Analysis of children's works on the visual arts in the preparatory group. Analysis of children's work

The smallest "artists" (up to 3 years old) draw seemingly meaningless lines and circles on a piece of paper.

A little later (by the age of 4-5) the idea of ​​a drawing appears - mom, dad, animals, a house. How he draws a person, what colors he uses at the same time - all this can give the psychologist sufficient information to interpret a child's drawing.

A specialist, using children's psychological tests on drawings, can feel the mood of the baby, identify the cause of fears, catch hidden tension and even serious problems of mental development. Parents who do not have professional skills in the psychology of children's drawing can also get an idea of ​​the state of mind of the crumbs. To do this, it is enough to ask the child to draw a family, providing him with pencils or felt-tip pens of all possible colors.

Psychology of creativity: what children's drawings are talking about

Interpreting a drawing by color

Take a look at the creation of the kid and try to guess what the child's drawing is talking about by the main color. Psychology interprets colors as follows.

• The predominance of pastel shades in the drawing(blue, pink, purple) speaks of personal harmony and freedom. Tactile sensations are important for "pink" babies, hug them more often, kiss them.
• The predominance of red testifies to the openness and activity of the child. As a rule, such a baby is excitable, restless and often naughty. However, there is nothing to worry about, because this is only his individual feature. Such children are full of energy. As they mature, they will be able to achieve success in life.
• If the child's drawing is done in blue, in psychology, this is a sign of poise. Such children are calmer and more leisurely.
• Green- the color of stubbornness and perseverance. Light green indicates the need for protection. Dark green should alert parents - the child lacks attention and love. Such children grow up introverted, therefore, from a very young age, they need to be fostered with openness and instill confidence in security.
• According to the psychology of children's drawing, yellow- the color of a dreamy kid with a vivid imagination and a well-developed imagination. These kids love to play alone, using abstract toys (various twigs, pebbles, etc.).
• If the child painted orange sky, orange mama Is a sign of arousal that has no outlet. Such babies are difficult to calm down, so it is better to direct their energy to help parents around the house. It is very good if among these things there is one that will arouse the child's interest.
• Prevalence purple- an indicator of high sensitivity. This is a creative person with a rich inner world. These are vulnerable children who need affection and encouragement more than others.

The predominance of dark shades in the child's drawing should definitely cause concern. In this regard, psychology says the following.

• Brown: negative emotions, health problems, family troubles.
• Gray: poverty, rejection, isolation.
• Black: stress, threat, and even trauma.
• Dark red (burgundy with shades of black): depression, anxiety.

The predominance of these colors indicates problems with which it is better to immediately contact a psychologist.

Pencil push

Weak pressure speaks of shyness and passivity. If your baby constantly erases lines with an elastic band, this is a sign of insecurity and anxiety. Strong pressure is evidence of emotional tension. And if the pressure is so strong that the paper breaks, this indicates a conflict and.

Position and size of the picture

The image at the top of the sheet is a sign of high self-esteem or daydreaming. The location of the small picture at the bottom of the page means emotional distress, low self-esteem, depression.

If the drawing turned out to be so large that the baby glued another sheet to it in order to complete the missing piece, this is an indicator of anxiety. Also, such drawings are often drawn by hyperactive children.

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Analysis of children's drawing

Art therapists, psychologists, and social workers are involved in the interpretation of a person's drawing in psychology. When interpreting a child's drawing, it is important to take into account the age of the child. People in three-year-olds turn out to be "cephalopods", this is normal. However, it is still better to judge the psychology of children's drawing from the point of view of the psycho-emotional state of the "artist" when the child is 4, 5 or 6 years old.

Joyful faces in the picture or their absence, threatening facial expressions and gestures- may indicate the emotional distress of the child. However, experts reassure: one should not judge by one drawing. It is quite another matter when all the drawings of a child, created on different days and months, have a similar tendency to gloom.

When analyzing a child's drawing, you should pay attention to its structure comparing the real family composition with the one depicted on paper. For example, the girl Olya did not draw her little sister among other family members. There is jealousy for the younger sister, a feeling of lack of attention. The same is true if Olya draws her sister larger than herself.

If the baby has not portrayed himself, this is a sign of loneliness and a serious reason to think about family relationships.

Also notice in what order the child draws people... The character drawn first is the main one for the child. A family member depicted sideways or with his back is in a tense relationship with the author of the drawing or in a quarrel with him.

During the psychological deciphering of children's drawings, look at what the family members depicted on it are doing. When they are doing something together, drawn close to each other, all this is a sign of family well-being. But the fragmentation of the characters speaks of discord in the family.

Children's psychological tests on drawings

Specialists in their work often use children's psychological tests on drawings for children, in which they ask the child to draw a family, the same girl, the same boy, or other situations. The picture assesses the psychoemotional state and personal development of the baby. Let's look at some examples.

Psychological analysis of a child's drawing with an example.

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At each lesson on visual activity, the teacher should carry out individual-group work to teach children to analyze and evaluate the work they have done. This assessment is associated with the quality of the assignment and takes into account certain criteria, the observance of which is advisable to teach children. Such criteria for sculpting, application, subject and subject drawing are imagery, compositional expressiveness, color scheme of images.

In the methodological literature, one can find such criteria for assessing children's drawings as the correctness of the transfer of forms and proportions, similarity to nature, that is, correctness and accuracy. In our opinion, such criteria are not suitable for assessing visual activity, since it is an artistic activity, i.e. basically contains the transfer of the emotional state of the "author". If we take into account the underdevelopment of the technical skills of children with developmental problems, then we can immediately say that their work will be deliberately weak and primitive. Therefore, the work of children should be evaluated in such a way so as not to scare them away from being engaged in excessive pedantry and inappropriate severity. To do this, one should pay attention, first of all, to the expressive side of the image and consider all the inevitable technical flaws and inaccuracies through the prism of expressiveness. It is important to show the child that his work is done in his own way, not like that of another child and that this is what makes his work special and original.

For example, a child depicted the Snowman not quite vertically on a piece of paper. Remembering that this is a drawing of a child, and not a drawing, where everything must be flawless and accurate, we must see in this leaning hero a special "zest", expressiveness and show it to the children. You can bring them to the understanding that the sun warmed the Snowman (and propose to portray him, making the drawing more interesting) or there was another reason why he leaned over like that.

In the learning process, it is necessary to acquaint children with the methods of combining colors to create an expressive image. It is necessary to form an idea in them that the image can be realistic (this requires an adequate choice of color) or fabulous, fantastic - in this case, the child can show his imagination and create an image using an "inimitable" color (this concept was introduced by N.P. Sakulina). This direction in working on color is especially important, since it helps children with developmental problems to overcome stereotyped ideas about the fixation of a particular color to objects and phenomena of the surrounding world. In addition, many teachers note that children with developmental problems are sometimes very sensitive to the emotional characteristics of colors, which makes their choice of an “inimitable” color in a drawing expressive and original.

It is necessary to say briefly about the forms of conducting classes. Naturally, they should be varied and dynamic. The duration of the lessons should take into account the individual characteristics of the children. Although there is a traditional allocation of a certain amount of time for the lesson (in the younger groups for 15-20 minutes, in the older group - 20-25 and in the preparatory group - up to 35 minutes), when children are carried away, it is very difficult to stop them from drawing or sculpting. Sometimes the question arises whether it is necessary to stop. Most likely, this should be determined by the tasks of correctional work. If the task of forming interest is set, it is unlikely that the child who is keen on work should be stopped, and if the goal is to form the skills of self-regulation and self-control, then apparently the child should be gently invited to complete the work the next time and, showing will and restraint, wait for this next time.

Organizationally, classes in visual activities are carried out frontally by the educator most often in the second half of the day. According to the curriculum, a certain number of lessons in drawing, modeling and application are planned for all age groups during the week. However, such a division of classes by types of visual activity is rather conditional for the practical organization of training. Classes in which work in mixed techniques are performed can be attributed by the educator, at his discretion, to one or another type of visual activity, which is assessed by the educator as the leader.

Questions on the topic:

1. What materials and tools are used in kindergarten activities? How should they be prepared for teaching children?

2. What is the structure of the activity lesson and what tasks does the teacher solve in each part of the lesson?

3. Why is it necessary to link the activities of the activity with the daily life of children? How should this be done?

4. What are the indications for the introduction of a propaedeutic period into training?

5. What is the sequence of work with children in the propaedeutic period? What learning tasks are solved in this case?

6. What changes in the behavior of children indicate that they are ready to learn art?

7. How should you respond to a child's request to draw a picture for him? What else needs to be done to use this situation for the development of the child?

8. What is the difference between performing a display assignment and performing an assignment by nature?

9. What is the specificity of performing images according to the verbal instructions of an adult?

10. How to adequately analyze and evaluate children's work?

Topic 6. Teaching subject drawing and modeling in a special kindergarten. (2 hours)

Object drawing and modeling lead the child to the image of a real object. In modeling, this object is depicted in volume, and in drawing on a plane. In this case, the child has a three-dimensional image of an object and its graphic image. In the process of examining nature, and then in the course of evaluating the resulting image, the teacher connects the perceived with the word: he names the objects that children draw, their qualities and properties.

In the process of sculpting and drawing from life, children perceive the spatial relationships of objects, their parts. The concept of spatial relationships is also formalized in the word.

Thus, in the course of object drawing and sculpting, children learn to perceive the surrounding objects correctly, to convey what they perceived in the image, to designate them with a word.

In the process of object drawing, children get acquainted with the space of a sheet of paper, learn to perceive an image on a plane as a reflection of real space.

Children master the ability to use a pencil, brush, paint, learn to hatch, paint over a drawing. In the course of mastering these skills and abilities, fine motor skills (movement of the hand, fingers) develop, the hand prepares for learning to write.

These activities are essential in terms of the aesthetic education of the child. Children perceive beautiful, bright objects specially selected by the teacher as nature, and experience joy. They learn to compare their work with nature and thus evaluate them correctly.

After object drawing and sculpting by nature, object drawing and sculpting by performance are carried out. Based on the images of perception obtained during classes using nature, the teacher teaches to depict objects according to the description. These classes contribute to the formation of the ability to operate with existing images, to restore them by word. The importance of these activities for the sensory and speech development of children can hardly be overestimated. It is in the process of these lessons that the control over whether the child has mastered the words and expressions given to him in the process of drawing and modeling from nature is carried out well enough.

Only as a result of a lot of work on teaching children to draw and sculpt from nature and from imagination, it becomes possible to start work according to the plan. Initially, all children who have any developmental problems cannot work according to the design, since they do not have the proper supply of images of perception and representation. The work on the formation of the idea closely resembles the work on teaching subject, and then subject drawing and modeling. The images accumulated by the child in the process of working from nature and from imagination are used in a new way by the child in the images according to his own design. At the same time, the teacher teaches the child to remember what objects and situations he saw, depicted, pays attention to their diversity.

All these types of activities contribute to the development of the child's memory, in particular voluntary memorization, which is extremely important for all subsequent education, not only in kindergarten, but also at school.

The main types of work in the first and second years of study are subject modeling and drawing. However, it should be noted that the methods of managing them during this time do not remain unchanged. In contrast to the preparatory stage, in which special attention was paid to the joint actions of a child with an adult, at the stage of object images, at first, attention is paid to teaching children to imitate, and then to show.

An imitation action involves the simultaneous execution of an action by an adult and a child at the same time.

When performing show actions, the child performs the action on a delayed basis, after the adult has completed it.

In the future, the main types of work become modeling and drawing from nature and from representation. Drawing from nature at first leads to a deterioration in the quality of the drawing in comparison with drawings made according to the show and the sample. However, this should be deliberately taken, since it cannot be reduced to teaching children the ability to draw lines, hatch, and hold a pencil correctly. It is extremely important to teach children to independently perceive their surroundings and convey their impressions of what they perceived in the drawing.

If the teacher from class to class, showing the children the object that they will depict, then draws or sculpts a model in front of the children, then it is clear that with this method of teaching the child cannot have a full-fledged perception of the corresponding object. He perceives and depicts the model that was created by the teacher in parts before his eyes. With this form of conducting classes, the child is limited to making a copy of the product of "someone else's" perception. At the same time, the sensory and aesthetic perception of the child suffers. In this regard, it should be emphasized once again that during sculpting, drawing or appliqué from nature, the sample showing should be excluded.

Notions of the environment are the basis of any, both realistic and fantastic images. The ideas about the surrounding reality in children with developmental problems are incomplete and sometimes erroneous. They find it difficult to acquire basic information on their own. Thus, U. V. Ulyenkova singles out such a feature of the visual representations of 6-year-old children with mental retardation, as their unsystematization and the same shortcomings are characteristic of their drawings.

To carry out targeted work on teaching children object images in modeling and drawing, it is advisable to teach them to highlight the following qualities and properties of objects:

1. perception and presentation of form;

2. perception and representation of value;

3. perception and representation of color;

4. spatial representations.

Form ideas are leading in the system of sensory standards. In the course of training, a certain sequence of studying and mastering by children ideas about the form should be distinguished.

First, children master the shape of a circle, then a rectangle, then an oval, a triangle. Such a sequence is necessary so that preschoolers with developmental problems do not mix forms that are similar in appearance, for example, a circle and an oval. At the beginning of the training, children sculpt and draw objects of a simple shape (orange, cucumber, handkerchief, hat, plum), then move on to sculpting and drawing objects of a more complex shape (house, tumbler, multi-storey building, bunny, mouse). In this case, it is necessary to adhere to the rule of planning classes, according to which the subject is depicted sequentially - in modeling, application, and only then in drawing. This, on the one hand, makes it easier for children to master the technique of the image, and on the other hand, it teaches them to see in the subject the main features that need to be displayed in different materials.

Development of perception and the formation of ideas about size begins in didactic games for the selection, serialization and classification of objects by size. Special work is carried out to highlight the size of individual parts within the object itself. Methods of transferring values ​​in a drawing begin with drawing objects commensurate with their images on paper (drying, sunbeams, berries). Then children can be taught to create a reduced or enlarged image in relation to the depicted object. When organizing this transition, the educator places the main emphasis on a detailed analysis of the image object, highlighting its essential and secondary details, taking into account their internal ratio in size and location. In order to create flexible graphic images, children are offered for examination similar objects of different sizes or with a changed spatial arrangement of parts, figures of the same animal in different poses. With such a presentation of the object, the graphic actions performed by children in the process of its examination and subsequent drawing differ somewhat from each other, which contributes to the formation of a generalized graphic image of the object.

Working with color in the correctional and developmental process, it begins with an acquaintance with the basic colors.

Acquaintance with any color should take place in three stages. First, the color is compared with the sensory standard, then the child determines the color by name and searches for the color and its shades in objects and phenomena of the surrounding reality, and only after that he is required to independently correctly name the color or its shade.

In the first lessons of subject drawing, which has the task of familiarizing with colors, pencils and gouache paints of the main colors are used: red, yellow, blue. Later, children can be introduced to their shades (pink, blue), and later - with intermediate colors and the way they are obtained by mixing the primary colors. For example, in a lesson on the topic "Orange", children need to be taught how to mix red and yellow paints on a palette and paint an orange with the resulting color, performing the image by building up a spot. In this case, preschoolers must be taught to take the paint of the resulting color only from the palette, so that the depicted object is uniformly painted everywhere.

Work on children's ideas about color is developing in line with two trends. On the one hand, children are taught to convey the real colors of the depicted objects, and on the other hand, it is necessary to take into account the tendency inherent in preschool age towards a color end in itself. Taking into account this second tendency, at certain stages of education, children can be offered special exercises using gouache paints, causing them to "enjoy experimenting" from playing with color. Inflating drops of paint, children can get patterns, unusual images; folding a sheet with a few drops of paint in half to create an amazing butterfly. For the development of imagination, children are invited to supplement the resulting drawings with freehand details. It should be noted that such tasks at first cause serious difficulties for children. They may feel constrained and afraid to do something wrong. E.A. Ekzhanova conducted such classes with children with mental retardation. She notes that the technique of "spotting" was successful only when the children managed to overcome not only the fear of unfamiliar material, but also some personality traits that blocked their voluntary and creative activity. It is easy to understand that the psychological climate in the group, the style of communication between the teacher and the children is of great importance here. With the authoritarian behavior of the educator, children, most likely, will not be able to overcome the internal barrier and enjoy playing with colors.

When working on the color design of children's drawings, it is necessary to widely use figurative-color definitions (cherry, lemon, raspberry, light green, etc.). Children should gradually be taught to distinguish and form the name of a color shade with the words "light ..", "dark ..", "pale ..", "bright .." (dark blue, light gray, pale pink, etc.). NS.). Hearing these definitions in everyday life, when observing natural phenomena, when examining illustrations and reproductions, children gradually begin to use them in their statements.

Work on the formation of spatial representations carried out regularly in daily life. It begins with clarifying the orientation of the child in the parts and position of his body. At the same time, children's ideas about the upper and lower parts, left and right sides of the body are consolidated. Then children are taught to navigate in three-dimensional space. First, in his immediate surroundings - in a group, and then in a kindergarten, in a nearby forest park, gradually expanding the area of ​​the familiar space. The creation of such a basis makes it easier for children to understand the conventionality of the two-dimensional space of a sheet of paper, as well as the accumulation of images-representations, united by a certain situation or situation, which creates the prerequisites for subsequently depicting plots.

In the process of teaching drawing, there are three types of spatial relationships that should be taken into account when creating an image. The first type of spatial relations is relations within the depicted object, the second type concerns the relationship between the image and the background, and the third type is the relationship of several objects that make up the plot drawing.

Comprehension of relations within the object of the image begins with the analysis of nature, carried out using visual and tactile-motor methods of examination. Modeling and appliqué classes, preceding the process of drawing with a pencil and paints, have proven themselves well. On them, children exercise in the placement of parts of the depicted object, comprehend the generality of the spatial relations of the object, regardless of the material of manufacture.

The formation of object images begins with the choice of an object with a certain property, intended for examination and subsequent image. At first, only one essential feature stands out in the subject. So, kids can be offered drawing paths along which they have already stomped with their feet, rolled the Kolobok or took the Hedgehog to visit the Bunny. Before offering to draw ribbons, the teacher lays them out on a large sheet of paper, then hangs them on the board. Children are encouraged to run their fingers over them. It's good if you can then draw them with chalk and a felt-tip pen. It is important for a child to feel their own independence, to get a new kinesthetic experience, to see the various possibilities of various visual materials.

For example, the first shape children learn is the round shape. Therefore, preparing children to create these images, one should conduct didactic games with them “What rolls, what does not roll”, “Find a round shape”, “Roll a ball”, teaching kids to be guided by an essential feature - a shape.

Before drawing, children are given the opportunity to play with the object, get acquainted with its functional purpose, highlight the main property in it - the shape, and trace it along the contour. So, before inviting children to draw a ball, they are given the opportunity to perform a practical and playful action with a ball - to roll, wind a thread around the ball. Children, following the teacher, reproduce the circling movement, while the teacher strives to ensure that the child's eyes follow the hand. In order to teach children to convey the shape of an object in drawings, one should not quickly move on to painting or shading the drawn outlines. It is better to train children several times in reproducing one form or another.

The methods of examining objects that are taught to children in each lesson are feeling before sculpting and tracing a contour before drawing. The technical side of performing these actions becomes the basis for the formation of fine skills. Along with the form, children learn to convey such a quality as size in their stucco and drawing images. Initially, children learn the process of examining large objects, and immediately, in parallel, they are offered for examination the same small object.

It is well known that preschoolers very rarely turn their attention to the real object they are depicting. Children draw based on their own ideas. However, since children with developmental problems are characterized by just an insufficient number of these ideas, then accumulating this stock, improving it - this is the main task of this training. This should be done not only in the classroom. Even during a walk, having noticed interesting objects - a leaf, a pebble, a cloud of expressive form, children must (first together with a teacher, and then without the help of an adult) model their shape. At the same time, to finish such an examination of the object, as a rule, it is necessary to ask the question: "How are we going to draw this?" And here it is necessary to invite children to draw - with chalk on the asphalt, with a stick in the sand - an object that attracted their attention.

The work on the representations of form and color is carried out in close cooperation with the refinement and expansion of the base of sensory standards. Particular attention should be paid to the formation of generalized ideas about shape and color in children. For this, children must be taught to compare and contrast objects and phenomena of the surrounding life, and then convey their characteristic features in the drawing by means of pictorial means.

Gradually, children must learn the order of the examination and the sequence of the allocated signs. On this basis, in the future, the actualization of the ideas about the objects of the image already existing in children and the process of drawing the object images itself is carried out. Transferring the relationship between the image and the background to a conscious level, children are taught to draw large, introduce a reference line into the drawing and application, and select the paper size in accordance with the concept and size of the object. In parallel with this, didactic games are held, aimed at clarifying the orientation of preschoolers on a sheet of paper.

In conclusion of the topic, I would like to dwell on the technical issues of drawing and modeling.

Tatiana Savinova
"Methods for analyzing and evaluating children's work directly on educational drawing activities"

The urgency of this problem lies in the fact that for the development of older preschool children evaluation and analysis contribute to:

Development of perception of color, shape, proportions; literacy Images;

enriching the plot children's work;

Development of reflection, self-esteem, self-awareness.

But especially teaching children analysis and self-assessment important for getting ready for school. Assessment and analysis contribute to:

Development figurative thinking and creative imaginations;

Development of mental abilities(the child compares the results, analyzes, draws conclusions).

In its work I use the following methodological set: approximate general education program« Childhood» , with the use of teaching aids to it and the pedagogical technology of D. I. Vorobyova "Harmony of development"... Also in its work we use the manual by G.G. Grigorieva « The visual activity of the preschooler» .

When planning and arranging classes in visual activity based on these programs, as well as on the basis of the accumulated experience, I came to the conclusion that displaying in his drawings the world, the child embodies in them his feelings, emotions, thoughts. He not only reproduces the phenomena of life on a sheet of paper available to him ways and means, but at the same time gives them appraisal, as it were, explains their essence and meaning. So way he expresses his understanding of the world. Expresses, but often does not realize, because the child's consciousness is just being formed. And I, as a teacher of the studio, must not only teach children display the world, but also help to realize their own creativity.

That is why in the classroom visual activity along with the two main parts of the lesson, introductory and performing, part 3 of the lesson, dedicated to analysis and evaluation of children's work.

Consider the structure of the lesson on visual activity... It includes the following parts of:

Introductory. Motivation and Conception.

Performing. Work with art materials. Creation image.

Assessment and analysis... Awareness of the result activities.

G.G. Grigorieva distinguishes the following types analysis:

In the performing part - intermediate analysis;

In 3 parts of the lesson - the final analysis.

About the importance analytical parts of the lesson are written by G.G. Grigorieva:

“It is important for a teacher to show his interest in his behavior, emotional speech works of children... Then the guys begin to strive for originality, expressiveness. work... It is important to think over questions for preschoolers, helping them to realize what they have learned, what mistakes they made ( "It didn't work out very well" what needs to be taken into account in order to avoid these mistakes in the future ”.

At holding classes we adhere to the requirements of G.G. Grigorieva to evaluation of children's work:

1. Evaluate only the result that is achieved by the efforts of the child himself.

2. You can not compare the result activities with the success of other children, you need evaluate his achievements.

3. The estimate should be built like this to keep the kids as active as possible.

4.As the child develops grade put more differentiated.

We try not to delay 1 and 2 parts of the lesson, use an individual approach in order to be in time analyze the results of working with children... We must remember that self-awareness develops in activity and not in itself, but under the targeted guidance of a teacher.

The intermediate analysis of works aimed at preventing errors.

Sometimes I use it for intermediate analyzing game character... He's on the go work asks children search or problem questions that help them correct in time work... The character's comments are more easily accepted by children than from a teacher.

For example, a character asks:

Why doesn't anyone live in your forest? "

What is the weather in the city?

And a child without direct instructions assessed the plot of your drawing and complement it. If along the way work children corrected their mistakes, then the final result was much higher in quality.

I have had times when children were upset because of failures in work, in these cases I used phrases like this

"An artist knows how to hide his mistakes";

"An artist knows how to turn mistakes into something interesting".

So way I provide an individual approach to children.

The differentiated approach is carried out across:

Providing a choice of content work and materials;

Using unconventional techniques (for children with a high level);

Use of decorative materials (for children of middle and low level).

Introducing the sequence analysis of artwork which includes myself:

Holistic emotional perception of all works.

Analysis of the solution of visual problems.

The final grade... Future use perspective works.

Since in the classroom visual activity leading are the tasks aimed at the formation of creative artistic abilities and visual skills, then pedagogical evaluation and analysis should be closely related to pictorial tasks of a specific lesson.

I'm in my work I try to adhere to these principles, as well as select methods and techniques analysis according to the structure of this part of the lesson.

Beginning analysis then when everyone is ready children's work... This is a manifestation of the humanistic positions: each drawing is valuable, good in its own way.

I think over the conditions in advance analysis preparing a place.

Accommodation options children's work for analysis:

On separate tables

On the windowsill

On easels

At a special stand

At a specially designed exhibition

In the reception group at the stands

On layout (modeling work)

Trying to accommodate children's work it was beautifully decorated and well lit.

In structure analysis of works you can highlight your methods and techniques. Let's dwell on each structural part separately and consider them.

At the beginning I'm doing analysis holistic emotional perception of all works... I pay attention, first of all, to the emotional and aesthetic evaluation so that children receive satisfaction, joy from the achieved result.

Gaming techniques help me a lot in this. In a play situation, children learn analyze your drawings or crafts. Taking into account the recommendations of G. G. Grigorieva, I use a permanent playable character. In our art studio, this is Kuzya, a brownie who is happy to "Take a walk" and along the streets of the city and admire the beauty of the autumn forest and "Try" tea from a brightly colored cup.

In addition to playing techniques, I also use problem situations, the resolution of which is also reflected in analysis.

If social motivation is used, then it is also reflected in this part. analysis: "Here's what an exhibition of portraits of mothers we got", "How the kids will be delighted with the new masks» etc.

In the second part, after the general emotional and aesthetic assessments I analyze the solution of visual problems, ways, methods and techniques Images, expressiveness and originality of performance.

Grade given based on 3 whales activity:

Composition.

In this part analysis I use verbal methods and techniques that activate figurative thinking and speech of children.

These can be questions that have been thought out in advance in accordance with the tasks. classes: questions about the use of expressive means, techniques, materials, questions about the content and plot of the drawing, questions about the artistic perception:

In which drawing is expressive the form is depicted?

Which drawing has a bright or muted color? etc.

At the senior preschool age, I invite children to tell about some of the drawings they like.

When composing stories from drawings, educational tasks are also well solved. I try to encourage children to rejoice at the success of a child or empathy for failure comrades:

Look at how thin Mila's twigs are today!

-How did Vasya work: he drew so many inhabitants of the underwater kingdom!

And Alena today helped Sasha mix the paints correctly!

The final part analysis I end up with the prospect of returning to these works or crafts.

Sometimes I suggest that children decorate a model for modeling with drawings in the evening, decorate a group for the holiday, you can invite children from a younger group to your exhibition, in speech development classes, compose fairy tales, riddles for drawings, use decorative crafts for a puppet show.

The child's desire, on his own initiative, to continue, change, supplement, or simply repeat his work- a vivid indicator of his personal development.

And a careful, attentive attitude to the results of creativity helps me to induce him to do this. Beautiful neat exhibition, painstaking composition of children's work instills in children a sense of taste and harmony.

Sometimes it happens that parents, having received the conclusion of a psychologist in kindergarten, fall into confusion: anxiety, aggression, rejection ... and this is all from cute children's scribbles? "All psychologists are charlatans!" - parents decide, and do not pay attention to their conclusions.

Let's find out what exactly psychologists see in children's drawings?

At what age children can be analyzed drawings

Up to three years young painters are at the stage of "cephalopods" - they draw people - "bubbles" with protruding lines, symbolizing arms and legs. The drawing of details is not yet available to them, moreover, often at first a “masterpiece” is born, and only then its proud author begins to reflect on what exactly he has depicted.

From 3.5-4 years old children first plan a drawing (its idea appears) and only then proceed to execution. By the age of four, the child already has a fairly good command of a pencil, and the "cephalopods" evolve into "people-cucumbers" - two ovals with limbs-sticks.

Five years the artist was already skillful enough to draw large details (arms, legs, eyes, mouth), and by the age of six, smaller details appear in the drawings: nose, fingers. Often children draw in the manner of Picasso - the character's head is in profile, but with two eyes.

Finally, by the age of seven the drawn people are dressed, and in accordance with gender and age, they have hats and hairstyles and even necks!

” Drawings of children from 4 to 7 years old are best suited for analyzing their psychological state.

Analyzing the drawing of the family

The most popular theme is drawing your own family. He can tell a lot to an experienced psychologist, but ordinary moms and dads can also glean a lot of useful information from the picture. Look for warning signs first.

Arrangement of figures in the figure

The location of family members in the picture very accurately indicates their relationship. Children often “remove” an unwanted character from their work, explaining that “dad is at work” and sister is “in the next room”. This does not mean that the relationship is completely destroyed, often a brother or sister is sent to the picture "to another room" after a violent quarrel.

Conversely, beloved relatives can appear in the picture, even if they live far away, as is often the case with grandparents.

The child depicts the closest and beloved relative next to him. If one of the characters is separated from the others, then, most likely, the child mentally excludes him from the family circle. This can be a working dad, brother or sister who is much older in age.

” A bad sign - if this "outcast" turns out to be the child himself, this is really an alarming situation!

Image of yourself

The child, as a rule, depicts himself either in the center of the picture (this is a common situation for a family with an only child), or next to the central figure. By depicting himself at the edge of the composition, apart from his parents, the child shows that he feels he is isolated from his family. Sometimes he gives a plot explanation of this, which confirms the fears of the observer: "Everyone is celebrating, but I am punished (I have to sleep, read, play alone)."

The pose of a happy and self-confident child is as open as possible: arms and legs are spread apart. If a child takes the trouble to draw himself with his hands pressed to the body, this symbolizes his self-doubt. Too short hands or their absence - fears of their own ineptitude. Maybe you criticize your baby too often?

Usually, the child depicts the size of the figures in proportion to the real characters: the parents are larger, himself - the smaller, the younger brother and sister - very small. Diminishing the drawn self speaks of insecurity, the need for care and, perhaps, fear.

Another situation that speaks of uncertainty is the "separation" of the child from the ground, when all the characters are drawn in the correct proportions, but the child seems to hang between the parents: his head is on the same level as the adult, and his legs do not reach the floor. Often the parents of such a small artist do not even realize that he is experiencing discomfort: after all, they communicate with him on an equal footing!

Fear and aggression in children's drawings

Psychologists are aware of the signs of fear and aggression in children's drawings, which often go unnoticed by parents.

Large, simply huge hands-rakes appear in the family member who is distinguished by aggressive behavior. If a child portrays himself as such, then he probably constantly has to suppress anger in himself.

Clearly traced bright pupils are a sign of anxiety in a child, as well as hard shading with pressure.

Finally, hypertrophied fists, teeth, and sharp nails are the clearest evidence of aggression. If a child draws himself like this, then, most likely, he feels a constant need for protection, which the family cannot provide him.

Sex and children's drawings

Contrary to prevailing fears, the depiction of the genitals in the drawings of 3-4-year-old children does not at all indicate that someone is corrupting the baby, but rather of his interest in his own body and the difference between the sexes, which he just learned about.

But if a child of 6-7 years old portrays himself with the physiological attributes of an adult: a girl with a clearly defined bust, a boy with a beard and mustache - this can alert. However, most often such drawings indicate the child's need for attention, the desire to embellish himself in any way. That is why children, depicting a family, pay special attention to their figure: they carefully draw clothes, accessories, ornaments (babies often draw crowns for themselves). This picture screams: “Hey, everyone, finally look at me! I'm a prince (princess)! "

However, you should still pay attention to the child's environment again. Is it certain that no one is showing suspicious attention to him, has the child turned out to have access to information that is not suitable for his age (for example, a porn film, a porno magazine) that can scare him?

Children's drawing and color

A child's drawing is usually multi-colored and variegated - usually children use 5-6 colors, this is considered the norm. The more confident a child feels, the brighter the colors they use. Of course, not everything is so simple: a child can shade dad with black, because dad really has a favorite sweater of this color, but if a pencil is among the favorites and one or two colors clearly prevail in the drawing, then you should pay attention to this factor.

Most experts rely on the interpretation of colors by Max Luscher, a psychologist and color researcher. He concluded that the choice of color reflects the psychological state of a person and even indicates his bodily health.

Here's how to determine the meaning of a color in a child's drawing.

Navy blue- focus on internal problems, the need for rest;

green- poise, independence, perseverance, striving for security;

Red- willpower, aggression, increased activity, excitability;

yellow- positive emotions, spontaneity, curiosity, optimism;

Violet- fantasy, intuition, emotional and intellectual immaturity (children often prefer this color);

Brown- sensory support of sensations, slowness, physical discomfort, often negative emotions;

black- depression, protest, destruction, an urgent need for change;

if the child prefers simple pencil and does not color the drawing- indifference, detachment, desire to close.

Experimenting with the independent analysis of a child's drawing, try to make the child do it willingly, in a calm atmosphere, without distraction.

Pay attention to the following factors.

Composition picture. Whether the characters are located in the center of the picture or in a corner, whether there is enough space for everyone in the picture, in what order the family members are drawn.

What kind colors uses a child.

What details he pays special attention. How are the arms, legs, faces of the characters drawn, is the pressure of the pencil always the same.

What kind unusual elements is in the picture. Is there something superfluous (for example, the sun in the room, a non-existent pet or family members), or, on the contrary, something is missing (one of the family members).

Like a child portrays himself what details he pays special attention to, where he sees himself in the family hierarchy.

We hope this little experiment will help you reach an understanding with your child!

Children's drawings for illustration are taken from free sources.

Drawing is one of the favorite pastimes for children. Through drawing, a child, wherever he is and at whatever time he lives, expresses his perception of the people and objects around him and his attitude towards them. The kid involuntarily shows what he cannot express. For a child, drawing is not an art, but an analogue of speech. In the process of this activity, the child becomes free from prohibitions and restrictions, from norms and rules. Therefore, the psychology of children's drawing often helps practicing psychologists to understand the child's condition.

Of course, with a personal consultation, to complete the picture, the psychologist will ask you to bring several drawings of the child, and during the examination, he will offer the child to draw a picture on a certain topic and will closely monitor his activities and write down everything he says. An analysis of a child's drawing will help parents pay attention to the emotional state of the baby. In general, it is hardly appropriate to analyze the creativity of a child under 5 years of age in depth: there is a high probability of erroneous conclusions, however, if the same similar features are repeated in the drawings, or, conversely, one drawing differs significantly from the majority, this is worth paying attention to.

Analysis of children's drawing: interpretation

This drawing, made by a left-handed girl, makes an ambiguous impression. On the one hand, it attracts the eye due to the brightness and saturation (both plot and color), but on the other, a feeling of some tension is created, which manifests itself in the totality of details.

First of all, the drawing is unusual for a 4 year old child. The image is original both in the plot and in the topic, and the image of a tiger-lion, the expression of emotions in the form of tears, a bird in the corner of the sheet, the inscription "am-am") is not typical for children of this age, which speaks of a rich imagination. This is typical for left-handed children, since they have a well-developed right hemisphere of the brain, which is responsible for creativity. At the same time, the drawing is made in a sweeping manner, which is a sign of hyperactivity, but given the girl's age, it is worthwhile to bear in mind impulsiveness as a character trait. It seems that she was doing the job with strong pressure, and this is a sign of emotional tension. This is also indicated by the size of the picture - the tiger barely fits on the sheet.

The predominance of red-orange color, on the one hand, may be due to the desire to convey the natural color of the animal, but on the other, given that the stripes are made in green, and not brown, one can assume an emotional state of anxiety at the time of drawing. Eyelashes are a sign of demonstrativeness, a desire to stand out. The absence of a mouth in an animal may indicate difficulties in communication, and problems in the child's speech plan (speech therapy, in the development of the articulatory apparatus). Blackening in the tail area is a sign of physical distress in this segment of the body (for example, pain from injections). You can notice a "multiple line" (tracing paws, grass with a felt-tip pen of a different color), which is typical for anxiety in this moment.

The psychology of children's drawing: conclusion

Based on all the above-described signs and characteristics highlighted in the figure, one can make some assumptions about the character of the girl. The child is clearly very active, impulsive, emotional, receptive to new information, has a sufficiently strong, hardy nervous system, which has not yet fully matured. Hence, increased physical activity, and emotional outbursts, and speech therapy difficulties can arise ("porridge in the mouth", he says a lot, but nothing is clear). In terms of development, the child is ahead of age norms, perhaps has certain creative abilities. The girl has a need to be noticed, she loves to stand out, attract attention, and given her impulsiveness and age, she can do this in a very diverse way, up to hysterics. There is an assumption that the girl, with a generally good emotional state, at the time of the creation of the drawing had a feeling of anxiety (possibly fear). This may be due to a situation of illness, resentment or situational dysfunctional relationships in the family or children's team.