to form an idea of the diversity of artistic cultures of the peoples of the Earth and the unity of people’s ideas about the spiritual beauty of man.
The diversity of cultures is not accidental - it always expresses the deep relationship of each people with the life of nature, in the environment of which its history takes shape. These relationships are not stationary - they live and develop over time, associated with the influence of one culture on another. This is the basis for the uniqueness of national cultures and their interconnection. The diversity of these cultures is the wealth of human culture.
The integrity of each culture is also the most important element of content that children need to experience. The child today is surrounded by a multifaceted disorder of cultural phenomena that comes to him through the media. A healthy artistic sense seeks order in this chaos of images, which is why each culture must be presented as a “whole artistic personality.”
Artistic representations must be presented as visible tales of cultures. Children are not yet ready for historical thinking. But they are characterized by a desire and sensitivity to a figurative understanding of the world, correlated with consciousness expressed in folk arts. Here the truth of the artistic image “should” dominate.
By becoming familiar, through co-creation and perception, with the origins of the culture of their people or other peoples of the Earth, children begin to feel themselves participants in the development of humanity, opening the way for themselves to further expand their sensitivity to the riches of human culture.
The variety of ideas of different peoples about beauty is revealed in the process of comparing native nature, labor, architecture, human beauty with the culture of other peoples.
The year's educational assignments provide for further development of skills in working with gouache, pastel, plasticine, and paper. The tasks of labor education are organically connected with artistic ones. In the process of mastering the skills of working with a variety of materials, children come to understand the beauty of creativity.
In the 4th grade, the importance of collective work in the educational process increases. Musical and literary works play a significant role in the 4th grade curriculum, allowing one to create a holistic understanding of the culture of the people.
Topic 1. The origins of the arts of your people (8-16 h)
Practical work in lessons should combine individual and collective forms.
Landscape of the native land
Characteristic features, originality of the native landscape. An image of the landscape of your native country. Revealing its special beauty.
Materials: gouache, brushes, crayons.
Visual range: slides of nature, reproductions of paintings by Russian artists.
Music series: Russian folk songs.
Image of a traditional Russian house (huts)
Acquaintance with the design of the hut, the meaning of its parts.
Exercise: paper modeling (or modeling) of a hut. Individual-team work.
Material: paper, cardboard, plasticine, scissors, stacks.
Visual range: slides of wooden ensembles of ethnographic museums.
Homework assignment: find images of a Russian village and its buildings.
Decorations of wooden buildings and their meaning
Unity in the work of the "Three Masters". Magical ideas as poetic images of the world. Izba is an image of a person’s face; the windows - the eyes of the house - were decorated with platbands; facade - "brow" - frontal plate, piers. Decoration of “wooden” buildings created in the last lesson (individually and collectively). Additionally - an image of a hut (gouache, brushes).
Materials: white, tinted or wrapping paper, scissors, glue or plasticine for three-dimensional buildings.
Visual range: slides from the series “Ethnographic Museums”, “Russian Folk Art”, “Wooden Architecture of Rus'”.
Music series: V. Belov "Lad".
Village - wooden world
Acquaintance with Russian wooden architecture: huts, gates, barns, wells... Wooden church architecture. Picture of a village. Collective panel or individual work.
Materials: gouache, paper, glue, scissors.
Image of human beauty
Each nation has its own image of female and male beauty. Traditional clothing expresses this. The image of a man is inseparable from his work. He combines ideas about the unity of mighty strength and kindness - a good fellow. In the image of a woman, the understanding of her beauty always expresses people’s ability to dream, the desire to overcome everyday life. Beauty is also a talisman. Female images are deeply connected with the image of a bird - happiness (swan).
Image of female and male folk images individually or for a panel (pasted into the panel by the group of the main artist). Please note that the figures in children's works should be in motion and not resemble an exhibition of clothes. Additional lessons include making dolls similar to folk rag or stucco figures for an already created “village”.
Materials: paper, gouache, glue, scissors.
Visual range: slides of materials from ethnographic museums, books about folk art, reproductions of works by artists: I. Bilibin, I. Argunov, A. Venetsianov, M. Vrubel, etc.
Literary series: fragments from epics, Russian fairy tales, excerpts from Nekrasov’s poems.
Music series: folk songs.
Homework assignment: find images of male and female images of labor and celebration.
National holidays
The role of holidays in people's lives. Calendar holidays: autumn harvest festival, fair. A holiday is an image of an ideal, happy life.
Creation of works on the theme of a national holiday with a generalization of the material on the topic.
Materials: glued wallpaper for panels or sheets of paper, gouache, brushes.
Visual range: B. Kustodiev, K. Yuon, F. Malyavin, works of folk decorative art.
Literary series: I. Tokmakova "Fair".
Music series: R. Shchedrin "Mischievous ditties", N. Rimsky-Korsakov "Snow Maiden".
Topic 2. Ancient cities of your land (7-14 h)
Every city is special. It has its own unique face, its own character, each city has its own special destiny. Its buildings in their appearance captured the historical path of the people, the events of their life. The word “city” comes from “to fence off”, “to fence off” with a fortress wall - to fortify. On high hills, reflected in rivers and lakes, cities grew with white walls, domed churches, and the ringing of bells. There are no cities like this anywhere else. Reveal their beauty, the wisdom of their architectural organization.
Old Russian city - fortress
Assignment: study the designs and proportions of fortress towers. Construction of fortress walls and towers from paper or plasticine. A pictorial option is possible.
Materials: according to the selected task option.
Ancient cathedrals
Cathedrals embodied the beauty, power and strength of the state. They were the architectural and semantic center of the city. These were the city's shrines.
Acquaintance with the architecture of the ancient Russian stone temple. Design, symbolism. Paper construction. Teamwork.
Materials: paper, scissors, glue, plasticine, stacks.
Visual range: V. Vasnetsov, I. Bilibin, N. Roerich, slides “Walk through the Kremlin”, “Cathedrals of the Moscow Kremlin”.
The ancient city and its inhabitants
Modeling of the entire residential population of the city. Completion of the “construction” of the ancient city. Possible variant: image of an ancient Russian city.
Old Russian warriors - defenders
Image of ancient Russian warriors of the princely squad. Clothes and weapons.
Materials: gouache, paper, brushes.
Visual range: I. Bilibin, V. Vasnetsov, illustrations for children's books.
Ancient cities of the Russian land
Moscow, Novgorod, Pskov, Vladimir, Suzdal and others.
Getting to know the uniqueness of different ancient cities. They are similar and dissimilar to each other. Depiction of different characters of Russian cities. Practical work or conversation.
Materials: for graphic techniques - crayons, for monotype or painting - gouache, brushes.
Patterned towers
Images of chamber architecture. Painted interiors. Tiles. Image of the interior of the chamber - preparing the background for the next task.
Materials: paper (tinted or colored), gouache, brushes.
Visual range: slides “Ancient Chambers of the Moscow Kremlin”, V. Vasnetsov “Chambers of Tsar Berendey”, I. Bilibin, A. Ryabushkin reproductions of paintings.
Festive feast in the chambers
Collective applicative panel or individual images of a feast.
Materials: glued wallpaper for panels and sheets of paper, gouache, brushes, glue, scissors.
Visual range: slides of the Kremlin and chambers, V. Vasnetsov illustrations for Russian fairy tales.
Literary series: A. Pushkin "Ruslan and Lyudmila".
Music series: F. Glinka, N. Rimsky-Korsakov.
Topic 3. Every nation is an artist (11-22 h)
"Master Brothers" lead children from meeting the roots of their native culture to understanding the diversity of artistic cultures of the world. The teacher can choose the optimal cultures in order to have time to live them interestingly with the children. We propose three in the context of their connections to culture modern world. This is the culture of Ancient Greece, medieval (Gothic) Europe and Japan as an example of the culture of the East, but the teacher can take Egypt, China, India, the cultures of Central Asia, etc. for study. It is important for children to realize that the world of artistic life on Earth is extremely diverse - and this is very interesting and joyful. Through art we become familiar with the worldview, the soul of different peoples, we empathize with them, and become spiritually richer. This is exactly what needs to be developed in such lessons.
The artistic cultures of the world are not the history of the arts of these peoples. This is the spatial-objective world of culture, in which the soul of the people is expressed.
There is a convenient methodological and playful way to avoid studying history, but to see the holistic image of culture: the journey of a fairy-tale hero through these countries (Sadko, Sinbad the Sailor, Odysseus, the Argonauts, etc.).
Each culture is viewed according to four parameters: the nature and character of buildings, people in this environment and holidays of peoples as an expression of ideas about the happiness and beauty of life.
An image of the artistic culture of Ancient Greece
Lesson 1 - the ancient Greek understanding of human beauty - male and female - using the example of sculptural works of Myron, Polykleitos, Phidias (man is the “measure of all things”). The dimensions, proportions, and designs of the temples were harmoniously related to man. Admiration for a harmonious, athletic person is a feature of the worldview of the people of Ancient Greece. Images of figures of Olympic athletes (figures in motion) and procession participants (figures in clothes).
Lesson 2 - human harmony with the surrounding nature and architecture. The idea of Doric (“masculine”) and Ionic (“feminine”) order systems as the nature of proportions in the construction of a Greek temple. Images of Greek temples (semi-volumetric or flat applications) for panels or three-dimensional paper modeling.
Lesson 3 - ancient Greek holidays (panels). This could be the Olympic Games or the festival of the Great Panathenaia (a solemn procession in honor of human beauty, physical perfection and strength, which the Greeks worshiped).
Materials: gouache, brushes, scissors, glue, paper.
Visual range: slides of the modern appearance of Greece, slides of works of ancient Greek sculptors.
Literary series: myths of Ancient Greece.
Image of Japanese artistic culture
Depiction of nature through details typical of Japanese artists: a tree branch with a bird, a flower with a butterfly, grass with grasshoppers, dragonflies, a branch of cherry blossoms against a background of fog, distant mountains...
Image of Japanese women in national clothes (kimono) with transfer characteristic features faces, hairstyles, wave-like movement, figures.
Collective panel "Cherry Blossom Festival" or "Chrysanthemum Festival". Individual figures are made individually and then glued into the overall panel. The "main artist" group is working on the background.
Materials: large sheets of paper for group work, gouache, pastel, pencils, scissors, glue.
Visual range: engravings by Utamaro, Hokusai - female images, landscapes; slides of modern cities.
Literary series: Japanese poetry.
An image of the artistic culture of medieval Western Europe
Craft shops were the main strength of these cities. Each workshop had its own clothes, its own insignia, and its members were proud of their skill, their community.
Work on the panel “Festival of Crafts Workshops in the City Square” with the preparatory stages of studying architecture, human clothing and his environment (objective world).
Materials: large sheets of paper, gouache, pastel, brushes, scissors, glue.
Visual range: slides of Western European cities, medieval sculpture and clothing.
Diversity of artistic cultures in the world (topic summary)
An exhibition, a conversation - consolidating in the minds of children the theme of the quarter “Every nation is an artist” as the leading theme of all three quarters of this year. The result is not memorization of names, but the joy of sharing discoveries of other cultural worlds that children have already lived through. Our three “Brother-Masters” in this lesson should help the teacher and children not study, memorize monuments, but understand the differences in their work in different cultures - help them understand why buildings, clothes, decorations are so different.
Topic 4. Art unites peoples (8-16 hours)
The last quarter of this grade completes the elementary school program. The first stage of training ends. The teacher needs to complete the main lines of the child’s understanding of art.
The themes of the year introduced children to the richness and diversity of peoples’ ideas about the beauty of life phenomena. Everything is here: an understanding of nature, the connection of buildings with it, clothing and holidays - everything is different. We had to realize: this is precisely what is wonderful, that humanity is so rich in different artistic cultures and that it is no coincidence that they are different. In the fourth quarter, the tasks fundamentally change - they are, as it were, opposite - from ideas about great diversity to ideas about the unity for all peoples of understanding the beauty and ugliness of the fundamental phenomena of life. Children should see that, no matter how different they are, people remain people, and there is something that is perceived by all peoples of the Earth as equally beautiful. We are one tribe of the Earth, despite all our differences, we are brothers. Common to all peoples are ideas not about external manifestations, but about the most profound, not subordinate external conditions nature and history.
All nations sing of motherhood
Every person in the world has a special relationship with their mother. In the art of all nations there is a theme of glorifying motherhood, the mother who gives life. There are great works of art on this topic, understandable and common to all people. Children, according to their presentation, portray mother and child, trying to express their unity, their affection, their relationship to each other.
Materials
Visual range: “Our Lady of Vladimir”, Raphael “Sistine Madonna”, M. Savitsky “Partisan Madonna”, B. Nemensky “Silence”, etc.
Music series: lullaby.
All nations sing of the wisdom of old age
There is external and internal beauty. The beauty of spiritual life. Beauty in which life experience is expressed. The beauty of the connection between generations.
Assignment to depict a beloved elderly person. The desire to express his inner world.
Materials: gouache (pastel), paper, brushes.
Visual range: portraits of Rembrandt, self-portraits of V. Tropinin, Leonardo da Vinci, El Greco.
Empathy is the great theme of art
Since ancient times, art has sought to evoke the empathy of the viewer. Art affects our feelings. Depiction of suffering in art. Through art, the artist expresses his sympathy for those who suffer, teaches them to empathize with other people's grief and suffering.
Exercise: a drawing with a dramatic plot invented by the author (a sick animal, a dead tree).
Materials: gouache (black or white), paper, brushes.
Visual range: S. Botticelli "Abandoned", Picasso "Beggars", Rembrandt "Return of the Prodigal Son".
Literary series: N. Nekrasov “Children’s Crying”.
Heroes, fighters and defenders
In the struggle for freedom and justice, all peoples see a manifestation of spiritual beauty. All nations sing praises to their heroes. Every nation has many works of art - painting, sculpture, music, literature - dedicated to this topic. Heroic theme in the art of different nations. Sketch of a monument to a hero chosen by the author (child).
Materials: plasticine, stacks, board.
Visual range: monuments to heroes of different nations, monuments of the Renaissance, sculptural works of the 19th and 20th centuries.
Youth and hopes
Theme of childhood and youth in art. An image of the joy of childhood, dreams of happiness, of exploits, travels, discoveries.
Art of the peoples of the world (topic summary)
Final exhibition of works. Public lesson for parents, teachers. Discussion.
Materials: paper for designing works, glue, scissors, etc.
Visual range: the best works for the year or for the entire primary school, collective panels, art history material collected by children on topics.
Literary and musical series: at the discretion of the teacher as an illustration to the guides’ messages.
As a result of studying the program, students:
- master the basics of primary ideas about three types of artistic activity: image on a plane and in volume; construction or artistic design on a plane, in volume and space; decoration or decorative artistic activity using various artistic materials;
- acquire primary skills in artistic work in the following types arts: painting, graphics, sculpture, design, the beginnings of architecture, arts and crafts and folk art forms;
- develop their observational and cognitive abilities, emotional responsiveness to aesthetic phenomena in nature and human activity;
- develop fantasy and imagination, manifested in specific forms of creative artistic activity;
- master the expressive capabilities of artistic materials: paints, gouache, watercolors, pastels and crayons, charcoal, pencil, plasticine, construction paper;
- acquire primary skills in artistic perception of various types of art; an initial understanding of the features of figurative language of different types of art and their social role - meaning in human life and society;
- learn to analyze works of art; acquire knowledge of specific works of outstanding artists in various forms of art; learn to actively use artistic terms and concepts;
- master the initial experience of independent creative activity, and also acquire skills of collective creativity, the ability to interact in the process of joint artistic activity;
- acquire primary skills in depicting the objective world, depicting plants and animals, initial skills in depicting space on a plane and spatial structures, primary ideas about depicting a person on a plane and in volume;
- acquire communication skills through the expression of artistic meanings, the expression of an emotional state, their attitude to creative artistic activity, as well as when perceiving works of art and the creativity of their comrades;
- acquire knowledge about the role of the artist in various spheres of human life, about the role of the artist in organizing forms of communication between people, creating the living environment and the objective world;
- acquire ideas about the artist’s activities in synthetic and spectacular forms of art (theater and cinema);
- acquire primary ideas about the richness and diversity of artistic cultures of the peoples of the Earth and the foundations of this diversity, about the unity of emotional and value relations to the phenomena of life.
2.2. Design of a school arts education program.
This diagram reveals the content of the program - its “three stages”.
The first stage - the primary school - is like the pedestal of the entire building - it is composed of four steps and is of fundamental importance. Without receiving the development laid out here, it is (almost) useless to gain knowledge of the following stages. They may turn out to be external and not part of the personality structure. We constantly repeat to teachers: no matter what grade you start working with unprepared, “raw” children, you need to start from this stage.
And here the content of the first two classes is especially significant - they cannot be bypassed, they lay the foundations of the entire course, all stages of the formation of artistic thinking.
Skipping the basics laid out here is like missing a basic introduction to the existence of numbers in mathematics, with the ability to add and subtract them. Although more complex foundations of art are also laid here.
As the diagram suggests, the first stage, the primary classes, are aimed at emotional involvement in the connections between art and life. In general, this problem is the basis of the essence of the program. Art is cognized precisely in this connection: its role in the life of each of us is recognized and the means - the language through which art performs this function - are realized.
At the first stage, the arts are not divided into types and genres - their vital roles are learned, as it were, from the personality of the child into the vastness of the cultures of the peoples of the Earth.
The second stage is completely different. Here we can trace connections with the life of precisely the types and genres of art. A large block, at least a year long, is dedicated to each person. Immersion in feelings and thoughts and awareness of the peculiarities of the language of each type of art and the reasons for this peculiarity, the uniqueness of the spiritual, social function, role in human life and society. Year - decorative and applied arts. Two years - fine arts. The year is constructive. Ninth grade - synthetic arts.
And the third stage is completing secondary education. Here everyone needs to be given a fairly serious level of knowledge of art history, either in the “World Artistic Culture” course, or in courses in parallel programs of plastic arts, music, literature, and cinema. Each option has its advantages and disadvantages.
But in parallel with this theoretical course, it would be necessary to give, at the student’s choice, but specifically to each one, one of the practical courses: “fine arts”, “decorative”, “design”, “fundamentals of entertainment culture”. Only by creating such a dual unity of theoretical and practical at the stage of completing general education will we be able to compete with economically developed countries in the economy (and in culture). This route to completing secondary education, for example, has been in effect in Japan for more than fifty years.
Today we pose the problem of the connection between the arts and the worldview. But its connections with the economy are no less significant. It is this aspect that is emphasized by specialists from different countries, where art is given scope (up to six hours a week).
This program is designed for 1-2 study hours on each topic. Optimally, the implementation of all topics should take at least two hours (double lesson).
However, with clear use of the developed methodology, it is possible (albeit weakened) to conduct classes on the topic in one lesson. It all depends on the school's understanding of the role of arts education.
Conclusion
In the formation of a child’s personality, various types of artistic and creative activities are invaluable: drawing, modeling, cutting out figures from paper and gluing them, creating various designs from natural materials, etc.
Such activities give children the joy of learning and creativity. Having experienced this feeling once, the child will strive to tell in his drawings, applications, and crafts about what he learned, saw, and experienced.
The visual activity of a child, which he is just beginning to master, needs qualified guidance from an adult.
But in order to develop in each student the creative abilities inherent in nature, the teacher must himself understand the fine arts, children’s creativity, and master the necessary methods of artistic activity. The teacher must lead all processes associated with the creation of an expressive image: with the aesthetic perception of the object itself, the formation of an idea about the properties and general appearance of the object, cultivating the ability to imagine based on existing ideas, mastering the expressive properties of colors, lines, shapes, and children’s embodiment of their ideas in a drawing. , modeling, appliqués, etc.
Thus, in the process of visual activity, various aspects of education are carried out: sensory, mental, aesthetic, moral and labor. This activity is of primary importance for aesthetic education; It is also important for preparing children for school.
It should be emphasized that the comprehensive development of the student can be ensured only if the teacher’s attention is directed to solving this problem, if the visual arts training program is implemented, and the correct and varied methodology is used.
Bibliography
- Alekseeva O., Yudina N. Integration in fine arts. // Elementary School. - 2006. - No. 14.
- Arnheim R. Art and visual perception. - M.: Architecture-S, 2007. - 392 p.
- Bazhov Encyclopedia. Edited by Blazhes V.V. - Ekaterinburg: Socrates, 2007. - 639 p.
- Bashaeva T.V. Development of perception in children. Shape, color, sound. - Yaroslavl: Academy of Development, 1998. - 239 p.
- Blonsky P.P. Psychology of junior schoolchildren. - M.: Academy of Psychological and Social Sciences, 2006. - 631 p.
- Bogoyavlenskaya D.B. Psychology of creativity. - M.: Academy, 2002. - 320 p.
- Grigorovich L.A. Development of creative potential as relevant pedagogical problem. - Chelyabinsk, 2006.
- Gin S.I. World of fantasy (methodological manual for primary school teachers). - Gomel, 2003.
- Musiychuk M.V. Workshop on developing personal creativity. - MGPI, 2002. P. 45
- Sokolnikova N.M. Fine art and methods of teaching it in elementary school. - M., 2007.
Bibliographic description:
Nesterova I.A. Methods of teaching fine art [Electronic resource] // Educational encyclopedia website
They come down to learning the ability to see and feel the expressiveness of drawings and modeling. This is one of the important tasks facing a fine arts teacher. At the same time, the nature of the adult’s questions and comments should provide a certain emotional response in the souls of children. Let's consider verbal methods of teaching fine art.
General methods of teaching art
General methods are used depending on the type of lesson. For example, in plot drawing, when children are taught to convey a plot, during the conversation it is necessary to help children imagine the content of the image, composition, features of conveying movement, color characteristics image, that is, think through visual means to convey the plot. The teacher clarifies with the children some technical techniques of work and the sequence of creating an image. Depending on the content of the image: on a literary work, on topics from the surrounding reality, on a free topic - the conversation methodology has its own specifics.
So, when drawing on the theme of a literary work, it is important to remember its main thought, idea; emotionally revive the image, read the lines of a poem, fairy tale, characterize the appearance of the characters; remember their relationship; clarify the composition, techniques and sequence of work.
Drawing or sculpting on themes from the surrounding reality requires revitalization life situation, reproducing the content of events, settings, clarifying means of expression; compositions, details, methods of conveying movement, etc., clarifying the techniques and sequence of the image.
When drawing on a free topic, preliminary work with children is necessary to revive the students' impressions. Then the teacher invites some children to explain their plan: what they will draw (blind), how they will draw, so that it is clear to others where they will place this or that part of the image. The teacher clarifies some technical techniques using the example of children's stories.
In lessons where the content of the image is a separate subject, verbal art teaching methods often accompany the process of viewing it. In this case, during the conversation, it is necessary to evoke an active, meaningful perception of the object by children, help them understand the features of its structural form, and determine the uniqueness of color and proportional relationships. The nature and content of the teacher’s questions should aim the children to establish dependencies between its functional purpose or the characteristics of living conditions: nutrition, movement, protection. Completing these tasks is not an end in itself, but a means of forming generalized ideas necessary for the development of independence, activity, and initiative of children when creating an image. The richer the children’s experience, the higher the degree of mental and verbal activity of schoolchildren in conversations of this kind.
Special methods of teaching art
At the end of the lesson, you need to help children feel the expressiveness of the images they created. For this purpose special art teaching methods.
Explanation is a verbal way of influencing the consciousness of children, helping them understand and learn what and how they should do during the lesson and what they should get as a result.
The explanation is given in a simple, accessible form to the whole class or individual children at the same time. Explanation is often combined with observation, showing ways and techniques of performing work.
Advice - used in cases where a child finds it difficult to create an image.
But you shouldn't rush to give advice. Children who work at a slow pace and are able to find a solution to this issue often do not need advice. In these cases, the advice does not contribute to the growth of independence and activity of children.
Reminders in the form of brief instructions are an important teaching technique. It is usually used before the imaging process begins.
Most often we are talking about the sequence of work. This technique helps children start drawing (sculpting) on time, plan and organize activities.
Encouragement is a methodological technique that should be used more often when working with children. This technique instills confidence in children, makes them want to do the job well, and makes them feel successful.
The feeling of success encourages activity and keeps children active. Of course, the older the children, the more objectively justified the experience of success should be.
Separately, it is worth highlighting such a method of teaching fine arts as artistic expression, which is widely used in fine arts classes. The artistic word arouses interest in the topic, the content of the image, and helps to attract attention to children's works. The unobtrusive use of artistic words during the lesson creates an emotional mood and enlivens the image.
The Importance of Fine Arts Teaching Methods
Methods of teaching fine arts combine mental and physical activity. To create a drawing, sculpting, applique, it is necessary to apply effort, carry out labor actions, master the skills of sculpting, cutting, drawing an object of one shape or another structure, as well as master the skills of handling scissors, a pencil and a brush, clay and plasticine. Proper mastery of these materials and tools requires a certain cost physical strength, labor skills. The assimilation of skills and abilities is associated with the development of such volitional personality traits as attention, perseverance, and endurance. Children are taught the ability to work hard and achieve the desired result.
The formation of hard work and work skills is also facilitated by the participation of children in preparing for classes and cleaning up after them. Methods of teaching fine art are not directly related to this fact, but still in practice, all preparation for a lesson is often entrusted to the duty officers. This is not true. At school, each child must prepare his own workplace, and it is important that he is accustomed to this. It is necessary to develop work skills in everyone already in kindergarten, teach them to start work only when they have prepared everything.
The main significance of teaching methods in fine arts is that fine arts is a means of aesthetic education. In the process of visual activity, they are created favorable conditions for the development of aesthetic perception and emotions, which gradually turn into aesthetic feelings that contribute to the formation of an aesthetic attitude to reality. Identification of the properties of objects (shape, structure, size, color, location in space) contributes to the development in children of a sense of form, color, rhythm - components of an aesthetic sense.
Aesthetic perception is directed primarily at the object as a whole, at its aesthetic appearance - harmony of form, beauty of color, proportionality of parts, etc. At different levels of child development, aesthetic perception has different content. Therefore, when using teaching methods in art lessons, this fact must be taken into account. But a holistic aesthetic perception, imbued with an aesthetic sense of beauty, is not yet sufficient to create an image. Acquaintance with the object that will then be depicted must have a special character. After a holistic perception, children should be led to isolate individual properties that can be reflected in visual activity. However, it is very important to complete the perception with a holistic coverage of the object in the totality of all its basic properties and evaluate its appearance, its expressive qualities. For example, having carefully examined a birch tree, the thickness of the trunk, the direction of the branches, the color of both, one should again emphasize its slenderness, the thinness of the branches, and their smooth bend. In this case, an aesthetic feeling arises again.
The observation method underlies the entire system of teaching fine arts. The success of the development of their creative abilities depends on how well children develop their ability to observe their surroundings, establish connections between phenomena of reality, and identify the general and the individual. E.A. made a great contribution to its development. Flerina, N.P. Sakulina, L.A. Raeva. (37, 45)
But observations before class alone will not fully ensure the possibility of depicting what was seen. It is necessary to teach the child special techniques of depiction, ways of using various visual materials. Only in the process of systematic learning in the classroom are children’s abilities fully formed.
In kindergarten, visual arts classes use a variety of methods and techniques, which can be divided into visual and verbal. A special, kindergarten-specific group of techniques consists of gaming techniques. They combine the use of visuals and the use of words.
The teaching method, according to the definition accepted in pedagogy, is characterized by a unified approach to solving a given task and determines the nature of all activities of both the child and the teacher in a given lesson.
A teaching method is a more private, auxiliary means that does not determine all the specifics of activity in the lesson, but has only a narrow educational significance.
Sometimes individual methods can act as only a technique and do not determine the direction of work in the lesson as a whole. For example, if reading a poem (story) at the beginning of a lesson had only the goal of arousing interest in the task and attracting the attention of children, then in this case the reading served as a technique to help the teacher in solving a narrow task - organizing the beginning of the lesson.
Visual methods and techniques of teaching.
Visual methods and techniques of teaching include the use of nature, reproductions of paintings, samples and other visual aids; examination of individual objects; demonstration by the teacher of image techniques; display of children's work at the end of the lesson, during their assessment.
Use of nature. In fine art, life is understood as an object or phenomena that is depicted through direct observation. Working from life involves depicting an object from a certain point of view, in the position in which it is in relation to the eye of the artist. This feature of the image from life also determines the originality of perception during the lesson. The main thing here will be visual perception, and when depicted on a plane (drawing, appliqué), the object is perceived only from one side; When modeling and designing, children should be able to rotate the nature and analyze the three-dimensional form in various turns.
The ability to perceive an object in the totality of its qualities is already characteristic of a child of primary preschool age. However, the need to depict an object from life requires the ability to analyze the relationship of parts and their location in space. Psychologists believe that a preschool child is capable of such analytical-synthetic perception only under the condition of proper pedagogical guidance.
Nature, first of all, facilitates the work of memory, since the process of imagery is combined with perception; helps the child to correctly understand and convey the shape and structure of an object, its color. Despite the ability of 4-5 year old children to make a simple analysis of image objects, working from life at this age has its differences from the use of nature by schoolchildren and artists.
When perceiving an object, the child must show its volume (give a two-dimensional image of a three-dimensional nature on a plane), which is associated with the use of light and shade, conveying perspective changes in the object, and showing complex angles. These image techniques are not available to preschoolers. Therefore, objects of simple shape that have clear outlines and divisions of parts are selected as nature for them.
The nature is placed so that all children perceive it from the most characteristic side. The teacher should examine nature in detail with the children, guiding and facilitating the process of analysis with words and gestures. This process requires a certain culture of education and developed analytical thinking. Such skills begin to develop in children 5-6 years old. At this age, they learn to compare and correct their work when drawing in accordance with nature. For example, in the older group, when depicting a spruce branch from life, children convey the location of the branch in space (oblique or vertical), the number and size of branches on the left and right, and draw thick needles in a dark or light tone.
Leaves, branches, flowers, fruits, as well as toys depicting people, animals, and vehicles can be used as nature.
Thus, the use of nature as a teaching method covers the entire process of depiction: initial analysis of the subject, comparison of the image with nature in shape, position, color, evaluation of the results of the work by comparing the drawing and nature.
Sometimes nature can be used as a private technique and not affect the nature of the lesson as a whole. For example, in the process of drawing according to plan, a child asks for help in depicting an object. The teacher places in front of the child the necessary toy, which is used as a model. In general, the work on the image will be determined by the content of the plan. Nature will only help to implement it better.
Examination of objects at the beginning of the lesson. In junior and middle groups, individual items are often shown at the beginning of classes. Children examining a ball, ribbons, a shovel, etc. carried out in order to attract children's attention to the task and revive their ideas. During the rest of the lesson, children draw from ideas and do not return to the perception of objects.
In the older group, there is also a need to introduce some items for consideration. For example, before drawing or sculpting on the theme of the fairy tale “The Three Bears,” the teacher invites children to examine a toy bear, highlight the features of the shape and proportions of individual parts, and trace the change in their location depending on the rotation of the object. Each child depicts a bear in the position that corresponds to the episode chosen for the drawing.
Using a sample. A model, like nature, can act as a method and as a separate teaching technique.
In those types of visual activities where the main goal is not to consolidate impressions from the perception of the environment, but the tasks are to develop individual aspects of this activity (usually in decorative and constructive works), the model is used as a teaching method.
Thus, the main goal of decorative drawing and appliqué classes is to learn how to create a pattern and develop artistic taste. Children look at beautiful objects: carpets, vases, embroidery, etc., which increases the overall aesthetic culture. In decorative drawing classes, children not only reflect their impressions of these objects and repeat the patterns they see on them, but also learn to create a pattern on their own, to make beautiful combinations of shapes and colors. Therefore, at the initial stage of training, it is possible to copy the elements of a pattern from a sample, borrowing the principles of arrangement of elements and color combinations.
Sometimes several samples may be included for selection if children have already mastered a skill.
The use of samples is determined by the objectives of this lesson. So, a sample can be offered without special instructions from the teacher; the children, having examined it, do the work independently. In this case, the use of the sample will contribute to the development of the child’s analytical-synthetic thinking.
Sometimes a model acts as a teaching technique. For example, in object drawing or modeling, a sample is used not for the purpose of copying, but to clarify children’s ideas about the object being depicted.
The use of samples with simplified, schematic images has a negative effect on the development of children’s creative abilities. Simplifying the image to a diagram only creates an apparent simplification of the task assigned to the children. The diagram does not correspond to the child’s specific idea of the object, since it lacks characteristic details by which the preschooler recognizes the object.
You should not replace the idea formed on the basis of a specific perception with a flat schematic image, devoid of individual features. Such a scheme will not help the child highlight the main thing in the subject, but will simply replace the image of a specific subject.
Using such examples, the teacher forgets about such an educational task of visual activity as consolidating children’s ideas about the surrounding reality.
Training at constant use ready-made schematic samples ultimately boil down to a narrow task - developing the ability to create simple forms. Training the hand in creating such a form is isolated from the work of consciousness. As a result, patterns appear in children's drawings: a house with a triangular roof, birds in the form of checkmarks, etc. This impoverishes the child’s drawing, the once and for all acquired schematic form eliminates the need for further observations, and visual activity is divorced from reality. An unconsciously acquired schematic image often loses its resemblance to a real object, as the child repeats the learned forms without thinking. For example, a “tick” bird turns its wings down or to the side when depicted.
Use of paintings. Pictures are used mainly to clarify children’s ideas about the surrounding reality and to explain the means and methods of depiction.
The painting, as an artistic image, vividly and emotionally conveys the image.
The means of artistic expression with which the artist creates a work of art provide a visually perceived image. Research by psychologists and teachers has shown that children as young as two years old can understand a picture as an image of an object. The connection between the characters in the picture, i.e. understanding of the action is realized somewhat later, at the age of 4-5 years.
Observations of the surrounding reality are often short-term (for example, observations of animals in a city). Therefore, the use of a picture will not only ensure repetition of perception, but also highlight the main thing characteristic of the subsequent image.
Looking at paintings can be recommended in cases where the desired object is not available, and can also serve as a means of introducing children to certain techniques for depicting on a plane. For example, a teacher shows a picture to explain the image of distant objects that in life the child perceived to be located on flat ground. For this purpose, the picture can be used in work with children six years old; they already have an understanding of this method of depiction. Looking at the picture, the child sees that the earth is represented not by one line, but by a wide strip, and distant objects are located above, close ones - below, to the edge of the sheet.
In order for the child to understand the technique used by the artist, it is necessary to explain it, since in the picture the child perceives only the final result. It is more expedient to carry out such examination and analysis of the picture before the lesson or at the beginning of it.
A picture left in front of children throughout the lesson can lead to mechanical copying. Copying at this age brings great harm- inhibits the development of visual skills. It is impossible for a preschooler to understand all the techniques and visual means used by the artist, so he will draw without understanding why it was drawn this way and not otherwise.
Sometimes during the lesson it becomes necessary to show some children a picture to clarify some detail. Then the picture is removed, since its further perception will lead to copying. This technique should be used with caution.
The teacher shows how to work. The kindergarten program establishes the scope of visual skills that children must master in the learning process. Mastering a relatively small range of skills will enable the child to depict a wide variety of objects. For example, in order to draw a house, you need to know the techniques of depicting a rectangular shape, i.e. be able to connect lines at right angles. The same techniques will be required to depict a car, train, or any other object that has a rectangular outline.
The teacher's demonstration of image methods is a visually effective technique that teaches children to consciously create the desired form based on their specific experience. Demonstration can be of two types: demonstration by gesture and demonstration of image techniques. In all cases, the demonstration is accompanied by verbal explanations.
The gesture explains the location of the object on the sheet. The movement of a hand or a pencil stick on a sheet of paper is often enough for children even 3-4 years old to understand the tasks of the image. A gesture can restore in the child’s memory the basic shape of an object, if it is simple, or its individual parts.
It is effective to repeat the movement with which the teacher accompanied his explanation during perception. Such repetition facilitates the reproduction of connections formed in consciousness. For example, when observing children during the construction of a house, the teacher gestures to show the contours of the buildings under construction, emphasizing their upward direction. He repeats the same movement at the beginning of the lesson, in which the children draw a high-rise building.
A gesture that reproduces the shape of an object helps memory and allows you to show the movement of the hand of the drawer during the image. The smaller the child, the more important the demonstration of hand movements is in his learning.
The preschooler does not yet fully control his movements and therefore does not know what movement will be required to depict this or that form.
There is also a well-known technique when a teacher in a younger group makes an image together with the child, leading his hand.
With a gesture you can outline the entire object if its shape is simple (a ball, a book, an apple), or the details of the shape (the arrangement of branches in a spruce tree, the bend of the neck in birds). The teacher demonstrates smaller details in drawing or modeling.
The nature of the demonstration depends on the tasks that the teacher sets in this lesson.
Showing an image of the entire object is given if the task is to teach how to correctly depict the basic shape of the object. Typically this technique is used in the younger group. For example, to teach children to draw round shapes, the teacher draws a ball or an apple, explaining his actions.
If, when depicting an object, it is necessary to accurately convey the sequence of drawing a particular detail, then a holistic display of the entire object can also be given. With such a demonstration, it is desirable that the teacher involve the children in analyzing the subject with the question: “What should we draw now?”
In teaching children of older groups, partial display is more often used - the image of a detail or an individual element that preschoolers do not yet know how to depict. For example, children 4-5 years old draw a tree trunk in the form of a triangle with a wide base. This mistake is sometimes caused by the teacher’s explanation: “The tree trunk is narrow at the top and wide at the bottom,” and the children literally follow this instruction. The teacher should, along with verbal instructions, show a picture of a tree trunk.
In a preparatory school drawing group on the theme “Beautiful House,” the teacher shows on the board how different the shapes of windows and doors can be. Such a display does not limit the child’s ability to create the entire drawing.
During repeated exercises to consolidate skills and then use them independently, demonstrations are given only on an individual basis to children who have not mastered a particular skill.
Constantly demonstrating how to complete a task will teach children to wait for instructions and help from the teacher in all cases, which leads to passivity and inhibition of thought processes. A teacher's demonstration is always necessary when explaining new techniques.
Analysis of children's works. The development of analytical thinking, which results in a critical attitude to what is perceived, allows children to objectively evaluate the work done by their comrades and their own work. But a child reaches this level of development by the age of five.
IN younger age the child cannot fully control and evaluate his actions and their results. If the work process gave him pleasure, he will be pleased with the result, expecting approval from the teacher.
In the younger group, at the end of the lesson, the teacher shows several well-done works without analyzing them. The purpose of the show is to attract children's attention to the results of their activities. The teacher also approves the work of the other children. A positive assessment of them helps to maintain interest in visual arts.
In the middle and older groups The teacher uses display and analysis of children's work as a technique to help children understand achievements and mistakes in the image. The ability to see how correctly an object is depicted helps to develop a conscious attitude towards the choice of means and methods of work to enhance all creative activity.
After completing the task, the teacher shows one of the works and notes its positive aspects: “How well, neatly the house is painted”, “How beautifully the colors are chosen in the pattern - dark and light side by side, they can be clearly seen”, “How interestingly the skier is sculpted”, etc. d. If there are similar errors in all the works, then you should pay attention to them and ask how they can be corrected.
One should not consider an error in the work of one child with all children, since its awareness will only matter to this child. The causes of the error and ways to eliminate it are best analyzed in an individual conversation.
In the older group, all children should be involved in the analysis. However, sometimes the teacher himself gives the assessment. For example, wanting to encourage a child who draws poorly and anticipating criticism of his work by other children, the teacher is the first to point out the positive aspects of the drawing.
Analysis of children's work can be carried out in various ways. Most often, to save time, the teacher selectively takes several works for analysis. You should avoid showing the same child's work at each lesson, even if it really stands out. As a result of constant praise, he may develop unjustified self-confidence and a feeling of superiority over other children. Gifted children should be worked individually, taking into account their abilities and visual skills.
Sometimes the teacher entrusts the choice of work for analysis to the children. In these cases, all works are laid out on one table (or attached to a stand) and the children are asked to choose the ones they like best. Then the teacher analyzes the selected works in detail with the children.
Discussion of each child’s work is possible in preparatory group, children are already interested in the results of their comrades’ work. But such an analysis should be carried out in free time from classes, since 2-3 minutes at the end of class is not enough.
Children six years old can be asked to analyze their work, comparing them with nature or a model. This instills in children a critical attitude not only towards the work of their comrades, but also towards their own.
Verbal methods and teaching techniques.
Verbal methods and teaching techniques include conversation, instructions from the teacher at the beginning and during the lesson, and the use of an artistic image.
Conversation at the beginning of the lesson. Visual arts classes, as a rule, begin with a conversation between the teacher and the children. The purpose of the conversation is to evoke previously perceived images in the children’s memory and arouse interest in the activity. The role of conversation is especially great in those classes where children will do work based on a presentation (according to their own ideas or on a topic given by the teacher), without using visual aids.
The conversation should be short, but meaningful and emotional. The teacher mainly pays attention to what will be important for further work, i.e. on constructive color and compositional solutions for drawing, modeling, etc.
If the children’s impressions were rich and they have the necessary skills to convey them, such a conversation is often enough to complete the task without additional techniques.
To clarify children’s ideas on a topic or familiarize them with new depiction techniques, the teacher shows the desired object or picture during the conversation or after it, and before the children begin performing the task, demonstrates the method of work.
Conversation as a teaching method is used mainly in working with children 4-7 years old. In younger groups, conversation is used in cases where it is necessary to remind children of the object that they will depict, or to explain new techniques of work. In these cases, conversation is used as a technique to help children better understand the purpose and purpose of the image.
The conversation, both as a method and as a technique, should be brief and last no more than 3-5 minutes, so that the children’s ideas and emotions are enlivened, and the creative mood does not fade away.
Thus, a properly organized conversation will contribute to better performance of the task by children.
Using images from fiction. An artistic image embodied in a word (poem, story, riddle, etc.) has a unique clarity. It contains that characteristic, typical thing that is characteristic of this phenomenon and distinguishes it from others.
Expressive reading of works of art contributes to the creation of a creative mood, active work of thought and imagination. For this purpose, the artistic word can be used not only in classes on illustrating works of literature, but also when depicting objects after their perception.
In all age groups you can start the lesson with a riddle that will evoke a vivid image of an object in the children’s minds, for example: “A tail with patterns, boots with spurs...” The riddle notes some details of the shape - a beautiful tail, spurs, and the habits of a rooster that distinguish it from other birds.
In order to revive previously perceived images of objects in children's memory, you can use short poems and excerpts from works of art.
In some cases, a verbal image accompanies a demonstration of nature or depiction techniques.
When drawing or sculpting on themes from literary works, the use of other teaching techniques at the beginning of the lesson is inappropriate, as they can interfere with the work of the imagination. A painting or nature will bind the child to a certain pictorial form, the verbal image will fade.
The teacher should seriously approach the selection of works of art and excerpts from them for illustration. A verbal image must include a pictorial element and show those features of an object that are associated with its visual perception (color, shape, position). For example, when illustrating a poem by N.A. Nekrasov’s “Grandfather Mazai and the Hares”, almost all the children did good work, since in this work the author vividly described appearance animals, their poses. Such visible images help the child to convey them specifically. An artistic literary image causes the work of not only a reproducing image, but also a creative one.
Even if the verbal image is very specific and vivid, the child needs to think through and imagine a lot: the setting, location, details and much more.
Instructions and explanations from the teacher during the lesson. The teacher’s instructions necessarily accompany all visual techniques, but can also be used as an independent teaching method. It depends on the age of the children and on the objectives of the lesson.
Typically, the teacher gives instructions in connection with the explanation of the assigned educational tasks.
When teaching children of primary preschool age, purely verbal instructions are rarely used. Children still have too little experience and do not have enough visual skills to understand the teacher’s explanation without the participation of sensory analyzers. Only if the children have firmly established skills, the teacher may not accompany the visual demonstration with action.
In the minds of 5-6 year old children, a word evokes a memory of the required technique and what action should be performed when using it.
The teacher’s instructions can be addressed both to the whole group and to individual children.
For all children, instructions are usually given at the beginning of the lesson. Their goal is to explain the topic of the work and the techniques for its implementation. Such instructions must be very concise, clear and concise. To check how the children understood the explanation, the teacher in the middle and senior groups can ask one of them about the sequence and methods of doing the work. This verbal repetition of the task helps children better understand their actions. In the younger group, after explanation and demonstration, the teacher should be reminded where to start working.
After all the children have started work, the teacher should not rush to provide individual instructions and help. It is necessary to determine who did not start the work or started it incorrectly. With these children, the teacher finds out the reasons for the misunderstanding of the task and repeats his explanation, showing some working techniques.
Not all children need individual guidance. Some people think about it on their own, mark the image with a pencil on a piece of paper, so they don’t need additional explanations. Indecisive, shy children who are unsure of their abilities need instructions at the beginning of the lesson. They need to be convinced that the work will certainly work out.
However, difficulties facing children should not always be prevented. Some of them can be refused additional explanations if the teacher is sure that they can solve the problem on their own, they just lack patience and perseverance. In addition, to foster creative activity, it is important that the child encounters difficulties and learns to overcome them.
The form of instructions cannot be the same for all children. They need an encouraging tone that evokes interest in the work and confidence in their abilities. Self-confident children should be more demanding.
The teacher's instructions should not be a direct dictation to children on how to depict an object in a particular case. They must make the child think, think. When pointing out an error, you need to draw the child’s attention to the violation of meaning and logic in the image: “The dress on the girl looks like it’s torn” (poorly shaded), “Trees are falling” (poorly positioned), “The man is so big that he won’t be able to enter the house.” At the same time, you should not explain how to correct the mistake; let the child think about it himself.
Comments should be made in a friendly tone so that children feel the teacher’s interest in their work.
Individual instructions should not attract the attention of all children, so they should be given in a quiet voice. Instructions are given to all children during the lesson if many make mistakes. Then the teacher invites everyone to stop working and listen to his explanation. Such breaks should only be taken when absolutely necessary, as they disrupt the creative process.
Game teaching techniques.
The use of game moments in visual activities refers to visual and effective teaching methods. The smaller the child, the more place play should occupy in his upbringing and education. Game teaching techniques will help attract children's attention to the task at hand and facilitate the work of thinking and imagination.
Game techniques for teaching preschoolers are revealed by G.G. Grigorieva. (10)
Learning to draw at a young age begins with play exercises. Their goal is to make the process of teaching children to create simple linear shapes and the development of hand movements more effective. Children, following the teacher, first draw various lines in the air with their hand, then with their finger on the paper, supplementing the movements with explanations: “This is a boy running along the path,” “This is how a grandmother shakes a ball,” etc. The combination of image and movement in a gaming situation significantly accelerates the acquisition of the ability to depict lines and simple forms.
The inclusion of playful moments in visual activities in the younger group continues when depicting objects. For example, a new doll comes to visit the children, and they make her a treat: pancakes, pies, cookies. In the process of this work, kids master the ability to flatten a ball.
In the middle group, children draw a teddy bear from life. And this moment can be successfully played out. The bear knocks on the door, greets the children, and asks them to draw him. At the end of the lesson, he takes part in viewing children's works, chooses the best portrait on the advice of the children and hangs it in the play corner.
Even with children of six years old, it is possible to use gaming techniques, of course, to a lesser extent than in the younger group. For example, while walking, children use homemade cameras to look at the landscape, trees, animals, “take pictures,” and when they come to kindergarten, “develop and print them,” depicting what they perceived in a drawing.
When using game moments, the teacher should not turn the entire learning process into a game, as it can distract children from completing the educational task and disrupt the system in acquiring knowledge, skills and abilities.
Thus, the choice of certain methods and techniques depends on:
On the age of children and their development;
Depending on the type of visual materials that children work with.
In classes where the focus is on the task of consolidating ideas about the environment, verbal methods are mainly used: conversation, questions to children, which help the child to recall what he has seen.
IN different types in visual activities, teaching techniques are specific, since the image is created by different means. For example, the task of teaching composition in plot themes requires an explanation of the picture in drawing, showing in the drawing how distant objects are drawn higher and nearby ones lower. In modeling, this problem is solved by arranging the figures according to their action: next to or separately from each other, one after another, etc. There is no need for any special explanation or showing of the work.
Not a single technique can be used without carefully thinking through the tasks at hand, the program material of the lesson and the developmental characteristics of children in this group.
Separate methods and techniques - visual and verbal - are combined and accompany one another in a single learning process in the classroom.
Visualization renews the material and sensory basis of children's visual activity; the word helps create a correct representation, analysis and generalization of what is perceived and depicted.