Summary of the lesson on artistic creativity in the middle group. Decorative drawing: "Painting of the Dymkovo horse." Decorative drawing in the middle group on the theme "Sweater decoration"
Abstract of GCD in the middle group for decorative drawing "Mittens for a bunny"
Lyabusheva Lyudmila Vasilievna, teacher of MBDOU Kindergarten No. 1 in the city of Spassk, Penza regionMaterial description: This summary of the GCD for drawing is aimed at the development of children's creativity, at consolidating the previously studied techniques of drawing with a brush and paints, as well as at the formation of a culture of verbal behavior (to educate children in kindness, responsiveness, sensitivity to the world around them, decisiveness in helping, the ability to use speeches are polite words). This synopsis will be useful to both teachers and parents.
Abstract of GCD in the middle group for decorative drawing "Mittens for a bunny"
Integration of educational areas:"Reading fiction", "Artistic creation", "Communication", "Socialization", "Cognition".
Target: teach children to independently determine the content of the picture and depict what they have planned.
Tasks:
Educational: To continue teaching children to use paints of different colors, to consolidate drawing techniques, to consolidate the skills of accurate work.
Developing: Develop aesthetic feelings, imagination, a positive emotional response to a self-created image, children's creativity.
Educational: To cultivate initiative, independence, kindness.
Preliminary work: Consideration of samples of "mittens" and discussion of techniques for working with paints, making silhouettes-mittens.
Materials and equipment: plot painting "Bunny and the Moon", samples of "mittens" for examining patterns and decor elements, watercolors, brushes, jars of water, napkins, "mittens - blanks" for coloring.
Methodical techniques: game motivation, conversation - dialogue, reading a fairy tale by V.A. Sukhomlinsky "How a bunny warmed itself by the moon", conversation on what was read, finger gymnastics "Friendly family", independent work, analysis of work, encouragement. Educator: Hello my guys! A new day has begun, which means that a lot of new and interesting things await us ahead. Come on, I will smile at you, you at me and at each other, and then the whole world will smile at all of us!
Educator: Children, do you think the rays of the moon can warm us?
Children: No, only the sun can warm.
Educator: And I know one hero for whom the rays of the moon were warm-warm. Want to know why? Then we sit down more comfortably and listen to the fairy tale "How a bunny basked in the moonlight" (V. A. Sukhomlinsky "The Book of Conscience")
How the Bunny basked in the moonlight
It is cold in the winter for the Bunny, especially at night. He ran out to the edge. The frost is cracking, the snow shines under the Moon, a cold wind blows from the ravine. Bunny sat down under a bush, stretched out his paws to the moon and asks:
- Moon, dear, warm me with your rays, otherwise the Sun will have to wait a long time.
Luna Bunny felt sorry for her, and she says:
- Go by the field, by the field, I'll light your way. Go straight to the big stack of straw.
Bunny went to a stack of straw, buried himself in the straw, looked out and smiled at the moon.
- Thank you, dear Luna, now your rays are warm, warm.
Conversation on questions
Educator: Why, guys, was the bunny cold? What do you think?
Children: It was winter, and in winter there are severe frosts.
Educator: What did the bunny ask Luna for?
Children: For the moon to warm him.
Educator: Why does the bunny call the rays of the moon warm?
Children: Because Luna helped him.
Educator: Are they really warm?
Children: No.
Educator: What made the bunny feel warm then?
Children: From kindness, care.
Educator: Thanks to what he was able to get to the haystack?
Children: Thanks to the light that emitted from the moon?
Educator: How did the bunny ask Luna for help? What words did he use for this?
Children: Moon, dear, warm me with your rays. Kind, affectionate, polite.
Educator: How can you name a bunny, what is he?
Children: Polite, kind, well-mannered.
Educator: Come on, we will help the bunny too. Let's make a gift "mittens" for him. But, first we will knead our fingers.
Finger gymnastics "Friendly family"
This finger is a grandfather
This finger is a grandmother
This finger is daddy
This finger is mommy
And the last one is me
Here is such a family!
(We massage each finger alternately on the left hand, then on the right).
Independent work of children.
Analysis of works.
Educator: All the guys are great, they did it. Children, who liked whose mittens? Why?
Children: I liked the mittens of Marina, Kira, Ulyana, because they are decorated neatly and beautifully.
Encouragement.
Educator: All good fellows! And I, children, liked your gifts for the bunny and you yourself! Do you know why? Because they helped a bunny in trouble. In life, you should always come to the rescue and do only good deeds.
Decorative painting
Decorative and applied art is one of the oldest. The first examples of such art belong to the primitive era. The traditions of folk applied art have evolved over the centuries, developed and were carefully passed down from generation to generation. Russia is rich in various types of folk decorative art. Painting and woodcarving, lace, weaving, embroidery, weaving, metalwork, etc.
This art brings joy to life with bright, rich colors, expressive rhythms, special harmony, proportionality, harmony of forms, lines, proportions, wisdom and kindness.
Decorative art is close to nature in its motives. For centuries, artists have observed the world of animals and plants, saw and felt harmony in nature: rhythm, proportionality, orderliness, rationality and rationality. Man's admiration for nature, its harmony, combined with subtle analysis, comparison and generalization, is reflected in the generalized stylized forms and rhythms of art. This is how the elements and compositions of decorative art based on plant forms appeared. In the patterns of various masters, we find stylized images of animals and humans. Elements in geometric patterns have become an extreme form of stylization and generalization.
Works of folk decorative art are distinguished by their brilliance and brightness. Bold contrasting color combinations, a special color saturation are characteristic of most folk paintings.
In the works of folk artists, two types of patterns: plot and ornamental. include a stylized image of birds, animals. Images often have symbolic meaning: a lion, a leopard mean strength, a falcon - the personification of courage, courage, a girl - spring. These patterns also include fantastic fairy images: a mermaid, a centaur. Pattern is a broader concept than ornament. The pattern can be unintentionally created, such as patterns on frozen glass. Ornament - This is a deliberately created pattern, the elements of which are rhythmically repeated. The main property of the ornament is rhythm. Rhythm is a certain ordering of one-character elements. The rhythm of the ornament can be simple or complex. Simple rhythm is the repetition of the same element at equal distances from each other. Symmetry is a special case of a simple rhythm. Rhythm is the basis of the pattern; the elements of the pattern and color spots alternate. Distinguish between simple repetition and alternation of elements in color and shape. Thus, rhythm is viewed as an element of composition, a kind of organizing principle.
Ornament translated from Latin - decoration (pictorial, graphic or sculptural). Its pattern combines and repeats geometric or figurative elements. Patterns differ in the nature of the elements and in the way they are organized (composition). The elements differ in geometric, plant, animalistic, anthropological, mixed patterns. The composition of plant forms often includes the image of birds, animals (Khokhloma, Gorodets painting).
By way of organization distinguish between an endless pattern (ornament), i.e. unlimited. This is the type of mesh: wallpaper, parquet, fabric. The linear pattern is also unlimited - border, frieze, border, braid. In addition, a limited (closed) pattern is distinguished (in a circle, in a rhombus, in a square).
The pattern is always made in a composition that organically fits into the shape of the object (i.e. the composition of the pattern is not arbitrary, but dictated by the peculiarities of the form).
Due to the above features, decorative art is close and understandable to children, it corresponds to their perception of the world.
A.P. Usova, E.A. Fleerina, N.P. Sakulin noted more than once that the child is drawn to everything bright, colorful. In his artistic activity, he himself gravitates towards pure local colors, rhythm, symmetry. Small children perceive many works of folk craftsmen deeper and more fully than large paintings and easel sculptures. This greatly helps the teacher in shaping children's artistic taste and in guiding their artistic creativity. The famous scientist, teacher A.P. Usova, highly appreciating the educational value of folk art, wrote that the concept of the Motherland is not yet available to young children. Upbringing at this age consists in preparing the ground for them by growing in an atmosphere saturated with vivid images, bright colors of his country. Most teachers of the past and present note the enormous influence of folk art on the formation of the first ideas about the Motherland in children, a feeling of love for it.
Folk decorative arts- part of the national culture. It manifests the best features of the people, universal human values: humanism, optimism, wisdom, courage, the eternal striving for beauty. At the same time, in the art of each nation, its originality is clearly visible: manners, customs, way of thinking, aesthetic preferences, national psychology, culture, history. All this wealth is presented in the brightest, most expressive form of art, addressed primarily to the feelings and thoughts of people.
The main meaning of the widespread use of folk decorative art in working with preschoolers is the upbringing of the prerequisites for a feeling of deep love for their homeland, for their people, a sense of patriotism, self-awareness, awareness of their nationality.... This is just the beginning of developing such complex feelings. A complex, deep, conscious feeling of love for the Motherland, the people is formed much later, but only on condition that the fontanel of the first feelings clogged during preschool childhood. The emotional language of art is the easiest, surest and most accessible bridge from the soul of the people to the soul of a child. That is why in domestic pedagogy since ancient times (K.D. Ushinsky, E.A. principle: to bring up children in the family and in kindergarten on art close, native art of the region where the person lives. B.M. Nemensky stressed that the child must "... tie all his feelings, emotions to the tree of the culture of his people." National art is the home from which a child sets off on the roads of world art, so his native art should be keenly felt by him. Without feeling, not understanding native art, a person is hardly able to feel art, culture, understand the psychology of a person of a different nationality.
In the pedagogical process, art, as in life, is inseparable from the communication of people with each other, from communication with nature. It is no coincidence that the somewhat monotonous, restrained rhythms and colors of the ornaments of the peoples of the North are similar to the cold, austere nature and restrained character of the people of this region; whimsical ligature of bright patterns of Uzbek masters of painting on fabrics and stone is akin to nature and people of the south. In the luxurious patterns of Khokhloma - the multicolored herbs and berries of the nature of central Russia. Fantastic bouquets of Gorodets kupavkas, chamomiles, rose trees, decorating naive plots from the life of merchant gentlemen and young ladies, as it were, embody the moral and aesthetic ideals of the common people of Russia.
Decorative art is not something isolated, special in the life of people, it exists and is organically combined with everyday life, work, holidays, customs, and traditions of the people.
Therefore, a genuine feeling of love for folk art cannot be brought up if children are not introduced to nature, folklore, everyday life, customs, and traditions of this people. For example, one cannot fully feel, understand the world-famous Dymkovo toy, if one does not know the Russian village, its history, manners, and customs. The ideal of a rural beauty as a strong, dexterous, healthy, ruddy was embodied both in the image of a strong woman with a child (Russian Madonna), and in a stately, proud beauty-water-carrier.
You should see the village sunsets and sunrises with their silence and fogs, the first crowing of roosters and the smoke over the huts. One should see rural holidays with their exuberant fun, songs, dances, ditties, evening "gatherings" in order to feel the light, kind irony of the folk artist, who saw and conveyed in the figure of the village dandy his self-satisfaction, the desire to show off.
And in the Khokhloma patterns, hills and copses, fogs over the river, dew on a flower are still visible ... This is probably why the experience of feelings of previous generations of his people is transmitted to the child through art. Outside of these connections, the attitude to the art of the people is "souvenir". The art of different nations has a lot in common. B.M. Nemensky urged teachers to study the decorative arts of different peoples, to find similarities and differences. Gradually, older children develop an idea of the great diversity of artistic manifestations of the peoples of the world, develop the ability to see and enjoy this diversity.
A. Bogateeva, T. Ya. Shpikalov.
Children's own artistic activity in the field of decorative arts should be viewed not as a goal, but as a means of solving a more important task: the development of the foundations of a child's personality. The appropriation by children through art of the moral and aesthetic values of their people, the development of the first sense of the Motherland is of great importance for the future formation of the personality, the awareness of oneself as a part of their people, their country. Nostalgia manifests itself in adulthood, and originates in childhood. It is no coincidence that adults, often in their declining years, want to look at their homeland, return, albeit for a short time, to where they spent their childhood.
General tasks of teaching preschoolers decorative drawing:
1. Development in children of the prerequisites for a sense of patriotism, love, respect for their homeland, people.
2. Formation of children's interest in folk art objects; understanding its features; desire to know the art of the local region, to distinguish the styles of the most famous types of decorative painting (Khokhloma, Gorodets, Dymkovo, Zhostovskaya, etc.).
3. Formation in children of a desire to engage in such activities at the suggestion of adults and on their own initiative.
4. Formation of generalized knowledge and corresponding visual skills:
the development by children of characteristic elements, colors, compositions, patterns of a particular painting; the ability to create expressive patterns on paper of different formats and on three-dimensional objects;
education at the same time a sense of form, rhythm, symmetry.
5. Education of activity, independence, initiative and creativity in the creation of expressive patterns (in the search, selection of elements, colors, compositions). These general objectives can be specified by age group.
Principles of teaching children decorative painting:
1. Teaching children decorative painting based on folk decorative arts. This is due to the fact that all the techniques of decorative activity are presented in this art and it is highly artistic examples worthy of imitation.
2. Teaching children decorative and artistic activities based on the close, native art of the local region. At the senior preschool age, the gradual introduction of new types of folk art into the child's life and their comparison with each other. In the process of subsequent comparison, the formation of generalized ideas about the methods of performing patterns, rhythm, symmetry, the correspondence of the composition to the shape of the object as the main means of expressiveness.
3. Lessons in decorative painting are considered as an element of the general system of educational work aimed at personal development by means of folk applied art.
4. Teaching decorative and artistic activities must be carried out with the use of genuine objects of folk art. N.P. Sakulina noted that the ideal, albeit difficult to achieve, option is the use of genuine sample items, selected taking into account the gradually increasing complexity of elements and compositions of patterns. This is really difficult to do in mass practice, since the patterns on these objects are complex and are not specially created for teaching children. However, this statement is important because it emphasizes the priority, supremacy of some teaching methods and the subordination of others. In particular, the primary use of the method of examination (examination) of genuine objects of decorative art and the secondary nature, the compulsion to use simplified, stylized samples made by the teacher based on a particular painting.
5. The relationship of all types of decorative and artistic activities (drawing, modeling, applications).
6. The learning process presupposes an organic connection in the formation of knowledge, feelings and active action (in the form of one's own visual activity).
Decorative activities teaching methods the same as when teaching the image of objects, plots. However, they have their own specifics.
Observation method must be used in the system of work when the patterns of folk craftsmen are made on plant motives, include stylized images of animals and birds. Proud roosters and peacocks, frisky horses in the patterns of the masters, with all their stylization, express the characteristic features of these animals. Juicy bunches of mountain ash, golden gooseberries, herbs of summer meadows are created by the artists of Khokhloma in the image and likeness of nature. Therefore, preliminary observations of nature serve as the basis for understanding, for a sincere emotional response of children to stylized embodiment in works of art. Such observations help adults to explain, and children - to understand the origins of folk artists. It is in these observations that the foundations of the search activity of children, prompted by adults, are laid. It is useful to organize children's drawing of Khokhloma patterns based on the perception of folk art objects in the open air, among real meadow grasses, mountain ash, etc. In such observations, preceding or accompanying the image process, a feeling of unity with nature arises.
Widely applied and survey method examining samples of folk art. While maintaining the general structure of such a survey, the content of its central analytical part is the selection of elements, composition, color. That is, those figurative features that make up the content of the figurative and expressive means of this type of art mastered by children. The sequence of their selection is the sequence of the forthcoming drawing.
Thus, the main elements of the pattern are highlighted and named, their color, size, location. Then other elements are highlighted and named (according to the degree of their importance in the composition). The color is determined. Older children can be asked how this element is performed with a brush, how it can be depicted. Elements of the pattern can be selected with a dry brush, thereby isolating them more clearly and testing a suitable pictorial movement.
Depending on the leading tasks of the lesson, the content of such an analysis may change, be limited only to the selection of a complex element (for example, a “rose tree” in a Gorodets pattern). In the event that the central task is to master the composition or color, you can consider several patterns, fixing the children's attention only on this feature. Thus, the specific content of the examination of the sample subject is determined by the tasks of the lesson: what are taught, what content the children master, and at what level of its mastery are the children. The more creative tasks the teacher sets, the more independent and active children are when analyzing a sample object, the more (more than one) objects can be considered, since children need to show the variability of compositions (elements, color).
It takes a special place in comparison with the subject and plot image in teaching decorative drawing teacher sample ... The first samples for teaching children decorative drawing based on folk art were developed by E.I. Kowalska. The teacher is forced to use his own model, since in objects of art the patterns are difficult for children's perception (in composition, in a set of elements). There are relatively few items with a fairly simple pattern. And in the world around us, there are no direct analogs to ornamental patterns. Therefore, the teacher's samples, in which specific pictorial and expressive means (elements, compositions) are presented in a simplified form, are necessary (they clearly demonstrate to the child the techniques for performing a decorative pattern).
The teacher's sample should be made in the style of a particular painting of folk decorative art (stylized sample). Its size is 1.5-2 times larger than children's work.
Exists different types of sample. Samples for direct follow, i.e. a pattern or some one new element or new composition is offered for direct imitation, since children first begin to master these elements or compositions. In addition, there are unfinished samples... For example, a square pattern is suggested. In the middle of the square is an element (chamomile in the style of Gorodets painting). Children are invited to reproduce this part of the pattern from a sample, and to invent the rest of the pattern themselves, using familiar elements in the style of the same painting. If the sample proposed for direct following is included in the structure of the information-receptive method (children are clearly given “ready” information, a method of action), then the unfinished sample is included in the structure of the heuristic (partial search) method, since the child solves part of the problem independently.
Take place in training and approximate (variable) samples, in which different options for solving the same problem are presented. For example, 2-3 samples show a pattern made on a circle. The elements and composition are the same, but the color of the elements, their combinations are different. Children are invited to make a pattern with a set of the same elements and in the same composition as on the samples, and what is presented in them differently (color scheme), do it in their own way.
At such a variable level, a compositional solution can be presented (elements, color scheme are the same on all samples, and compositions, for example, on a circle, are different). The samples can represent the use of different elements with the same composition and color.
Thus, this method is part of the reproductive structure and organizes the reproductive activity of children at the variable level. In this case, the boundaries of the reproductive and partially search methods are very close.
When children master complex compositions, a sample is effective, which gradually demonstrates to children the sequence of performing a pattern ... In general, mastering the sequence of performing a pattern in decorative drawing is one of the most difficult tasks. The accuracy of the child's drawing depends on which elements and in what color will be depicted first, and which ones later. The neatness of the decorative pattern to a greater extent determines its overall expressiveness. In addition, mastering the sequence of the pattern is also mastering rational, time-saving methods of image.
The general requirement for the use of all stylized samples is their application after the perception of genuine objects of folk art and the selection of elements, colors, and pattern compositions on them.
Effective in teaching children flannelegraphs or panels, made of velvety paper, on which you can lay out patterns from the form elements of a particular painting. Homemade board games are good, the essence of which is the same: laying out patterns in the style of Khokhloma, Gorodets and other paintings from cut out form parts of certain complex elements from cardboard. (So, children with great pleasure in their free time laid out the complex element "rosan" (Gorodets painting) before and after drawing, which facilitated the process of mastering it.) On such material, children quickly and easily master different compositions. A visually effective way of mastering, the ability to freely vary the pattern without fear of spoiling it, determine the interest of children, the speed and ease of mastering complex compositional techniques.
Demonstration of ways to depict elements, demonstration of methods of action (technique) with a brush are widely used in teaching decorative drawing. It is especially important here to demonstrate and master the techniques of working with a brush. Often the brush in the hands of the masters is in an upright position, which is not easy for children. The requirements for the teacher's demonstration of the method of action are the same as in other types of visual activity.
Application in the training system artistic word, music very helpful. Folk art and the corresponding activities of children are harmoniously combined with musical and poetic folklore, small folklore genres(nursery rhymes, jokes), with fairy tales.
All these methods and techniques are used in the context of classes in a varied combination, due to the common goal and objectives of teaching and upbringing children.
Methodology for teaching children decorative painting
The method of working with children should be conducted simultaneously in two directions:
1. General educational work based on materials of folk decorative art.
2. Special education of children in relevant activities in the classroom.
Both directions (block) are closely interconnected. This relationship is due to the unity of the goal and objectives of familiarization with folk art. Within each direction, there is also a close connection between individual occupations, between all types and forms of general educational work. Each subsequent one relies on the previous one and contributes to the ever greater development of ideas, feelings, and their own artistic skills in children. The knowledge and skills of children are gradually becoming more complete, accurate, and diverse.
The systemic beginning of work with children (first direction) is the formation of emotional and intellectual experience in preschoolers, contributing to the emergence in children of effective motives for their own visual activity and its meaningful development.
The initial process of introducing children to the artistic culture of their people must be built on a good emotional basis. Surprise, admiration, joy from communicating with such art are feelings that need to be aroused in children. Therefore, it is extremely important that the teacher himself knows and feels this art, can externally express his feelings. "Heart to heart will not attract, if not from the heart the speech flows."
What content, forms and methods of work can be used in working with children? Ideal when you can organize excursion to the relevant production(to an art workshop, workshop, etc.). In the absence of such nearby, you can organize an exhibition of folk crafts in a preschool institution. It is good if a spacious, light room is provided for this, where you can beautifully and conveniently place the exposition. The selection of items, products is not limited. Such an exhibition can be designed for children to visit other preschool institutions. The meaning of such an excursion is to activate children's feelings (admiration for beauty, etc.). And against this background, informing children about the range of products and their functional purpose; features, originality of patterns (elements, color, compositions); technological manufacturing process. For example, children, getting acquainted with the art of Khokhloma, observed the entire technological process: preparation of baklush, turning of products on a lathe, processing them with a special primer, oil, aluminum powder before painting and hardening in special ovens, after which the products become “golden”. The magic of transforming a simple wooden block-blank into an elegant, thin-walled, light, as if dancing and singing on a machine in a lace of shavings, a vase leaves no one indifferent. Watching how "magic" flowers bloom, birds of paradise "fly in" takes children deeper and deeper into the world of fairy tales.
It will be good if at the entrance to the fairy tale they are met by the kind sorceress Marya the master, perhaps in the person of the educator of the group, who will not only show them this miracle, but also subsequently lead the children into the world of decorative creativity.
Such a visit to workshops, exhibitions should be repeated (with a certain amount of information, but each time presupposing the deepening and refinement of knowledge).
An addition to such work with children can be viewing films, filmstrips, art albums, postcards on relevant topics. Reading literature or a story that reveals in an accessible and interesting form a small amount of information about the history of artistic craft, its features will be useful to the oldest children. (So, Marya the artisan told Tsarevich Ivan about how she had invented wonderful flowers, Gorodetsky. She also told him the secret of the Gorodetsky flower (the color in one flower is either warm or cold). Yes, she asked to keep a secret, otherwise they will hear this other masters (Khokhloma, Zhostova) will confuse the secret, they will draw all the flowers in the same way, then you will not find your own, Gorodets.)
After accumulating relevant knowledge, it is useful to conduct a general conversation with the children.
For example, at one of these conversations, the children of the older group, together with Marya the master, invented a fairy tale about the wonderful Gorodets horses, roosters and drew magic flowers blooming on cutting boards, bread bins, or even right on the table. They invented, wrote, beautifully designed a book decorated with "kupavki" and "daisies", and then told this tale to mothers, grandmothers, kitchen workers and nanny, then other children. Those who wanted to listen were told. Having learned to draw from Marya the master by that time, they drew this fairy tale. Some told a fairy tale, some painted, but they sold their products, some sang and danced in round dances. And Parsley made riddles (description of flowers). All children took part in the tournaments-quizzes about the art of Gorodets craftsmen. And so it passed in the kindergarten "Merry Fair". Was at that fair and "the city of master artists." One drawing in this city is more beautiful than another - the eyes "run up". And Ivan Tsarevich was there, drinking tea with Gorodets gingerbread: both flowed down his mustache and hit the horn.
It is difficult for children to master decorative patterns based on folk painting without special training. Therefore, it is necessary to develop a cycle of classes aimed at teaching children how to create a pattern (second direction). The cycle of such classes is based on the content of the general educational work outlined above, coexists and interacts with it, since it is in it that the basis for creating appropriate, morally valuable motives for activities in the classroom is laid in children. This cycle of classes is also built systemically. At the heart of the gradual complication of the content (pictorial and expressive means), the nature of cognitive activity, and hence the degree of independence and creativity of children. Therefore, the use of teaching methods and techniques should also be systematic. The experience that preschoolers develop in the system of general educational work determines a meaningful and positive emotional attitude of children to the content and process of learning. At the same time, the experience of mastering decorative activity in the classroom often stimulates then independent artistic activity of children.
One of the problems of the method of teaching decorative drawing is the selection of elements and compositions of the pattern available for children in the style of a particular folk painting... In most preschool education programs, in relation to the middle group, the elements that children can master are quite clearly defined. These are dots, strokes, rings ... in essence, these are elements of Dymkovo painting. In the senior group - Gorodets painting, in the preparatory group - Gorodets, Khokhloma, Zhostovo, etc. However, none of the programs provides an exact set of elements. The task of the teacher is to define them independently. Given that the nature of the chosen painting is determined taking into account local conditions, then the range of choice is quite wide and it is difficult, and even useless, to regulate.
In addition to the elements, the teacher should select the most typical compositions of patterns that are available to children. Typical compositions are associated with the arrangement of pattern elements on paper of different sizes.
Colour- one of the expressive means in decorative painting. Its development is subject to the laws of the color of a certain art, since they are definite and typical for the well-known traditional types of folk painting. In Gorodets painting there is a combination of cold (blue, blue, white, black or white "revival") or warm tones (burgundy, red, pink, white) and green leaves.
So, the basis for the complication of the program content of classes from group to group should be based on the sequence of mastering the basic visual and expressive means (elements, color, compositions) by children.
The programmatic content of classes also presupposes the gradual formation of all components of decorative and artistic activity: motives, goal-setting, a complex of actions, from perception, conception to visual and control-evaluative actions. At the same time, the complexity of the program content goes along the line of determining the degree of independence of children and creativity. This is determined by the level of knowledge and skills of children in the perception and conception of the image, the use of pictorial methods of its embodiment.
In the system of work, a combination of different types of activities is used, and the learning process accordingly provides for the initial acquaintance of children with the methods of depiction, a variable exercise in their application and, finally, the creative solution by children of the visual problem.
The system of methods and techniques of teaching corresponds to the system of tasks. The relationship with general educational work does not exclude, but presupposes the inclusion in it, immediately before classes (a day or two), of purposeful preliminary work with children. Its essence is the formation of "live" ideas, visual images in children.
Thus, the system of classes is based on the sequence of the formation of generalized, flexible, variable knowledge and skills. This is reflected in the teaching methodology.
Let's consider the approximate complication of tasks and methods of working with children in different age groups.
Decorative painting is introduced from the middle group. Children of this age can make patterns from such simple elements as strokes, dots, straight lines, rings, circles. These elements are clearly represented in the painting of the Dymkovo toy. And on her example, you can teach children decorative painting. However, painting a volumetric toy is not yet available to children.
At this age, children are just beginning to master the techniques of constructing a pattern on paper of basic forms: a strip, a square, a circle. The patterns on these forms can be drawn from the elements of the Dymkovo painting.
The color of such patterns can be in the classic style of Dymkovo painting (a combination of red, yellow, blue, green, black colors), or maybe more modern. In Dymkovo painting in last years also included pastel colors. Amazing compositions were created by one of the most talented folk craftswomen - Falaleeva. However, in the middle group, patterns should be made in the colors of the classic "haze", especially since toys painted in this way are more widely available for sale, which means they are more accessible for use in direct work with children.
Since this type of drawing, in contrast to the subject drawing, does not carry a specific figurative content, does not have direct analogs in the surrounding world, it is very important that children immediately understand the meaning of such an activity. What seems to us quite understandable and natural (the meaning, the essence of decorative art) is little understood for children due to the lack of experience. Therefore, in everyday life, it is necessary to draw the attention of children to things decorated with a pattern, and to celebrate their beauty. It can be beautiful knitted mittens, hats, a pattern on a dress, tablecloth, napkin, etc. Paying attention to the pattern, using the appropriate term, the teacher unobtrusively explains to the children the meaning, the essence of such a phenomenon. Therefore, when they are asked to decorate a napkin (a silhouette made of paper), a scarf, a tray, etc., the children will easily understand and accept the task set by the teacher.
Dymkovo toy due to the availability of the content and the pattern that adorns it, it should be used in the system of general educational work as a bright decorative phenomenon that pleases the eye with its uniqueness and brilliance. In order for a semantic connection to arise between the toy and the piece of paper that the children will decorate, it is useful to take the "Lady", "Vodonoska", etc. to highlight the first elements, considering a skirt decorated with stripes (strokes, etc.), an apron , decorated with a bright border of circles and dots, etc. The Dymkovo toy is considered just like any other work of art. First, this is a holistic emotional perception associated with recognizing the content (rooster, goat) or purpose (cutting board). The introduction of a toy can be with elements of surprise, play, accompanied by a song, riddle, figurative comments: "The bird has a tail with a wheel and patterns." Then attention is paid to finding out the reasons for the beauty of the product (pattern). After that, the elements of the pattern are considered, their color and location. The examination ends with a holistic perception, admiration. It is useful to place the product in a conspicuous place with the children. In preparation for the lesson, the teacher returns to examining the same or others, and maybe several subjects. Depending on the leading tasks of the lesson, the children's attention is fixed on the element to be learned, on the color or composition.
In the middle group, the task is not to deeply familiarize preschoolers with any kind of art. In this age period, the main point is to get acquainted with the objects of art themselves. In this case, with the toy itself: bright, festive, pleasing to the eye. Ladies and horses, goats, whistles, etc. not all are entered at once. It is important for children to experience the joy of communicating with each of them. As you get to know the toys, you can combine them into semantic groups and play them, as in director's games. Along with toys, children are shown embroidered napkins, towels, etc. That is, those products that are close to the planar silhouette forms of paper.
With a preliminary examination before class, they can show compositions of patterns close to those that children will master. On the strip (track), attention is drawn to the rhythmic repetition of one element, to the alternation of color spots, on the square - the rhythmic arrangement of the elements: on the entire plane; in the corners and in the center; in the corners, in the center and on the sides. The same approach when mastering the composition on the circle. Trays, plates, napkins, round carpets help children to feel the beauty of the pattern, the conformity of the pattern to the shape.
From middle age, it is important to develop a sense of form in decorative painting. To do this, it is necessary to draw the attention of preschoolers to the characteristic features of each of the forms and the corresponding arrangement of elements. The teacher should note the dependence of the expressiveness of the pattern (of the entire product) on the correspondence of the composition to the form. Beauty is created not only by the rhythmic arrangement of homogeneous elements (in the corners - circles and dots, and in the center - a ring and a circle), but also the rhythmic arrangement of color spots (in all four corners the elements of the same color, otherwise ugly).
Only on the basis of such general educational and special preliminary work is it possible to use
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Date the page was created: 2016-04-11
Municipal budgetary preschool educational institution
kindergarten number 9
Abstract of the GCD in the educational area
"Artistic and aesthetic development" (decorative painting) in the middle group
on the topic: "Decorate the skirt of the Dymkovo young lady"
Prepared by:
Educator
A. P. Belyakova
o.g. Vyksa
2016
Target: Consolidation of children's knowledge about the Dymkovo toy, expansion of ideas about folk crafts, features of painting.
Tasks
- Teach children to make a pattern on paper using the elements of painting Dymkovo toys.
- Train to confidently (without separation) draw straight and wavy lines.
- Develop creativity, aesthetic perception, artistic taste, desire to help others.
- Strengthen the ability to use a bright pattern; arrange the pattern all over the sheet; use elements of Dymkovo painting (circles, lines, rings) in the pattern.
Funds: 3 houses made of cardboard, smoke comes from the chimneys, silhouettes of Dymkovo young ladies (height up to 20 cm), cut out by the teacher from paper; gouache paints, brushes, a can of water, a napkin (for each child), cotton swabs, Dymkovo toys for examining,illustrations depicting Dymkovo toys, samples of toys, aprons and armrests (for each child).
Preliminary work:View presentation « Acquaintance with the Dymkovo toy ", viewing illustrations of Dymkovo products, acquaintance with the elements of painting, drawing elements of painting, learning physical education, finger gymnastics, breathing exercises.
Methods and techniques: ICT use, motivation, problem situation, questions, d Yymkovo toys for viewing, conversation, artistic word, physical education, finger gymnastics, musical accompaniment, praise, reflection.
Integration of educational areas:
- "Physical development"
- "Speech development"
- "Artistic and aesthetic development (music)"
- "Cognitive development"
GCD move
Educator: Guys, today we will fly by plane to the village of Dymkovo, where they make funny, bright, colorful toys. Get on the plane.
Let's start the engine "rrr", spread the wings of the plane and fly high into the sky "ooh ooh".
(Children run like a snake after the teacher. At the signal of the teacher "planes for landing", the children run to the "airfield")
Educator: So we, guys, flew to the village of Dymkovo, where they make clay toys.(There are 3 houses in front of the children, smoke comes out of the chimneys.)
Educator: Guys, do you know why the clay toys that are molded here are called "Dymkovo"?
Educator: I invite you to listen to a fairy tale(Listen to the tale).
Educator: Guys, come closer, see what is here.
(There are illustrations depicting Dymkovo toys on the board; samples of toys are on the table).
Educator: Tell me again. What are these toys called?
Educator: Look at what fancy toys. Who do you recognize here(water carrier, cockerel, etc.?(The teacher clarifies the names of the figures.)
Artistic word about the water-beater:
On the street pavement
The girl was walking for water
The girl was walking for water
For the cold key.
About the cockerel: Cockerel, cockerel
Golden scallop
Through the dark woods
Through the forest, across the river
Shout "Ku-ka-re-ku"!
Educator: Look at how colorful, bright, different colors they are, so what will we call them? Multi-colored, but each of them has its own pattern, color. Guys, what colors do the masters paint their toys with?
Educator: And what patterns do the craftsmen decorate with toys?
Educator: Guys, let's draw them in the air.
Do you see flowers, leaves, berries among the patterns?
Educator: That's right, there are no such patterns on Dymkovo toys. What do you think was the most famous Dymkovo toy?
Educator: I have a familiar young lady(show of Dymkovo Young Lady, she is very beautiful, but unfortunately now she is very sad. Do you know why?
Educator: Look at her friends, and now you guessed why the young lady is sad?
Educator: Let's help them, now we will become real masters! Today we will come up with a pattern for a dress for young ladies. I suggest thinking a little about what the pattern will be.
(I give the children the opportunity to think about the work ahead.)
Educator: We thought, let's repeat again what colors the masters use in Dymkovo painting
Physical education
One two three four five
To become masters
Everybody sat down, everybody bent down
They smiled at each other
Two springs, three jumps
And patted lightly
Around yourself a couple of circles
And turned into masters
Sit down, children, work has come quietly to the clearing.
In an amazing outfit in a multi-colored, painted.
The magic came to us not to scare us away ...
(Children sit at tables.)
Educator: Remember: we draw stripes and circles with the tip of a brush, we make dots with cotton swabs. Try to keep your work neat, do not collect a lot of paint, blot excess water from the brush on a napkin. Remember to rinse the brush well after each paint.
Educator: Where do we start? First we will draw the large elements, and then the small ones.
Before we get started, let's stretch our fingers:
Finger gymnastics:
Painters paint the house
For your beloved kids.
If only I can
I'll help them too.
Educator: Now start drawing.
(Creative work of children(the music "The month is shining" sounds) children decorate skirts for ladies.)
Educator: Let's sit up straight, head up!
Let's straighten our shoulders and hear everything.
Reflection:
Educator: Here are how many bright, funny toys came out. Now our young ladies will be in a magical round dance, start talking and show off their outfits to each other. Educator: Let's hear what they have to say. “What a beautiful red blouse I have with long sleeves, blue cages with yellow polka dots on the skirt. My master did a very good job, he picked up a beautiful pattern!»
(Children, following the example of a teacher, speak on behalf of toys.)
Educator: This is how the toys showed off to each other bright
patterns, admired their outfits.
(I definitely draw your attention to the fact that all the children helped the young lady-guest. She became cheerful and joyful.)
Children return to kindergarten by plane.
"Drawing an elephant" - Stage 3: Next, draw ears on the head of the elephant. Evsino »Iskitimsky District, Novosibirsk Region. Stage 4: And last but not least - the eyes, fangs and tail of our elephant. Stage 2: Next we draw the trunk and legs of the elephant. Do not despair! Stage 5: We erase all auxiliary lines that we no longer need. We drew an elephant!
"Drawing courses" - Part 3. More about the course ... Lesson 10. Lena drawing after class 19.05.09. Memories of May. I liked the results. Lesson 9. Examples of students' work after the 3rd lesson. Reflections of the sun. Drawing a face in 3/4. Gestalt concept. Features of the perception of outlines in l-mode and n-mode. Practical part.
"Drawing a Man" - From the history of the "Grisaille" technique. Landscape. When drawing a person in motion, what should you pay attention to? In the technique "Grisaille" you can draw: Working with color. After the grisaille, the artist started working with oil paints. What way of drawing a human figure did we learn in the last lesson? Drawing from nature.
"Decorative Art" - The Acropolis of Athens. Work in the mines. Vase painter. Trade in Ancient Greece. Ancient Greece. Temple of Apollo. Agriculture. Exhibition of creative works. Practical work. Types of vase painting. Temple of Poseidon. Temple of Cecera. The role of decorative arts in society. Ancient Greek school. Ancient Greek vessels.
"Russian decorative art" - Vase. A new form of furniture, tables, dressers. Bowl. Frames for mirrors. The production of silk fabrics for dresses and decorative fabrics is rapidly developing. Late 19th - early 20th century. E.A. Prakhova. Ludogoshchensky cross. 1359. Fragment. Used diamonds, emeralds, sapphires, rubies. Salary of the Gospel of Boyar Fyodor Andreevich Koshka, 1392
"Drawing animals" - Formation of skills in drawing animals based on analogies with geometric shapes. Drawing from general masses Drawing using axes. Drawing with templates. Methods for achieving the accuracy of the drawing. Art. Take a close look at a few sketches of the cat. Perspective. The depiction of animals based on analogies with geometric shapes.
Priority educational area: " Artistic and aesthetic development "
Integration of educational areas"Artistic and aesthetic development", "Social and communicative development".
Purpose: improving the aesthetic abilities of children.
Be able to apply in decorative painting: dots, strokes, circles, rings, straight lines and wavy, thick and thin lines, leaves, petals. To consolidate the ability to paint with the whole brush and its end, freely move the brush in different directions.
To develop aesthetic taste, accuracy, creativity.
To create a joyful mood in children, the ability to rejoice at the results of their work and comrades.
Subject-spatial developmental environment: rectangular tinted paper of various shades, gouache, squirrel brushes No. 1, No. 3, jars of water, palettes, napkins, posters with decorative pattern elements, sound recordings of folk melodies.
Preliminary work:
- the teacher's story and showing of objects, toys;
- examination of objects, illustrative material with elements of decorative paintings;
- excursion to the autumn forest;
- multimedia presentation "Folk decorative arts".
Organized activity progress:
Psychological attitude "Give a smile"
I invite children to join hands, feel the warmth of the hands of their friends, smile at each other and shake hands with the warmth of their hearts.
Educator:
A clumsy came to visit us and asked for help, he needs to decorate the paths for Autumn as a gift, but he does not know how to draw at all.
Do you want to help Clumsy?
Children express their consent to help the Inoperative.
We consider posters with elements of decorative patterns, children name familiar elements, recall the technique of drawing patterns, and suggest that we start decorating the tracks. Children choose tinted paper to their liking.
During the practical part, folk melodies sound, I follow the technique of working with a brush.
Educator:
Do you want to teach Clumsy physical education?
Yes, we really want to!
Physical education:
Raise your shoulders up.
Do not swing, do not blink.
We will make U-turns
We will do everything willingly.
And at all, not in a hurry,
We will repeat all five times.
I place all the drawings on the board, I suggest you look. From the completed works, I suggest that the children make an exhibition "Autumn Fantasy". When analyzing, note the location of the patterns, the color, the accuracy of the work. and choose the best autumn paths.
Reflection:
I propose to show works that look like real autumn paths
1. Which autumn path did you like the most? Why do you think so?
Which autumn path to you most resembles the real one? Why do you think so?
2. What did you like most about the lesson?
3. Were we able to help the Inoperative?