Coursework: The development of creative activity and artistic abilities of younger students in the lessons of illustration. Letters to fairy-tale heroes, aliens

Children's creativity is inexhaustible. It is always independent, new, unusual. This is a children's impulse to kindness and beauty, the embodiment of their dreams, the desire to express their feelings and experiences. The main thing in children's creativity is the great joy that it brings to both the teacher and the student. This article will tell about the basics of this type of activity and help organize literary creativity in the classroom.

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Development of literary creativity junior schoolchildren.

Modern programs of primary literary education provide for the formation of various literary and artistic skills in younger students. Primary school students should be able to compose fairy tales, short stories, riddles, nursery rhymes, etc. It is in this way, according to the authors of the programs, that they learn theoretical and literary information about genres and figurative and expressive means of language, rhyme.

The problem of the development of children's speech creativity has been relevant for many years. Many researchers and educators note that speech plays a unique role in the formation and development of a person's personality.

A feature of a child of primary school age is the purity and immediacy of perception. Unusual and rich children's fantasy, imagination, the need to invent and compose. Why not use this in educational process? Therefore, starting from grade 1, I teach children to compose poetry.

Have you ever thought about why people become artists, poets, sculptors? Does it depend on them mental abilities? Of course! Is this the main thing? Not! Creative people are distinguished by a special ability to see, hear what others have not seen or heard. They feel more subtle, distinguish shades, they are not indifferent to reality, their souls are full of impressions that need to be expressed in any images.

From this follows the conclusion: it is necessary to teach children to see the beautiful, to develop aesthetic feelings in them, this will expand their spiritual world, direct and enrich the personality.

Realizing this, in my work at the lessons of the Russian language and literary reading, I try to pay attention to everything that is somehow connected with the spiritual world of the child. Everything is important for me: intonation, facial expressions, gestures, eye expression.

In first grade the child captures the specificity of the sound structure of speech, feels its expressiveness, comprehends the meaning of words, receives the first information about comparison, sound writing, rhyme. Children learn to compare, observe, fantasize. At this stage, children compose: tongue twisters:

Ra-ra-ra - it's hot in the yard.

Choo-choo-choo - very quickly shoulder,

Mo-mo-mo - it's already dark outside, etc.

fables:

At the bear in the forest

I'll pick up a lot of berries.

(Svintsitskaya Julia)

Flying in the clouds

Vobla with glasses.

(Manukhina Christina)

invited a crocodile to dinner

All your friends and neighbors.

A kangaroo flew to him,

A hippo jumped from the marshes,

And even a shark in a mink coat

Came in my Jeep!

(Adylkanov Marat)

Once upon a time there was a cow, I dreamed

She lived in the forest. New Year,

And everyone was afraid of her, Only the opposite is true:

They ran through the forest. Santa Claus was a locomotive

(Karpova Julia) Well, I'm Santa Claus!

(Manukhina Christina)

The continuation of the work begun in the lessons of poetry can be traced in the lessons of the natural cycle, excursions, where the experience of children is enriched by direct observations of nature. Children, at first simply and naively, observe the world around them:

Julia looks through

Glass:

It's already dark outside.

(Svintsitskaya Julia)

Under you, not feeling your feet,

Jumping frisky spider.

And big spiders

They sleep quietly and dream.

(Sasin Mikhail)

In second gradethe child more clearly feels a single sound structure, clearly expresses his attitude to the environment, stylistically formulates his statements more accurately, uses comparisons and personifications. At this stage, the task is also to teach you to feel the rhythm, music, rhyme of poems, to convey your mood, your ideas about the world around them:

Memories of summer.

I love the bright summer, we will gladly go

I love hot summer, We take a walk in the forest.

Warm, fragrant. Will the bunny jump there

The sun is radiant. Squirrel - jump.

Shines a long day. sun bunnies

Sunbathe and swim Smile suddenly.

We are not lazy at all! Because summer is

This is the best friend!

(Skorobach Stas)

About school.

Autumn has come again

And I went to school

And I will study!

I will go to class

And learn lessons

And I'll finish with honors!

(Fedina Lydia)

And, of course, a return to the fairy tale:

Gnomes.

In a wooden house

There lived gnomes.

They were brave

And very skillful.

Danced all day long

And boredom did not know!

(Skorobach Stas)

In the third and fourth gradeschildren are already more meaningfully oriented in genres and styles of speech. Having got acquainted in the 3rd grade with haiku, we were imbued with their unusualness and originality. It was interesting for children to watch how the poet speaks about the whole world with the help of a few lines. The thoughts and feelings of the children were embodied in a cycle of poems - "Imitation of haiku":

Swans!

You are like white clouds floating in the blue sky.

People, take care of them!

wounded beast

Worse than the enemy...

Don't hurt anyone!

(Dobrynina Alena)

Centenary oak -

And he is beautiful on the first snow.

(Svintsitskaya Julia)

Bright sun

In a cloudless sky

The harvest is already ripe!

(Sasin Mikhail)

Oh cranes!

Where are you flying with your flock?

Your way is far.

(Mazur Andrey)

In conclusion, I would like to say that children's creativity is inexhaustible. It is always independent, new, unusual. This is a children's impulse to kindness and beauty, the embodiment of their dreams, the desire to express their feelings and experiences. The main thing in children's creativity is the great joy that it brings to both the teacher and the student.

Ministry of Education and Science of the Autonomous Republic of Crimea

RVEI "Crimean Engineering and Pedagogical University"

Faculty of Arts

Department of Fine Arts and DPI

Course work

on the methodology of teaching fine arts and fine arts

Topic: Development of creative activity and artistic ability younger schoolchildren in the lessons of illustrating a fairy tale.

Work completed

student of ZIDI-06 group

Parshina Alexandra

Supervisor:

Kerimova S. A.

Simferopol, 2010.

I. Theoretical part

Introduction p.2

1. The importance of childhood for the development of creative abilities p. 4

1.1 Stages of development of children's drawing page 5

1.2 art and junior school student p. 5

2. Distribution of material by year of study in elementary school p. 7

3. The activity of the teacher

3.1 Tasks of the teacher p. 8

3.2 Methods for developing creativity in children page 9

4. Structure of the lesson and problem situations page 10

5. The role of illustration in shaping the creative activity of children p. 13

5.1 Features of children's perception of book illustrations. page 14

5.2Methodology for familiarizing children with the illustration. page 17

II. Practical part

1. Outline of the lesson on the topic “Illustration of the fairy tale by S. Ya. Marshak “12 months”. page 19

2.1. The place of children's drawing (age from 2 to 11 years) in the visual arts. page 23

2.2. Evaluation of a children's painting (age from 2 to 11 years). page 24

Conclusion page 25

Appendix page 27

References page 36

I. Theoretical part

Introduction

Creativity is understood as the activity of creating new and original products of public importance.

The essence of creativity is the prediction of the result, the correct setting of the experiment, in the creation by the effort of thought of a working hypothesis close to reality, in what Sklodowska called the feeling of nature.

People do a lot of things every day: small and large, simple and complex. And each case is a task, sometimes more, sometimes less difficult.

When solving problems, an act of creativity occurs, a new path is found or something new is created. This is where the special qualities of the mind are required, such as observation, the ability to compare and analyze, find connections and dependencies - all that in the aggregate constitutes creative abilities.

Normal children have a variety of potential abilities.

The task of additional education is to identify and develop them in activities that are accessible and interesting to children. In many cases, the results were so impressive that those who saw the work of students involuntarily exclaimed: “Well, this is the lot of the gifted, talented, capable!”. However, admirable work in our conditions is performed by ordinary children, and, moreover, by everyone. I just think that developing abilities means equipping a child with a method of activity, giving him the key, the principle of doing work, creating conditions for the identification and flourishing of his giftedness.

“Abilities are not just manifested in labor, they are formed, developed, flourish in labor and perish in inaction.”

The most effective way to develop individual abilities lies through introducing schoolchildren to productive creative activity from the 1st grade.

Who needs creativity?

The acceleration of scientific and technological progress will depend on the quantity and quality of creatively developed minds, on their ability to provide fast development science, technology and production, because of what is now called the increase in the intellectual potential of the people.

It turns out that everyone should become creators? Yes! Let some to a lesser extent, others to a greater extent, but certainly all. Where to get so many talented and capable? Nature, everyone knows, is not generous with talents. They are like diamonds, they are rare….

The object of this research term paper is pedagogical process, namely the process of developing creative abilities in children in the course of acquaintance with illustrating a fairy tale.

Target this study:

1) The study of the problem of the development of children's creative abilities, namely those of its aspects, the importance of which is necessary for practical activities in this direction of a teacher of additional education.

2) Reveal effective techniques development of creative abilities in the conditions of additional education institutions.

3) Use special techniques to develop the creative abilities of children.

In the course of work, we set ourselves the following tasks:

1. Identification of the main components of creative abilities based on the analysis of literature.

2. To study and analyze the developed problem in the psychological and pedagogical literature.

3. Reveal the features of children's creativity in the process of illustrating their favorite fairy tales.

1. The importance of childhood for the development of creative abilities

Any inclinations, before turning into abilities, must go a long way of development.

The first years of a child's life are the most valuable for his future, and we must use them as fully as possible. More precisely, the first impulses to the development of creative abilities.

This can be explained by the number of connections "involved" between brain cells. Every child is born with a rich fibrous network connecting brain cells, but these are only potential, possible connections. They become real and active only when certain nervous structures are activated, when certain abilities begin to function, and biocurrents begin to flow along the “communication lines”. And the younger the child, the easier the formation of bonds, and with age it becomes more and more difficult.

By depriving a child, due to ignorance and traditions, of timely and full development in infancy and preschool childhood, we thereby doomed him to low rates of development, to a huge expenditure of time and effort, and to a low end result. And we consider this development normal!

The third, extremely important, condition for the successful development of creative abilities follows from the very nature of the creative process, which requires maximum effort.

Paradoxically, this condition is most easily realized when the child is already crawling, but has not yet begun to speak.

The process of cognition of the world at this time is very intensive. And at this time, the baby, more than ever, is forced to engage in creativity, to solve many, completely new tasks for him.

That is why it is necessary to start development as early as possible, that is why the first years of life are the most fertile time when our bright cares will give the richest fruits, fruits that will remain for life.

The more observant the child, the more inquisitive he is, the more convincing his drawing will be, even with the technical helplessness of the author. Drawing, the child not only depicts other objects or phenomena, but also expresses his attitude towards the depicted by means within his power. Therefore, the process of drawing in a child is associated with an assessment of what he depicts, and in this assessment the child's feelings, including aesthetic ones, always play an important role. In an effort to convey this attitude, the child is looking for means of expression, mastering the pencil and paints.

Among children who draw, two types of draftsmen can be found: the observer and the dreamer. For the creativity of the observer, images and plots seen in life are characteristic, for the dreamer - images of fairy tales, images of imagination. Some draw cars, houses, events from their lives, others - palm trees, giraffes, ice mountains and reindeer, space flights and fairy-tale scenes.

A child, drawing, often mentally acts among the objects depicted by him, he only gradually becomes an outside viewer in relation to his drawing, who is outside the drawing and looks at it from the outside. certain point vision as we see.

In children, the sphere of figurative thinking is very strong. They do not just listen to every fairy tale told by us, they live together with its heroes. With the help of playing, rethinking fairy tales, our children comprehend the laws of the world, human relationships, learn to live in harmony with themselves and others. The same fairy tale by different children and in different ages may be perceived differently.

The laws according to which the fairy tale is built have a therapeutic effect on the child. Poetic speech, repetitive turns, refrains - all this is very important. Children quickly memorize them, rejoice at every word of their favorite fairy tale. Therefore, you should try to avoid simplified and shortened texts. The older the child, the longer and more complex the story can be.

1.1 Stages of development of children's drawing

The Italian psychologist K. Ricci distinguishes two stages in the evolution of children's drawing: pre-pictorial and pictorial. Stages, in turn, are divided into several stages.

The first stage of the pre-figurative stage - doodle stage, which begins at the age of two years.

Approximately at the age of 3-5 years, the visual period begins, the first stage of which is object drawing stage(schematic image).

The next stage in the development of the drawing is believable image stage- characterized by a gradual rejection of the scheme and attempts to reproduce the actual appearance of objects.

At the age of 5-7 years, the development of the figurative world in the drawing also occurs - from man to his environment. Proportions are first established in the human figure. Characteristic pattern of this period: high big man next to a small multi-storey building and a small passenger car. The five-year-old author does not understand our bewilderment: "Yes, this man arrived in his car, he lives in this house, yes, on the third floor, you see, here is his window and balcony." But it seems absurd to us that the size of the depicted person and his world are inconsistent: "How can he enter a house and get into a car?" In fact, this is a normal stage in the development of children's drawing. All children pass through it, and over time, everything will “balance” in the drawing, and the correct proportions will be established in the world around them.

1.2 Visual arts and the younger student

It is curious to note that school methodologists ingenuously talked about their observations of younger schoolchildren who, having received the task of drawing a jug from life, could not pay attention to the fact that the teacher took the jug out of the classroom, and continued to draw, thinking about something of their own, not too concerned about the outward resemblance to nature.

Not only teachers, but also parents, if they are attentive to the process of creativity of younger students, are convinced that children at this age are much more interested in depicting actions and events than drawing static productions from nature.

Specialists in the field of artistic education of children explain these features of younger schoolchildren with a “motor” mindset (A. V. Bakushinsky), an “effective” attitude to reality (B. P. Yusov). AT adolescence the “motor” attitude will be replaced by the “visual” attitude of the psyche (A. V. Bakushinsky), the period of “subject relatedness” will come visual activity(B.P. Yusov).

Unfortunately, these most important psychophysiological features of the development of younger schoolchildren and adolescents were not taken into account when developing old drawing programs. In a certain circle of methodologists, it is considered almost an axiom that the task of teaching drawing is to master a certain set of image rules for schoolchildren, and creative development is tantamount to giving up learning. Moreover, the set of rules allocated in such cases can rather be attributed to “technical drawing” than to art.

Meanwhile, the features of the artistic language are determined by the specifics of art, about which the famous scientist P. V. Simonov says this: “The most important thing in the models of science is information about what the simulated phenomenon is. The most important thing in art models is information about what the phenomenon being modeled is for us. Art embodies the attitude of a person to reproducible phenomena, but the category of attitude is possible only in the coordinates of desirable or undesirable. Out of these coordinates psychological fact relationship is impossible, it simply does not exist.

For preschoolers and younger schoolchildren, an active attitude to the events depicted is very characteristic. You can even observe how some guys, drawing, "voice" the actions depicted. The enthusiasm of younger students for the content of their drawings, the active manifestation of a personal relationship to the characters depicted - all this enhances the expressiveness of children's works. It is no coincidence that many artists turn to children's creativity as an inexhaustible source of sincerity, spontaneity, and artistic expressiveness.

main feature art - artistic image. It is in it that the “portrait” of life itself and the “portrait” of the artist-creator are mysteriously combined. The figurativeness of the drawings of preschoolers and younger schoolchildren was noted not only by artists. Leo Tolstoy, Janusz Korczak, Vasily Sukhomlinsky and many others paid attention to the special imagery children's creativity in general and drawings in particular.

It is at primary school age that children first get acquainted with their favorite fairy tales, with fairy tales that they will remember for a lifetime, with fairy tales that they will tell their children. At the age of 6-8 years, the child still does not pay much attention to the very content of the fairy tale, for him the images caused by the fairy tale are more important. Often a younger student perceives the text part of a fairy tale precisely through illustrations that help to consolidate the content of the fairy tale.

sociological research show: the earlier the interest of children in the fine arts is formed at an early age, the more persistent it turns out to be throughout a person’s life. Therefore, it is so important to form a passionate attitude towards the world of fine arts among younger students at school. Then the number of children attending free time art studios and art schools.

The Ericksonian model of development presents maturity as a series of 8 stages, including developmental crises that must be successfully resolved.

Stage 4 - industriousness - inferiority - lasts from 6 to 11 years old, it just affects the age category of younger students.

If a child is encouraged to make, needlework, cook, is allowed to finish what he has begun, praised for the results, then he develops a sense of competence, "skill", confidence that he can master a new business, develop the ability to technical creativity.

If, on the other hand, parents or teachers see the child's labor activity as nothing but pampering and an obstacle to "serious studies," there is a danger of developing in him a feeling of inferiority and inadequacy.

2. Distribution of material by year of study in elementary school (topics):

Grade 1 - "The Art of Seeing" (we learn to depict the visible);

Grade 2 - "You and Art" (we learn to see and understand what is depicted, decorated and built);

Grade 3 - "Art around you" (we learn to see art in the surrounding life);

Grade 4 - "Every nation is an artist" (we learn to see wealth, diversity of beauty).

The task of grade 1 is to connect the child with the surrounding life through the formation of artistic interest in it. Here begins the laying of the main ability developed by art: to see life, to peer into it with interest. This line should become the foundation for the development of all other lines in subsequent classes. Further, the development of ideas is built from the personal emotional ties of each person with art (grade 2) and through the awareness of everyday connection with it (grade 3) to the discovery - through art - of the beauty, diversity and richness of the artistic life of different peoples of the Earth and the unity of their basic aesthetic ideas about the beauty and ugliness of a human act, the relationship of a person to a person, that is, about the beauty or ugliness of a person’s spiritual world (Grade 4).

It is necessary to make one remark about the technique of working with paints adopted in the elementary school curriculum. Usually work with paints is built from a contour drawing with a pencil and painting over a plane inside the contour. This is how a flag, a person, and a tree are depicted. According to B. Nemensky and his co-authors, this method contributes little to artistic development. The edge of the spot is the contour of the image, so both the line and the spot are applied with a brush. The brush gives rich possibilities. She has a plane, there is a thin edge, or corner, she can paint over the plane with different techniques and thin lines can be drawn. Gouache becomes the main painting material. You can work with gouache on any paper, you can work with a bristle brush, you can overlap, and therefore correct what didn’t work out. Gouache work does not require such a long time for a visible result to appear, and this is important for educational purposes.

3. The activity of the teacher

3.1 Tasks of the teacher

Professional suitability for pedagogical activity is, first of all, a desire to comprehend its wisdom, it is a readiness for continuous improvement of this activity.

One of the most important tasks of teaching drawing at school is to ensure the comprehensive and harmonious development of the younger generation.

The main directions of the teacher of general education and vocational school is the development of the personality of the child. Teaching teams direct their activities to improve the educational process, improving the forms and methods of conducting lessons, labor, moral and aesthetic education of schoolchildren, their professional orientation.

In the education of the student's personality, a significant role is given to the spiritual heritage of our society, in particular art. Aesthetics and pedagogy involve the use of all types of art, including fine and decorative arts, to form the spiritual world of schoolchildren.

In the educational process, fine arts lessons take important place as an active means of developing the artistic culture of students.

During the preparation and conduct of fine arts lessons in the primary grades of the school, the teacher must remember that he has to solve a set of tasks: educational, educational, artistic and educational, etc. At the same time, the originality of the subject of drawing obliges the teacher not only to equip students with elementary knowledge of the basics literacy, but also to awaken in the child the desire to think creatively, to give him the opportunity to show independence.

3.2 Methods for developing creativity in children

There is a great formula of the "grandfather" of astronautics K.E. Tsiolkovsky, who opens the veil over the secret of the birth of a creative mind: “At first I discovered truths known to many, then I began to discover truths known to some, and, finally, I began to discover truths unknown to anyone.”

Apparently, this is the path of the formation of creative abilities, the path of development of inventive and research talent.

Our duty is to help the child embark on this path.

Methods are the techniques and means by which the development of creative abilities is carried out.

One of the basic principles of teaching is the principle from simple to complex. This principle is the gradual development of creative abilities.

In the process of organizing training for the development of creative abilities great importance attached to general didactic principles:

scientific

Systematic

Sequences

Availability

visibility

Activities

Strength

Individual approach

All classes for the development of creative abilities are held in the game. This requires games of a new type: creative, educational games, which, for all their diversity, are united under common name it is no coincidence that they all come from a common idea and have characteristic creative abilities.

1. Each game is a set of tasks.

2. Tasks are given to the child in different forms, and thus introduces him to different ways of transmitting information.

3. The tasks are arranged roughly in order of increasing complexity.

4. Tasks have a very wide range of difficulty. Therefore, games can arouse interest for many years.

5. Gradual increase in the difficulty of tasks - contributes to the development of creative abilities.

6. For the effectiveness of the development of creative abilities in children, the following conditions must be observed:

The development of abilities must begin at an early age;

Tasks-steps create conditions that are ahead of the development of abilities;

Creative games should be varied in content, because create an atmosphere of free and joyful creativity.

Along with the principles, methods are also used:

Methods

practical visual

verbal

To practical methods include exercises, games, modeling.

Exercises- repeated repetition by the child of practical and mental specified actions.

Exercises subdivided into constructive, imitative-performing, creative.

game method involves the use various components gaming activity in combination with other methods.

Modeling is the process of creating models and using them.

To visual methods includes observation - looking at drawings, paintings, viewing filmstrips, listening to records.

verbal methods are: story, conversation, reading, retelling.

In working with children, all these methods should be combined with each other.

4. Structure of the lesson and problem situations

The structure of the lesson is understood as didactically determined internal interconnection of the main components of the lesson, their purposeful ordering and interaction. The structure of a traditional lesson is quite simple, it has only four main elements: a survey, an explanation, a reinforcement, and homework. However, such lessons do not solve the problem of development. There are several structures of the modern lesson: didactic (basic) structure and logical-psychological, motivational and methodological substructures. The didactic structure consists of three stages:

1. Actualization of basic (former) knowledge and methods of action (which means not only the reproduction of previously acquired knowledge, but also their application, often in a new situation, and stimulation cognitive activity students and teacher supervision).

2. Formation of new concepts and methods of action (in a more specific sense than “learning new material”).

3. Application of knowledge, formation of skills and abilities (including special repetition and consolidation).

Actualization, the formation of new concepts and methods of action and the application of what has been learned act as stages in the learning process and as three generalized didactic tasks of the lesson, which in varying degrees are solved at each lesson, regardless of its type and type. Therefore, the didactic structure of the lesson is a general prescription, a general algorithm for organizing a modern lesson. It is the regulator of the teacher's activity, first of all.

The educational activity of the student is regulated by the logical and psychological structure of the lesson. Psychologists say that the process of assimilation always begins with the perception and awareness of a fact, phenomenon, event, rule, etc. Then mental operations isolation, comparison, comparison, analogy, analysis, synthesis lead to understanding and comprehension of the essence of new knowledge. Next comes the generalization of individual facts, signs, observational data, which leads to the systematization of what has been studied. This completes the assimilation process, as it were: new knowledge is included in the system of previously acquired knowledge. It is quite clear that these elements are unobservable in the lesson; they are visible to the "logical eye". M. I. Makhmutov called this structure of the lesson the internal logical and psychological substructure of the lesson:

1. Reproduction and perception of known knowledge.

2. Awareness and understanding by students of knowledge in a known situation.

3. Perception of new knowledge and methods of action.

4. Awareness and comprehension by students of the elements of the new.

5. Generalization of the elements of knowledge and methods of action.

6. Applying knowledge and new ways of acting in model situations and in changed conditions.

The functional interconnection of these elements and their sequence are strictly determined by the general logic of assimilation; they are irrelevant to the types of mental activity of students - reproductive and creative.

Since an indicator of the problematic nature of a lesson is the presence of stages of search activity in its structure, it is natural that they also represent part of the internal substructure of a problematic lesson:

1. Creation problem situation and posing the problem.

2. Making assumptions, hypotheses and their justification.

3. Proof of hypotheses.

4. Checking the correctness of the solution to the problem.

5. Formulation of conclusions.

6. Application of knowledge in an unfamiliar (non-standard) situation.

This substructure of the lesson contributes to the formation of productive assimilation of knowledge and the development of intellectual and other areas of the student.

On the modern lesson it is necessary to take into account the interests and needs of students, to develop motivational, emotional, volitional sphere. Therefore, the teacher needs to structure his activities in accordance with the motivational basis of the students' activities.

Motivational structure of the lesson:

1. Organization and management of students' attention.

2. Explanation of the meaning of the activity.

3. Actualization of motivational states.

4. Joint goal setting with students.

5. Ensuring situations of success in achieving the goal.

6. Maintenance positive emotions and students' confidence in their actions.

7. Evaluation of actions, process and learning outcomes.

Part control actions includes: a) control of assimilation, clarification and b) control of working off. They are included as elements in performing actions and involve: comparison of their actions with their models; evaluation of the coincidence of actions and their results with given conditions; making corrections to actions when they deviate from the sample. Actions of control gradually turn into self-control.

Self-assessment of their actions (reflection by the trainee of their actions). It is characterized by students' awareness of all components of educational activity.

Thus, the structures of the lesson presented above cover all its external and internal processes, they perform the regulatory functions of the teacher's activity and (indirectly) the activity of students. As a result of the fact that these structures cover the known patterns of learning to the maximum extent, a common unified structure of the lesson of problem-developing teaching is being formed.

Thus, all the above structures of the lesson are implemented in the practical activities of the teacher with the help of methodological structure. It doesn't have a specific pattern. The methodological structure is determined by the teacher, he selects the means, techniques and methods of teaching. At the same time, he takes into account all the structures of the lesson and strives to implement them with the help of a methodological structure. All elements of the above structures act as practical tasks that the teacher needs to solve to one degree or another when preparing and conducting a lesson.

5. The role of illustration in shaping the creative activity of children

As children, everyone loves picture books. The youngest children, as it were, read the book from the pictures, tracing the plot from one illustration to another. A special role belongs to the illustration in the aesthetic education of children. The drawings in the book are among the first works of fine art that a child encounters in preschool childhood.

The work of such masters of book graphics as Yu.A. Vasnetsova, V.V. Lebedeva, A.F. Pakhomov and others are distinguished by high professional skills, knowledge age features child - preschooler. From a very early age, children are taught to perceive the brightness of color images, to be aware of the content of the drawing, they are introduced to the expressive means of book graphics.

The history of children's book illustration is short - it has about three centuries. However, during this time, the path from cheap book editions folk tales, primers and popular prints to luxurious books created specifically for children, in addition, children's book illustration has become an independent art form.

As you know, illustration is the basis of book graphics. The illustration is not just an addition to the text, but a work of art.

Illustrations, according to the definition of N.A. Kurochkina, are drawings that figuratively reveal the text, subordinate to the content and style of a literary work, at the same time decorating the book and enriching its decorative structure. Through graphic means, they identify and convey the social and artistic essence illustrated work (N.M. Sokolnikova).
Book graphics help children to understand the text deeper and more fully, gives knowledge about the world around them. At the same time, the illustration has unique artistic merit. independent species fine art, of all its forms, is the first genuine work that enters the life of a child. This is the initial stage in the understanding by children of other types of fine arts, more complex in terms of means of expression (painting, sculpture, etc.).

5.1 Features of children's perception of book illustrations.

Artistic illustration is the most important element of a book for children, which largely determines its artistic value, the nature of the emotional impact, and the possibility of using it in the process of aesthetic education of readers. Book illustration helps the child in understanding the world, mastering moral values, aesthetic ideals, deepens the perception of a literary work. The illustration begins the process of choosing a book for a child to read. The illustration contributes to the child's understanding of the literary text, forms an idea of ​​its theme, idea, characters, contains an assessment of the events and heroes of the literary action. The illustration helps children enter the literary world, feel it, get to know and make friends with the characters inhabiting it, fall in love with them. Since the child's life experience is small, it is more difficult for him to recreate in his imagination what the writer tells about. He needs to see, to believe. This is where the artist comes into play.

Book illustration is especially important for younger students. The book for a child begins with illustrations, which serves as an incentive for the child to master the first reading skills, and then to improve them. Thanks to highly professional illustration, taking into account the peculiarities of children's perception, there is an interest in the book and reading. A librarian-teacher working with children's books needs to use them as a tool for the aesthetic and moral education of children readers. It is not permissible to focus only on text information.

An artistically executed illustration affects the child, first of all, aesthetically, gives him the knowledge of life and the knowledge of art. The book is a special world in which artistic illustration and literary text function in a single complex, help the young reader to perceive the book as a multifaceted work of art. That is why, when working with a book in the library, one should not limit oneself to the analysis of a literary work, leaving aside such an important element of the book as illustration. Based on the psychological characteristics of younger students, a children's book is always illustrated, and therefore it is not possible to guide its reading without understanding the specifics of the illustration, without knowing its main functions and possibilities of influencing young readers.

Examining book illustrations is a widely used method in teaching visual arts to children.

An illustration is a drawing that figuratively reveals a literary text, subordinate to the content and style of a literary work, at the same time decorating a book, enriching its decorative structure.

Main artistic medium illustration art for children is a figurative realistic disclosure of the ideas of literature and the phenomena of life, the meaning of everything that surrounds us. It is based on the imagery of children's thinking.

With a children's book, the baby meets in the very first years of his life. The book is one of the first works of art with which he meets.

The artist comes to the child when he still cannot speak, and, along with his parents, with the author of a children's book, becomes the first educator and teacher. It forms in children a love of beauty, high aesthetic feelings, artistic taste. E.A. Flerina wrote that a picture, especially for young children, is an extremely important pedagogical material, more convincing and sharp than a word, thanks to its real visibility.

A number of works by psychologists and educators analyze the features of children's perception of different age groups illustrations in a children's book. So that the kids enjoy the bright, colorful image, they tend to have an effective, playful attitude to the picture. However, they hardly distinguish the main thing in the image, more often list the details, and cannot subordinate the perceived to the task.

Some techniques of artistic expressiveness cause misunderstanding of the depicted (incompleteness, sketchiness, transfer of volume by a dark spot, complex angles, sharp deformation of the subject, complex perspectives). Schematic pictures do not satisfy either younger or older children: children want to see in the picture all the essential features of the object.

Researcher I. Kotova established some features of children's recognition of the depicted image. So, for children 3-4 years old, the main sign of recognition of the depicted image is the shape, while color is of secondary importance. For children of the fifth year of life, color begins to play the main role in recognition, and for children of the sixth year of life, color is just as important a feature in recognizing the depicted image as is shape.

Examining book illustrations allows you to enrich the visual experience of children with new graphic images and ways of depicting. In cases where it is impossible to introduce children to an object or phenomenon in the process of direct perception, pictures or illustrations are used. They can also be used after observation in order to revive, clarify, enrich ideas. The fixed way of depicting the picture makes it possible to see details that are difficult to perceive in a natural object.

Children have a hard time learning how to convey movement in a drawing. There are pictures, illustrations, where you can see enough simple ways images of movement, easily understood and accepted by children. The picture can also show an accessible way of depicting space, earth and sky, a way to convey three-dimensional space on a two-dimensional sheet plane; elementary construction of a drawing with the selection of a compositional center (the main thing is depicted larger, what is closer is depicted at the bottom of the sheet, and further - at the top).

In the illustrations, you can see different ways of depicting houses, trees, the expanse of the earth, animals in motion, etc. However, it is recommended to use them after observations as an additional technique that helps to translate visual images that have developed during direct perception into graphic ones or as a technique that enriches the stock of graphic images, destroying stereotypes and patterns. An illustration should not be offered to children for direct imitation. The most vivid ideas formed in observation are supplanted by the latest, more recent perception of the finished image. Therefore, it is necessary to apply this technique in preliminary work.

So, book graphics is one of the types of fine arts, the means of expressiveness of which (line, shape, color, composition) are available to preschool children.

Acquaintance of children with book illustration develops aesthetic feelings, forms an artistic taste, gives scope to the imagination and children's own creativity.

Examination of illustrations is an indirect method of teaching children visual activity, which allows you to enrich the visual experience of children with new graphic images and ways of depicting it, helps to overcome stereotypes in drawing.

The significance of illustration in the aesthetic development of a child reader is based on the fact that illustration is both a work of graphic art, having an independent artistic value, and the key to revealing and understanding the ideological and artistic originality of the literary work itself. Thus, the influence of an illustration on the aesthetic feelings of a young reader is carried out in two interconnected ways, which significantly increases the strength of its emotional and aesthetic impact.

The aesthetic function of illustration is due to its value as independent work art and is fundamental. An illustration is first of all a work of fine art and then of literature. Only that work of illustration art can be recognized as full-fledged, in which literary imagery determines, but does not suppress, the system of images inherent in fine art. The task of the illustrator in the most general terms is to convey the ideological and figurative-aesthetic content of one type of art (literature) by means and techniques of another (graphics).

AT close connection with disclosure ideological sense of a literary work is the characterization of the images of heroes - a task that an illustrator solves in almost every book. To the means figurative characteristics include: a graphic image of the hero, the transfer of the psychological state of the hero through facial expressions, posture, gesture, as well as with the help of landscape, interior and even color. All these artistic characteristics aimed at revealing the ideological and figurative content of a literary work, in their understanding - a great reserve for the education of a creative reader, the aesthetic development of children.

And, finally, the last resort is a reflection of the language of a literary work by an illustration. Language is the most important means of expression. The language of illustration is the language of fine art. Therefore, it is so important to teach the child to feel the language of art, the correspondence between the style (language) of illustration and the style (language) of a literary work.

Thus, book illustration, as a special kind of fine art, has a huge impact on the formation of the sensory perception of the world, develops aesthetic susceptibility in the child, which is expressed primarily in the desire for beauty in all its manifestations. The illustration in the book is the first meeting of children with the world of fine arts. Supplementing and deepening the content of the book, awakening in the child those feelings and emotions that a true work of art evokes in us, and, finally, enriching and developing it visual perception, book illustration performs an aesthetic function.

5.2 Methods for familiarizing children with the illustration. Formation of ideas about visual means of illustration.

First of all, the teacher instills in children an interest in works of art, causes attention to them. Gradually, he forms the ability of aesthetic perception. Looking at pictures or sculpture, children are interested in what is depicted, recognize familiar objects and phenomena, get acquainted with those that they did not know before. Developing aesthetic perception in children, one should direct their attention not only to the content of the image, but also to the form of expression of the image, to the means of image that make the image expressive.

The focus on expressiveness in the depiction of events, images of people, animals, on the richness of characteristic details, the color side in works of art makes it possible to bring children to the ability to simply evaluate them. The evaluative attitude of children is expressed primarily in the preference of some works to others: children often ask to show several more times what they liked and remembered; favorite works appear, a conscious feeling of joy, pleasure from viewing develops.

When dealing with children, it is important first of all to draw their attention to the picture. Older preschoolers acquire the ability to perceive works of various content, and not only those in which there is an entertaining plot, some kind of action is depicted. However, and plot picture they are now able to perceive differently than at a younger age - they can guess a lot, imagine a lot; the knowledge gained by children and new ideas about the phenomena of life help. Children of this age have a well-developed love for nature, and they are interested in the landscape, determine what season is depicted, what is typical for autumn and spring, what colors the artist chose to convey them, how winter cold, blizzard, autumn wind are depicted.

It is very important to practice re-examination of pictures: a familiar work evokes lively statements; it marks those sides and details that were not noticed for the first time. Conversations with children are aimed at a deeper understanding of the events depicted in the picture: children not only talk about what is depicted, but also how it is depicted. This teacher teaches children with the help of a sample story.

The story of the teacher in the picture should be as figurative and expressive as possible in order to raise interest in children, to create a certain mood. When possible, the teacher uses fiction (reads the lines of a poem, an excerpt from a fairy tale, story).

The teacher leads the children to the ability to compare one picture with another. Older preschoolers are capable of some comparative analysis. For example, after showing the children the paintings by I. Levitan "March" and A. Savrasov "The Rooks Have Arrived", the teacher asks where, in their opinion, early and where late spring is depicted. “Here the rooks are already making nests,” says one boy, pointing to the picture of A. Savrasov, “and here,” he points to the picture “March”, “not a single bird is visible yet, and there is a lot of snow, but there it has all darkened, melts, there is no snow at all on the roofs.

Teacher's question "Which picture shows a sunny day?" - directs the attention of children to the color of the picture - a combination of colors characteristic of spring day. Then the teacher asks the children to talk about color combinations that convey a cloudy day in the painting "The Rooks Have Arrived"

The conversation can begin with the teacher's own story about the picture. Then, by asking questions, he also involves the children in the active expression of their impressions. In other cases, when children have developed the ability to look at pictures and have developed an interest in them, the conversation begins directly with questions to the children. After a conversation about the picture, the teacher concludes by expressing his opinion about it in a form that is understandable and interesting for children, summarizing their statements.

Book illustration allows you to bring children to an in-depth perception of the content of the text. In this case, the questions of the educator play an important role, establishing a connection between the content of the picture and the listened text.

So, for example, when analyzing the image of the hero ("Uncle Styopa", S. Mikhalkov), the teacher, showing illustrations, draws the attention of children to the transfer of the characteristic appearance of the hero, and also asks questions that reveal individual properties of Uncle Styopa's character, his actions. The teacher helps children to draw simple conclusions, generalizations, draws their attention to the main thing.

As a result of such activities, children develop an interest in looking at pictures. They begin to notice pictures outside the kindergarten, talk about their content to the teacher

So, the following forms, methods and techniques for introducing children to art are used: Examination of individual works or specially selected series of paintings, sculptures, illustrations, works of arts and crafts. Works of one kind of art are usually selected for classes - either reproductions of paintings, or sculpture, or works of arts and crafts.

The examination is accompanied by questions to the children, a conversation, independent statements of the children, the teacher's story, reading poetry and excerpts from prose works.

Exhibitions of works of art on a particular topic or from works of any kind of art are arranged: prints, illustrations, sculpture, etc.

The teacher carefully listens to the children's stories about what they saw. First of all, the teacher instills in children an interest in works of art, causes attention to them. Gradually, he forms the ability of aesthetic perception. Looking at pictures or sculpture, children are interested in what is depicted, recognize familiar objects and phenomena, get acquainted with those that they did not know before. Developing aesthetic perception in children, one should direct their attention not only to the content of the image, but also to the form of expression of the image, to the means of image that make the image expressive.

II. Practical part

1. Outline of a lesson in fine arts

Type of lesson: lesson-conversation.

Type of occupation: Illustrating a fairy tale in grade 3.

Lesson topic: S. Marshak's fairy tale "Twelve months"

The purpose of the lesson: The development of imagination and the ability to form visual images when reading. Education of feelings, emotional responsiveness. Introduce visual materials such as paper, watercolors, colored pencils or crayons. To get acquainted with the general level of preparation of the class for fine arts.

Lesson objective: Based on the emotional and aesthetic perception of the fairy tale "Twelve Months", draw each character you like on your own, highlighting his inherent qualities, choosing the appropriate color scheme.

Lesson equipment: text of a fairy tale, reproductions of paintings:

V. Vasnetsov "The Snow Maiden", M. Vrubel "The Snow Maiden", reproductions by I. Bilibin, E. Polenova, Y. Vasnetsov.

Musical series: music from the cartoon "12 months" (1956)

Student equipment: Album, colored pencils, watercolors, brushes, glass of water, colored crayons.

Chalkboard design: On the right and left sides - reproductions of paintings by artists. The middle remains clean so that at the end of the lesson from the best works students to lay down a common "Fairytale meadow"

Lesson plan:

1. Organizational part. – 2-3 min.

2. Introduction to the topic of the lesson. - 10 min.

3. Perception of works of art 5 min. And an appeal to the surrounding reality.

4. Creative creative practical activity of students on the topic of the lesson.

5. Generalization and discussion of the results of the lesson.

6. Cleaning the workplace. - 2 minutes.

During the classes:

For the lesson, students prepare the necessary materials: an album, watercolor, glasses of water, colored pencils (it is more convenient to put in a beautiful jar or glass.

Teacher: Guys, now it starts magic lesson Beauty!

Today in the lesson we will get acquainted with how books are illustrated.

An artist who works on a book is called an illustrator!

(The teacher writes this word on the board.)

Imagine if the book had no illustrations? All of her solid text, the eye has nothing to linger on.

The children are engaged in an active conversation. Reminisce about when they were very young. Each of them experienced the magical effect of illustrations, but they never thought about it.

The drawings in the book help to better understand the content of the work, to better imagine the image and character of the characters in the book.

Of course, all children know and love fairy tales and their heroes. Look at the board, on it you will see illustrations for fairy tales you already know. And who knows what fairy tales these illustrations are for?

The children answer. We consider the heroes of illustrations, paying attention to the nature of fairy-tale characters.

Before a finished illustration appears, the artist works hard on its expressiveness. What does expressiveness mean? This means drawing in such a way that at first glance it is clear who is depicted in the illustration, what he is doing and what his character and mood are. First, the artists draw real people, animals, and then they remake them the way the fairy tale requires. That is, they dress in appropriate costumes and depict objects around them that are described in a fairy tale.

Viktor Vasnetsov worked on "Bogatyrs" for about twenty years.

The picture recreates the images of the three heroes of the epic epic, beloved by the people: Ilya Muromets, Dobrynya Nikitich and Alyosha Popovich. Each of them is distinguished individual characteristics.

Ilya Muromets on a black horse is the central figure. Gradually, unhurriedly, he peers into the distance from under his arm. In the dark eyes - firmness, confidence. A kind face is stern.

Dobrynya Nikitich is sedate and firm. In vain the sword from the scabbard will not snatch. The face is stern, noble. To portray Dobrynya, the artist painted portraits of relatives more than once.

Alyosha Popovich is younger than his comrades. The eyes are dreamy and sly. He is both a poet and a harpist.

Dictionary. The bogatyr is a tall, burly, stout and prominent man, an extraordinary strong man, brave and lucky, a brave and happy warrior, a knight. (Dal's Explanatory Dictionary, Large soviet encyclopedia)

Bogatyrs (from other Turkic Bagatur - brave warrior), heroes of Russian epics, defenders of the Russian land, performing military feats, distinguished by special strength, daring, intelligence, self-control. AT Old Russian the word "B. ” corresponded to “brave”, “brave”, “daring”.

What do you guys think, what is the mood of the Snow Maiden?

- (Thoughtful, sad).

How did you determine that the Snow Maiden is sad, sad?

(The head and arms are lowered, the colors are restrained, muted).

The artist carefully selects the necessary gestures, facial expressions and colors to convincingly convey the character or mood of his characters, today we will pay special attention to this. Different artists depict the same characters in different ways. Let's compare the different images of the Snow Maiden that we have on the board. Which one did you like better? Why?

How would you draw a Snow Maiden?

The children answer.

Guys, what fairy tales do you like?

Children name their favorite fairy tales.

What characters from these fairy tales do you remember and why? What were their personalities? How could they be portrayed?

The children answer.

Do you have any books that you love because of their pictures?

Recently, at a lesson in Russian literature, you read Samuil Yakovlevich Marshak's fairy tale "12 Months". Did you like the fairy tale?

What is it about?

The children answer.

What moments did you like best? The teacher helps to reproduce scenes from a fairy tale in memory, reads out fragments.

Who could draw the characters they liked and how would they portray them?

going on oral presentation their imagination, how they would like to portray it on paper.

Children build logical chains: the action of a fairy tale in winter means winter clothes, very cold - snow, forest - snow-covered trees, crows, hut - warm; forest - we will use colors that remind us of the cold, the colors of ice, water, snow; action in a hut or in a palace - colors associated with fire.

Order of execution:

The choice of the plot of a literary work.

Thinking over compositions of illustrations (epoch, way of life, costumes).

Sketch illustrations.

Creating a linear composition illustration.

Compositional searches are carried out on small formats, sketches are drawn up. The most successful version of the sketch is transferred to A3 format. Characters, images of fairy-tale characters, color and color scheme of the future composition are dealt with by the students.

Well, let each character or episode of the fairy tale that you liked more, and at the end of the lesson we will make up from your drawings

great exhibition of book illustrators.

You have pencils, watercolors in your hands,

crayons. Do you already know how to use them?

- What do you need to start drawing?

– From the pitch pad.

- What does it mean fundamental tone ?

- This is the tone of the sky, forest, earth, water.

How will you finish your work?

- Work on the details of the drawing.

Then - to work! And I'll be waiting for your drawings, and if anyone needs help, I'm ready to help you (background music turns on). Children begin to draw on their own in albums.

During work - you need to ensure that no one interferes with the other to draw. If I notice that someone is drawing too small an image, I take his album, bring it to the board at a distance, draw the attention of the children to the fact that the small one is not visible from a distance. If someone finds it difficult to start drawing, I help to make the first spot in which the child begins to “see” the composition. I encourage those who work boldly, "juicy", accurately.

As you complete independent work, the guys take turns bringing and attaching their drawings to the place prepared on the board (in the center).

For 7-10 min. before the end of the lesson, you can start summarizing and discussing the results of the work in the lesson.

Teacher: So, children, let's see who is shown in the pictures. How did you guess that this is the hero?

What drawings are the best?

I listen to the opinions of the children, come up and point out the most successful drawing.

Very expressive drawings

bright, unusual, fabulous. And this one, another drawing too

successful; Here I immediately recognized the princess. Drawn very similar.

But looking at these drawings, you can’t immediately tell who is depicted in them. And why? How should it have been done?

The children are talking.

Dynamic pause

Now we all stand together,

Need a little rest.

To rest your fingers

You have to wave them.

So that the legs do not get tired,

We'll jump a little.

So, have we been creators of beauty today?

Did you enjoy this activity?

Then you have your homework. At home, ask mom and dad what were their favorite fairy tales in childhood, and draw one of the heroes of these fairy tales.

And now - put all the accessories in the bag. Call. The lesson is over.

No marks are given for the first drawings, and the encouragement is expressed in the fact that

that drawings are left in the classroom at a periodical exhibition.

2. Some criteria for evaluating children's creativity

2.1. The place of children's drawing (age from 2 to 11 years) in the visual arts.

The so-called "children's drawing" is most admired by professional artists. This comes from the fact that the artist, having passed the hard way to create his picture, can better than others appreciate the degree of freedom of thought and feelings, the emancipation of the hand and the color scheme, born spontaneously in a child, but so beautifully harmonized. This is what attracts a professional to the creativity of children.

This type It is customary to call children's visual activity "children's drawing", which is not correct, since this concept includes both children's painting and children's composition. It is more appropriate to use another name - "children's picture", and to call numerous exhibitions and competitions more precisely: an exhibition (competition) of a children's painting or an exhibition (competition) of a children's drawing.

The Children's Art Gallery suggests that a children's painting be considered a work of fine art, since there is no need to discriminate against a person based on their age. We accept the infantilism of an adult primitive artist as fine art.

2.2. Evaluation of a children's painting (age from 2 to 11 years).

Criteria for evaluation:

The picture is arranged in such a way that the viewer's gaze does not leave it, but returns to the main thing in it;

The masses of the depicted are harmonized and taken in size such that the work does not look like a fragment, a sketch;

Color spots are tied to each other, attract attention and create harmony within the viewer;

The decorativeness or coloring of a painting is unified and not confused in style;

There is originality, originality of the author;

The child does not imitate the cartoon or any other style imposed by adults, but spontaneous secondariness is possible when the phenomenon of genetics throws out of the child “a la Modigliani, Picasso” (this phenomenon was noticed not only in the Samara Children's Art Gallery, but also by employees of the Tretyakov Gallery);

The picture has two or three dimensions (with the transfer of space, volume);

Integrity in the transfer of mood, sensuality of the image. The young artist, as it were, is in the environment that he conveys, knows well what he depicts, loves;

The painting is done with any available paints (gouache, acrylic, etc.). Children's drawing is done with any graphic material (felt pen, ink, etc.). As with adult artists, watercolor work can be both a children's painting and a children's drawing. Work done as arts and crafts, like adult counterparts, can be called tapestry, decoupage, appliqué, ceramics, etc.

It is not necessary to form thematic exhibitions on previously announced topics, as this most often leads to faceless works of children.

Conclusion

Fine art is one of the most important means in the upbringing of the younger generation. special role this is played by works of book graphics, which are created especially for children. The book enters a child's life even before he learns to read and write. A children's book is a complex of arts - words, printing techniques and images (illustrations). It is the picture that attracts children in it. The essence of the children's book, its purpose involves the use of conditional artistic solutions in the work on illustrations. The pictorial parallel should correspond to the content of fairy tale literature, its stylistic features, which are manifested primarily in the plot and its organization, aimed at creating the amazing, incredible and fantastic.

Graphics - a type of fine art, including drawing and printed works of art based on the art of drawing, but having their own visual means and expressive possibilities. Fine art not only depicts the surrounding reality, but also expresses the feelings and thoughts of the artist, his attitude to the events and objects depicted.

Features of the genre are reflected in the nature of visual and expressive means. They convey the aesthetic nature of fairy tale literature, influence art form illustrations, the content of which corresponds to the plot of a fairy tale, riddle, etc. chosen by the student, and they also give the poetics of children's literature a fantastic, conventional and decorative effect, an effective beginning. Studying the experience of higher education institutions in this direction, we settled on some issues that have highest value to substantiate the optimal, in our opinion, teaching methods in the conditions of professional and pedagogical orientation of education.

Universal creative abilities are individual characteristics, qualities of a person that determine the success of their creative activities of various kinds.

Childhood has richest opportunities for the development of creative abilities. Unfortunately, these opportunities are irreversibly lost over time, so it is necessary to use them as efficiently as possible in primary school childhood.

Successful development creative abilities is possible only when certain conditions are created that are conducive to their formation. These conditions are:

1. Early physical and intellectual development of children.

2. Creating an environment that determines the development of the child.

3. The child's independent solution of tasks that require maximum stress, when the child reaches the "ceiling" of his abilities.

4. Giving the child freedom in choosing activities, alternating cases, the duration of one thing, etc.

5. Smart friendly help (not a hint) from adults.

6. Comfortable psychological environment, encouragement by adults of the child's desire for creativity.

But creating favorable conditions is not enough to raise a child with highly developed creative abilities. Strengthened work is needed to develop the creative potential of children. Unfortunately, the traditional system of education that exists in our country contains almost no measures aimed at the consistent systematic development of children's creative abilities. Therefore, they (abilities) develop mostly spontaneously and as a result, do not reach a high level of development.

For the development of creative abilities, the following measures can be proposed aimed at the effective development of the creative abilities of schoolchildren:

1. Introduction to the program of school education of special classes aimed at developing creative abilities.

2. In special classes in drawing, music, modeling, give children creative tasks.

3. Management by adults of children's subject and plot-role-playing, game in order to develop the imagination of children in it.

4. The use of special games that develop the creative abilities of children.

5. Working with parents.

Application

V. Vasnetsov, The Snow Maiden, sketch for Rimsky-Korsakov's opera.

M. Vrubel, "The Snow Maiden".

Il. to the fairy tale "Snow Maiden"

V. Vasnetsov, "The Snow Maiden"

Yu. Vasnetsov, ill.

I. Bilibin, ill. to the fairy tale "White Duck".

Y. Vasnetsov

V. Vasnetsov, "Three heroes".

E. Polenova, "The Serpent", ill. to a fairy tale.

Polenova E., ill. to a fairy tale.

List of used literature:

1. Anna B., teacher in my life. M., 1977.

2. Astakhov A.I. Creativity education. - M., 1986.

3. Brushlinsky A.V. Imagination and creativity. - M., 1969.

4. Developmental and educational psychology: Proc. allowance for students ped. in-t on spec. No. 2121 “Pedagogy and methods of the beginning. learning" / M. V. Matyukhina, T. S. Mikhalchuk, N. F. Prokina and others; Ed. M. V. Gamezo and others - M .: Education, 1984.-256s.

5. Developmental and educational psychology: Textbook / V.V. Davydov, T.V. Dragunov, L.B. Itelson and others; Under. Edited by A.V. Petrovsky - M .: Education, 1979.

6. Vygotsky L.S. Psychology of art. Publishing house 3, I.; Moscow; 1986.

7. Vygotsky L.S. Imagination and creativity in childhood. -M., 1991. – 93 p.

8. Gankina E.Z. Russian artists of children's books. - M.: Soviet artist, 1963. - 278 p.

9. Internet magazine "Slavic Forum", MOU secondary school No. 132, issue No. 3 (2009).

10. Art in children's lives: Experience artistic pursuits with younger students / A.P. Ershova, E.A. Zakharova, T.G. Penya and others - M .: Education, 1991 (pp. 24-25, 26-29)

11. Art around us: Proc. For 3 cells. four years. Beginning school / Ed. Nemensky B.M., - M .: Education, 2000.

12. Kuzin V.S. Fine arts and methods of teaching it at school: Proc. allowance. – M.: AGAR, 1998. – 334 p.

13. Levin V.A. Creativity education. - Tomsk: Peleng, 1993. 56 p.

14. Luk A.N. Psychology of creativity. - Nauka, 1978. 125 pages.

15. Markova A.K. Formation of learning motivation at school age M., 1983.

16. Mukhina V. S. Developmental psychology: 4th ed., M., ACADEMIA, 1999. 160 p.

17. Nelinsky B.M., Fomina N.N. and others. Visual arts and artistic work: A book for the teacher. - M., 1991.

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24. Volkelt G.. “ experimental psychology preschooler." M.-L.: State. publishing house, 1930 (pp. 8-10)

25. Elkonin D. B. Psychology of teaching younger students. M., 1974.

26. Elkonin D. B. The psychology of the game. M., 1978.

27. Yakobson P.M. Psychology artistic creativity. - M., 1971.

The orientation of the modern school towards the humanization of the educational process and the versatile development of the child's personality implies, in particular, the need for a harmonious combination of educational activities with creative activities associated with the development of individual inclinations of students, their cognitive activity, the ability to independently decide non-standard tasks. In this regard, the role of the school in the education of active, enterprising, creatively thinking people is increasing. The development of students' creative abilities is important at all stages of schooling, but the formation of creative thinking in primary school age is of particular importance. P. Blonsky said: “Once in a lifetime we are creators, it is in childhood and youth.”

The main thing in pedagogy is not to let God's gift fade away, not to prevent the “mysterious flower of poetry” (L.N. Tolstoy) from blooming in the soul of a child, a schoolboy. The ability and readiness for creativity become a trait of a person's personality, creativity.

Those children who meet these criteria are most prepared for creativity, namely:

• mental development: cognitive interests, observation, speech, ingenuity, originality in solving problems;
• specialization of interests, intellect, emotions;
• activity, initiative, striving for leadership, perseverance and the ability to achieve goals;
• good memory developed cognitive skills;
• readiness and ability for performing activities.

Creativity is accessible to children, moreover, it enlivens cognitive interest, activates the cognizing personality, forms it.

In the work I define the main goals of my own and student activities for the entire period of study. I bring to the fore the formation of the personality of each child, arming him with deep and solid knowledge. At the heart of the successful assimilation of knowledge is cognitive interest. Children are given the opportunity to act independently, effectively use and develop their intellectual potential, and increase their creative and search activity. I try to interest students in new activities, to evoke positive motivation for learning.

To form the personal qualities of a student - creativity, readiness for non-standard solutions - a system is needed.

There are three steps in my work:

I - Preparatory: elements of creativity in ordinary performing activities.

II - Research: creativity in language learning.

III - Self-expression through various activities related to the language.

What are the conditions?

A. Free atmosphere at school, in the classroom: without mentoring, without authoritarianism, the possibility of choosing the type of activity.

B. Trust and respect for students, the constant provision of students with independence and cognitive activity; assistance to children, if possible, is implicit, suggestive, and not suggestive.

B. A high level of cognitive interests among students, the teacher's attention to the motivation of learning. Game moments (methods), solving subjective and creative problems.

D. Attention to the interests of each child, his inclinations, health, versatile development, and his abilities.

D. Atmosphere common culture at school. Achieving results only if the teacher is not alien to creativity, constant search, creation.

The main goal of my work with children is to teach students to think. Children should always be on the lookout, discovering something new each time. In a creative environment, new ideas and ideas are always born, an atmosphere of cooperation arises, which in turn gives rise to a taste for creativity, makes it attractive to everyone.

The native language has always been and remains the main subject in elementary school, it plays a decisive role in the spiritual life of the child. When studying the native language, I develop the creativity of children in the perception of a work of art, retelling, especially in dramatization, in various types of writing, in language games, in modeling language phenomena, in compiling dictionaries, book pages, algorithms, in the study of words.

The main thing is faith in the child, respect for him as a person, and the desire to help him achieve success. I carry out individual approach to every child.

In grade I, children discover one of the secrets of the sorceress of speech - rhyme. Work on the development of creativity is aimed at rhyming exercises.

1. Riddles for negotiation.

2. Come up with a rhyme for the word "Who is more?", "Catch the rhyme."

3. Composition of tongue twisters.

4. Solve the puzzle and make up a rhyme.

5. The game "Burime".

6. Describe the subject with adjectives.

7. Write the lines at the beginning (“How beautiful the winter forest is!”).

Exercises that train memory, attention, imagination, purity of speech, voice control, give rise to children's courage, self-confidence. The result of the work is the poetic pages of the children, which parents and students get to know at class parent meetings, holidays. The creativity of children does not leave anyone indifferent. Poetic pages are the first steps of little poets. It is impossible not to note a certain sincerity of beginning poets, their enthusiasm and genuine desire to express the feelings that own them.

In cooperation with parents, they made home-made books on the topic “Oral Folk Art”, illustrated poems of their own composition about the seasons. Children actively use their creativity in the classroom. During the game, they learn to make decisions independently, show original thoughts, this is facilitated by the use of creative technologies (method focal objects, method “Brainstorming”).

The child is given the opportunity to feel like a creator, a creator, performing creative tasks.

Creative tasks.

1. Verbal description of literary and fairy-tale characters.
2. Competition of children's drawings "My favorite hero". Thinking of a continuation of the story.
3. Letter literary hero. Letters to favorite subjects.
4. Write a story based on the first line of a poem.
5. Continue the poem line by line.
6. Essay on a proverb, the inclusion of proverbs in an essay.
7. Writing annotations for the work. Review of the product.
8. Word game. Make sentences with any three words, for example, skates, lake, fox.
9. Phantoms: “What would happen if the road rose into the sky?”, “What would happen if a talking crocodile appeared in the class?”.
10. Drawing up fantagrams.
11. Compilation of texts - monologues “On happiness”, “Does a person need a friend?”, “Is it good to be a jack of all trades?”.
12. Writing mini-essays “What I see from the window”, “What does a drop of dew dream about?”.
13. Game "Archimedes". Children are encouraged to find as many solutions to their problems as possible. The problem may be this: how to help the hero overcome difficulties? Inventing problems.
14. Game "Think of a name" Children listen to a story, a fairy tale and come up with a name. For names, you can use proverbs, sayings, popular expressions.

I try to teach children to see the unusual in the ordinary. I select topics that are interesting and understandable for children for creativity. Children are known to love fairy tales. Many of my students not only read them, but also compose “The Adventure of a Snowflake”, “The Journey of a Leaf”, “The Tale of the Knight, the Evil Dragon and the Princess” themselves. In their fairy-tale compositions, students are guided by a folk tale, following its traditions.

One of the most important means of creative thinking, students' speech, mastering the material, consolidating and testing knowledge, creating the basis for developing interest is independent work in the Russian language lessons. Use of different types creative works: creative cheating, creative dictations, essays, presentations develop the creative abilities of children, bring up the will, attention, perseverance in achieving the goal, instill a taste for searching, for independent discoveries. I plan independent work by levels: level 1 - basic knowledge, level 2 - tasks with increased difficulty, level 3 - creative. The expediency of level-by-level education is due to the desire to create more favorable conditions for the creative development of each child, taking into account his individual characteristics and interests. I encourage my own point of view, original idea, non-traditional task performance.

Creative activity in the classroom is continued in extracurricular activities. Children accept Active participation in holding holidays, gatherings, class hours. They know how to organize and hold competitions, quizzes, games.

Children's creativity is inexhaustible. Its nutrient medium is a rush to goodness and beauty, as well as a sense of mystery that one really wants to unravel. “Mystery excites creativity,” said A. Einstein. Creativity is always spontaneous, success is achieved on the basis of passion. The main stimulus of creativity is the great joy that it gives to both the teacher and the student. It is very important that the use of various creative technologies in elementary school be continued in the middle school. After all, any creativity stimulates non-standard thinking of the child.

The modernization of education has set the task for the modern school - the education of a competent, creatively thinking generation. Human uniqueness is closely related to the ability to be creative. Creativity presupposes a new vision, a new approach, a new solution, i.e. willingness to abandon stereotypes of perception, thinking and behavior.

If we want the child to develop and grow as a person, it is necessary not only to orient him to our requirements, but also to help the child follow his own inner goals and desires. Usually it is easier for children to realize their personal goals in creativity.

In the process of developing the creative abilities of children, special attention should be paid to the maximum stimulation of independent activity of younger students, to the formation of their sustainable creative interests, determination, perseverance in solving creative problems.

Tasks of a creative nature are tasks aimed at developing the operational side of the intellect, mental functions, techniques and operations of mental activity.

A characteristic feature of creative tasks is the presence in them not of any cognitive content, but of hidden ways of solving a game problem, which requires ingenuity, ingenuity from a younger student, i.e. non-standard creative thinking.

Work at the lessons of literary reading provides an excellent opportunity for the manifestation of the creative abilities of students, their individuality. The child's imagination, the ability to fantasize are actively developed as a result of a research search. The main thing is to support and direct the fantasy and imagination of young writers and poets in a creative direction, to help successfully develop their speech, their speech creativity. To teach a little schoolboy to speak clearly and competently, to express his own thoughts in a free creative interpretation in oral and written form, to be able to express his emotions by various intonational means, to observe speech culture and to develop his ability to communicate is a complex and painstaking task that requires hard work from the teacher, and most importantly, an effective approach to the development of speech, to its organization and correction.

How to realize the potential of the child's speech abilities, encourage the creation of the simplest stories, fairy tales, poems? What can I advise parents to make their children strive for creative self-expression in the word?

The purpose of the exercises in this collection is to answer these questions and help to educate a person who is able to move away from the standard and template, which is so necessary today.

Fantasy exercises

Everything that surrounds us is created by nature and human imagination.

Fantasy is the capacity for creative imagination. Without the ability to fantasize, it would be impossible to create anything new. In the process of teaching and educating younger students, the following fantasy techniques can be used:

1

. revival

Children are invited to come up with a fairy tale about some subject. You can come up with a story or a fairy tale on behalf of this subject. For example: leaf, snowflake, ant, ruler, etc. For example:

Snowflake.

Here comes the winter. There were many snowflakes in the air. They were all very beautiful. They flew and admired the beauty of trees and fields. And only one snowflake kept repeating: “Oh, how airy and fluffy I am. There is no one more beautiful than me in the whole wide world. She flew, admired her dress and lagged behind her sisters.

Suddenly a wind came up and carried her away into the snowy distance. When she fell to the ground, she realized how bad it was to be alone. Snowflake sadly recalled how she played hide-and-seek with her sisters, sang songs, and danced round dances. As she lay on the ground, evening came. Snowflake wanted to sleep. She fell asleep with one thought that she would figure out how to return home. (Masha B.)

2. Reception "Binom-fantasy"

A binomial is created from two words so that these words are separated by a certain distance, i.e., so that one word is alien to the other, so that their neighborhood is unusual. Only then the imagination is activated, seeking to establish between said words kinship, to create something united.

If you come across words like “pump monkey”, this is a binomial, because there is a semantic distance between these two words. Indeed, in ordinary life, monkeys do not use a pump. And so there is a “flash” of associative thinking. Now you need to help the student compose a fairy tale. You can start with the fact that the monkey found the pump.

Monkey Tutti found a pump on a palm tree. Neither the monkey nor other African animals and birds knew what to do with this pump. The boa constrictor decided to take the pump from the monkey and drag it to him. He grabbed the hose, and the monkey, in surprise, began to raise and lower the pump handle. A few minutes later, the boa constrictor turned into a ball. He could not resist, rolled down from the palm tree and, like a huge soccer ball, rushed to the crocodile river.

3. Fairy tales inside out

Children are invited to come up with a fairy tale, for example, about three little pigs and a gray wolf. Only the piglets in this tale are evil and cunning, the wolf is kind and trusting.

Or come up with a different end to the fairy tale “Gingerbread Man”, starting with a critical situation: Gingerbread Man is sitting on the nose of a fox.

4. Sounding the picture

Students are provided with illustrations. Children pronounce sounds, words, sentences that they could hear when they were in the center of the illustration.

5. Fantastic hypotheses

Compiling a story based on a phrase:

I opened the door and there...
I looked out the window and...

What would happen and what would you do if:

– soda poured from the tap;
- raisins began to fall from the clouds instead of rain;
- people came up with a pill for sleep.

6. Letters to fairy tale characters, aliens

Like a type of writing. This type of work teaches to speak correctly and figuratively, develops observation.

7. Continue the text

This task involves the development of fantasy, imagination and the ability to express your fantasies using words.

Lived - there was an Asterisk. One morning, when it was necessary to get up and light the sun for a new day, Asterisk dropped a spark in flight. It immediately became dark and sad. What to do?

8. Composing fairy tales with given characters

A lion, a parrot and a dog lived in the zoo. One day…

At the edge of the forest lived a little dwarf. He lived in his little house. One day…

Literature

1. Bushueva L.S., Bloshchitsina L.P.
Development of creative imagination in the process of teaching schoolchildren. [Text] /L.S. Bushueva // Primary School plus before and after. - 2003, No. 8. – p.50.
2. Vinogradov V.V.
Russian language. Grammatical doctrine of the word [Text] / VV Vinogradov. Moscow: Higher school, 1986.
3. Vorobyova, V.I., Tivikova, S.K.
Essays on paintings in primary school: a guide for the teacher [Text] / V.I. Vorobyova. – M.: Rodnichok, 2001.
4. Matveeva E.I.
We teach the younger student to understand the text. [Text] / E.I. Matveev. – M.: VAKO, 2005.
5. Novosyolova L.S.
"Psychological theater" as a means of correction negative behavior younger students. [Text] /L.S. Novosyolova // Primary school plus before and after. - 2005, No. 7 - p. eighteen.
6. Rakhmatullina F.V.
How crossword puzzles help develop interest in reading. [Text] /F.V. Rakhmatulin. //Primary School. - 2002, No. 7. - p.88.
7. Sinitsin, V.A.
Way to the word: a guide to the development of speech for teachers of the Russian language, teachers primary school and their students. [Text] / V.A. Sinitsyn - M.; AO Century, 1997.
8. Sinitsyn, V.A.
Modern approaches to the development of speech of younger schoolchildren / V.A. Sinitsyn // Primary school. - 2003. - No. 2. - p. 71.

Olga Nikolaevna Danilovskaya
mathematic teacher
highest qualification category
MOU "S (K) OSHI No. 4"
city ​​of Magnitogorsk, Chelyabinsk region,
2015

Features of creativity of younger students

In the classical education system learning programs are built, as a rule, on memorization, accumulation of facts and other non-creative forms of activity. Therefore, most students, especially those who do well in school, show serious resistance if further study or work requires them to display creative abilities. Such conflicts can be avoided if training and encouragement of creative activity begins at the very beginning of the educational course.
It should be noted that psychology as a science has thoroughly studied what needs to be obtained as a result of education. But there is still no answer - how to form the necessary skills. And although individual attempts have been made for a long time, a clearly developed and practically operating one has not yet been described in the literature.
Initial period school life occupies the age range from 6-7 to 10-11 years (grades 1-4 of the school). Chronologically, the socio-psychological boundaries of this age in a child's life cannot be considered unchanged. They depend on the readiness of the child to study at school, as well as on what time the education begins and how it goes at the appropriate age.
Research conducted under the direction of P.Ya. Galperin, allow us to reveal the process of transition from preschool to the beginnings of the school worldview. As you know, the creativity of a preschooler is characterized by the absence of an idea of ​​invariance. Gradually, by about eight years, this phenomenon disappears.
P.Ya. Galperin showed that the absence of invariance is based on global ideas about the object. In order to overcome the direct relation to reality, it is necessary to select the parameters of the object, and then compare them with each other. In the study, children were taught how to apply various measures to the object, with help. which the child could select a parameter and, on this basis, compare the objects with each other.
Until the age of seven, children can only find reproductive images-ideas about famous objects or events that are not perceived in this moment time, and these images are mostly static. Preschoolers, for example, have difficulty imagining the intermediate position of a falling stick between its vertical and horizontal positions. Productive images-representations of the result of a new combination of certain elements appear in children after the age of 7-8, and the development of these images is probably associated with the beginning of schooling.
During the first three or four years of schooling, progress in the mental development of children can be quite noticeable. From the dominance of visually effective and elementary figurative creativity and poor logical creativity, the student rises to verbal-logical creativity at the level of specific concepts. The beginning of this age is associated, if we use the terminology of J. Piaget and L. S. Vygotsky, with the dominance of pre-operational creativity, and the end - with the predominance of operational creativity in concepts.
The complex development of children's intellect at primary school age goes in several different directions: assimilation and active use speech as a means of creativity; connection and mutually enriching influence on each other of all types of creativity: visual-effective, visual-figurative and verbal-logical; separation, isolation and relatively independent development in intellectual process two phases; preparatory and executive. At the preparatory phase of solving the problem, an analysis of its conditions is carried out and a plan is developed, and at the execution phase this plan is implemented in practice. The result obtained is then correlated with the conditions and the problem. To all that has been said, one should add the ability to reason logically and use concepts.
The difficulties in the formation of general concepts in children are described in detail in the work of the outstanding psychologist L.S. Vygotsky “Creativity and Speech”, where he came to the conclusion that at a certain stage of development such general relations between concepts are generally inaccessible to the child. “The appearance of the first higher concept, standing above a number of previously formed concepts, the appearance of the first word like “furniture” or “clothes”, is no less important symptom of progress in the development of the semantic side of children's speech than the appearance of the first meaningful word.”
The use of speech as a means of creativity is associated with the formation of speech in children, with its active use in solving various problems. Development in this direction is successful if the child is taught to reason aloud, to reproduce the train of thought in words and to name the result.
The connection and mutually enriching influence on each other of all types of creativity is successfully implemented if children are given tasks that require both developed practical actions, the ability to operate with images, and the ability to use concepts, to reason at the level of logical abstractions.
If any of these aspects is poorly represented, then the child's intellectual development proceeds as a one-way process. With the dominance of practical actions, visual-effective creativity mainly develops, but figurative and verbal-logical creativity may lag behind. When figurative creativity predominates, one can detect delays in the development of practical and theoretical intelligence. With special attention only to the ability to reason aloud, children often lag behind in practical creativity and the poverty of the figurative world. All this, in the final analysis, can hold back the child’s overall intellectual progress.
It has been established that first-graders can understand and accept the task assigned to them, but its practical implementation is possible for them only based on a visual example. Students of the third grade are already able to draw up a plan of work on the task and follow it, without relying on a visually presented sample.
Due to these features educational activity and most importantly, the very process of mastering knowledge, which makes new demands on the thinking of the student, in a word, educational activity as a whole becomes leading at primary school age, i.e. the one in which the main psychological neoplasms of this period are formed: theoretical forms creativity, cognitive interests, the ability to control one's behavior, a sense of responsibility, and many other qualities of the mind and character of a student that distinguish him from preschool children. At the same time, the main role is played by the development of creativity, which occurs in the course of the assimilation of scientific knowledge.
Regardless of this, there are significant changes in the way of thinking. Before learning, it, relying on direct life experience, operates either with specific images and ideas, or with original equivalents of concepts given in the form of sensory generalizations unconscious by the child.
Assimilation of knowledge, the student learns the process of formation of concepts, i.e. masters the ability to build generalizations not according to similar ones (whatever degree of generality they may have), but on the basis of abstracting essential connections and relationships. Thus, in mastering a concept, the student masters not only the “abstract universality,” but also the “clump of affirmative judgments” that it contains. He masters the ability to develop these judgments, to move from concept to concept, i.e. think in terms of theory.

Sources

1. Markova A.K. "Formation of learning motivation at school age".
2. "Development of the creative activity of the student." Ed. A.N. Matyushkin. M., Pedagogy, 2003
3. "Rational combination of methods for developing the activities of schoolchildren." Ed. N.P. Palyanova, Search, 2003
4. Reproducing and creative activity of students in learning. Ed. I.T. Ogorodnikova M., 2002
5. Tregubova G.V. "The Development of Creative Thinking". (Primary School No. 6 2003).
6. "Formation of interest in studying among schoolchildren." Ed. Markova O.N. M.: Pedagogy, 2004
7. Krutetsky V.A. "Fundamentals of educational psychology". M., 2001
8. Ponomarev Ya.A. "Psychology of creative thinking" M., 2002