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Characteristics of the visual activity of children. The study of personality characteristics of older preschoolers by means of visual activity

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Visual activity of a child in preschool age

INTRODUCTION

CHAPTER 1. THEORETICAL ASPECTS OF THE ART ACTIVITY OF A CHILD IN PRESCHOOL AGE

1.1 The value of visual activity in the development of a preschool child

1.2 Stages of formation of visual activity

1.3 Types of visual activity available to a preschool child

CHAPTER 2

2.1 Methodology and organization of the study

2.2 Results of the pilot study

CONCLUSION

LIST OF USED LITERATURE*

APPS

INTRODUCTION

Visual activity is a specific figurative knowledge of reality. Of all its types, children's drawing has been studied most fully and diversified.

The artistic education of children in the modern system of education cannot be secondary. Fine arts, paper plastics, artistic design are the most emotional areas of children's activity. Working with various materials, in various artistic techniques expands the possibilities of the child, develops the space of imagination, creative abilities.

Many years of experience in pedagogical work shows that the lack of the necessary visual skills in children often leads to the everydayness and inexpressiveness of children's work, since not knowing certain ways of depicting, children exclude from their drawing those images that are difficult to draw. In order for a child to draw with pleasure and improve in his work, an adult must help him in a timely manner.

It is very difficult for children to depict objects, images, plots using traditional methods of drawing: with a brush, pencils, felt-tip pens. The use of only these items does not allow children to more widely develop their creative abilities. They do not contribute to the development of imagination, fantasy.

In visual activity, the child expresses himself, tries his hand and improves his abilities. Visual activity gives him pleasure, but above all enriches his understanding of the world.

Classes in visual activity, in addition to performing educational tasks, are an important means of comprehensive development of children. Learning to draw, sculpt, apply, design contributes to the mental, moral, aesthetic and physical education of preschoolers. The role of fine art as a means of aesthetic education and its influence on the development of the individual and on creative imagination in particular has recently acquired particular significance. In this regard, there is a need to actively use the potential of various non-traditional drawing techniques in the educational process, as an inexhaustible source for the development of the inventive abilities of preschoolers.

Teachers E. A. Flerina, Ya. A. Bashilov, N. I. Tkachenko, K. M. Lepilov, E. V. Razygraev and others, psychologists K. N. Kornilov, I. L. Ermakov studied the visual activity of preschoolers , A. M. Schubert, art critics F. I. Schmit, A. V. Bakushinsky and others.

Object of study: visual activity.

Subject of study: features of the development of visual activity of children of middle and older preschool age.

Purpose of the study: to study the features of the development of visual activity of children of middle and senior preschool age.

Research objectives

1. To study the psychological and pedagogical literature on the research problem.

2. To identify the features of the development of visual activity of children of middle preschool age.

3. To identify the features of the development of visual activity of children of senior preschool age.

4. Compare the features of the development of visual activity in children of middle and older preschool age.

Research methods:

To solve the research problems at the theoretical level, methods of comparative analysis of psychological and pedagogical literature were used.

At the empirical stage - experiment.

Quantitative and qualitative analysis was used to process the results.

Research Base: The study was carried out on the basis of the State Educational Institution "Kindergarten No. 478 in Minsk". The study involved 2 groups (middle and senior preschool age).

Practical significance of the obtained results. The proposed lesson notes and assignments for children can be used in the work of a preschool institution in the classroom for visual activities.

Work structure. Course work consists of an introduction, two chapters (theoretical and practical), conclusion, list of references (26 sources), applications (8 titles). The total volume of work without the appendix is 34 pages.

CHAPTER 1. THEORETICAL ASPECTS OF ARTCHILD ACTIVITIES IN PRESCHOOL AGE

1.1 The value of visual activity in the development of a preschool child

According to A.V. Zaporozhets, “as the child masters visual activity, an internal, ideal plan of activity is created, which is absent in early childhood. Drawing acts as a material support for this activity.

V.S. Mukhina notes that “graphic activity, exerting a specific influence on the development of perception and thinking, organizes the ability not only to look, but also to see, allows the child to convey the objective world at first in his own way and only later - according to the accepted pictorial laws. The use of color gradually begins to influence the development of direct perception and, more importantly, the aesthetic feelings of the child.

Kosminskaya V.B. in the book “Theory and Methods of Visual Activity in Kindergarten”, writes that “graphic activity is closely related with knowledge of the environment life. At first, this is a direct acquaintance with the properties of materials (paper, pencils, paints, clay, etc.), knowledge of the connection between actions and the result obtained. In the future, the child continues to acquire knowledge about the surrounding objects, about materials and equipment, however, his interest in the material will be due to the desire to convey in a pictorial form his thoughts, impressions of the world around him.

children's visual representations of surrounding objects are refined and deepened. At present, the question of the peculiarities of the development of the child's thinking in connection with various types of activity has been studied quite deeply.

At preschool age, in addition to visual-effective forms thinking, connected directly with the process of practical work, a higher level of development of thinking is also possible - visual-figurative. A child, on the basis of mental operations, can present the result of his work and then begin to act. Therefore, before the beginning of the image, children solve mental problems based on the concepts they have formed, and then look for ways to implement this task. A child of senior preschool age is able to create such real and fantastic images that he did not perceive through the senses.

Visual activity is closely related to problem solving moral education. This connection is carried out through the content of children's work, which reinforces a certain attitude to the surrounding reality, and the education in children of observation, perseverance, activity, independence, initiative, the ability to listen and complete the task, to bring the work begun to the end.

The surrounding life gives children rich impressions, which are then reflected in their drawings, applications, etc. In the process of depicting, the attitude towards the depicted is fixed, since the child re-experiences the feelings that he experienced when perceiving this phenomenon. Therefore, the content of the work has a great influence on the formation of the personality of the child.

Rich material for ethical and aesthetic experiences gives nature: bright combinations of colors, a variety of forms, the majestic beauty of many phenomena (thunderstorm, sea surf, snowstorm, etc.).

Visual activity helps to consolidate in children ideas about work people, their way of life. By means of application, preschoolers make decorative patterns from vegetables, fruits, flowers. The teacher in the classroom on these topics talks not only about the design, shape of the depicted objects, their color, but also about the great work that has been applied to their creation.

In the process of drawing, modeling, designing, such important personality traits are formed as activity, independence, initiative, which are the main components of creative activity. The child learns to be active in observation, performance of work, to show independence and initiative in thinking through the content, selecting materials, using various means of artistic expression. Equally important is the cultivation of purposefulness in work, the ability to bring it to the end.

In the process of visual activity a sense of camaraderie, mutual assistance is brought up in preschoolers. Working on the image, children often turn to each other for advice and help. At the end of the lesson, a collective analysis of children's work is carried out, which contributes to the formation of objective assessments of their drawings and drawings of comrades.

In some cases, the work of preschoolers is organized as a collective performance of a task, during which they develop the ability to to work together, to work together, to help each other.

Visual activity is of great importance in solving problems aesthetic education because by its nature it is an artistic activity. It is important for children to cultivate an aesthetic attitude to the environment, the ability to see and feel the beautiful, to develop artistic taste and creative abilities.

Visual activity plays an important role in education aesthetic feelings of a preschooler. The specificity of drawing, sculpting, appliqué, and designing provides ample opportunities for learning about beauty, for developing an emotional and aesthetic attitude to reality in children. Fine art shows a person the world of real-life beauty, forms his beliefs, influences behavior.

Visual activity promotes the development of children's creative abilities, which is possible only in the process of assimilation and practical application of knowledge, skills and abilities.

Productive activities, including drawing, play an important role in the mental development of the child. B.M. Teplov writes that “the task of depicting necessarily requires a sharp perception, a genuine sense of things ... Solving the problem of depicting what is seen, the child inevitably learns to see things in a new way, much sharper and more accurately.”

Komarova T.S. notes that “all types of visual activity, if properly organized, have a positive effect on physical development child. They contribute to raising the general vitality, creating a cheerful, cheerful mood. Vision is of great importance for drawing and modeling. In order to draw, sculpt an object, it is not enough just to see it and recognize it. The image of an object requires a clear idea of its color, shape, design, which the painter can get as a result of preliminary targeted observations. In this work, the role of the visual apparatus is especially important.

Kvach N.V. writes that “in the process of visual activity, the visual memory child. As you know, a developed memory is a necessary condition for the successful cognition of reality, since thanks to the processes of memory, memorization, recognition, reproduction of cognizable objects and phenomena, consolidation of past experience occur.

Fine art is unthinkable without operating with the images of the memory and ideas of the child, obtained directly in the process of drawing, modeling, etc. The ultimate goal for the preschooler is such knowledge of the subject that would make it possible to possess the ability to completely freely depict it according to the idea.

Drawing, sculpting, applique, designing contribute to the development child's hands, especially the muscles of the hand and fingers, which is so important for further learning to write at school.

The labor skills acquired by children in the process of visual activity also develop the child's hand and eye and can be used in various types of labor.

During classes, the correct training fit is developed, since visual activity is almost always associated with a static position and a certain posture.

Drawing classes are very important in preparing a child for schooling. Children learn to hold a certain position of the body, hands, tilt the pencil, brush, adjust the scope, pace, pressure force, listen and remember the task, complete it according to a certain plan, keep within the allotted time, evaluate work, find and correct errors, plan activities, bring started to the end, keep in order the workplace, tools, materials (R.G. Kazakova, V.B.).

Thus, visual arts are an important means of comprehensive development of children. In the process of visual activity, children's visual representations of surrounding objects are refined and deepened, thinking, attention, memory, and fine motor skills develop. It promotes the development of children's creative abilities. In the process of activity, such important personality traits as activity, independence, initiative, purposefulness are formed. It promotes moral, aesthetic, physical and labor education. It also instills in preschoolers a sense of camaraderie and mutual assistance.

1.2 Stages of formation of visual activity

In the study by Yu.A. Poluyanov, “the following periods of development of visual activity were identified, covering the entire period of childhood: the pre-imaginative period (or the stage of “doodles”), and the visual period: the stage of shapeless images, the stage of pictorial schemes, the stage of plausible images, the stage of correct (or realistic) images".

Prepictorial period- this is the period of "doodles", "scribble", which, starting at the age of 1.5-2 years, lasts up to 3-3.5 years. This stage is long and uneven. Some authors divide it, in turn, into smaller stages: imitation of the movements of adults; looking at scribbles; line drawing; repeating doodles; ornament (mastery of the primary form); appearance of image .

V.V. Zenkovsky describes this stage in a refreshing way: “they distinguish between the stage of “rubbing”, the stage of rhythmic doodles, the associative stage.

At the first stage, the drawing seems to remain unchanged for a long time. The first graphic manifestations appear to a certain extent by chance, as one of the possible results of manipulations with pencil and paper. One gets the impression that the child is primarily interested not in the image, but in the pencil.

Researchers of children's drawing noted that after the first primitive lines, as the child's movements become more precise, he has the opportunity to diversify the depicted lines. He focuses his attention on them, repeats and examines them many times, and at the same time begins to prefer one scribble to another. He makes more and more attempts, trying to repeat the received lines.

Such drawing at the same time exercises the hand, leads to greater smoothness and ease of movement, and in the future - to the subordination of this movement to a certain rhythm. The scribbles are ordered, the strokes lie side by side, they become rhythmic - a stage of rhythmic scribbles arises.

The third and last stage of the pre-figurative period of drawing occurs when the image of an object involuntarily arises from scribbles and is prompted only by the child's imagination. That is, the child first draws, and then, "seeing" the image of the object in the drawing, calls it. Then to the question: “What did you draw?” - the child can give any name to his drawing with equal probability. It can be the sun, and mom, and an apple

That is, an association appears between the image on the sheet and the image that the child has (the so-called associative stage arises). It is important that the "associative" drawing often differs little from rhythmic scribbles in terms of quality and character of the image. What is new in him is the attitude of the child himself towards him.

This path - from the initial strokes to the first images, which took tens of thousands of years for a primitive man, has a very short segment for a child: at 3-3.5 years, he moves on to the next period - the pictorial one. It can conditionally be considered the beginning of the moment when the child first has a “plan” (that is, an arbitrary intention, goal-setting, the beginning of purposeful activity) to draw something. And only then the drawing itself is made.

The first stage of the pictorial period consists of drawings with primitive expressiveness (3-5 years). The child tries to express emotions and movements through the line (for example, the jumping of a girl is depicted as a zigzag line). These drawings, the researchers say, are "mimic" rather than "graphic." True, children after a while forget what they depicted (for them, a zigzag can be associated, for example, with a fence).

Thus, the child's first scribbles do not belong to the image area, but rather to the representation area. At this stage in the development of children's drawing, the connection between the expressive and pictorial functions is still insufficient.

According to V.S. Mukhina, "the child's transition from the pre-figurative period to the image includes two quite clearly distinct phases: first, the recognition of an object in a random combination of lines occurs, then an intentional image" . After 3.5 years, we can already talk about the emergence of a schematic image.

Trying to depict something specific, a young child draws a combination of lines (a graphic image), which in his past experience was associated with one or another object. But the first attempts to depict different objects most often represent closed rounded lines and are only a designation of an object without resemblance to it, which cannot satisfy the people around.

Often the child cannot remember what kind of object he drew. Therefore, he has to draw only those objects that are similar to the mastered graphic skills. At the same time, the child continues to look for new graphic images and at the same time may categorically refuse to depict those objects for which he does not have graphic images. During this period, the child draws only a few specific objects.

In general, children of middle preschool age can be divided into two groups: those who prefer to draw individual objects - "visualizers" (they mainly develop the ability to depict) and those who are inclined to unfold the plot, narration - "communicators" ( for them, the image of the plot in the drawing is complemented by speech and acquires a playful character)

At the next (second) stage of the visual period (6-7 years), children's drawings become even more schematic. The child distinguishes between movement, emotions and facial expressions. The objects he depicts have pronounced characteristic features. Interestingly, young children are able to recognize images taken by their peers.

Observing children's drawing, it can be noted that the child often draws schematic images of an object from memory, and not from nature. He draws what he knows about the subject. For example, when a child draws a rider on a horse in profile, he draws both legs of the rider. Or, depicting a person in profile, he makes two eyes in the drawing. If a child wants to draw a dressed person, he first depicts him naked, then draws the clothes in such a way that the whole body shines through the clothes, and a wallet is visible in the pocket and even coins in it (the law of transparency of a child's drawing works here).

In the future, as the drawing develops (in a kind of third stage), a sense of form and line appears in children's work. The child feels the need not only to list the specific features of the described object, but also to convey the formal relationships of the parts.

The drawings still have the appearance of a diagram, and at the same time, the first makings of an image similar to reality appear.

Regarding observational drawings, there is no consensus among authors involved in children's drawings. So, from the point of view of V.S. Mukhina, drawing from life arises under the influence of the special influence of an adult, and the conditions created in the learning process encourage children to improve graphic images, introduce new elements into them that show the characteristic features of the objects depicted. K. Buhler believed that such drawing reflects the artistic talent of the child.

The last stage of the pictorial period is plausible images. Here there is a gradual rejection of the scheme and the first attempts are made to reproduce the actual appearance of objects. The figures are becoming more proportional and detailed. The theme of the drawings is expanding.

At the stage of plausible images, a child's drawing to a large extent loses its "childishness", namely, those specific features that are characteristic of a child's drawing. According to G. Kershensteiner (1924), this stage is characterized by the fact that the drawing has the form of a silhouette or contours without transferring the perspective, plasticity of the subject. Without outside help, in his opinion, only a few children go beyond this stage on their own.

Thus, the development of pictorial activity includes 2 stages: the pre-pictorial period (or the stage of "doodles"), and the pictorial period: (the stage of shapeless images, the stage of pictorial schemes, the stage of plausible images, the stage of correct (or realistic) images).

1.3 Types of visual activity available to a preschool child

In kindergarten, visual activities include activities such as drawing, modeling, appliqué and design. Each of these types has its own capabilities in displaying the child's impressions of the world around. Therefore, the general tasks facing visual activity are specified depending on the characteristics of each type, the originality of the material and methods of working with it.

Drawing is one of the favorite activities of children, giving great scope for the manifestation of their creative activity.

However, awareness and technical mastery of drawing techniques are quite difficult for a small child, so the educator should approach the subject of work with great attention.

In kindergarten, mainly colored pencils, watercolors and gouache paints are used, which have different visual capabilities.

A pencil creates a linear shape. At the same time, one part after another gradually emerges, various details are added. The line image is then colored. Such a sequence of creating a drawing facilitates the analytical activity of the child's thinking. Having drawn one part, he remembers or sees in nature which part should be worked on next. In addition, linear outlines help in coloring the drawing by clearly showing the boundaries of the parts.

In painting with paints (gouache and watercolor), the creation of a form comes from a colorful spot. In this regard, paints are of great importance for the development of a sense of color and form. It is easy to convey the color richness of the surrounding life with paints: a clear sky, sunset and sunrise, blue sea, etc. When performed with pencils, these themes are laborious and require well-developed technical skills.

The kindergarten program defines the types of graphic materials for each age group. For senior and preparatory groups, it is recommended to additionally use a charcoal pencil, colored crayons, pastel, sanguine. These materials expand the visual possibilities of children. When working with charcoal and sanguine, the image turns out to be one-color, which allows you to focus all your attention on the shape and texture of the object; colored crayons make it easier to paint large surfaces and large shapes; pastel makes it possible to convey a variety of shades of color.

The originality of modeling as one of the types of visual activity lies in the three-dimensional method of image. Modeling is a kind of sculpture that includes working not only with soft material, but also with hard material (marble, granite, etc.) - Preschoolers can master the techniques of working only with soft plastic materials that are easily influenced by the hand - clay and plasticine.

Children sculpt people, animals, dishes, transport, vegetables, fruits, toys. The variety of topics is due to the fact that modeling, like other types of visual activity, primarily performs educational tasks, satisfying the cognitive and creative needs of the child.

The plasticity of the material and the volume of the depicted form allow the preschooler to master some techniques in modeling rather than in drawing. For example, the transfer of movement in a drawing is a complex task that requires a long learning curve. In modeling, the solution of this problem is facilitated. The child first sculpts the object in a static position, and then bends its parts in accordance with the plan.

The transfer of spatial relationships of objects in modeling is also simplified - objects, as in real life, are placed one after another, closer and further from the center of the composition. Questions of perspective in modeling are simply removed.

The main tool in creating an image in modeling is the transfer of a three-dimensional form. Color is limited. Usually those works are painted that will later be used in children's games.

Clay occupies the main place in modeling classes, as the most plastic material. Well-prepared, it is easily influenced by the hand of even a 2-3-year-old child. Dried clay works can be stored for a long time. Plasticine has less plastic capabilities. It requires pre-warming, while in a very hot state it loses its plasticity, sticks to the hands, causing unpleasant skin sensations. Preschoolers work with plasticine mostly outside of group activities.

In the process of applique, children get acquainted with simple and complex forms of various objects, parts and silhouettes of which they cut and paste. The creation of silhouette images requires a lot of thought and imagination, since the silhouette lacks details that are sometimes the main features of the subject.

Application classes contribute to the development of mathematical concepts. Preschoolers get acquainted with the names and features of the simplest geometric shapes, get an idea of the spatial position of objects and their parts (left, right, in the corner, center, etc.) and sizes (more, less). These complex concepts are easily acquired by children in the process of creating a decorative pattern or when depicting an object in parts.

In the process of classes, preschoolers develop a sense of color, rhythm, symmetry, and on this basis an artistic taste is formed. They don't have to make up their own colors or fill in the shapes. Providing children with paper of different colors and shades, they are brought up the ability to select beautiful combinations.

Children get acquainted with the concepts of rhythm and symmetry already at a younger age when distributing elements of a decorative pattern. Appliqué classes teach kids to plan the organization of work, which is especially important here, since in this art form the sequence of attaching parts is of great importance for creating a composition (large forms are glued first, then details; in plot works, first the background, then secondary objects obscured by others, and last but not least, objects of the first plan).

The performance of applicative images contributes to the development of the muscles of the hand, coordination of movements. The child learns to use scissors, cut out forms correctly by turning a sheet of paper, lay out forms on a sheet at an equal distance from each other.

Construction from various materials is more than other types of visual activity associated with the game. Play often accompanies the building process, and crafts made by children are commonly used in games.

In kindergarten, the following types of construction are used: from building material, sets of designers, paper, natural and other materials.

In the process of designing, preschoolers acquire special knowledge, skills and abilities. Designing from building material, they get acquainted with geometric volumetric forms, get ideas about the meaning of symmetry, balance, proportions. When constructing from paper, children's knowledge of geometric plane figures, the concepts of side, corners, and center are clarified. The guys get acquainted with the methods of modifying flat forms by bending, folding, cutting, gluing paper, as a result of which a new three-dimensional form appears.

Working with natural and other materials allows children to show their creative abilities, acquire new visual skills.

For constructive work, as a rule, ready-made forms are used, connecting which children get the desired image. All types of construction contribute to the development of constructive thinking and creative abilities of children. The child needs to imagine in advance the object being created (mentally or on the basis of an existing sample), the shape of its parts, mentally try on the ready-made forms he has, determine their suitability and then use (connect individual parts, add details, if necessary - apply coloring). The complex process of forming constructive thinking requires careful and clear guidance from the educator. All the considered types of visual activity are closely related to each other. This connection is carried out primarily through the content of the works. Some topics are common to all types - the image of houses, transport, animals, etc. So, if preschoolers of the senior or preparatory groups depicted a hare during modeling or application, then the knowledge gained in these classes about its shape, size, ratio of parts they can be used in plot drawing without a special training session. At the same time, it is important to consider whether preschoolers have the visual and technical skills necessary for this work - the ability to draw rounded shapes, to arrange objects on a sheet.

The connection between different types of visual activity is carried out through the consistent mastery of form-building movements in working with various materials. So, it is better to start familiarization with a rounded shape with modeling, where it is given in volume. In the application, the child gets acquainted with the planar shape of the circle. In drawing, a linear path is created. Thus, when planning work, the educator should carefully consider what material to use will allow children to quickly and easily master image skills. The knowledge acquired by preschoolers in the classroom with one type of visual activity can be successfully used in the classroom with other types of work and with other material.

The developing potential of productive activities in relation to the creative possibilities of preschoolers is a traditional subject of psychological and pedagogical study. In the works of N. A. Vetlugina, A. N. Davidchuk, O. M. Dyachenko, M. V. Ermolaeva, T. G. Kazakova, T. S. Komarova, V. S. Mukhina, N. N. Palagina, L.A. Paramonova, N. N. Poddyakova, Yu. A. Poluyanova, N. P. Sakulina, G. V. Uradovskikh and others revealed various facets of this potential in relation to the musical, visual, constructive activity of the child. In these works, an attempt was made to significantly expand the prospect of the child's creative development in the conditions of productive activities with structures of varying complexity, through a special organization of these activities.

Thus, at preschool age, the main types of visual activity are drawing, modeling, appliqué, and design.

Conclusions onfirst chapter

Based on the analysis of scientific literature, the following conclusions were made:

Fine arts are an important means of comprehensive development of children. In the process of visual activity, children's visual representations of surrounding objects are refined and deepened, thinking, attention, memory, and fine motor skills develop. It promotes the development of children's creative abilities. In the process of activity, such important personality traits as activity, independence, initiative, purposefulness are formed. It promotes moral, aesthetic, physical and labor education. It also instills in preschoolers a sense of camaraderie, mutual assistance.

development of visual activity, includes 2 stages: pre-imaginative period ( distinguish between the stage of "scribbling", the stage of rhythmic doodles, the associative stage. ) , and the pictorial period: (the stage of formless images, the stage of pictorial schemes, the stage of plausible images, the stage of correct (or realistic) images).

· In kindergarten, visual activities include activities such as drawing, modeling, appliqué and design.

CHAPTER 2. STUDYING THE FEATURES OF THE DEVELOPMENT OF ART ACTIVITIES IN PRESCHOOL CHILDREN

2.1 Methodology and organization of the study

The purpose of the study was as follows: to study the features of the development of visual activity in children of middle and senior preschool age. In this regard, the following tasks were set in the practical part of the work:

· To identify the features of the development of visual activity of children of middle preschool age.

· To identify the features of the development of visual activity of children of senior preschool age.

· Compare the features of the development of visual activity of children of middle and older preschool age.

In order to: compare the level of development of the artistic development of children of senior and middle preschool age, it was decided to conduct classes in these groups in the main types of visual activity: drawing, application, modeling.

At the second stage, an analysis of the drawings and crafts of children from both groups was carried out. pictorial preschool senior

2.2 Results of experimental research

The same classes were conducted with the children of both groups. It should be noted that the classes were adapted in accordance with the age and individual characteristics of the children. For middle-aged preschoolers, classes have been simplified. Older children were given the opportunity to be creative. The lesson plan is presented in table 2.1.

Table 2.1 - Lesson plan for visual activities

visual activity	Subject	Target
Drawing (See Appendix 1)	"Aquarium"	Creating an image of an aquarium with unique fish. Creation of conditions for the creative application of previously mastered methods of working with artistic materials and means of figurative expression. Creation of a collective aquarium.
Modeling from dough (See Appendix 2)	"Bees"	1. Continue to educate children's interest in modeling. 2. To form an interested attitude towards collective activity.
Application (See Annex 3)	"Vitamin Basket"	To teach children to work in a team, cut out the details of the application according to preliminary marking, place them on a common basis; to acquaint children with the concept of “vitamins”, to form an idea in them about the need for vitamins in the human body, about useful products that contain vitamins; to instill in children the need to eat right, to instill a sense of empathy, a desire to help.
Pencil drawing (see Appendix 4)	"Enchanted Figures"	To develop the imagination of children, encourage them to establish similarities between different geometric shapes, objects and phenomena of the surrounding reality, then by drawing these forms to get a subject or plot picture, exercise in the free choice of visual materials.
Consultation for educators "Non-traditional drawing techniques as a way to develop creative abilities"

At the first stage of the work, a lesson was held on the topic "Aquarium" for children of the middle and older groups. Sample drawings are presented in Appendix 5.

Preschoolers were offered blanks of a round “aquarium” in A4 format, watercolor. The children were also offered simple pencils, wax pencils, black markers. Preliminary work was carried out related to the examination of the aquarium and fish. Then the following instruction was given: “Please come to the easels, aquarium blanks are attached to them. You have gouache, watercolor, wax crayons and black markers. Let's try using these materials to create an image of an aquarium, but for each of you to have it different and unlike the others.

An analysis of the children's drawings showed that middle-aged preschoolers drew more schematically and used a small variety of colors in their work. Often there were 1-2 colors. Practically did not use additional materials. In their drawings, the presence of creative tendencies was not noted. Many fish and algae looked like spots, there was no drawing of details. Almost half of the preschoolers needed help from teachers.

The drawings of older preschool children were more interesting. They have more developed drawing skills: they can draw an object that looks like a fish, draw clear details. A variety of colors are used in the work, although they do not know how to mix them. The drawings indicate the presence of "decorations" of the aquarium. There were preschoolers who managed to rationally fill the area of a sheet of paper. There is good hand coordination. At the same time, it should be noted that skills are developed at a low level in approximately one third of preschool children. Although their drawings differed from those of middle-aged children in a clearer form of the object, there was a lack of creativity.

Next, a lesson on modeling "Bees" was organized with the children. Salt dough was used as the material. The topic was simple and not difficult for children of both groups, while it could show the features of the development of skills in preschoolers and the degree of manifestation of their creativity. The preschoolers were given the following instruction: “Sit down, take out the dough. Pinch off as much white dough as you like. Knead so that there are no cracks. Roll up. Now we pinch off on the abdomen. We stretch, we roll. We carefully connect the head and torso together. Next, the bee had to be painted.

All preschoolers completed the task. At the same time, it should be noted that the work of older children was more accurate. Since the task was simple, they did not need help from the teacher. The task of coloring the bee caused difficulty for middle-aged children: even stripes did not work out. As a rule, most of them painted them in one color, adding a little another, which confirms the fact that at this age not all children have good skills in working with a brush. Older preschoolers were able to show creativity in completing the task. Many of them made several bees and flowers, on which they were then planted. Thus, creating a plot composition and decorating it with different colors, which also indicates a higher level of development of artistic abilities in children.

The next task was to create an application "Vitamin Basket", where the children were given drawn vegetables and fruits, they had to cut them out and stick them into the basket, creating a small composition (see Appendix 6). There were marked differences in the performance of the task by the children of both groups. So, not all middle-aged children have developed skills in working with scissors. They constantly needed help from the teacher. Their actions are not very coordinated, which is why they did not always stick colored paper evenly and accurately. As a result, the composition was obtained only thanks to the help of teachers.

Children of senior preschool age reacted to the task with great interest. The quality of cutting and gluing is much higher. In the process of work, the children used additional materials to create a composition. Their applications were brighter and more colorful.

In order to study the features of the manifestation of creativity in drawing, the task was "Enchanted figures" (see Appendix 7). The teacher laid out sheets of paper depicting the contours of geometric shapes on the table and told a story about how an evil wizard bewitched objects: for example, only a small triangle remained from a wonderful house that stood on the edge of a beautiful forest, etc.

Having received the consent of the children to “disenchant” the pictures, the teacher suggested that everyone choose the one with which he would be able to cope with the “witch’s spell” and restore those objects that were bewitched.

At the end of the lesson, when all the pictures were disenchanted, they made a presentation of good wizards. Each child talked about the miracles that he performed (he disenchanted a house, a forest, etc.).

When performing this task, there were clear differences in the features of the visual activity of preschoolers. Middle-aged children drew more primitive drawings. Used, as a rule, 2-3 colors. The lines were not always clear and most often uneven. Hatching went in different directions.

The drawings of older preschool children were more creative. They used more colors, drew smooth lines, created more interesting images from figures, and drew details. All this may indicate that children have more developed skills in visual activity.

Thus, the analysis of drawings, appliqués and the object of modeling, we can say that children of senior preschool age are characterized by the presence of more developed skills in visual activity. Their products are distinguished by greater accuracy and precision of execution, the presence of a brighter color scheme. They pay more attention to details, show creativity in their work.

I take into account that in the process of visual activity, the development of creativity is underway, recommendations were selected primarily aimed at generating interest in this type of activity, as well as developing the ability to use various means of expression when creating a drawing.

Teachers are recommended to gradually, as the children have mastered the skills of working with various materials, to try to lead them to a conscious choice of material to create their own image. Here, a very important point is that the child shows independence, gets the opportunity to draw with the material that he liked best. When at the end of the lesson the child sees his drawing among other works, he will notice the variety of technical solutions of the images. Then at the next lesson, his choice may be different. The child should feel the possibility of choice. This contributes to the development of his creativity. It is very important that the mastery of technical skills and abilities allows children to depict the world in all its diversity.

Experimenting with various materials not only enriches the practical experience of children, but also helps to create an atmosphere of creativity in which the research needs of the child are realized, and thinking develops.

In order to develop perception, imaginative thinking, the ability to create an image based on a given element by the method of “objectification” and “inclusion”, it is recommended to offer tasks: “What does a circle, a square look like?”, “Magic figures”. The task "Who hid behind the fence?", "Magic lines". This puts children in front of the need to create an image based on an element of an indefinite form, encourages them to creatively approach the task by using non-traditional drawing methods.

"Wonder Beast: Think Animal" - developing the ability to create unusual images through a combination of different details, developing imagination, as well as drawing a "wonder beast" using blots, stamps and other non-traditional drawing methods.

"Draw a picture" - the inclusion of a child in a situation that requires the direction of the imagination, contributing to the development of fantasy through the use of a variety of non-traditional drawing techniques.

"Magic door", "There - on unknown paths" - the development of the imagination, the formation of the ability to plan, the ability to actively develop the chosen topic.

"Magic lines" - the development of the ability to actively fantasize.

Tasks that put the child in a situation of finding a solution in conditions of significant restrictions, contributing to the development of originality and direction of imagination, are recommended to be offered to children with a high level of development of creative abilities: “From point to point”, “In the country of robots”.

Game creative activities "Carnival of animals", "Orange country", are built on the basis of the integration of two types of actions of children's artistic activity - musical and visual. Enriching the emotional experience of children, expanding their ideas about the image through listening to musical works, the embodiment of his dance improvisation contributes to the creative processing of the image and the creation of an image that is emotionally close and understandable to the child.

A variety of ways of drawing gives children original ideas, develops fantasy and imagination, causes a desire to come up with new compositions in the design of works. The work is colorful and fun. In children one can see an uncomplicated joy of satisfaction from the fact that “I did it - all this is mine!”.

Thus, an unconventional approach to the implementation of the image gives a big impetus to the development of children's intelligence, the creative activity of children, teaches them to think outside the box.

To optimize the process of development of creativity in children of senior preschool age, the following actions were taken:

· Consultation for educators "Non-traditional drawing techniques as a way to develop creative abilities" (see Appendix 8)

Conclusions on the second chapter

Based on the experimental work carried out, the following conclusions were made: in the practical part of the work, 4 classes were held on the same topics for children of middle and senior preschool age. During the organization, the age characteristics of children were taken into account. Older children were given more opportunities for creativity, complicating the task.

An analysis of appliqué drawings and modeling objects showed that children of older preschool age are characterized by the presence of more developed skills in visual activity. Their products are distinguished by greater accuracy and precision of execution, the presence of a brighter color scheme. They pay more attention to details, show creativity in their work.

CONCLUSION

Visual activity is a specific figurative knowledge of reality. And like any cognitive activity, it is of great importance for the mental education of children. Mastering the ability to depict is impossible without the development of purposeful visual perception - observation. In order to draw, sculpt any object, you first need to get to know it well, remember its shape, size, design, color, arrangement of parts. In the process of visual activity, children's visual representations of surrounding objects are refined and deepened, thinking, attention, memory, and fine motor skills develop. It promotes the development of children's creative abilities. In the process of activity, such important personality traits as activity, independence, initiative, purposefulness are formed. It promotes moral, aesthetic, physical and labor education. It also instills in preschoolers a sense of camaraderie and mutual assistance. In kindergarten, visual activities include activities such as drawing, modeling, appliqué and design.

In the practical part of the work, 4 classes were held on the same topics for children of middle and senior preschool age. An analysis of appliqué drawings and modeling objects showed that children of older preschool age are characterized by the presence of more developed skills in visual activity. They performed the task more qualitatively, used additional means of expressiveness. Their products were distinguished by greater accuracy and clarity of lines. There is a lot of interest in the lessons.

LIST OF USED LITERATURE

1. Vershinina, N.A. Methods of teaching visual activity to preschoolers as a scientific discipline: Sociological model of development. Monograph / N.A. Vershinin. - St. Petersburg: LLC Publishing house "LEMA", 2008. - 141p.

3. Zenkovsky, V.V. Psychology of childhood / V.V. Zenkovsky. - Yekaterinburg: Business book, 1995. - 345 p.

4. Davydova, G.N. Non-traditional drawing techniques in kindergarten / G.N. Davydova.- M.: Scriptorium, 2003. - 78 p.

5. Kazakova, R.G. Search for the concept of children's fine art // Development of the theory of preschool education. Psychological and pedagogical aspects: materials of the scientific and practical conference / R.G. Kazakov. - M.: MPGU, 1998. - S.114-115.

6. Kazakova, R.G. Drawing with preschool children: non-traditional techniques, planning, lesson notes / R.G. Kazakov. - M.: Sfera, 2005. - 75 p.

7. Kazakova, T.G. Visual activity and artistic development of preschoolers / T.G. Kazakov. - M.: Pedagogy, 1985

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Drawing is a mirror of the feelings, maturity and development of the child's personality.

C. Sheilby

Psychological aspects

visual activity of children.

What does the child think about when he draws? What do we think about when we see a drawing of a child? Why does a child draw, should he be helped or should not be interfered with?

The child draws not only what he sees, but also what he already knows about things. His still immature neuromuscular coordination is not enough to explain his manner of drawing and the forms and characteristics that he gives to objects. In their drawings, children depict fantastic elements that express their level of vision of the big problems of a person, and, consequently, their relationship with themselves, their families and the world around them.

The child singles out from reality only what seems worthy of attention and helps him explain to himself what is happening around him, neglecting the rest of the details. He exaggerates the allegorical meaning of those phenomena that seem important to him, but are of no interest to adults, and does not pay attention to things that are significant to an adult. Over time, the child begins to express in the drawings a more developed view of the world around him and refuses the original way of depicting the outside world, giving it more and more credibility, accuracy and reality. Therefore, it is useful for parents and teachers to learn how to "read" children's drawings and evaluate them in order to understand the processes of development of the child's personality, his relationship with the family and the outside world.

Both in the game in general and in drawing, the same principle applies: the child tries himself and improves his abilities for self-expression. He finds pleasure in drawing, but above all, drawing stimulates him to enrich his knowledge of the world. In this sense, today psychologists oppose traditional didactic teaching methods used in elementary school and often force children to act within established patterns, against the imposition of stereotypical ideas that do not excite the child's imagination, but annoy him, suppress his creativity and do not stimulate the development of a creative personality. .

When drawing with a child, the following basic rules should be observed:

1. The child must have maximum freedom to take the initiative and the necessary physical and mental space for this.

2. The child should not be short of colored pencils, felt-tip pens and paper.

3. The plot of the drawing should not be criticized, on the contrary, from time to time it is necessary to stimulate the child's drawing.

4. The drawings selected by the child himself should be hung somewhere in a convenient place in the apartment and the child should be asked to explain them.

5. It is necessary to offer to draw everything that the child likes to talk about, and talk with him about everything that he likes to draw.

In the drawings, the child naturally and spontaneously expresses his feelings. He creates and destroys, kills and resurrects images that correspond to his level of consciousness and imagination, his ability to feel and explain the world around him. It should not cause much concern that very often a child develops the plot of some animated series in a drawing: for our time this is a more normal phenomenon than it seems at first glance.

At two years old, the baby begins to draw scribbles, the borders of the sheet are not taken into account by him. We are talking about simple hand movements, corresponding to the degree of development of his psychomotor control and mental functions. It will be another six months before he begins to respect the boundaries of the sheet of paper.

At the age of three, the child is already able, at the request of adults, to draw scribbles in the center of the sheet. At this age, he can even draw one line through a drawn object, he can also feel the charm of writing, which is still not at all different from scribbles, because he has not discovered that writing is a way of graphic communication of activity. A child's writing goes from simple horizontal lines on paper to long wavy lines that remind him of adult writing.

Soon after the age of three, children begin to try their hand at graphic representation of the human figure. At this time, they use several basic strokes with which they can depict a person: mom, dad or another family member. The drawing of the figure is carried out by the child according to the same pattern: a large round head, large eyes, hair falls down in straight rays and departs from the skull, like rays from the sun (the sun also then has a mouth, nose, eyes), hands are attached to the head, the hands are not defined, the fingers are arranged in a fan at the end of the arm or along it. Only after the age of four does a child begin to draw a full-length human figure, and a mouth and eyes appear on the face of the figure, indicated by simple pencil strokes. For some time after the full-length figure appears in the figure, the arms will move away from the legs or head.

The correct arrangement of the limbs is observed first in the figures drawn in profile, later - in full face. According to the French psychologist Monet, the reason is that the child continues to “make mistakes” out of habit, although he already knows how to draw better. He correctly draws in profile only because the more complex head in profile is a new movement for him, which is devoid of the previous "mistake". Indeed, the drawing of the head in profile appears in the second turn, and first the drawing in the profile of animals appears, and then people. Almost always the head is turned to the left. In the future, the child always prefers the profile when depicting both animals and people.

At the age of about five years, the child finally draws quite clearly the parts of the human body in the drawing: the head, neck, torso, arms, legs, hands and feet. The neck, hands and feet appear last in the drawing. The arms now move away from the body, the eyes, mouth, nose, ears (appear last), hair are depicted on the face in their places. Everything is portrayed much better than before. The figure can be dressed depending on the gender, although the clothes are still approximate.

In a six-year-old child, the figure takes on more definite forms due to increased skill, control over his movements and better orientation in relations with the outside world. In addition to the large number of details depicted in the figure, the ability to convey the location of the hands and the turn of the head appears.

It often happens that a child starts drawing with one idea in his head, and ends it with another idea without recognizing what he has drawn. There are two options here. He may start drawing with the intention of depicting some object, but he tells a completely different story, or, for example, he wants to draw a horse, but at the end of the work he is forced to admit that the drawing is not a horse, but another animal, or just a tree, a house, etc. d. Such cases occur often, although they disappear with time (but not earlier than six years). Therefore, when a child is asked what he drew or why he painted the house in such a way, one should not expect a coherent and accurate answer from him. He can answer like this: “I don’t know” or “I wanted to draw a rabbit, but it turned out to be a fish.” If you ask him why a fish wears glasses, he will answer: "The fish does not wear glasses, I just made a mistake and drew them."

The child tries to interpret the random details of the drawing in his own way: spots, lines, strokes, etc. He can say that these are special details of the drawing and often disguise them by weaving them into the image of the subject, or, taking advantage of the opportunity, change the interpretation of the drawing. The proof is the fact that after a few days the child may not recognize the object he has drawn. It is from the details, and not from the general meaning, that the uncertainty and deviation in the child's drawing from the original plan depend. He begins with the intention of drawing a house, but a new idea arises because of the resemblance of the object he once drew and the one he is currently drawing. The child tries to change the original sketch with suitable details, and the result seems so doubtful to him that he is already ready to give a convenient explanation for his creation. Any objections and criticism about the search for new forms in the image can cause a decadent mood in the child and discourage him from drawing.

It is best to stimulate the child in search of something new (and what else does it look like? Etc.) by constant interest in his drawings. Children do not easily accept criticism and objections. They, of course, correct the mistakes that are brought to their attention, but then they continue to repeat them. The development of children's attitude to the content and technique of graphic representation should take place dynamically, but without forcing, since it is more connected with the general immaturity of psychophysiological processes at this age than with the learning process.

A typical mistake of a child under the age of six is the lack of control over details. The amazing details of the drawing are enlarged and repeated with amazing persistence. The child increases the number and size of details in order to better distinguish them and constantly correct them, thus expressing his admiration for them. It should be remembered that the child draws objects based on his understanding of the importance of some and the futility of others. For him, the criterion that determines usefulness is the function performed by the object, and only useful objects and objects, from the point of view of the child, are of interest. Thus, the neglect of the organs of the human body in the figure is due to the importance the child attaches to them, depending on the situation.

Children's drawing is not at all fantastic, but deeply realistic. The child wants to portray what he knows, and for this he needs his own criterion. This criterion is expressed in the following: "The object exists because it serves for something." The child also notices the rest of the details, but does not know what to do with them, and without hesitation discards them. The child puts the same meaning in clothes that are not in the picture. The function of clothing remains unnoticed for him. He understands better the functions and usefulness of an umbrella or a smoking pipe than of trousers or shoes, and is guided by this in his drawings.

Up to four years of age, one should not attach serious importance to too enlarged or reduced sizes of painted objects, human figures, etc., their completeness and location on a sheet of paper. The child's attention is still scattered, and he shows interest only in what captures his attention at the moment. He may stop drawing an object because his attention shifts to another object, or he may overlay the drawing of one object on the drawing of another, mixing up the scribbles and forgetting which object was drawn first.

Children feel the distance in space and represent it in this way: one figure of a person is located slightly above the other or on the edge of a sheet of paper. It is only after four years that the horizontal line that defines the earth appears in the drawings, and much later the line that defines the sky. The increased size of the object remains the most significant element, even at the age of about six years the child adheres to the optical center of the drawing. He gives enlarged dimensions to the most significant figure or object that excites his imagination or constantly occupies his thoughts.

Often the child seeks to introduce into the drawing elements that do not have to be present, but without which the drawing seems incomplete to him. For example, he can convey in the drawing the effect of "transparency", with which he tries to depict objects of interest to him, even if they are "hidden" (stairs inside the house, people walking inside the house; a head shining through a hat). Another way of depicting objects in space is projection, i.e. graphic flattening of an object, as if looking from above or as if the object was disassembled, opened and laid on a vertical plane.

So, the child uses centering, enlargement, transparency effect, overlay and projection in the drawing to create the three-dimensionality of the elements of the drawing, which is necessary for the most effective image of the object.

Particular attention should be paid to the role of color in children's drawings. When a child is still small, in choosing a color he is guided solely by his still immature emotions, and subsequently the choice of color is limited by insufficient mastery of the drawing technique. In stimulating a child to draw, it is color that is a fertile material. Experimenting with it, the child develops an artistic perception of the world. Children should be encouraged to use a wide variety of colors in their drawings, giving them sets of pencils of all colors, and this should be done from a very young age. Adults should encourage children to freely discover and combine colors, recognize and try them. They need to talk with them about the difference between a red and green apple, talk about the combination of color with the object that the child is going to draw, about which color is better to choose, talk about the combination of colors.

For the child, this is a spontaneous and constructive lesson in which he learns, using a critical approach, to discover and distinguish things in the outside world. This brings up in children a sense of reality, i.e. the ability to find differences in how different people see the same thing.

To improve the chromatic taste of the child, you can use the following methods:

1. Ask the child to describe what feelings are associated with the colors of his drawings or color photographs from magazines, pieces of cloth or a ball of wool, etc., which can be found in every home. When a child paints a drawing, you can ask him what the smell of the drawn object is, is it hot or cold, smooth or rough, transparent or opaque, with what else can it be compared.

2. Mark the correspondence between the child’s answer and the color of the drawn object, and then give him the task again, but already the opposite: draw a transparent (or shiny, or cold, or fragrant, etc.) object.

3. Check the stability of color matching: how often, for example, smooth objects turn yellow, rough - green, fragrant - pink, cold - blue, hot - red, etc.

Thus, on the one hand, it becomes clear with what feelings a child is associated with a particular color, and, on the other hand, it is possible to teach him to better recognize and observe color, to take into account his state of mind depending on the observed color.

After that, you can start a game with the child with the following content: “Let's color the sea in the picture. It turned out the blue sea. What color could the sea be? Is the sea yellow, red or green? With children of five or six years old, you can play with some hint: “We color the sea instead of blue in yellow-blue, because it is behind the mountains. Even the sky behind the mountains becomes darker, so you can’t paint it in light colors, but it’s better to paint it in a dark blue, almost dark color.”

During the conversation, you do not need to be persistent, but you need to try to build a conversation so that the child speaks more. In no case should you tell the child that this is a new game, and his drawings will be shown to someone, unless he himself wants it.

At the end of this material is the "Man" test, developed by two American psychologists - Dr. Macover and Dr. Goodenough. With the help of the test, you can determine the level of compliance of the child's age with his psychological age at the moment of development.

A feature of the teaching of fine arts is that for a long time two main approaches have been competing, which can be defined as academic training and free education.

In the first case, children are taught to depict objects in accordance with the requirements of realistic fine art. With such a system of education, children can acquire some skills that are useful in many specialties and everyday situations, but they do not gain experience in solving artistic problems, they do not join art. This is learning without creativity.

In the second case, a favorable environment and conditions for creativity are created for children without a targeted pedagogical impact. They gain experience of free self-expression, communication with artistic materials, etc. But this is creativity without learning. It rises on the wave of "age talent", as if apart from the child himself, and with it comes to naught. The little artist "does not take possession" of his own creative potential.

We need a third way - the way of purposeful management of the creative development of children. The first thing to think about is that the child is the subject of creativity. It should be borne in mind that no one, except for a child, will give a “correct” solution to the creative task facing him (for example, if a child is looking for a combination of colors that expresses a certain feeling, he solves a truly artistic task).

Creative tasks are open-ended and do not have one correct answer. There are as many answers as there are people doing them. The role of the teacher is not only to understand and make a variety of decisions, but also to show the children the legitimacy of these decisions and sometimes defend a non-standard decision. Creating and comparing their works, children think about the fact that joy and sadness are different, that they themselves are different people and must learn to understand each other, including through their drawings.

During the entire period of study, children should be given tasks “for expressiveness”, which are becoming more and more complicated in content and related to color, shape and material, i.e. the whole set of visual media. Solving these problems, the child does at the level accessible to him the same thing as a real artist.

The artistic development of a child proceeds normally when he masters the "technology" of art not as an end in itself, but in connection with the solution of specific artistic problems. Then the acquired skill becomes not an extra burden on the shoulders, but a flexible tool in the hands, a means of embodying one's own ideas.

It is necessary to arouse in the child an interest in art. This can be helped by tasks that require an adequate expression of feelings, attitudes, moods, ideas of the child.

Not every child comes into the world to become an artist. And the best psychological recommendations and pedagogical methods will not change this. But it is also true that every person entering the world has a certain potential for artistic development, and this potential must be unleashed. There is no contradiction here. Thus, everyone has the ability to think logically and uses it constantly, but only a few become specialists in logic or theoretical scientists. The teacher must tune in and behave as if the entire group of children consists of potential artists. Under these conditions, the most gifted will soon find their way, and all the rest will gain valuable experience in the creative implementation of their own ideas, will begin to understand and appreciate art more deeply.

Prerequisites for productive activities, as well as games and labor, act the baby's need for independence and activity, imitation of an adult, the development of objective actions, the formation of coordination of hand and eye movements.

fracture in the development of drawing comes in connection with recognition in doodles of objects of the surrounding world.New stage in the development of visual activity is associated with intensive development at the beginning of preschool sign function of consciousness.Signed drawing function is born, when the child passes from gun manipulation of a pencil through the reconstruction of a graphic image shown to adults, to name it with a certain word.

From this moment begins the development of the actual visual activity, there is pictorial drawing function. Understanding that the image is a substitute for the real object, and not itself, allows the child to realize that his own drawings represent something. pinnacle of development doodle - closed, rounded line becomes the basis of the graphic image many items. Move word from end to start of drawing- the most important achievement in visual activity. As soon as the baby begins to attribute this or that content to his scribbles, they turn into a means of indicating and communicating. Transition to Intentional Image object creates the conditions for drawing closer and closer to reality and became recognizable . With the teaching influence of an adult, a child develops manual skill, which allows him to create an image close to a real object in the process of drawing. As the development of visual activity, the child creates internal ideal plan of action which is absent in early childhood. Therefore, it is important to note that changes occurring in the psyche of the child in the process of drawing, have much more important than the drawing itself.

Drawing, reflecting knowledge and perception of the child about reality, helps him to master it, is means of knowledge. In the visual activity of the child learns different elements of social experience. The main means of expression used by preschoolers are line and color . Color and thoroughness of drawing express the relation of the child to the object. The composition and size of objects also express the attitude of the child to the depicted, the use of compositional techniques is associated with mastering the space of the sheet. Features of the development of visual activity of a preschooler:

Visual activity is included in the development of the sign function of consciousness and, modeling reality, expands the boundaries of its knowledge;

Manual skill is being formed, which makes it possible to convey the rich content of the drawing;

Develops the ability to create and implement ideas;

Specific expressive means of visual activity are mastered.

The child depicts reality the way he imagines it. The figure includes the whole baby experience.Figure content determined not only individual characteristics of a preschooler, but also sexual, national. Included in drawing moral and aesthetic assessments, ideas about beautiful and ugly, good and bad, and moral and aesthetic standards are merged. baby construction means building construction process , which provide mutual arrangement of parts and elements, and ways to connect them.

Design is always about decision of a certainconstructive and technical task , providing organizing space, establishing the relative position of elements and parts objects according to a certain logic. At preschool age develop two interrelated aspects of constructive activity: construction - image And building for play.

The fundamental point in design is analytical and synthetic activity for examining items. allows you to determine how to design . child examines not only the basic properties of objects, but above all them specific design features. On the basis of analytical and synthetic activity, the child plans the course of construction, creates an idea. During the construction process, the child recognizes that behind a certain shape and weight of parts there are certain constructive properties. The following types of constructive activity are distinguished:

- pattern design a necessary and important moment in the development of constructive activity of the child. - design according to conditionspromotes development creativity, initiative, discipline. - design by design building for play brings children together.

Applique and modeling are two more types of productive activities. Their psychological meaning is similar to the meaning of visual and constructive activity. All of them together develop the child's ability to plan activities.

Features of constructive activity in preschool age:

Children learn how to examine objects and how to create structures;

Preschoolers learn the structural properties of parts and materials;

The field of creative manifestations is expanding.

In shaping the personality of a child, various types of artistic and creative activities are invaluable: drawing, modeling, cutting figures out of paper and gluing them, creating various designs from natural materials, etc.

Such activities give children the joy of learning, creativity. Having experienced this feeling once, the kid will strive in his drawings, applications, crafts to tell about what he learned, saw, experienced. The visual activity of the child, which he is just beginning to master, needs qualified guidance from an adult. But in order to develop in each pupil the creative abilities inherent in nature, the teacher must himself understand the fine arts, children's creativity, and master the necessary methods of artistic activity.

The visual activity of preschoolers as a type of artistic activity should be emotional, creative. The teacher must create all the conditions for this: he, first of all, must provide an emotional, figurative perception of reality, form aesthetic feelings and ideas, develop figurative thinking and imagination, teach children how to create images, means of their expressive performance. The learning process should be aimed at the development of children's fine arts, at the creative reflection of impressions from the surrounding world, works of literature and art.

Drawing, modeling, appliqué are types of visual activity, the main purpose of which is a figurative reflection of reality. Visual activity is one of the most interesting for preschool children. Visual activity is a specific figurative knowledge of reality. Like any cognitive activity, it is of great importance for the mental education of children. Mastering the ability to depict is impossible without purposeful visual perception - observation. In order to draw, sculpt any object, you must first familiarize yourself with it well, remember its shape, size, color, design, arrangement of parts.

For the mental development of children, it is of great importance to gradually expand the stock of knowledge based on ideas about the diversity of forms of the spatial arrangement of objects in the world around them, various sizes, and a variety of shades of colors. When organizing perception, when organizing the perception of objects and phenomena, it is important to draw children's attention to the variability of shapes, sizes (child and adult), colors (plants at different times of the year), different spatial arrangement of objects and parts (a bird sits, flies, pecks grains, a fish swims in different directions, etc.); structural details can also be arranged differently.

Being engaged in drawing, modeling, appliqué, children get acquainted with materials (paper, paints, clay, chalk, etc.), with their properties, expressive possibilities, acquire work skills.

Teaching visual activity without the formation of such mental operations as analysis, comparison, synthesis, generalization. On the basis of the similarity of objects in form, there is a commonality of methods of depiction in drawing, modeling. For example, to mold a berry, nut, tumbler, apple or chicken (objects having a round shape or parts of a round shape), you need to roll out pieces of plasticine or clay in a circular motion. The faculty of analysis develops from a more general and coarse discrimination to a more subtle one. Knowledge of objects and their properties, acquired in an effective way, is fixed in the mind.

In the classroom for visual activity, children's speech develops: the assimilation and name of shapes, colors and their shades, spatial designations contributes to the enrichment of the dictionary; statements in the process of observing objects, when examining objects, buildings, as well as when looking at illustrations, reproductions from paintings by artists, have a positive effect on expanding vocabulary and forming coherent speech.

As psychologists point out, for the implementation of various types of activities, the mental development of children, those qualities, skills, abilities that they acquire in the process of drawing, application and design are of great importance. Visual activity is closely related to sensory education. The formation of ideas about objects requires the assimilation of knowledge about their properties and qualities, shape, color, size, position in space. Children define and name these properties, compare objects, find similarities and differences, that is, perform mental actions.

The social orientation of children's fine art is also manifested in the fact that in their work children convey the phenomena of social life. The significance of visual arts for moral education also lies in the fact that in the process of these activities, children are brought up with moral and volitional qualities: the need and ability to complete what has been started, to work with concentration and purpose, to help a friend, to overcome difficulties, etc.

Visual activity should be used to educate children in kindness, justice, to deepen those noble feelings that arise in them. In the process of visual activity, mental and physical activity are combined. To create a drawing, modeling, appliqué, you need to make an effort, carry out labor actions, and master certain skills. The visual activity of preschoolers teaches them to overcome difficulties, to show labor efforts, to master labor skills. At first, children have an interest in the movement of a pencil or brush, in the traces they leave on paper; gradually new motives of creativity appear - the desire to get a result, to create a certain image.

Preschoolers acquire many practical skills that will later be needed to perform a wide variety of jobs, acquire manual skills that will allow them to feel independent. The development of labor skills and abilities is associated with the development of such volitional qualities of a person as attention, perseverance, endurance. Children are taught the ability to work, to achieve the desired result. The participation of children in preparing for classes and cleaning jobs contributes to the formation of diligence and self-service skills.

The main significance of visual activity lies in the fact that it is a means of aesthetic education. In the process of visual activity, favorable conditions are created for the development of aesthetic perception and emotions, which gradually turn into aesthetic feelings that contribute to the formation of an aesthetic attitude to reality.

The direct aesthetic feeling that arises when perceiving a beautiful object includes various constituent elements: a sense of color, a sense of proportion, a sense of form, a sense of rhythm.

For the aesthetic education of children and for the development of their visual abilities, acquaintance with works of fine art is of great importance. The brightness, expressiveness of images in pictures, sculpture, architecture and works of applied art evoke aesthetic experiences, help to perceive the phenomena of life deeper and more fully and find figurative expressions of one's impressions in drawing, modeling, and appliqué. Gradually, children develop artistic taste.

By the age of four, children are already familiar with constructive and visual materials, have some skills in using them - they make simple buildings, they can use a pencil, brush, clay, navigate on a sheet of paper, show a strong desire - to depict what they see in the surrounding reality.

Depicting objects, children of four years old try to reflect their attitude towards them. To do this, they use various means: a certain selection of objects for the image; color selectivity; beating the results of their activities; addition of words, a story about the depicted object or phenomenon. Teaching children design, application, drawing and modeling begins with their acquaintance with the surrounding objects and phenomena. The child is taught to observe the environment; purposefully examine, examine objects; acquaint with the variety of forms created by nature and human hands, as a result of which he develops a figurative vision of the world.

In addition to preliminary targeted observations, with children of the fifth year of life, it is necessary to organize the examination of objects before class and directly in class in order to clarify ideas about these objects, arouse interest in them, a desire to transfer perceived images to paper, to clay.

The next stage in the formation of visual and constructive activity in a child of middle preschool age is to familiarize him with the variety of ways to depict objects and phenomena in different materials, i.e. introduction to the world of conditional and graphic images.

Showing different ways of depicting becomes more important in the middle group than in the younger ones. At this age, children are able to notice some signs of an object - color, general shape, distinguish its parts and details, and they have a desire to convey this in a drawing. But the development of visual perception is somewhat ahead of the development of special skill of the hand. Therefore, the child is in great need of a visual demonstration of image methods, during which he forms ideas about graphic and plastic conditional images. Reproducing these methods from memory, or repeating several times after the teacher's show, children exercise their hands and eyes, as a result of which they develop shaping movements in drawing and modeling, visual-motor coordination is improved.

By the age of four, children have increased interest in the results of their activities. Recognition by others of the image created by the child is an effective educational moment. Children are surprised and admired by their images and expect the same admiration from their comrades and teacher. Critical remarks are often perceived by them as an insult and do not give positive results. However, they cannot find and correct their mistakes on their own. Therefore, the task of the educator is to create situations in which the child would be clearly convinced of the correctness of the task performed. For example, in a drawing, you can offer the child to take the object he has drawn to a specially prepared place and put it in the position in which he wants. If the drawing is wrinkled or torn, then the child will be clearly convinced of the negligence of the work performed and will try to eliminate the shortcomings.

The formation of an evaluative attitude towards the results of drawing in children is facilitated by an organized review of all children's work using game situations, as well as the compilation of stories first by the educator, and then by the children themselves, from the drawings. To this end, the teacher can prepare in advance the place where the drawings will hang. Having finished his drawing, the child immediately takes it and hangs it in the place indicated by the teacher. At the same time, the child can compare his work with others, come up with a story according to the drawing he especially likes. When all the children finish drawing, the teacher organizes a review, turning first of all to those who have already managed to examine the drawings, evaluate them, come up with at least a very short, elementary story.

The teacher should ensure that the children, when telling, are not limited to simply listing what is drawn, or evaluate the drawings only from the point of view of the accuracy of execution. It is necessary to suggest thinking about what the depicted character is doing (did) or what happened to the drawn object, where and why they put it, and why they like this particular work. In this case, the children, as it were, play with, enliven the static elementary images, showing their attitude to the depicted.

It is in this situation that the child begins to form a steady interest in the proposed topic, as well as a plan and objectivity in evaluating the results of activities.

The visual activity of a preschool child gives him the opportunity to independently apply the acquired knowledge in practice, actively practice artistic activity, acquire the skills of individual and joint work, and receive satisfaction from its results.

Thus, visual activity contributes to sensory education and the development of visual-figurative thinking. Children's fine art has a social orientation. The child draws, sculpts, designs not only for himself, but also for others. He wants his drawing to say something, to be recognized by him. The significance of visual activity for education lies in the fact that in the process of these activities, moral and volitional qualities are brought up in children: the need and ability to bring what has been started to the end, to concentrate and purposefully engage, to help a friend, to overcome difficulties, etc.

Visual activity should be used to educate children in kindness, justice, to deepen those noble feelings that arise in them.

In the process of visual activity, mental and physical activity are combined.

To create a drawing, modeling, appliqué, you need to make an effort, carry out labor actions, and master certain skills. The visual activity of preschoolers teaches them to overcome difficulties, to show labor efforts, to master labor skills.

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