Methods of teaching artistic work have specific features, due to the cognitive activity of younger students:

the nature of technical processes and labor operations;

development of polytechnical thinking, technical abilities;

· formation of generalizing polytechnical knowledge and skills.

The lesson of artistic labor and fine arts is characterized by a classification of methods according to the methods of activity of the teacher and students, since two interconnected processes come out more clearly in teaching these subjects: the practical independent activity of students and the leading role of the teacher.

Accordingly, the methods are divided into 2 groups:

1) Methods of independent work of students under the guidance of a teacher.

2) Methods of teaching, learning.

Teaching methods that are determined by the source of knowledge gained includes 3 main types:

verbal;

visual;

practical.

The formation of skills and abilities is associated with the practical activities of students. It follows from this that it is necessary to put the type of activity of students as the basis for the methods of forming skills.

By type of student activity(classification according to the type of cognitive activity by I.Ya. Lerner and M.N. Skatkin) methods are divided into:

· reproductive;

partial search;

· problematic;

research;

explanatory and illustrative.

All of the above methods refer to the methods of organizing educational and cognitive activity (Yu.K. Babansky's classification).

Considering the method of stimulating educational activity in the lessons of artistic labor and fine arts, it is effective to use the method of forming cognitive interest. Also, do not forget to use the method of control and self-control.

Methods of organization and implementation of educational and cognitive activities - a group of teaching methods aimed at organizing the educational and cognitive activity of students, identified by Yu.K. Babansky and includes all existing teaching methods according to other classifications in the form of subgroups.

1. Verbal teaching methods

Verbal methods make it possible to convey a large amount of information in the shortest possible time, pose a problem to the trainees and indicate ways to solve them. With the help of the word, the teacher can bring into the minds of children vivid pictures of the past, present and future of mankind. The word activates the imagination, memory, feelings of students.

The verbal teaching methods include a story, a lecture, a conversation, etc. In the process of their application, the teacher expresses and explains the educational material through the word, and the students actively learn it through listening, memorization and comprehension.

Story. The storytelling method involves an oral narrative presentation of the content of the educational material. This method is applied at all stages of schooling. In fine arts lessons, it is used by the teacher mainly to communicate new information (interesting information from the life of famous artists), new requirements. The story must meet the following didactic requirements: be convincing, concise, emotional, accessible for understanding by primary school students.

Very little time is allotted for the teacher's story in the lessons of artistic labor and fine arts, and, therefore, its content should be limited to a short one, strictly correspond to the objectives of the lesson and the practical labor task. When using new terms in the story, the teacher must pronounce them expressively and write them down on the board.

Several types of story :

o introduction story;

o story - presentation;

o story-conclusion.

The purpose of the first is to prepare students for the perception of new educational material, which can be carried out by other methods, such as conversation. This type of story is characterized by relative brevity, brightness, amusing and emotional presentation, which makes it possible to arouse interest in a new topic, arouse the need for its active assimilation. During such a story, the tasks of the students' activities in the lesson are reported.

During the story-presentation, the teacher reveals the content of the new topic, carries out the presentation according to a certain logically developing plan, in a clear sequence, isolating the main thing, with illustrations and convincing examples.

The story-conclusion is usually held at the end of the lesson. The teacher summarizes the main ideas in it, draws conclusions and generalizations, gives a task for further independent work on this topic.

During the application of the storytelling method, such methodological techniques as: presentation of information, activation of attention, methods of accelerating memorization, logical methods of comparison, comparison, highlighting the main thing.

Conditions for effective use the story is a careful thinking of the plan, the choice of the most rational sequence of disclosure of the topic, the successful selection of examples and illustrations, maintaining the emotional tone of the presentation.

Conversation. Conversation is a dialogic teaching method in which the teacher, by posing a carefully thought-out system of questions, leads students to understand new material or checks their assimilation of what they have already studied.

The conversation is one of the oldest methods of didactic work. It was masterfully used by Socrates, on whose behalf the concept of “Socratic conversation” originated.

In the lessons of artistic work and fine arts, the story often turns into a conversation. The conversation is aimed at obtaining new knowledge and consolidating it through an oral exchange of thoughts between the teacher and the student. The conversation contributes to the activation of children's thinking and is more convincing when combined with a demonstration of natural objects, with their image.

Depending on the specific tasks, the content of the educational material, the level of creative cognitive activity of students, the place of conversation in the didactic process, various types of conversations .

Widespread in the teaching of fine arts and artistic work is heuristic conversation(from the word "Eureka" - I find, open). In the course of a heuristic conversation, the teacher, relying on the students' knowledge and practical experience, leads them to understand and assimilate new knowledge, formulate rules and conclusions.

Used to communicate new knowledge informing conversations. If the conversation precedes the study of new material, it is called introductory or introductory. The purpose of such a conversation is to arouse in students a state of readiness for learning new things. The need for an ongoing conversation may arise in the course of practical work. Through the "question - answer" students receive additional information. Fixing or final conversations are applied after learning new material. Their purpose is to discuss and evaluate students' work.

During the conversation, questions can be addressed to one student ( individual conversation) or students of the whole class ( frontal conversation).

Interview requirements.

The success of the interviews largely depends on the correctness of the questions. Questions are asked by the teacher to the whole class so that all students prepare for the answer. Questions should be short, clear, meaningful, formulated in such a way as to awaken the student's thought. You should not put double, prompting questions or leading to guessing the answer. You should not formulate alternative questions that require unambiguous answers such as "yes" or "no".

In general, the conversation method has the following Benefits : activates students, develops their memory and speech, makes students' knowledge open, has great educational power, is a good diagnostic tool.

Disadvantages of the conversation method : takes a lot of time, requires a stock of knowledge.

Explanation. Explanation - a verbal interpretation of patterns, essential properties of the object under study, individual concepts, phenomena.

In the lessons of fine arts and artistic work, the explanation method can be used in the introductory part of the lesson to get acquainted with the execution of various seams, together with the demonstration of the product, when getting acquainted with various methods of working with a brush, etc.

In preparation for work, the teacher explains how to rationally organize the workplace; when planning, explains how to determine the sequence of operations.

In the process of explanation, the teacher acquaints students with the properties of materials and the purpose of tools, with rational labor actions, techniques and operations, new technical terms (at the lessons of artistic labor); with methods of working with a brush and the sequence of drawing, building objects (at drawing lessons).

Requirements for the method of explanation. The use of the explanation method requires an accurate and clear formulation of the problem, the essence of the problem, the question; consistent disclosure of cause-and-effect relationships, argumentation and evidence; use of comparison, comparison and analogy; attracting vivid examples; impeccable logic of presentation.

Discussion. Discussion as a teaching method is based on the exchange of views on a particular issue, and these views reflect the participants' own opinions, or are based on the opinions of others. It is advisable to use this method when students have a significant degree of maturity and independence of thinking, are able to argue, prove and substantiate their point of view. It also has a great educational value: it teaches you to see and understand the problem more deeply, to defend your life position, to reckon with the opinions of others.

This method is more suitable for use in high school. But if elementary school students have the above features (strong classes), then it makes sense to start introducing this method (for example, when getting acquainted with the work of artists, namely their works).

Briefing. This method is understood as an explanation of the methods of labor actions, their accurate display and safe performance (artistic labor).

Types of instruction:

By the time of the event:

Introductory - is carried out at the beginning of the lesson, includes the formulation of a specific labor task, a description of the operations is given, an explanation of working methods is carried out.

Current - carried out during practical activities, includes an explanation of the mistakes made, finding out the reasons, shortcomings in the work, correcting mistakes, explaining the correct techniques, conducting self-control.

The final one includes the analysis of the work, the characteristics of the mistakes made in the work, the grading of the students' work.

· By coverage of students: individual, group, classroom.

· According to the form of presentation: oral, written, graphic, mixed.

2. Visual teaching methods

Visual teaching methods are understood as methods in which the assimilation of educational material is significantly dependent on the visual aids and technical means used in the learning process.

Visual methods are used in conjunction with verbal and practical teaching methods.

Visual teaching methods can be conditionally divided into 2 large groups :

· illustration method;

demonstration method.

Demonstration(lat. demonstratio - showing) - a method expressed in showing the whole class at the lesson various visual aids.

The demonstration consists in a visual-sensual acquaintance of students with phenomena, processes, objects in their natural form. This method serves mainly to reveal the dynamics of the phenomena under study, but is also widely used to get acquainted with the appearance of an object, its internal structure or location in a series of homogeneous objects. When demonstrating natural objects, they usually start with their appearance (size, shape, color, parts and their relationships), and then move on to the internal structure or individual properties that are specially highlighted and emphasized (the operation of the device, etc.). Demonstration of works of art, samples of clothing, etc. also begins with a holistic perception. The show is often accompanied by a schematic sketch of the considered objects. Demonstration of experiments is accompanied by drawing on the board or showing diagrams that facilitate understanding of the principles underlying the experience.

This method is truly effective only when students themselves study objects, processes and phenomena, perform the necessary measurements, establish dependencies, due to which an active cognitive process is carried out - things, phenomena are comprehended, and not other people's ideas about them.

The objects of the demonstration are : visual aids of a demonstration nature, pictures, tables, diagrams, maps, transparencies, films, models, layouts, diagrams, large natural objects and preparations, etc.;

Demonstration is used by the teacher mainly when studying new material, as well as when summarizing and repeating already studied material.

Conditions for the effectiveness of the demonstration are: carefully thought-out explanations; ensuring good visibility of the demonstrated objects to all students; wide involvement of the latter in the preparation and holding of the demonstration.

Illustration as a method of teaching interaction is used by the teacher in order to create in the minds of students with the help of visual aids an accurate, clear and clear image of the phenomenon being studied.

Main function illustration consists in figuratively recreating the form, essence of the phenomenon, its structure, connections, interactions to confirm theoretical positions. It helps to bring all analyzers and the mental processes of sensation, perception, and representation associated with them into a state of activity, as a result of which a rich empirical basis arises for the generalizing and analytical mental activity of children and the teacher.

Illustrations are used in the process of teaching all subjects. As an illustration, natural and artificially created objects are used: models, models, dummies; works of fine art, fragments of films, literary, musical, scientific works; symbolic aids such as maps, diagrams, graphs, diagrams.

The educational result of the use of illustrations is manifested in ensuring the clarity of the initial perception of the subject being studied by students, on which all subsequent work and the quality of assimilation of the studied material depend.

Such a division of visual aids into illustrative or demonstration ones is conditional; it does not exclude the possibility of classifying individual visual aids as both illustrative and demonstrative (for example, showing illustrations through an epidiascope or overhead scope). The introduction of new technical means in the educational process (video recorders, computers) expands the possibilities of visual teaching methods.

At the lesson of artistic work, students perform the main part of the products according to graphic images. These include:

Artistic drawing - a real image of an object, is used if the object itself cannot be shown due to its absence, small or large sizes; makes it possible to identify the material and color (used in the lessons of artistic work and fine arts);

Technical drawing - a graphic image, which is made arbitrarily, by hand, using drawing and measuring tools; all structural elements are transmitted with approximate preservation of dimensions and proportions (used in art classes);

Sketch - a conditional reflection of an object, which is made without the use of drawing and measuring tools with an approximate preservation of dimensions and proportions (used in the lessons of artistic work and fine arts);

Drawing - a graphic representation of an object with the help of drawing and measuring objects on a certain scale, with accurate preservation of dimensions, using the methods of parallel proportions, contains data on the size and shape of the object (used in art classes);

A technical card is an image that can contain a drawing of a product, tools, materials and fixtures can be indicated, but there is always a sequence of operations and work methods (used in art classes).

Requirements for using visual methods: the visualization used should be appropriate for the age of the students; visibility should be used in moderation and should be shown gradually and only at the appropriate moment in the lesson; observation should be organized in such a way that all students can clearly see the object being demonstrated; it is necessary to clearly highlight the main, essential when showing illustrations; think over in detail the explanations given during the demonstration of phenomena; the demonstrated visualization must be exactly consistent with the content of the material; involve the students themselves in finding the desired information in a visual aid or a demonstration device.

A feature of visual teaching methods is that they necessarily involve, to one degree or another, their combination with verbal methods. The close relationship between the word and visualization follows from the fact that "the dialectical path of cognition of objective reality involves the use of living contemplation, abstract thinking and practice in unity."

There are various forms of communication between words and visualization. And to give some of them full preference would be a mistake, since depending on the characteristics of the learning objectives, the content of the topic, the nature of the available visual aids, as well as the level of preparedness of students, it is necessary in each case to choose their most rational combination.

The use of visual teaching methods in technology lessons is narrowed to a minimal use of verbal teaching methods.

3. Practical teaching methods

Practical teaching methods are based on the practical activities of students. These methods form practical skills and abilities. Practical methods include exercises, practical work.

Exercises. Exercises are understood as repeated (multiple) performance of a mental or practical action in order to master it or improve its quality. Exercises are used in the study of all subjects and at various stages of the educational process. The nature and methodology of the exercises depends on the characteristics of the subject, the specific material, the issue under study and the age of the students.

Exercises subdivided according to their nature on the:

· oral;

· written;

· educational and labor;

· graphic.

When performing each of them, students perform mental and practical work.

According to the degree of independence students during the exercise allocate :

· exercises to reproduce the known in order to consolidate;

· reproducing exercises;

· exercises to apply knowledge in new conditions-training exercises.

If, when performing actions, the student speaks to himself or aloud, comments on the upcoming operations, such exercises are called commented. Commenting on actions helps the teacher to detect typical mistakes, make adjustments to the actions of students.

Features of the use of exercises.

oral exercises contribute to the development of logical thinking, memory, speech and attention of students. They are dynamic, do not require time-consuming record keeping.

Written exercises are used to consolidate knowledge and develop skills in their application. Their use contributes to the development of logical thinking, the culture of writing, independence in work. Written exercises can be combined with oral and graphic.

To graphic exercises include the work of students in drawing up diagrams, drawings, graphs, posters, stands, etc.

Graphic exercises are usually performed simultaneously with written ones.

Their use helps students to better perceive, comprehend and memorize educational material, contributes to the development of spatial imagination. Graphic works, depending on the degree of independence of students in their implementation, can be of a reproducing, training or creative nature.

Exercises are effective only if a number of rules are observed.

Requirements for the exercise method: conscious approach of students to their implementation; compliance with the didactic sequence in the performance of exercises - first, exercises for memorizing and memorizing educational material, then - for reproduction - for the application of previously learned - for independent transfer of what has been learned to non-standard situations - for creative application, which ensures the inclusion of new material in the system of already acquired knowledge , skills and abilities. Problem-search exercises are also extremely necessary, which form students' ability to guess, intuition.

At the lesson of artistic labor, students, along with polytechnic knowledge, master general labor polytechnic skills: to equip a place, design a product of labor, plan a labor process, and carry out technological operations.

When using practical methods, skills and abilities are formed.

Actionstechniquesoperationskillskills.

Actions - are carried out by students at a slow pace with careful consideration of each element performed.

Techniques - require further reflection and improvement in the process of special exercises.

Operations are combined techniques.

Skills - knowledge that is applied in practice, understood as the conscious performance of specified actions by students with the choice of the correct methods of work, but knowledge may not be brought to the level of skills.

Skills are actions that are brought to a certain extent to automatism and are performed in ordinary standard situations.

Skills are developed by reusable exercises of the same type without changing the type of activity. During work, the teacher focuses on the formation of labor skills in children. Skills are manifested by the actions of a person in an unfamiliar situation. For the formation of skills, various exercises are carried out that allow you to transfer the method of action to a new situation.

Primary school students in art classes form three main groups of skills:

1. Polytechnic skills - measuring, computing, graphic, technological.

2. General labor skills - organizational, design, diagnostic, operator.

3. Special labor skills - processing different materials in different ways.

4. The formation of skills is always associated with practical activities.

This is a brief description of teaching methods, classified by sources of knowledge. The main disadvantage of this classification is that it does not reflect the nature of the cognitive activity of students in learning, does not reflect the degree of their independence in educational work. Nevertheless, it is this classification that is most popular with practicing teachers, methodologists and is used in technology and fine arts lessons.

4. Reproductive learning methods

The reproductive nature of thinking involves the active perception and memorization of the information provided by the teacher or other source of educational information. The application of these methods is impossible without the use of verbal, visual and practical teaching methods and techniques, which are, as it were, the material basis of these methods. These methods are mainly based on the transfer of information using words, the demonstration of natural objects, drawings, paintings, graphic images.

To achieve a higher level of knowledge, the teacher organizes the activities of children to reproduce not only knowledge, but also methods of action.

In this case, much attention should be paid to instruction with a demonstration (at art classes) and an explanation of the sequence and methods of working with a show (at art classes). When performing practical tasks, reproductive, i.e. the reproductive activity of children is expressed in the form of exercises. The number of reproductions and exercises when using the reproductive method determines the complexity of the educational material. It is known that in the lower grades, children cannot perform the same training exercises. Therefore, elements of novelty should be constantly introduced into the exercises.

In the reproductive construction of the story, the teacher formulates facts, evidence, definitions of concepts in a ready-made form, focuses on the main thing that needs to be learned especially firmly.

A reproductively organized conversation is conducted in such a way that the teacher relies on facts already known to the students, on previously acquired knowledge, and does not set the task of discussing any hypotheses or assumptions.

Practical works of a reproductive nature are distinguished by the fact that in the course of their work, students apply the previously acquired or newly acquired knowledge according to the model.

At the same time, in the course of practical work, students do not independently increase their knowledge. Reproductive exercises especially effectively contribute to the development of practical skills and abilities, since the transformation of skill into a skill requires repeated actions according to the model.

Reproductive methods are used especially effectively in cases where the content of the educational material is predominantly informative, is a description of the methods of practical actions, is very complex or fundamentally new so that students can carry out an independent search for knowledge.

In general, reproductive methods of teaching do not allow to develop the thinking of schoolchildren to the proper extent, and especially independence, flexibility of thinking; to develop students' skills in search activity. With excessive use, these methods contribute to the formalization of the process of mastering knowledge, and sometimes just cramming. It is impossible to successfully develop such personality traits as creative approach to business, independence by reproductive methods alone. All this does not allow them to actively use technology in the classroom, but requires the use of teaching methods along with them that ensure the active search activity of schoolchildren.

5. Problematic teaching methods.

The problem method of teaching provides for the formulation of certain problems that are solved as a result of the creative and mental activity of students. This method reveals to students the logic of scientific knowledge; creating problem situations, the teacher encourages students to build hypotheses, reasoning; conducting experiments and observations, it makes it possible to refute or approve the assumptions put forward, to independently draw reasonable conclusions. In this case, the teacher uses explanations, conversations, demonstrations, observations and experiments. All this creates a problem situation for students, involves children in a scientific search, activates their thinking, forces them to predict and experiment. But at the same time, it is necessary to take into account the age characteristics of children.

The presentation of educational material by the problem story method assumes that the teacher, in the course of the presentation, reflects, proves, generalizes, analyzes the facts and leads the students' thinking, making it more active and creative.

One of the methods of problem-based learning is heuristic and problem-search conversation. In the course of it, the teacher poses a series of consistent and interrelated questions to the students, answering which they must make any assumptions and then try to independently prove their validity, thereby making some independent progress in the assimilation of new knowledge. If during a heuristic conversation such assumptions usually concern only one of the main elements of a new topic, then during a problem-search conversation, students resolve a whole series of problem situations.

Visual aids with problematic teaching methods are no longer used only to enhance memorization, and to set experimental tasks that create problem situations in the classroom.

Problematic methods are used mainly for the purpose of developing skills in educational and cognitive creative activity, they contribute to a more meaningful and independent mastery of knowledge.

This method reveals to students the logic of scientific knowledge. Elements of the problem methodology can be introduced at the lessons of artistic work in the 3rd grade.

So, when modeling boats, the teacher demonstrates experiments that pose certain problems for students. A piece of foil is placed in a glass filled with water. Children watch the foil sink to the bottom.

Why does foil sink? Children put forward the assumption that foil is a heavy material, so it sinks. Then the teacher makes a box out of foil and carefully lowers it upside down into the glass. Children observe that in this case the same foil is kept on the surface of the water. Thus, a problematic situation arises. And the first assumption that heavy materials always sink is not confirmed. So, the point is not in the material itself (foil), but in something else. The teacher offers to carefully consider again a piece of foil and a foil box and establish how they differ. Students establish that these materials differ only in shape: a piece of foil has a flat shape, and a foil box has a voluminous hollow shape. What are empty objects filled with? (By air). And air has little weight.

He is light. What can be the conclusion? (Hollow objects, even from heavy materials, like metal, filled with (light (air, do not sink.) Why don’t large sea boats made of metal sink? (Because they are hollow) what will happen if a foil box is pierced with an awl? (She sink.) Why? (Because it will fill with water.) What will happen to the ship if its hull gets a hole and fills with water? (The ship will sink.)

Thus, the teacher, creating problem situations, encourages students to build hypotheses, conducting experiments and observations, enables students to refute or confirm the assumptions put forward, and independently draw reasonable conclusions. In this case, the teacher uses explanations, conversations, demonstrations of objects, observations and experiments.

All this creates problem situations for students, involves children in scientific research, activates their thinking, forces them to predict and experiment. Thus, the problematic presentation of educational material brings the educational process in a general education school closer to scientific research.

The use of problematic methods in the lessons of artistic labor and fine arts is most effective for intensifying activities to resolve problem situations, educational and cognitive activities of students.

6. Partial-search method of teaching

Partial search, or heuristic method got its name, because students can not always solve a complex problem and therefore part of the knowledge is communicated by the teacher, and part they get on their own.

Under the guidance of a teacher, students reason, solve emerging cognitive situations, analyze, compare. As a result, they develop conscious knowledge.

To develop independence and creative initiative, the teacher uses various techniques.

At the lessons of labor at the first stage, children perform tasks according to technological maps with a detailed description of operations and methods of work. Then flow charts are made with partially missing data or stages. This forces children to independently solve some tasks that are feasible for them.

So, in the process of partial search activity, students first get an idea about the product, then plan the sequence of work and carry out technological operations to implement projects into a finished product.

In the lessons of fine arts, as an example of using the partial search method of teaching, you can plan the work in such a way that the first step is to get an idea about the subject itself, then draw up a sequence of drawing it (place the stages depicted on the board in the correct sequence, fill in the gaps in the stages of the sequence and etc.).

7. Research method of teaching

The research method should be considered as the highest stage of students' creative activity, in the course of which they find solutions to new problems for them. The research method forms students' knowledge and skills that have a high degree of transfer and can be applied in new work situations.

The use of this method brings the learning process closer to scientific research, where students get acquainted not only with new scientific truths, but also with the methodology of scientific search.

Naturally, the content of the research method in science differs from the research method in teaching. In the first case, the researcher reveals to society new, previously unknown phenomena and processes; in the second, the student discovers phenomena and processes only for himself, which are not new for society. In other words, in the first case, discoveries are made on the social plane, and in the second, on the psychological plane.

The teacher, putting before the students a problem for independent research, knows both the result and the ways of solving and types of activities that lead the student to the correct solution of the problem posed. Thus, the research method in the school does not aim to make new discoveries. It is introduced by the teacher in order to instill in students the character traits necessary for further creative activity.

Consider the elements of the research method using a specific example.

At the lesson of art work, the teacher sets the task for the children - to choose paper for making a boat, which should have the following features: it should be well painted, be dense, durable, thick. At the disposal of each student there are samples of writing, newsprint, drawing, household (consumer) paper and tracing paper, brushes, jars of water. In the process of simple research, from the available types of paper, the student chooses for the manufacture of the hull of a boat model such paper that has all of the listed features. Let's say that the first student starts checking the sign of coloring. Passing a brush with paint over samples of writing, newsprint, drawing, consumer paper and tracing paper, the student establishes that writing, drawing, consumer paper and tracing paper are thick papers, newsprint is loose. The student concludes that newsprint is not suitable for the hull of a boat. By tearing up existing paper samples, the student establishes that writing and consumer paper is fragile. This means that these species are not suitable for the manufacture of a boat hull.

Next, the student carefully examines the remaining types of paper - drawing paper and tracing paper - and establishes that drawing paper is thicker than tracing paper. Therefore, for the manufacture of the hull of the boat, it is necessary to use drawing paper. This paper has all the necessary features: it is well colored, dense, durable, thick. Checking the types of paper should begin with a sign of strength. After this check, only two types of paper would remain at the disposal of the student: tracing paper and drawing paper. Checking the sign of thickness made it possible for the student to immediately choose the drawing paper necessary for the boat from the remaining two types. When using the research method, as the considered example of choosing paper shows, the student is not given a ready-made solution to the problem. In the process of observations, trials, experiments, simple research, the student independently comes to generalizations and conclusions. The research method actively develops the creative abilities of students, introduces students to the elements of scientific research.

The research method actively develops the creative abilities of students, introduces them to the elements of scientific research.

8. Explanatory and illustrative teaching method

Explanatory-illustrative, or informational-receptive methods include storytelling, explanation, work with textbooks, demonstration of pictures (verbal, visual, practical).

The teacher communicates the finished information by various means, and the students perceive it and fix it in memory.

However, when using this method, the skills and abilities to use the acquired knowledge are not formed. Knowledge is presented in finished form.

This method of teaching fine arts and artistic work will be effective if this method is not used in its only form. When combining this method with others, for example, partially search, research, reproductive, problematic, practical, students will work actively, they will develop thinking, attention, and memory.

9. Methods of independent work

Methods of independent work and work under the guidance of a teacher are distinguished on the basis of an assessment of the degree of independence of students in the performance of educational activities, as well as the degree of control of this activity by the teacher.

When a student performs his activities without direct guidance from the teacher, they say that the method of independent work is used in the educational process. When the methods are applied with the active control of the actions of students by the teacher, it is classified as methods of educational work under the guidance of a teacher.

Independent work is carried out both on the instructions of the teacher with mediocre management of it, and on the student's own initiative, without instructions and instructions from the teacher.

By using various types of independent work, students need to develop: some of the most general methods of its rational organization, the ability to rationally plan this work, clearly set a system of tasks for the upcoming work, single out the main ones among them, skillfully choose ways to solve the tasks set most quickly and economically, skillful and operational self-control over the performance of the task, the ability to quickly make adjustments to independent work, the ability to analyze the overall results of the work, compare these results with those planned at the beginning of it, identify the causes of deviations and outline ways to eliminate them in future work.

In the lessons of fine arts and art work, to increase the effectiveness of the learning process, as well as to achieve all the goals, these methods are used almost constantly in combination with other methods listed above. The choice of methods depends on the content of the educational material, the age and individual characteristics of the students, etc.

10. Methods for stimulating the educational activity of schoolchildren in the learning process. Methods of formation of cognitive interest

Interest in all its forms and at all stages of development is characterized by:

· positive emotions in relation to activity;

the presence of the cognitive side of these emotions;

The presence of a direct motive coming from the activity itself.

In the learning process, it is important to ensure the emergence of positive emotions in relation to learning activities, to its content, forms and methods of implementation. The emotional state is always associated with the experience of emotional excitement: response, sympathy, joy, anger, surprise. That is why the processes of attention, memorization, comprehension in this state are connected to the deep inner experiences of the individual, which make these processes proceed intensively and therefore more effective in terms of the goals achieved.

One of the methods included in the method of emotional stimulation of learning is the method of creating entertaining situations in the lesson - introducing entertaining examples, experiments, paradoxical facts into the educational process.

Entertaining analogies also act as a technique that is part of the methods of forming interests in learning, for example, when considering an airplane wing, analogies are drawn with the shape of the wings of a bird, dragonfly.

Emotional experiences are evoked by applying the technique of surprise.

The unusual nature of the facts presented, the paradoxical nature of the experience demonstrated in the lesson, the grandiosity of the figures - all this invariably evokes deep emotional experiences in schoolchildren.

One of the methods of stimulation is the comparison of scientific and worldly interpretations of individual natural phenomena.

To create emotional situations during the lessons, the artistry, brightness, and emotionality of the teacher's speech are of great importance. This once again reveals the difference between the methods of organizing cognitive activity and the methods of stimulating it.

Educational games . The game has long been used as a means of arousing interest in learning.

In the educational and educational period of age, teaching and education should be the main interest of a person’s life, but for this the pupil must be surrounded by a favorable sphere. If, however, everything that surrounds the pupil pulls him away from the teaching in a completely opposite direction, then all the efforts of the mentor will be in vain to inspire him with respect for the teaching.

That is why education is so rarely successful in those rich, high-society homes, where the boy, escaping from a boring classroom, hastens to prepare for a children's ball or for a home performance, where much more vivid interests await him, which prematurely took possession of his young heart.

As we can see, the great Russian teacher Konstantin Dmitrievich Ushinsky, speaking about the fact that only small children can learn by playing, but, nevertheless, wants to interest older children in learning. But how to instill a love of learning if not a game.

Teachers have a hard time: after all, you cannot force a student to do something that is not interesting for him. And the child will not be able to repeat the same exercise dozens of times for the sake of a distant, not entirely clear goal. But play all day long - please! The game is a natural form of its existence. Therefore, it is necessary to teach in such a way that classes delight, captivate, and amuse the children.

The teaching of fine arts and artistic work is impossible without the use of various kinds of game situations in the lesson, with the help of which the teacher forms specific skills and abilities in schoolchildren. The clearly limited learning task of the task allows the teacher to accurately and objectively assess the quality of the students' assimilation of the material.

In order to maintain the productive working capacity of children throughout the lesson, various cognitive situations, games, activities should be introduced into their activities, since the assimilation of the subject is facilitated if different analyzers are involved.

The alternation during the lesson of all types of activities makes it possible to more rationally use the study time, increase the intensity of the work of schoolchildren, ensure continuous assimilation of new and consolidation of the material covered.

Didactic exercises and play moments included in the system of pedagogical situations arouse in children a special interest in learning about the world around them, which has a positive effect on their productive visual activity and attitude to classes.

It is advisable to use didactic exercises and game situations in those lessons where understanding the material is difficult. Studies have shown that during play situations, visual acuity in a child increases significantly.

Games, game moments, elements of fabulousness serve as a psychological stimulator of neuro-psychological activity, potential abilities of perception. L.S. Vygotsky remarked very subtly that “in play, a child is always above his usual behavior; he is in the game, as it were, head and shoulders above himself.

Games contribute to the understanding of the design features of the shape of objects, form the ability to compare, find optimal solutions, develop thinking, attention, and imagination.

For example:

1. Compose images of individual objects from geometric shapes.

Using the geometric figures depicted on the board, students draw objects in the albums (as a variant of this exercise, individual tasks for each student).

2. Make compositions from ready-made silhouettes "Whose composition is better?".

From the finished silhouettes, make a still life. The game can be played as a competition between two (three) teams. Work is carried out on a magnetic board. The game develops compositional thinking, the ability to find optimal solutions.

The inclusion of gaming moments in the lessons allows you to correct the psychological state of students. Children perceive psychotherapeutic moments as a game, and the teacher has the opportunity to change the content and nature of tasks in a timely manner, depending on the situation.

Educational discussions. The methods of stimulating and motivating learning include creating a situation of cognitive dispute. The dispute causes increased interest in the topic. Some teachers skillfully use this method of activating the teaching. They, firstly, use the historical facts of the struggle of different scientific points of view on a particular problem. The inclusion of students in situations of scientific disputes not only deepens their knowledge on relevant issues, but also involuntarily attracts their attention to the topic, and on this basis causes a new surge of interest in learning.

Teachers also create educational discussions at the time of studying ordinary educational issues in any lesson. For this, students are specifically invited to express their opinions about the causes of a particular phenomenon, to substantiate one or another point of view.

Creating situations of success in learning. One of the effective methods of stimulating interest in learning is to create situations of success in the educational process for schoolchildren who experience certain difficulties in learning. It is known that without experiencing the joy of success it is impossible to truly count on further success in overcoming educational difficulties. Situations of success are also created by differentiating assistance to schoolchildren in completing educational tasks of the same complexity. Situations of success are also organized by the teacher by encouraging intermediate actions of schoolchildren, that is, by specially encouraging him to make new efforts.

An important role in creating a situation of success is played by ensuring a favorable moral and psychological atmosphere in the course of performing certain educational tasks. A favorable microclimate during study reduces the feeling of insecurity, fear. The state of anxiety is replaced by a state of confidence.

Here's another thing that is important in order to lead students to good results in their studies.

If we want the student's work to be successful, so that he can deal with difficulties and in the future acquire more and more positive traits in his work, then for this we need to imagine what contributes to the success of the work, and what causes failure. A huge role in success is played by that mood, that general cheerful state of mind among the students, that efficiency and calm, so to speak, liveliness, which form the pedagogical basis of any successful work of the school. Everything that creates a boring atmosphere - despondency, hopelessness - all this is a negative factor in the successful work of students. Secondly, the very method of teaching the teacher is of great importance: usually our classroom way of teaching, such that when students work with the same method and on the same topic, quite often leads to the fact that the class is stratified: a certain number of students , for which the method proposed by the teacher is suitable, succeeds, while the other part, for which a slightly different approach is needed, lags behind. Some students have a fast pace of work, while others are slow; some students grasp the appearance of forms of work, while others must thoroughly understand everything before they begin to work at all.

If students understand that all the efforts of the teacher are aimed at helping them, then cases of mutual assistance that are very valuable for working in the class may appear among them, cases of students turning to the teacher for help will be intensified, the teacher will advise more than give directives and put forward a demand and, in the end, the teacher himself will learn to really help both the whole class and each student individually.

When we observe the work of a student, when we approach him with our instructions, demands or advice, then we must know what a tremendous role arousing interest in the work of the student plays, and it is the accounting that should stimulate the work of the student, i.e. Accounting for the student's work should arouse his interest in the work.

To whom, if not to his senior comrade, the teacher, will the student turn for help? And we must help them understand many things - in various life situations, in themselves, in all sorts of conflicts. But becoming such a friend is not easy. In order to gain authority and respect from your students, you need to understand your children well, to see in them not only future masters to whom you pass on your experience, but, above all, in everyone - a Person, a Personality. If you manage to win respect, authority among your pupils, this is a great happiness for the teacher.

The main sources of interest in educational activities include the creation of a situation of novelty, relevance, bringing the content closer to the most important discoveries in science, technology, to the achievements of modern culture, art, and literature. To this end, teachers select special techniques, facts, illustrations, which at the moment are of particular interest to the entire public of the country. In this case, students are much more clearly and deeply aware of the importance and significance of the issues being studied and therefore treat them with great interest, which allows them to be used to increase the activation of the cognitive process in technology lessons.

11. Methods of control and self-control in training

Methods of oral control. Oral control is carried out by individual and frontal questioning. In an individual survey, the teacher poses several questions to the student, answering which he shows the level of assimilation of educational material. With a frontal survey, the teacher selects a series of logically interconnected questions and puts them in front of the whole class, calling for a short answer from one or another student.

Methods of self-control. An essential feature of the current stage of improving control at school is the comprehensive development of students' skills of self-control over the degree of assimilation of educational material, the ability to independently find mistakes, inaccuracies, and outline ways to eliminate detected gaps, which is especially used in technology lessons.

Conclusions. All the main methods of teaching fine arts have been listed above. The effectiveness of their use will be achieved only with the integrated use of these methods.

The primary school teacher should give priority to methods that make the work active and interesting, introduce elements of play and entertainment, problematic and creativity.

The comparative possibilities of teaching methods allow adequate age, mental and physical strength, existing experience of educational work, educational fitness of students, formed educational skills and abilities, development of thought processes and types of thinking, etc. use them at different levels and stages of learning.

It is always important to remember and take into account the age-related characteristics of the psychological and mental development of children.

The success of education and training largely depends on what methods and techniques the teacher uses to convey certain content to children, to form their knowledge, skills, and develop abilities in a particular field of activity.

The methods of teaching visual activity and design are understood as a system of actions of a teacher who organizes the practical and cognitive activities of children, which is aimed at mastering the content defined by the Federal State Educational Standard for Primary General Education.

Training methods are called individual details, components of the method.

Traditionally, teaching methods are classified according to the source from which children receive knowledge, skills and abilities, according to the means by which this knowledge, skills and abilities are presented.

Since school-age children acquire knowledge in the process of direct perception of objects and phenomena of the surrounding reality and from the teacher's messages (explanations, stories), as well as in direct practical activities (designing, modeling, drawing, etc.), methods are distinguished:

visual;

verbal;

Practical.

This is the traditional classification. Recently, a new classification of methods has been developed. The authors of the new classification are: Lerner I.Ya., Skatkin M.N. it includes the following teaching methods:

informative - receptive;

reproductive;

research;

heuristic;

problem presentation method

The information-receptive method includes the following techniques:

viewing;

observation;

excursion;

teacher sample;

teacher display.

The verbal method includes:

story, art story;

use of teacher samples;

artistic word.

The reproductive method is a method aimed at consolidating the knowledge and skills of children. This is a method of exercises that bring skills to automatism. It includes:

receiving a repeat;

work on drafts;

performing shaping movements with the hand.

The heuristic method is aimed at the manifestation of independence in any moment of work in the classroom, i.e. The teacher asks the child to do part of the work independently.

The research method is aimed at developing in children not only independence, but also imagination and creativity. The teacher offers to independently perform not any part, but the whole work. The method of problem presentation, according to the didacticians, cannot be used in teaching younger students: it is applicable only to older students.

In his activities, the teacher uses various methods and techniques in drawing, modeling, application and design.

So in drawing, the main technique for the first class is showing how pencils and paints should be used. The most effective technique is passive movements, when the child does not act independently, but with help. Effective game pictorial movements of a homogeneous, rhythmic nature with the pronunciation of the words: "back and forth", "top - down", etc. This technique makes it possible to associate the image of an object with pictorial movement.

The use of literary and musical instruments is the most important methodological technique. Another method of work in the primary grades is the co-creation of the teacher with the children.

In the lower grades, the information-receptive method is actively used in drawing classes. An effective way of getting to know the shape of an object is especially useful before class: children circle the shape with their hands, play with flags, balls, balls, feel their outlines. Such an examination of the subject creates a more complete picture of it.

Also effective is the technique of examining an object by moving the hand along the contour and showing this movement in the air.

So, the main methodological principles of teaching fine arts are a number of characteristics:

1. Availability of tasks.

The process of drawing is associated with the perception and study of objects of reality, with the comprehension of the features of the perception of form, environment, lighting, the influence of one color on another, etc. Every teacher knows about the great interest of children in drawing, everyone is familiar with the courage and sometimes great expressiveness of independent children's drawings. In this regard, sometimes the capabilities of children are overestimated - they are given overwhelming tasks. It doesn't do them any good.

But there should also not be an underestimation of the capabilities of students, an excessive narrowing of tasks, a limitation on the range of objects depicted. Such requirements could take place in the copy system of education, but it is incompatible with the tasks of teaching a realistic image, which is based on the visual perception of objects and phenomena of reality.

From the first steps of learning to draw, along with the development of the perception of specific objects and phenomena of reality, children are brought to an understanding of the elements of abstraction.

The deeper and more fully children learn various phenomena of reality (for example, perspective, lighting), comprehend the features of visual perception, the more accessible the methods of analyzing the visible shape of objects become, the understanding of the rules for constructing a drawing is transferred from one object to others, similar in form. Along with this, drawing conclusions from observations of the same phenomenon on different objects and under different conditions, students abstract concrete ideas into general concepts and ideas. The result of each task should be a drawing in which, as fully and convincingly as possible, the student conveys the objects of reality.

Consequently, the availability of tasks is determined to a very large extent by the nature of the image to which the teacher leads students in solving a specific problem.

Thus, taking into account the general development of students with hearing impairment, the development of their visual abilities determines the availability of tasks and requirements for their drawings.

2. Sequence of learning tasks

Determining the sequence of drawing tasks, it is necessary to take into account the peculiarities of students' perception of objects of reality and the process of depicting them on a plane.

The image process proceeds in time, it is divided into separate stages. Therefore, teaching drawing is associated with the development of students' ability to isolate individual sides in a holistic visual image in order to convey them on a plane, without losing the whole.

Along with this, from the very beginning of learning, children develop the ability to see the objects depicted in the drawing (behind the lines, strokes, tone, color as holistically as in reality), and also, comparing the image with reality, evaluate the drawing at all stages of its implementation.

At any stage of learning, with any of the simplest tasks in the transfer of holistic visual images of objects, students are always given a group of tasks.

In teaching drawing, the tasks of linear construction of the shape of objects on the plane of the sheet are of paramount importance. The main development of these tasks is connected with the gradual mastery of the transfer in the drawing of the volume of objects and their position in space. In painting classes, the emphasis is on the analysis of color, the reflection of one's emotions associated with a particular color.

3. Requirements for students' drawings.

Requirements for students' drawings can be combined into two main groups corresponding to different educational tasks: requirements related to the technical side of the work and requirements related to the aesthetic side of visual activity:

So, the technical requirements can be as follows:

the correct position of the drawing on the sheet;

transfer of the proportion of objects in accordance with the depicted reality;

mastering the line and the spot as a means of transferring the shape of objects on the plane;

conveying the characteristic features of the color of objects.

There are also requirements for students' drawings related to the perspective image of objects:

when depicting objects from nature, convey perspective phenomena as they are visible to the student from his point of view;

starting from the 3rd grade of drawing from nature of individual rectangular objects, to convey reductions of the surfaces of objects turned in depth from a certain point of view, without violating the structure and proportions;

correctly convey the direction of the lines of the base and top of objects, taking into account the level of one's vision, and coordinate the top and bottom of the depicted object in the drawing, focusing on a certain level of vision;

convey the far boundary of the horizontal plane on which objects are located;

drawing groups of objects from life, transfer the bases of near objects below on the sheet, the bases of distant objects - above, in accordance with the specific spatial relationships of objects in nature.

4. Consciousness and emotionality of the educational process.

In order to achieve good results in teaching drawing, along with the correct selection of tasks, a very important role is played by the use by the teacher of all the teaching and educational opportunities inherent in drawing, as in the process of developing aesthetic needs. Its possibilities are very wide, since the process of drawing is a meaningful transfer of reality, due not only to visual perception, but also to an understanding of its essence, awareness of its features.

The main prerequisites for the activity of the educational process are the understanding by children of the tasks of the image and the emotional attitude both to nature and to the very process of drawing.

To improve the quality of the entire drawing process, it is necessary to arouse an emotional attitude in children, to arouse a joyful expectation of interesting work. Along with this, interest should be fixed and supported by the aesthetic qualities of nature itself - its shape, color, surface, the way it is set, illuminated, against what background it is and whether it is clearly visible to those who paint. They must see the features of nature, comprehend them, figure out what is familiar to them in objects and their position in space, what is new.

The initial perception of nature is usually holistic. It is very important that it be emotional. This has a great influence on the further development of perception associated with the analysis of nature.

Starting drawing, it is necessary to awaken the students' emotional attitude to the topic. The teacher can direct the students' attention to seeing pictures, listening to music, etc. Complementing each other, these means of emotional influence will gradually lead children to a more complete perception of reality, as well as to the choice of means of representation available to them.

At different stages of learning, children usually experience a sense of joy and aesthetic satisfaction from work. An important point in the visual arts is reflection, the formation of an evaluation component. Analyzing their drawings in the process of work and the drawings of their comrades at the end of work, schoolchildren learn not only to convey the surrounding reality by means of fine art, but also to be aware of the concepts of “beautiful - ugly”, “good - bad” ... This gives the teacher the opportunity to develop the taste of students, to acquaint them with the material culture of modernity and the past, improve technical skills.

Ovsyannikova Svetlana Ivanovna,

teacher of fine arts of the highest category

MOU lyceum "Politek" Volgodonsk, Rostov region.

Modern methods of teaching fine arts.

In my experience of working with students, I use many methods and technologies, but in my report I want to dwell on only two that are interesting and relevant for modern schoolchildren: this is a method of working on the principle of a creative workshop and a method of teaching computer graphics skills. Both methods are applicable both in the classroom and outside of school hours - in the classroom. However, their use on a mug is more preferable.

A creative workshop for a child is an unlimited opportunity for the development of creative creative thinking and activity. A creative workshop for a teacher is an unlimited field in the use of modern pedagogical technologies, such as personality oriented, helping to realize the natural abilities of students for their development and application in various creative activities; humane - personal, based on all-round respect and love for the child, faith in his creative powers; cooperation technology, allowing to develop goals together with students, to co-create with them, to be their friend, to create exclusively positive emotional accompaniment aimed at developing sustainable interest; differentiated learning by the level of artistic and creative development and potential; problem-based learning allowing to create a problem situation and activate independent activity of students to resolve it; individualization technology according to the design method, which allows you to realize the individuality of the child, his potential and abilities in research and competitive activities.

Work according to the creative workshop method pursues the following goals and objectives:

Improving the knowledge, skills and abilities acquired by the child in the process of learning and life;

Development of independence in search creative activity;

Development of interest in the variety of types and genres of art, the desire to try to master a variety of materials and techniques;

Development of skills and desires to apply the acquired knowledge in practice, in everyday life, in the transformation of personal and environment;

Education of aesthetic literacy, perception of human life in harmony with nature, art, habitat;

Education of love for native and world culture, education of tolerance;

Raising confidence in one's need, significance and relevance for a society that needs products of creative work;

The methodology of the creative workshop is based on the joint activities of the teacher and the student, where the choice of activity is made by the student, and the teacher only advises and corrects the course of his work. The student has the right to choose in what form and genre of fine art he wants to start work, plans his activities with the help of a teacher: he makes a sketch, selects material, prepares a desktop, and then proceeds to carry out his plan. Each student in the creative workshop is an artist preparing to present his work to the audience. Each work performed according to the method of a creative workshop is, in fact, a project, and the finished product is a product that a child presents to competitions, olympiads or exhibitions. In one academic year, depending on abilities, skills and dynamics, one student can make or make from four to twenty creative works in different types and genres of fine arts. And a group of children, 15-20 people, is preparing a full-fledged grandiose exhibition, which presents works made from a wide variety of materials and in a variety of techniques.

Work according to the method of a creative workshop allows you to simultaneously cover a huge number of techniques and materials, which is basically impossible in the traditional educational process. So, for example, a group of guys from 20 people, divided by interests, simultaneously performs completely different work technologies: someone makes scratching, someone stained glass, someone is engaged in painting, someone is graphics, some students make panels from waste material, and some are engaged in floristry, etc. For a teacher, activity according to the workshop method is hard, but interesting work, which does not allow him to be distracted from the children for a minute, but brings creative satisfaction from the results obtained. The work captivates not only students, but also parents who come to see their work and are ready to provide any moral support.

No less important is the psychological aspect of the methodology of work on the principle of a creative workshop. It is no secret that children who begin to engage in fine arts sometimes have a number of complexes, such as: self-doubt, low self-esteem, fear - “I won’t succeed”, “it won’t be beautiful”, “no one will like it”, “I generally I can't do anything" and others. Gradually, these complexes disappear, since the tasks performed by the child in the workshop do not have a constant score (only the final result, brought to perfection, is evaluated), there is no time limit. Ultimately, each child becomes successful, he chooses how and where his finished work can be used: participate in an exhibition, be sent to a competition or presented to his mother.

In the age of information technology, work according to the method of a creative workshop is no longer possible without the ability to work with a computer, and here's why:

A high-quality, interesting, finished work can be used by a child to participate in various competitions, olympiads, conferences and exhibitions.

Such participation often implies the presence of a full-fledged theoretical material, designed according to modern requirements for scientific work, and containing graphs, tables or photographs.

The provisions of many Internet contests stipulate the quality and size of the image sent, the number of pixels per inch, etc.

Personal exhibition materials can be designed by the child in electronic form in the form of presentations.

Children can create their own website to present their creativity, for relatives, friends, etc.

All this assumes the student's ability to work with a computer. But I will focus only on what, in my opinion, a teacher of fine arts should do in this direction.

At the present stage of development of society, computer graphics is becoming another type of fine art. Therefore, a school teacher of fine arts is required to have the skills to work in graphic editors, and must teach this to his students. In my opinion, it is not advisable to equip classrooms where fine art lessons are held with computers for each table, otherwise there will be nowhere to study with other materials. The primary form is still the classical form of teaching fine arts, that is, working with artistic material. The first way out is to visit a computer class. This option should be included in the schedule in advance, since most schools have only one computer class. The second way out, more accessible, is additional extracurricular activities, that is, a circle.

In the practice of my work, two creative associations have been created: "Magic Tassel" and "Semitsvetik". Associations are located in different schools, and therefore the conditions for applying the methodology for teaching computer graphics are different. In the creative association "Magic Brush" children are engaged on the principle of an individual project, when the teacher explains the main points of working with editors, and then the children, during the time allotted for visiting a computer class or at home at a personal computer, independently create their own graphic works, or process photographs works that are going to be sent to competitions on the Internet. Thus, a child interested in presenting his work to the public and participating in various online competitions follows the following path:

creation of a work in a creative workshop with art, natural and other materials;

photographing him;

processing in graphic editors;

creation of images in graphic editors by the type of artwork by means of computer graphics;

accumulation of images on a personal flash drive;

sending an electronic version to competitions;

creation of a personal page or website for the presentation of their work;

This method is suitable for children over 10 years old, when the teacher's help is only advisory. The Semitsvetik creative association includes the Mouse studio for children aged 8-10, where 1 hour a week is allotted to work with graphic editors. Children are engaged in a group, mastering various graphic editors and their capabilities. The end result is the same: access to Internet competitions, participation in exhibitions, presentation of their work on the Internet.

Let us dwell in detail on the algorithm for teaching children how to work with graphic editors. I believe that students should be introduced, if possible, to a large number of graphic editors, since a holistic perception of their capabilities will give the child the freedom to choose actions and creativity.

Step one: The Paint program, for all its seeming simplicity, allows you to create works of amazing depth and complexity if the child applies all the skills acquired in the classical drawing. All the teacher needs to do is introduce the toolbox and show where and how each tool can be used.

Fig. 1 Egorova Ksenia 11 years old "Room" Fig. 2 Kovaleva Daria 14 years old "Winter"

Fig. 3 Babaniyazova Elena 14 years old "Christmas" Fig. 4 Gaevskaya Irina 13 years old "City"

Step two: the Paint program. Net. This program has many more features that allow you to process and simulate any image. Let's get acquainted with the toolbar, effects, correction, etc. We show how to copy, cut, paste, change and improve the image. It should be noted that any graphics editor is mastered by children very quickly if they are already familiar with Paint.

Step Three: Adobe Photoshop. I introduce this program to children after they have mastered Paint. Net, as Adobe Photoshop is more complex and rich. We master the toolbar, analyze the effects in detail, learn how to work with layers, then adjust, smooth, align, resize, etc.

Fig. 7 Balymova Elena, 13 years old Fig. 8 Milanina Tatyana, 11 years old “Postcard”

"Reflection of Spring"

Elementary school children should work with a graphic editor only under the guidance of a teacher, because sometimes they get so carried away that they overload the image with unnecessary details. It is important to develop a harmonious perception and sense of proportion.

Step four: Corel Photo Paint Pro and more. I must say that the most interesting are those graphic editors that have a huge number of features, as well as those created by amateur programmers. There are many interesting findings in these programs. We have been working with Corel Photo Paint Pro for the second year, it is very rich and students constantly find something new in it.

Fig. 11 Kozlov Danil 9 years old "Sails" Fig. 12 Minina Olga 9 years old "Flower Meadow"

Fig. 13 Leshchenko Kristina 9 years old "Autumn" Fig. 14 Shperle Ekaterina 10 years old "Island"

In the Corel Photo Paint Pro program, it is most interesting for children to make collages, to model images in accordance with their ideas. Each child has his own flash drive, and saves the drawing there at the end of the work.

Unfortunately, teaching computer graphics today is not the responsibility of an art teacher, and is not spelled out in educational programs in fine arts. This is casually done by computer science teachers who have a very remote idea of ​​the fine arts. I believe that only a person who knows the basics of painting, graphics, arts and crafts, design and photography can competently and correctly teach children how to work in graphic editors. But for this he himself must be able to work in them.

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Additional Education Improvement methodologies teaching pictorial arts1 Modern education system in ... improving my methods teaching pictorial art and interested in new methods teaching. (I can...

Improving the methods of teaching fine arts (1)

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Teacher of fine arts and MHC, Improvement methodologies teaching pictorial art The humanistic nature of education provides for a complete .... Contribute to improving the quality of education modern information technology based on...

Methodology for the development of creative abilities of younger students in arts and crafts at the lessons of fine arts. Completed by: Ivanova A. E

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... contemporary national culture (9; p.126). Practice shows that at each stage of the lesson pictorial art... - M., 1984. - S.101, 103. 4. Kuzin V.S.. Methodology teaching pictorial art in grades 1-3: Teacher's guide. - 2nd ed...

Fine arts as one of the subjects of the general education school occupies an important place in the education of students. A careful analysis and generalization of the best pedagogical experience indicates that the fine arts are an important means of developing the student's personality. Fine arts, which are especially close to younger schoolchildren with their visibility, occupies one of the leading places in the process of developing children's creative abilities, creative thinking, familiarizing them with the beauty of their native nature, the surrounding reality, and the spiritual values ​​of art. In addition, visual art classes help children master a range of skills in the field of visual, constructive and decorative activities.

aim writing this term paper is to consider the features of the methodology of teaching fine arts in elementary school, namely in grades I-IV.

The work put the following tasks:

The study of the methodology of teaching fine arts in elementary school, to consider its features,

To identify the pedagogical conditions for the successful teaching of fine arts to children of primary school age, as well as the preparation of a thematic annual plan and a lesson plan for elementary school students

Chapter 1. Features of the methodology of teaching fine arts in elementary school

1.1. Pedagogical conditions for teaching fine arts in elementary school

In the development of children's artistic creativity, including fine art, it is necessary to observe the principle of freedom, which is generally an indispensable condition for any creativity. This means that the creative pursuits of children can be neither obligatory nor compulsory, and can arise only from children's interests. Therefore, drawing cannot be a mass and universal phenomenon, but for gifted children, and even for children who are not going to later become professional artists, drawing has a huge cultivating value; when paint and drawing begin to speak to a child, he masters a new language that expands his horizons, deepens his feelings and conveys to him in the language of images that which cannot be brought to his consciousness in any other way.

One of the problems in drawing is that for primary school children, one activity of creative imagination is no longer enough, he is not satisfied with a drawing made somehow, in order to embody his creative imagination, he needs to acquire special professional, artistic skills and abilities.

The success of training depends on the correct definition of its goals and content, as well as on the ways to achieve the goals, that is, teaching methods. There has been controversy among scholars about this since the very beginning of the school. We adhere to the classification of teaching methods developed by I.Ya. Lerner, M.N. Skatkin, Yu.K. Babansky and M.I. Pakhmutov. According to the studies of these authors, the following general didactic methods can be distinguished: explanatory-illustrative, reproductive and research.

1.2. Methods of teaching fine arts in I- IVclasses

Education, as a rule, begins with an explanatory-illustrative method, which consists in presenting information to children in various ways - visual, auditory, speech, etc. Possible forms of this method are communication of information (story, lectures), demonstration of a variety of visual material, including with the help of technical means. The teacher organizes perception, children try to comprehend new content, build accessible connections between concepts, remember information for further operation with it.

The explanatory and illustrative method is aimed at the assimilation of knowledge, and for the formation of skills and abilities, it is necessary to use the reproductive method, that is, repeatedly reproduce (reproduce) actions. Its forms are diverse: exercises, solving stereotyped problems, conversation, repetition of the description of a visual image of an object, repeated reading and memorization of texts, re-telling of an event according to a predetermined scheme, etc. Both independent work of preschoolers and joint activities with a teacher are expected. The reproductive method allows the use of the same means as the explanatory and illustrative method: the word, visual aids, practical work.

Explanatory-illustrative and reproductive methods do not provide the necessary level of development of children's creative abilities and abilities. The method of teaching, aimed at the independent solution of creative problems by preschoolers, is called research. In the course of solving each problem, it involves the manifestation of one or more aspects of creative activity. At the same time, it is necessary to ensure the availability of creative tasks, their differentiation depending on the preparedness of a particular child.

The research method has certain forms: text problem tasks, experiments, etc. Tasks can be inductive or deductive, depending on the nature of the activity. The essence of this method is the creative acquisition of knowledge and the search for ways of activity. Once again, I would like to emphasize that this method is entirely based on independent work.

Particular attention should be paid to the importance of problem-based learning for the development of children. It is organized with the help of methods: research, heuristic, problem presentation. We have already considered the research.

Another method that helps creative development is the heuristic method: children solve a problematic problem with the help of a teacher, his question contains a partial solution to the problem or its stages. He can tell you how to take the first step. This method is best implemented through heuristic conversation, which, unfortunately, is rarely used in teaching. When using this method, the word, text, practice, visual aids, etc. are also important.

At present, the method of problem presentation has become widespread, the educator poses problems, revealing all the inconsistency of the solution, its logic and the available system of evidence. Children follow the logic of the presentation, control it, participating in the decision process. In the course of the problem statement, both the image and the practical demonstration of the action are used.

Methods of research, heuristic and problem presentation - methods of problem-based learning. Their implementation in the educational process stimulates preschoolers to creative acquisition and application of knowledge and skills, helps to master the methods of scientific knowledge. Modern education must necessarily include the considered general didactic methods. Their use in the classroom of fine arts is carried out taking into account its specifics, tasks, content. The effectiveness of the methods depends on the pedagogical conditions of their application.

As the experience of practical work shows, for the successful organization of fine arts lessons, it is necessary to create a special system of pedagogical conditions. In line with different conceptual approaches, they are defined differently. We have developed a system of conditions that directly affect the development of the artistic creativity of preschoolers, and we propose to consider it. We believe that this group of conditions consists of:

An important condition for the development of artistic creativity of preschoolers in the visual arts is the use by teachers of technical teaching aids, especially video and audio equipment, and special visual aids. The role of visualization in teaching was theoretically substantiated as early as the 17th century. Ya.A. Comenius, later the ideas of its use as the most important didactic tool were developed in the works of many outstanding teachers - I.G. Pestalozzi, K.D. Ushinsky and others. The importance of visualization in teaching was emphasized by the great Leonardo da Vinci, artists A.P. Sapozhnikov, P.P. Chistyakov and others.

Successful implementation of the principle of visibility in teaching is possible with the active mental activity of children, especially when there is a "movement" of thought from the concrete to the abstract or, conversely, from the abstract to the concrete.

At all stages of the lesson, if possible, creative, improvised and problematic tasks should be introduced. One of the main requirements in this case is to provide children with the greatest possible pedagogically expedient independence, which does not exclude the provision of pedagogical assistance to them, as necessary. So, for example, in the primary grades, especially in the first, the teacher, offering this or that plot, in many cases can draw the attention of preschoolers to the main thing that must be depicted first and foremost, can show on the sheet the approximate location of the objects of the composition. This help is natural and necessary and does not lead to the passivity of kids in fine art. From restrictions in the choice of theme and plot, the child is gradually brought to their independent choice.

Chapter 2

Here is the world - and in this world I am.

Here is the world - and in this world we are.

Each of us has our own path.

But according to the same laws we create.

May the path be long and the creator's bread difficult.

And sometimes I want to give slack.

But keep your hands off your face.

And again you give a heart. And again.

Love and knowledge are like good friends.

We are welcome to come to class.

And the light illuminates the children.

All of us until the bell rings.

We create. We are not doing in vain.

We give a piece of knowledge to those

Who acts as a "consumer" so far,

To grow as a "creator" then.

The program "Fine Arts and Artistic Work" is a holistic integrated course that includes all the main types: painting, graphics, sculpture, folk decorative arts, architecture, design, spectacular and screen arts. They are studied in the context of interaction with other types of arts and their specific connections with the life of society and the individual.

The systematizing method is the allocation of three main types of artistic activity for visual spatial arts: constructive, pictorial, decorative.

These three artistic activities are the basis for the division of visual-spatial arts into types: fine - painting, graphics, sculpture; constructive - architecture, design; various arts and crafts. But at the same time, each of these forms of activity is inherent in the creation of any work of art and therefore is a necessary basis for integrating the entire variety of art forms into a single system, not according to the principle of listing types, but according to the principle of the type of artistic activity. Identification of the principle of artistic activity focuses on the transfer of attention not only to works of art, but also to human activity, to identifying its links with art in the process of daily life.

The connections of art with human life, the role of art in its daily existence, the role of art in the life of society, the importance of art in the development of each child is the main semantic core of the program. Therefore, when highlighting the types of artistic activity, it is very important to show the difference in their social functions.

The program is designed to give students a clear understanding of the system of interaction between art and life. A wide involvement of children's life experience, examples from the surrounding reality is envisaged. Work based on observation and aesthetic experience of the surrounding reality is an important condition for children to master the program material. The desire to express one's attitude to reality should serve as a source of development of figurative thinking.

One of the main goals of teaching art is the task of developing a child's interest in the inner world of a person, the ability to "deep into oneself", awareness of one's inner experiences. This is the key to developing empathy.

The artistic activity of schoolchildren in the classroom finds various forms of expression: the image on the plane and in volume (nature, from memory, from representation); decorative and constructive work; perception of the phenomena of reality and works of art; discussion of the work of comrades, the results of collective creativity and individual work in the classroom; study of artistic heritage; selection of illustrative material for the topics studied; listening to musical and literary works (folk, classical, modern).

The lessons introduce game dramaturgy on the topic being studied, links with music, literature, history, and labor are traced. In order to experience creative communication, collective tasks are introduced into the program. It is very important that the collective artistic creativity of students find application in the design of school interiors.

The systematic development of the artistic heritage helps to realize art as a spiritual chronicle of mankind, as a person's knowledge of the relationship to nature, society, the search for truth. Throughout the course of study, students get acquainted with outstanding works of architecture, sculpture, painting, graphics, arts and crafts, study classical and folk art from different countries and eras. Knowledge of the artistic culture of one's people is of great importance.

The thematic integrity and consistency of the development of the program helps to ensure strong emotional contacts with art at each stage of education, avoiding mechanical repetitions, rising year after year, from lesson to lesson, along the steps of the child's knowledge of personal human connections with the whole world of artistic and emotional culture.

Artistic knowledge, skills and abilities are the main means of introduction to artistic culture. Form, proportions, space, tonality, color, line, volume, texture of material, rhythm, composition are grouped around the general patterns of artistic and figurative languages ​​of fine, decorative, and constructive arts. Students master these means of artistic expression throughout the course of their studies.

Three ways of artistic assimilation of reality - pictorial, decorative and constructive - in elementary school act for children as well-understood, interesting and accessible types of artistic activity: images, decorations, buildings. The constant practical participation of schoolchildren in these three activities allows them to systematically introduce them to the world of art. It must be borne in mind that, being presented in elementary school in a playful way as "Brothers-Masters" of images, decorations, buildings, these three types of artistic activity should accompany students throughout the years of study. They first help to structurally divide, and therefore understand the activity of arts in the surrounding life, and then help in a more complex understanding of art.

With all the assumed freedom of pedagogical creativity, it is necessary to constantly keep in mind the clear structural integrity of this program, the main goals and objectives of each year and quarter, ensuring the continuity of the progressive development of students.

2.1. Fundamentals of artistic representations (elementary school curriculum)

1st class (30-60 hours)

You depict, decorate and build

Three types of artistic activity, which determine the whole variety of visual spatial arts, form the basis of the first, introductory class.

To help the children (and the teacher) comes a playful, figurative form of initiation: "Three brothers-masters - the Master of the Image, the Master of Decoration and the Master of Construction." The discovery for children should be that many of their everyday everyday games are artistic activities - the same as adult artists do (not yet art). To see the work of one or another master brother in the surrounding life is an interesting game. This is where the knowledge of the links between art and life begins. Here the teacher lays the foundation in the knowledge of the vast, complex world of plastic arts. The task of this year also includes the realization that the "Masters" work with certain materials, and also includes the initial development of these materials.

But the "Masters" do not appear before the children all at once. At first they are under the "cap of invisibility". In the first quarter, he takes off his “hat” and begins to openly play with the children “Master of the Image”. In the second quarter, he will help remove the "invisibility cap" from the "Master of Decoration", in the third - from the "Master of Construction". And in the fourth, they show the children that they cannot live without each other and always work together. It is also necessary to keep in mind the special meaning of generalizing lessons: in them, through the work of each "Master", children's art work is connected with adult art, with the surrounding reality.

Topic 1. You portray.
Acquaintance with the "Image Master" (8-16 hours)

"Image Master" teaches to see and depict.
And all subsequent years of study will help children in this - help them see, consider the world. To see, one must not only look, but also draw oneself. This must be learned. Here, only the foundations of understanding the enormous role of the activity of the image in people's lives are laid, in the coming years the teacher will develop this understanding. The discovery of the quarter also includes the fact that in art there is not only an Artist, but also a Spectator. Being a good viewer also needs to be learned, and Image Master teaches us that.

The task of the "Master" is also to teach children the primary experience of owning materials available to elementary school. This experience will be deepened and expanded in all further work.

"Image Master" helps to see, teaches to consider

Development of observation and analytical capabilities of the eye. Fragments of nature. Animals - how they are similar and how they differ from each other.

materials: paper, felt-tip pens or colored pencils, or crayons.

visual range: slides depicting drawings of animals or live animals.

Literary series: poems about animals, about noses and tails.

musical series: C. Saint-Saens, suite "Carnival of the Animals".

You can depict a spot

Take a closer look at different spots - moss on a stone, scree on a wall, patterns on marble in the subway and try to see any images in them. Turn the spot into an image of an animal. The spot, pasted or painted, is prepared by the teacher.

materials: pencil, crayons, black ink, black felt-tip pen.

visual range: illustrations for books about animals by E. Charushin, V. Lebedev, T. Mavrina, M. Miturich and other artists working as a stain.

Can be depicted in volume

Let's turn a lump of plasticine into a bird. Modeling. Look and think about what voluminous objects are similar to something, for example, potatoes and other vegetables, driftwood in a forest or park.

materials: plasticine, stacks, plank.

visual range: slides of natural volumes of expressive forms or real stones, the shape of which resembles something.

Can be shown as a line

The line can tell. "Tell us about yourself" - a drawing or series of consecutive drawings.

materials: paper, black felt-tip pen or pencil.

visual range: linear illustrations of children's books, drawings on the themes of poems by S. Marshak, A. Barto, D. Kharms with a cheerful, mischievous development of the plot.

Literary series: funny poems about life at home.

musical series: children's songs about life in the family.

You can depict what is invisible (mood)

Show joy and show sadness. We draw music - the task is to express in the image images of musical pieces that are contrasting in mood.

materials: white paper, colored markers, colored pencils or crayons.

musical series: happy and sad melodies.

Our paints

Color test. Joy of communication with paints. Mastering the skills of organizing a workplace and using paints. Color name. That in life resembles every color. A playful image of a colorful multicolor rug.

materials: paints, gouache, large and thin brushes, white paper.

Artists and audience (generalization of the topic)

Being a spectator is interesting and not easy. This must be learned. Introduction to the concept of "work of art". Painting. Sculpture. Color and paint in the paintings of artists. Development of perception skills. Conversation.

visual range: V. Van Gogh "Sunflowers", N. Roerich "Overseas guests", V. Vasnetsov "Three heroes", S. Konchalovsky "Lilac", M. Vrubel "The Swan Princess".

Theme 2. You decorate.
Acquaintance with the "Master of Decoration" (7-14 hours)

The "Master of Image", whom the children met in the first quarter, is the "Master of Knowledge", a careful look into life. The "Master of Decoration" does something completely different in life - this is the "Master of Communication". It organizes the communication of people, helping them to openly identify their roles. Today we go on a hike, tomorrow we go to work, then to a ball - and with our clothes we talk about these roles of ours, about who we are today, what we will do. More clearly, of course, this work of the "Master of Decoration" is manifested at balls, carnivals, in theatrical performances.

Yes, and in nature, we distinguish some birds or butterflies from others by their decorations.

The natural world is full of decorations

The development of observation. Aesthetic experience. Butterfly wings decoration. The butterfly is decorated according to the blank cut out by the teacher or can be drawn (large, on the whole sheet) by the children in the lesson. The variety and beauty of patterns in nature.

materials: gouache, large and thin brushes, colored or white paper.

visual range: slides "Butterflies", collections of butterflies, books with their image.

The image of an elegant bird in the technique of volume application, collage. Development of a decorative sense of combining materials, their colors and textures.

materials: multi-colored and diversified paper, scissors, glue.

visual range: slides and books depicting various birds.

musical series: children's or folk songs with a pronounced playful, decorative moment (bell ringing, imitation of bird singing).

Beauty must be seen

Discreet and "unexpected" beauty in nature. Examination of various surfaces: tree bark, wave foam, drops on branches, etc. Development of a decorative sense of texture. Experience of visual poetic impressions.

Image of the back of a lizard or tree bark. The beauty of texture and pattern. Acquaintance with the technique of one-color monotype.

materials: for the teacher - a knurling roller, gouache diluted with water or printing ink; for children - a board made of plastic, linoleum or tiles, pieces of paper, a pencil.

visual range: slides of various surfaces: bark, moss, ripples on the water, as well as slides showing lizards, snakes, frogs. If possible - genuine bark, saw cuts of wood, stones.

How, when, why does a person adorn himself

All human jewelry tells something about its owner. What jewelry can tell. We consider the characters of fairy tales - what kind of decorations they have. How do they help us recognize the characters. Images of selected fairy tale characters and their decorations.

materials: colored paper, gouache, brush.

visual range: slides or illustrations with characters from famous fairy tales.

Literary series: fragments of fairy tales with a description of the appearance of the hero.

musical series: songs of fairy-tale heroes.

"Master of Decoration" helps to make a holiday

Room decoration. Making festive New Year's garlands and stars. Decoration of the classroom and your home for the New Year holidays. Collective panel "Christmas tree".

materials: colored paper, scissors, glue, foil, serpentine.

visual range: children's work completed in a quarter.

Literary series: poems about the holiday of the New Year.

musical series: Christmas and New Year holiday songs, P. Tchaikovsky fragments of the ballet "The Nutcracker".

Topic 3. You build.
Acquaintance with the "Master of Construction" (10-20 hours)

"Master of Image" - "Master of Knowledge", "Master of Decoration" - "Master of Communication", "Master of Construction" - this is the "Master of Creation" of the objective environment of life.

In this quarter, his brothers take off his "cap of invisibility" and hand over the reins of government to him. People can learn about the world and communicate only if they have a humanly organized environment. Every nation has been building since primitive times. Children also build in their games from sand, cubes, chairs - any material at hand. Before the beginning of the term, the teacher (with the help of the children) must collect as much "building material" as possible: milk cartons, yoghurts, shoes, etc.

home for yourself

An image of a home made for myself. The development of the imagination. Think of a home. Different houses for different fairy-tale characters. How can you guess who lives in the house. Different houses for different things.

materials: colored paper, gouache, brushes; or felt-tip pens, or colored pencils.

visual range: illustrations of children's books depicting dwellings.

musical series: children's songs about builders-dreamers.

What can you think of at home

Modeling fabulous houses in the form of vegetables and fruits. Construction of boxes and paper comfortable houses for elephant, giraffe and crocodile. The elephant is large and almost square, the giraffe has a long neck, and the crocodile is very long. Children learn to understand the expressiveness of proportions and the construction of form.

materials: plasticine, stacks, rag, plank.

visual range: illustrations for the fairy tales of A. Miln "Winnie the Pooh", N. Nosov "Dunno in the Flower City", J. Rodari "Cipollino", A. Volkov "The Wizard of the Emerald City".

Literary series: descriptions of fabulous towns.

musical series: music for the cartoon and the ballet "Cipollino".

"Master of Building" helps to create a city

"Fairytale City". An image of an image of a city for a particular fairy tale. Construction of a game city. Game of architects.

materials: gouache, colored or white paper, wide and thin brushes, boxes of various shapes, thick paper, scissors, glue.

visual range: illustrations of children's books.

Literary series: descriptions of a fabulous city from a literary work.

Everything we see has a structure

Make images of different animals - a zoo-design from boxes. Make boxes of funny dogs of different breeds. The material can be replaced with an application: various images of dogs are made by gluing pre-prepared one-color paper scraps of various geometric shapes onto a sheet.

materials: various boxes, colored and white thick paper, glue, scissors.

visual range: photographs of animals or reproductions of paintings depicting animals.

All items can be built

Construction from paper, packaging, coasters, flowers and toys.

materials: colored or white paper, scissors, glue.

visual range: slides from various subjects relevant to the task.

Literary series: poems about cheerful hardworking masters.

House outside and inside

The house "looks" at the street, but they live inside the house. "Inside" and "outside" are very interconnected. The image of the house in the form of letters of the alphabet as if they have transparent walls. How could little alphabetic people live in houses-letters, how rooms, stairs, windows are located there.

materials: paper (white or colored), pencils or crayons.

visual range: illustrations of children's books.

City where we live

Assignment: "I draw my favorite city." Image "by impression" after the tour.

materials: paper, gouache, brushes or crayons (at the choice of the teacher).

Literary series: Poems about your city.

musical series: songs about your city.

Generalization of the topic of the quarter

Exercise: exhibition of works made in a quarter. Children learn to look at and discuss each other's work. Playing artists and spectators. You can make a generalizing panel "Our city" or "Moscow".

Topic 4. "Masters of the Image, decorations, buildings" always work together (5-10 hours)

We recognize the joint work of the "Masters" in our works of the past quarters and in works of art.

The generalization here is the 1st lesson. Its purpose is to show children that our three "Masters" are in fact inseparable. They constantly help each other. But each "Master" has its own work, its own purpose. And in a particular work, one of the "Masters" is always the main one. Here, for example, are our drawings-images: where is the work of the "Master of Construction" here? And now these works adorn the classroom. And in the works where the “Master of Decoration” was the main thing, how did the “Master of the Image”, the “Master of Construction” help him? The main thing is to remember with the guys what exactly the role of each "Master" is and what he helped to learn. The best work of children for the whole year should be exhibited in the classroom. A kind of reporting exhibition. It is desirable that each child has some exhibited work. Children learn to talk about their works and about the drawings of their comrades. At the end of the lesson, slides of works of adult art are shown, and the children should highlight the "participation" of each "Master" in these works: a vase with a figurative drawing; a vase whose shape depicts something; a picture with an architectural building; fountain with sculpture; palace interior with bright decor, sculpture and paintings; interior of a modern building with monumental painting.

"Masters" will help us see the world of a fairy tale and draw it

Collective panel and individual images of the fairy tale.

materials: paper, gouache, brushes, scissors, glue, colored paper, foil.

visual range: music from cartoons, film or ballet based on this fairy tale.

Literary series: a fairy tale chosen by the teacher.

A lesson in love. The ability to see

Observation of wildlife from the point of view of the "Three Masters". Composition "Hello, summer!" by impressions of nature.

2nd class (34-68 hours)

you and art

The theme "You and Art" is the most important for this concept, it contains the fundamental sub-themes necessary for the initial familiarization with art as a culture. Here are the primary elements of the language (figurative structure) of the plastic arts and the basis for understanding their connections with the surrounding life of the child. Understanding the language and connections with life are built in a clear methodological sequence. Violation of it is undesirable.

The task of all these topics is to introduce children to the world of art, emotionally connected with the world of their personal observations, experiences, and thoughts.

Topic 1. What and how artists work (8-16 hours)

Here the main task is to get acquainted with the expressive possibilities of artistic materials. Discovery of their originality, beauty and character of the material.

Three basic colors that build the multicolor of the world

Primary and secondary colors. The ability to mix paints right at work is a living connection of colors. Depict flowers, filling in large images the entire sheet (without a preliminary drawing) from memory and impression.

materials: gouache (three colors), large brushes, large sheets of white paper.

visual range: fresh flowers, slides of flowers, flowering meadow; visual aids showing the three primary colors and their mixing (composite colors); practical demonstration of mixing gouache paints.

Five colors - all the richness of color and tone

Dark and light. Shades of color. The ability to mix colored paints with white and black. The image of natural elements on large sheets of paper with large brushes without a preliminary drawing: thunderstorm, storm, volcanic eruption, rain, fog, sunny day.

materials: gouache (five colors), large brush, large sheets of any paper.

visual range: slides of nature in pronounced states: thunderstorm, storm, etc. in the works of artists (N. Roerich, I. Levitan, A. Kuindzhi, etc.); practical demonstration of color mixing.

Pastel and crayons, watercolor - expressive possibilities

Soft velvety pastels, fluidity of transparent watercolors - we learn to understand the beauty and expressiveness of these materials.

The image of the autumn forest (from memory and impression) in pastel or watercolor.

materials: pastel or crayons, watercolor, white paper, harsh (wrapping).

visual range: observation of nature, slides of the autumn forest and works of artists on this topic.

Literary series: A. Pushkin poems, S. Yesenin poems.

musical series: P. Tchaikovsky "Autumn" (from the cycle "The Seasons").

Expressive application possibilities

An idea of ​​the rhythm of spots A rug on the theme of autumn earth with fallen leaves. Group work (1-3 panels), according to memory and impression.

materials: colored paper, pieces of fabric, thread, scissors, glue, paper or canvas.

visual range: living leaves, slides of autumn forest, ground, asphalt with fallen leaves.

Literary series: F. Tyutchev "Leaves".

musical series: F. Chopin nocturnes, P. Tchaikovsky "September" (from the cycle "The Seasons").

Expressive possibilities of graphic materials

The beauty and expressiveness of the line. Thin and thick, moving and viscous lines. Image of a winter forest on white sheets of paper (from impression and from memory).

materials: ink (black gouache, ink), pen, wand, fine brush or charcoal.

visual range: nature observations or winter forest tree slides.

Literary series: M. Prishvin "Stories about nature".

musical series: P. Tchaikovsky "December" (from the cycle "The Seasons").

Expressiveness of materials for work in volume

The image of the animals of the native land by impression and from memory.

materials: plasticine, stacks, plank.

visual range: observation of expressive volumes in nature: roots, stones, slides of animals and sculptures, slides and small plastic from different materials in the original; reproductions of works by sculptor V. Vatagin.

Literary series: V.Bianki "Stories about animals".

The expressive power of paper

Mastering the work with bending, cutting, gluing paper. Translation of a flat sheet into a variety of three-dimensional forms. Gluing simple three-dimensional forms (cone, cylinder, "ladder", "accordion"). Construction of a playground for sculpted animals (individually, in groups, collectively). Imagination work; if there is an additional lesson, you can give an origami task.

materials: paper, scissors, glue.

visual range: slides of works of architecture, layouts of past years made by students, showing techniques for working with paper.

For an artist, any material can become expressive. (generalization of the topic of the quarter)

Understanding the beauty of art materials and their differences: gouache, watercolor, crayons, pastels, graphic materials, plasticine and paper, "unexpected" materials.

Image of a festive city at night using "unexpected" materials: serpentine, confetti, seeds, threads, grass, etc. against the background of dark paper.

Topic 2. Reality and fantasy (7-14 hours)

Image and reality

The ability to peer, to see, to be observant. Image Master teaches us to see the world around us. Images of animals or animals seen in the zoo, in the village.

materials: gouache (one or two colors), colored paper, brush.

visual range: works of art, photographs depicting animals.

Image and fantasy

The ability to fantasize. Fantasy in people's lives. The image of fabulous, non-existent animals and birds, combining elements of different animals and even plants. Fairy-tale characters: dragons, centaurs, etc.

materials: gouache, brushes, a large sheet of paper, preferably colored, tinted.

visual range: slides of real and fantastic animals in Russian wood and stone carvings, in European and Oriental art.

musical series: fantastic images from musical works.

Decoration and reality

The development of observation. The ability to see beauty in nature. "Master of Decoration" learns from nature. Image of cobwebs with dew and branches of trees, snowflakes and other prototypes of decorations using lines (individually, from memory).

materials: charcoal, chalk, fine brush, ink or gouache (one color), paper.

visual range: slides of fragments of nature, seen through the eyes of the artist.

Decoration and fantasy

Without imagination, it is impossible to create a single piece of jewelry. Decoration of a given form (collar, valance, kokoshnik, bookmark).

materials: any graphic material (one or two colors).

visual range: slides of lace, bijouterie, beadwork, embroidery, etc.

musical series: rhythmic combinations with a predominance of a repeating rhythm.

Construction and reality

"Master of Construction" learns from nature. The beauty and meaning of natural structures - honeycombs of bees, poppy heads and forms of the underwater world - jellyfish, algae. Individual-collective work. Paper construction "Underwater world".

materials: paper, scissors, glue.

visual range: slides of a wide variety of buildings (houses, things), natural structures and forms.

Construction and fantasy

"Master of Construction" shows the possibilities of a person's imagination in creating objects.

Creation of models of fantastic buildings, structures: a fantastic city. Individual, group work on the imagination.

materials: paper, scissors, glue.

visual range: slides of buildings that can awaken children's imagination, works and projects of architects (L. Corbusier, A. Gaudi), student work of past years.

"Brothers-Masters of Images, Decorations and Buildings" always work together (generalization of the topic)

Interaction of three types of artistic activity. Design (modeling) in the decoration of Christmas toys depicting people, animals, plants. Collective panel.

materials: paper, scissors, glue, gouache, thin brushes.

visual range: children's work for the quarter, slides and original works.

Topic 3. What art says (11-22 hours)

This is the central and most important theme of the year. The previous two lead to her. The main task is to master the fact that in art nothing is ever depicted, decorated, built just like that, just for the sake of skill. "Brothers - Masters", that is, art, expresses human feelings and thoughts, understanding, that is, attitude to what people depict, to who or what they decorate, by construction they express attitude to the one for whom and for what they build. Prior to this, the issue of expression had to be felt by children in their works only on an emotional level. Now for the children all this should move to the level of awareness, become the next and most important discovery. All subsequent quarters and years of study under the program, this topic should be constantly accentuated, fixed through the process of perception and the process of creation, in each quarter, each task. Each task should have an emotional focus, develop the ability to perceive shades of feelings and express them in practical work.

Expression of the nature of the depicted animals

The image of animals is cheerful, swift, threatening. The ability to feel and express the character of the animal in the image.

materials: gouache (two or three colors or one color).

Literary series: R. Kipling fairy tale "Mowgli".

visual range: V.Vatagin's illustrations for "Mowgli" and other books.

musical series: C. Saint-Saens "Carnival of the Animals".

Expression of a person's character in the image; male image

At the request of the teacher, for all further tasks, you can use the plot of a fairy tale. For example, "The Tale of Tsar Saltan" by A. Pushkin provides rich opportunities for connecting figurative solutions for all subsequent topics.

Image of a good and evil warrior.

materials: gouache (limited palette), wallpaper, wrapping paper (rough), colored paper.

visual range: slides of works by V. Vasnetsov, M. Vrubel, I. Bilibin and others.

Literary series: "The Tale of Tsar Saltan" by A. Pushkin, excerpts from epics.

musical series: music by N. Rimsky-Korsakov for the opera "The Tale of Tsar Saltan".

Expression of a person's character in the image; female image

Depiction of fairy-tale images opposite in character (the Swan Princess and Baba Babarikha, Cinderella and the Stepmother, etc.). The class is divided into two parts: one depicts the good, the other - the evil.

materials: gouache or pastel (crayons) on a colored paper background.

visual range: slides of works by V. Vasnetsov, M. Vrubel, I. Bilibin.

Literary series: "The Tale of Tsar Saltan" by A. Pushkin.

The image of a person and his character, expressed in volume

Creation in volume of images with a pronounced character: the Swan Princess, Baba Babarikha, Baba Yaga, Bogatyr, Koschey the Immortal, etc.

materials: plasticine, stacks, boards.

visual range: slides of sculptural images of works by S. Konenkov, A. Golubkina, ceramics by M. Vrubel, medieval European sculpture.

Image of nature in different states

Image of contrasting states of nature (the sea is gentle, affectionate, stormy, disturbing, joyful, etc.); individually.

materials

visual range: slides depicting the contrasting moods of nature, or slides of paintings by artists depicting different states of the sea.

Literary series: fairy tales by A. Pushkin "About Tsar Saltan", "About a fisherman and a fish".

musical series: opera "Sadko", "Scheherazade" by N. Rimsky-Korsakov or "The Sea" by M. Churlionis.

Expression of a person's character through decoration

Decorating himself, any person thereby tells about himself: who he is, what he or she is: a brave warrior - a protector or he threatens. The decorations of the Princess Swan and Baba Babarikha will be different. Decoration of heroic armor cut out of paper, kokoshniks of a given shape, collars (individually).

materials: gouache, brushes (large and thin), blanks from large sheets of paper.

visual range: slides of ancient Russian weapons, lace, women's costumes.

Expression of intent through decoration

Decoration of two fabulous fleets opposite in intentions (good, festive and evil, pirate). The work is collective-individual. Application.

materials: gouache, large and thin brushes, glue, pins, glued sheets or wallpaper.

visual range: slides of works by artists (N. Roerich), illustrations of children's books (I. Bilibin), works of folk art.

Together "Masters of Images, Decorations, Buildings" create houses for fairy-tale characters (generalization of the topic)

Three "Brothers-Masters" together with children (groups) perform several panels, where, with the help of appliqué and painting, they create the world of several fairy-tale characters - good and evil (for example: the tower of the Swan Princess, the house for Baba Yaga, the Bogatyr's hut, etc. ).

A house is created on the panel (with stickers), the background is a landscape as a figurative environment of this house and a figure is an image of the owner of the house, expressing these images by the nature of the building, clothing, shape of the figure, the nature of the trees against which the house stands.

Generalization can be completed with an exhibition of works based on the results of the quarter, its discussion with parents. Groups of "tour guides" should be prepared for the discussion. The teacher can use additional hours for this. An exhibition prepared by a teacher and presented to parents (viewers) should become an event for students and their loved ones and help to consolidate the critical importance of this topic in the minds of children.

Topic 4. As art says (8-16 hours)

Starting from this quarter, you need to pay attention to the expressiveness of the means constantly. Do you want to express it? But how, what?

Color as a means of expression: warm and cold colors. The fight between warm and cold

The image of a fading fire is a "struggle" of heat and cold. Filling the entire sheet, freely mix paints with each other. The fire is depicted as if from above, dying out (work from memory and impression). "Feather of the Firebird". Paints are mixed right on the sheet. Black and white paints are not used.

materials: gouache without black and white paints, large brushes, large sheets of paper.

visual range: slides of a fading fire; methodical manual on color science.

musical series: N. Rimsky-Korsakov fragments from the opera "The Snow Maiden".

Color as a means of expression: quiet (deaf)and vibrant colors. Mixing with black, gray, white paints(dark, delicate shades of color)

The ability to observe the struggle of color in life. Image of the spring earth (individually from memory and impression). If there are additional lessons, they can be given on the plots of creating a "warm kingdom" (Sunny City), a "cold kingdom" (Snow Queen), achieving color richness within one color scheme.

materials: gouache, large brushes, large sheets of paper.

visual range: slides of the spring earth, stormy sky, fog, teaching aids on color science.

musical series: E. Grieg. "Morning" (fragment from the suite "Peer Gynt").

Literary series: M. Prishvin stories, S. Yesenin poems about spring.

Line as a means of expression: the rhythm of lines

Image of spring streams.

materials: pastel or colored crayons.

musical series: A. Arsensky "Forest Stream", "Prelude"; E. Grieg "Spring".

Literary series: M. Prishvin "Forest Stream".

Line as a means of expression: the nature of lines

An image of a branch with a certain character and mood (individually or by two people, according to impression and memory): gentle and powerful branches, while it is necessary to emphasize the ability to create different textures with charcoal, sanguine.

materials: gouache, brush, stick, charcoal, sanguine and large sheets of paper.

visual range: large, large spring branches (birch, oak, pine), slides depicting branches.

Literary series: Japanese verses (tanks).

The rhythm of spots as a means of expression

Basic knowledge of composition. From a change in the position on the sheet, even identical spots, the content of the composition also changes. The rhythmic arrangement of flying birds (individual or collective work).

materials

visual range: visual aids.

musical series: fragments with a pronounced rhythmic organization.

Proportions express character

Designing or sculpting birds with different character proportions - a large tail - a small head - a large beak.

materials: white paper, colored paper, scissors, glue or plasticine, stacks, cardboard.

visual range: real and fabulous birds (slides of book illustrations, toy).

Rhythm of lines and spots, color, proportions - means of expression (generalization of the topic)

Creation of a collective panel on the theme "Spring. Noise of birds".

materials: large sheets for panels, gouache, paper, scissors, glue.

visual range: children's works made on the theme "Spring", slides of branches, spring motives.

General lesson of the year

The class is made up of children's work completed during the year. The opening of the exhibition should be a joyful holiday, an event in school life. The lessons are held in the form of a conversation, consistently reminding the children of all the topics of the training quarters. Three "Brother-Masters" help the teacher in the game-conversation. Parents and other teachers are invited to the lessons (if possible).

visual range: children's work expressing the tasks of each quarter, slides, reproductions of works by artists and folk art, helping to reveal the topics.

3rd class (34-68 hours)

Art around us

One of the main ideas of the program: "From the native threshold - to the world of Earth culture", that is, from familiarization with the culture of one's people, even from the culture of one's "small motherland" - without this there is no way to a universal culture.

Education in this class is based on introducing children to the world of art through the knowledge of the surrounding objective world, its artistic meaning. Children are brought to the understanding that objects have not only a utilitarian purpose, but are also carriers of spiritual culture, and this has always been the case - from ancient times to the present day. It is necessary to help the child to see the beauty of the things around him, objects, objects, works of art, paying special attention to the role of artists - "Masters of Images, Decorations, Buildings" - in creating the environment for human life.

At the end of the year, children should feel that their life, the life of every person, is daily connected with the activities of the arts. The final lessons of each quarter should contain the question: "What would happen if the "Brothers-Masters" did not participate in the creation of the world around you - at home, on the street, etc.?" Understanding the huge role of the arts in real everyday life should be a discovery for children and their parents.

Topic 1. Art in your home (8-16 hours)

Here, the "Masters" take the child to his apartment and find out what each of them "did" in the immediate environment of the child, and in the end it turns out that without their participation not a single object of the house was created, there would not be a house itself.

your toys

Toys - what they should be - the artist came up with. Children's toys, folk toys, homemade toys. Modeling toys from plasticine or clay.

materials: plasticine or clay, straw, wood blanks, paper, gouache, water-based paint for soil; small brushes, swabs.

visual range: folk toy (slides): haze, gorodets, filimonovo, carved toy from Bogorodsk, toys from improvised material: packaging, fabric, fur.

Literary series: proverbs, sayings, folklore, Russian folk tales.

musical series: Russian folk music, P. Tchaikovsky "Children's Album".

Dishes at home

Everyday and holiday utensils. Design, shape of objects and painting and decoration of dishes. The work of "Masters of Construction, Decoration and Imagery" in the manufacture of utensils. Image on paper. Modeling of dishes from plasticine with painting on a white primer.

At the same time, the purpose of the dishes is necessarily emphasized: for whom it is, for what occasion.

materials: tinted paper, gouache, plasticine, clay, water-based paint.

visual range: samples of utensils from natural fund, slides of folk utensils, utensils from different materials (metal, wood, plastic).

Mom's handkerchief

A sketch of a scarf: for a girl, for a grandmother, that is, different in content, pattern rhythm, color, as a means of expression.

materials: gouache, brushes, white and colored paper.

visual range: slides of natural motifs for scarves, scarves and fabrics, samples of children's work on this topic.

musical series: Russian folk music (as a background).

Wallpaper and curtains in your home

Sketches of wallpaper or curtains for a room with a clear purpose: bedroom, living room, nursery. It can also be done in the technique of heeling.

materials: gouache, brushes, cliches, paper or fabric.

visual range: excerpts from some fairy tale, which provides a verbal description of the rooms of a fairy-tale palace.

musical series: musical excerpts characterizing different states: stormy (F. Chopin "Polonaise" in A flat major, op. 53), calm, lyrically tender (F. Chopin "Mazurka" in A minor, op. 17).

your books

The artist and the book. Illustrations. book form. Font. Initial letter. Illustrating the chosen fairy tale or designing a toy book.

materials: gouache, brushes, white or colored paper, crayons.

visual range: covers and illustrations for well-known fairy tales (illustrations by different authors for the same fairy tale), slides, toy books, children's books.

Literary series: The text of the selected story.

greeting card

Sketch for a postcard or decorative bookmark (based on plant motifs). Execution in the technique of scratching, engraving with stickers or graphic monotype is possible.

materials: small paper, ink, pen, wand.

visual range: slides from woodcuts, linoleum, etchings, lithographs, samples of children's work in various techniques.

What did the artist do in our house (generalization of the topic). The artist took part in the creation of all the items in the house. He was assisted by our "Masters of Image, Decoration and Construction". Understanding the role of each. The shape of the object and its decoration. At a generalizing lesson, you can organize a game of artists and spectators or a game of guides at an exhibition of works completed during the quarter. Three "Masters" are talking. They tell and show what objects surround people at home in everyday life. Are there any objects at home that the artists did not work on? Understanding that everything related to our life would not exist without the work of artists, without the fine, decorative and applied arts, architecture, design, this should be the result and at the same time a discovery.

Topic 2. Art on the streets of your city (7-14 hours)

It all starts at the doorstep of your own home. This quarter is devoted to this "threshold". And there is no Motherland without him. Not just Moscow or Tula - but exactly the native street that runs "near the face" of your house, well-trodden by feet.

Monuments of architecture - heritage of centuries

The study and image of an architectural monument, their native places.

materials: tinted paper, wax crayons or gouache, white paper.

Literary series: Content related to the selected architectural monument.

Parks, squares, boulevards

Architecture, construction of parks. The image of the park. Leisure parks, museum parks, children's parks. Image of a park, square, a collage is possible.

materials: colored, white paper, gouache or wax crayons, scissors, glue.

visual range: view slides, reproductions of paintings.

Openwork fences

Cast-iron fences in St. Petersburg and in Moscow, in his native city, wooden architraves openwork. The project of an openwork lattice or gate, cutting out of folded colored paper and gluing them into a composition on the theme "Parks, squares, boulevards".

materials: colored paper, scissors, glue.

visual range: slides of ancient fences in Moscow and St. Petersburg. Modern decorative lattices and fences in our cities.

Lanterns in the streets and parks

What are lanterns? The shape of the lanterns is also created by the artist: a festive, solemn lantern, a lyrical lantern. Lanterns on city streets. Lanterns are the decoration of the city. The image or design of the shape of a paper lantern.

materials

Shop windows

If you have extra time, you can make group volumetric layouts.

materials: white and colored paper, scissors, glue.

visual range: slides with decorated showcases. Children's work of previous years.

Transport in the city

The artist also participates in creating the shape of the machines. Machines of different times. The ability to see the image in the form of machines. Invent, draw or build images of fantastic machines (land, water, air) from paper.

materials: white and colored paper, scissors, glue, graphic materials.

visual range: photos of transport. Slides of old vehicles. Reproductions from magazines.

What did the artist do on the streets of my city (in my village)

Again, the question should arise: what would happen if our "Brothers-Masters" did not touch anything on the streets of our city? In this lesson, one or more collective panels are created from individual works. This may be a panorama of the street of the area from several drawings glued together in a strip in the form of a diorama. Here you can place fences and lights, vehicles. The diorama is complemented by figures of people, flat cuttings of trees and bushes. You can play "tour guides" and "journalists". Tour guides talk about their city, about the role of artists who create the artistic image of the city.

Topic 3. The artist and the spectacle (10-20 hours)

The "Brothers-Masters" have been involved in the performing arts since ancient times. But even today their role is irreplaceable. At the discretion of the teacher, it is possible to combine most of the lessons of the topic with the idea of ​​​​creating a puppet show, for which a curtain, scenery, costumes, puppets, and a poster are sequentially performed. At the end of the generalizing lesson, you can arrange a theatrical performance.

Theatrical masks

Masks of different times and peoples. Masks in ancient images, in the theater, at the festival. Designing expressive sharp-character masks.

materials: colored paper, scissors, glue.

visual range: photographs of masks of different nations and theatrical masks.

Theater artist

Fiction and truth of the theater. Theater holiday. The scenery and costumes of the characters. Theater on the table. Creation of the layout of the scenery of the performance.

materials: cardboard box, multi-colored paper, paints, brushes, glue, scissors.

visual range: slides from sketches of theater artists.

Literary series: selected tale.

Puppet Theatre

Theatrical puppets. Petrushka Theatre. Glove puppets, stick puppets, puppets. The work of the artist on the doll. Characters. The image of the doll, its design and decoration. Making a puppet in class.

materials: plasticine, paper, scissors, glue, fabric, thread, small buttons.

visual range: slides depicting theater puppets, reproductions from books about puppet theater, filmstrip.

theater curtain

The role of the curtain in the theatre. The curtain and the image of the play. Curtain sketch for the performance (teamwork, 2-4 people).

materials: gouache, brushes, large paper (can be from wallpaper).

visual range: slides of theatrical curtains, reproductions from books about puppet theater.

Poster, poster

The meaning of the poster. The image of the performance, its expression in the poster. Font. Image.

Poster design for the performance.

materials: large format colored paper, gouache, brushes, glue.

visual range: theater and circus posters.

Artist and circus

The role of the artist in the circus. The image of a joyful and mysterious spectacle. Image of a circus performance and its characters.

materials: colored paper, crayons, gouache, brushes.

How artists help make a holiday. The artist and the spectacle (summary lesson)

Holiday in the city. "Masters of Image, Decoration and Buildings" help create the Holiday. Sketch of the decoration of the city for the holiday. Organization of an exhibition of all works on the topic in the class. It’s great if you manage to make a performance and invite guests and parents.

Topic 4. The artist and the museum (8-16 hours)

Having become acquainted with the role of the artist in our daily life, with various applied forms of art, we conclude the year with the theme of the art that is kept in museums. Every city can be proud of its museums. Museums of Moscow, St. Petersburg and other cities of Russia are the keepers of the greatest works of world and Russian art. And every child should touch these masterpieces and learn to be proud of the fact that it is his hometown that keeps such great works. They are kept in museums. In Moscow there is a museum - a shrine for Russian culture - the Tretyakov Gallery. She needs to be told first. Today the Hermitage and the Russian Museum play a huge role - centers of international artistic relations, there are many small, also interesting museums and exhibition halls.

However, the topic "Museums" is wider. Museums are not only art, but all aspects of human culture. There are also "home museums" in the form of family albums that tell about the history of the family, interesting stages of life. Maybe a home museum of toys, stamps, archaeological finds, just personal memorabilia. All this is part of our culture. "Brothers-Masters" help in the competent organization of such museums.

Museums in the life of the city

Various museums. The role of the artist in the organization of the exhibition. The largest art museums: the Tretyakov Gallery, the Museum of Fine Arts. A.S. Pushkin, the Hermitage, the Russian Museum, museums of the native city.

The art that is kept in these museums

What is a "picture". Still life painting. still life genre. Still life as a story about a man. The image of a still life on representation, expression of mood.

materials: gouache, paper, brushes.

visual range: slides of still lifes with a pronounced mood (J. B. Chardin, K. Petrov-Vodkin, P. Konchalovsky, M. Saryan, P. Kuznetsov, V. Stozharov, V. Van Gogh, etc.).

Homework: to look at the museum or at the exhibition still lifes of different authors.

landscape painting

We are watching famous landscapes: I. Levitan, A. Savrasov, N. Roerich, A. Kuindzhi, V. Van Gogh, K. Koro. The image of the landscape according to the presentation with a pronounced mood: a joyful and festive landscape; gloomy and dreary landscape; gentle and melodious landscape.

Children in this lesson will remember what mood can be expressed with cold and warm colors, deaf and sonorous, and what can happen when they are mixed.

materials: white paper, gouache, brushes.

visual range: slides with examples of a picturesque landscape with a pronounced mood (V. Van Gogh, N. Roerich, I. Levitan, A. Rylov, A. Kuindzhi, V. Byalynitsky-Birulya).

musical series: The music in this lesson can be used to create a specific mood.

Portrait painting

Introduction to the genre of portraiture. A portrait from memory or from an idea (portrait of a girlfriend, friend).

materials: paper, gouache, brushes (or pastel).

visual range: slides of picturesque portraits of F. Rokotov, V. Serov, V. Van Gogh, I. Repin.

The museums keep sculptures by famous masters

Learning to look at sculpture. Sculpture in the museum and on the street. Monuments. park sculpture. Sculpting a human or animal figure (in motion) for park sculpture.

materials: plasticine, stacks, cardboard stand.

visual range: slides from the sets "Tretyakov Gallery", "Russian Museum", "Hermitage" (works by A.L. Bari, P. Trubetskoy, E. Lansere).

Historical paintings and paintings of everyday genre

Acquaintance with works of historical and everyday genre. An image based on the presentation of a historical event (on the theme of Russian epic history or the history of the Middle Ages, or an image of one's daily life: breakfast in the family, we play, etc.).

materials: a large sheet of colored paper, crayons.

Museums preserve the history of artistic culture, the creations of great artists (generalization of the topic)

"Tour" of the exhibition of the best works of the year, a celebration of the arts with its own scenario. To summarize: what is the role of the artist in the life of every person.

4th grade (34-68 hours)

Every nation is an artist (image, decoration, building
in the work of the peoples of the whole earth)

The purpose of the artistic education and training of a child in the 4th grade is to form an idea of ​​the diversity of artistic cultures of the peoples of the Earth and the unity of peoples' ideas about the spiritual beauty of man.

The diversity of cultures is not accidental - it always expresses the deep relationship of each people with the life of nature, in the environment of which its history develops. These relationships are not immovable - they live and develop in time, are associated with the influence of one culture on another. This is the basis of the originality of national cultures and their relationship. The diversity of these cultures is the wealth of human culture.

The integrity of each culture is also an essential element of the content that children need to experience. The child today is surrounded by a multifaceted disorder of cultural phenomena that come to him through the media. A healthy artistic sense is looking for order in this chaos of images, so each culture must be conveyed as a "holistic artistic personality."

Artistic representations should be given as visible tales of cultures. Children by age are not yet ready for historical thinking. But they are characterized by a desire, sensitivity to a figurative understanding of the world, correlated with the consciousness expressed in folk arts. Here "should" dominate the truth of the artistic image.

By joining through co-creation and perception to the origins of the culture of their people or other peoples of the Earth, children begin to feel like participants in the development of mankind, open the way for further expansion of susceptibility to the riches of human culture.

The diversity of ideas of different peoples about beauty is revealed in the process of comparing native nature, labor, architecture, human beauty with the culture of other peoples.

The educational tasks of the year provide for the further development of skills in working with gouache, pastel, plasticine, paper. The tasks of labor education are organically linked with artistic ones. In the process of mastering the skills of working with a variety of materials, children come to understand the beauty of creativity.

In the 4th grade, the importance of collective work in the educational process increases. A significant role in the program of the 4th grade is played by musical and literary works, which make it possible to create a holistic view of the culture of the people.

Topic 1. The origins of the arts of your people (8-16 hours)

Practical work in the classroom should combine individual and collective forms.

Landscape of native land

Characteristic features, originality of the native landscape. Image of the landscape of his native side. Bringing out its special beauty.

materials: gouache, brushes, crayons.

visual range: slides of nature, reproductions of paintings by Russian artists.

musical series: Russian folk songs.

The image of a traditional Russian house (huts)

Acquaintance with the design of the hut, the meaning of its parts.

Exercise: paper modeling (or modeling) of the hut. Individual-collective work.

Material: paper, cardboard, plasticine, scissors, stacks.

visual range: slides of wooden ensembles of ethnographic museums.

Homework: find images of the Russian village, its buildings.

Decorations of wooden buildings and their meaning

Unity in the work of the Three Masters. Magical representations as poetic images of the world. Hut - the image of a person's face; windows - the eyes of the house - were decorated with platbands; facade - "brow" - frontal board, prichelinami. Decoration of "wooden" buildings created in the last lesson (individually-collectively). Additionally - the image of the hut (gouache, brushes).

materials: white, tinted or wrapping paper, scissors, glue or plasticine for bulky buildings.

visual range: slides from the series "Ethnographic Museums", "Russian Folk Art", "Wooden Architecture of Russia".

musical series: V.Belov "Lud".

Village - wooden world

Acquaintance with Russian wooden architecture: huts, gates, barns, wells... Wooden church architecture. Image of a village. Collective panel or individual work.

materials: gouache, paper, glue, scissors.

image of human beauty

Each nation has its own image of female and male beauty. Traditional clothing expresses this. The image of a man is inseparable from his work. It combines ideas about the unity of mighty strength and kindness - a good fellow. In the image of a woman, the understanding of her beauty always expresses the ability of people to dream, the desire to overcome everyday life. Beauty is also a talisman. Female images are deeply connected with the image of the bird - happiness (swan).

The image of female and male folk images individually or for a panel (pasted in a panel by the group of the main artist). Pay attention that the figures in children's works should be in motion, not reminiscent of an exhibition of clothes. With additional lessons - making dolls according to the type of folk rag or stucco figures for an already created "village".

materials: paper, gouache, glue, scissors.

visual range: slides of materials from ethnographic museums, books about folk art, reproductions of works by artists: I. Bilibin, I. Argunov, A. Venetsianov, M. Vrubel, etc.

Literary series: fragments from epics, Russian fairy tales, excerpts from Nekrasov's poems.

musical series: folk songs.

Homework: find the image of male and female images of labor and holiday.

Folk holidays

The role of holidays in people's lives. Calendar holidays: autumn harvest festival, fair. A holiday is an image of an ideal, happy life.

Creation of works on the theme of a national holiday with a generalization of the material of the theme.

materials: glued wallpaper panel for panels or sheets of paper, gouache, brushes.

visual range: B. Kustodiev, K. Yuon, F. Malyavin, works of folk decorative art.

Literary series: I. Tokmakova "Fair".

musical series: R. Shchedrin "Naughty ditties", N. Rimsky-Korsakov "Snow Maiden".

Topic 2. Ancient cities of your land (7-14 hours)

Every city is special. It has its own unique face, its own character, each city has its own special destiny. Its buildings in their appearance captured the historical path of the people, the events of their lives. The word "city" comes from "to fence", "to fence off" with a fortress wall - to fortify. On the high hills, reflected in the rivers and lakes, cities grew with white walls, domed temples, and the chiming of bells. There are no other cities like this. Reveal their beauty, the wisdom of their architectural organization.

Old Russian city - fortress

Task: study of the structures and proportions of fortress towers. Construction of fortress walls and towers from paper or plasticine. An illustrative version is possible.

materials: according to the selected job option.

ancient cathedrals

Cathedrals embodied the beauty, power and strength of the state. They were the architectural and semantic center of the city. These were the shrines of the city.

Acquaintance with the architecture of the ancient Russian stone church. Construction, symbolism. Paper building. Collective work.

materials: paper, scissors, glue, plasticine, stacks.

visual range: V. Vasnetsov, I. Bilibin, N. Roerich, slides "Walking around the Kremlin", "Cathedrals of the Moscow Kremlin".

Ancient city and its inhabitants

Modeling of the entire residential content of the city. Completion of the "construction" of the ancient city. Possible option: image of an ancient Russian city.

Old Russian warriors - defenders

Image of ancient Russian warriors of the princely squad. Clothing and weapons.

materials: gouache, paper, brushes.

visual range: I. Bilibin, V. Vasnetsov, illustrations for children's books.

Ancient cities of the Russian land

Moscow, Novgorod, Pskov, Vladimir, Suzdal and others.

Acquaintance with the originality of different ancient cities. They are similar and unlike each other. Image of different characters of Russian cities. Practical work or conversation.

materials: for graphic technique - crayons, for monotype or painting - gouache, brushes.

Pattern of towers

Terem architecture images. Painted interiors. Tiles. Image of the interior of the ward - preparation of the background for the next task.

materials: paper (tinted or colored), gouache, brushes.

visual range: slides "Ancient chambers of the Moscow Kremlin", V. Vasnetsov "Chambers of Tsar Berendey", I. Bilibin, A. Ryabushkin, reproductions of paintings.

Festive feast in the chambers

Collective applicative panel or individual images of the feast.

materials: glued wallpaper for panels and sheets of paper, gouache, brushes, glue, scissors.

visual range: slides of the Kremlin and chambers, V.Vasnetsov illustrations for Russian fairy tales.

Literary series: A. Pushkin "Ruslan and Lyudmila".

musical series: F. Glinka, N. Rimsky-Korsakov.

Topic 3. Every nation is an artist (11-22 hours)

"Brothers-Masters" lead children from meeting with the roots of their native culture to understanding the diversity of artistic cultures of the world. The teacher can choose the optimal cultures in order to have time to live them interestingly with the children. We offer three in the context of their links to the culture of the modern world. This is the culture of Ancient Greece, medieval (Gothic) Europe and Japan as an example of the culture of the East, but the teacher can take Egypt, China, India, the cultures of Central Asia, etc. for study. It is important for children to realize that the world of artistic life on Earth is extremely diverse - and this is very interesting, joyful. Through art, we join the worldview, the soul of different peoples, empathize with them, become spiritually richer. That is what needs to be done in these lessons.

The artistic cultures of the world are not the history of the arts of these peoples. This is the spatial and objective world of culture, in which the soul of the people is expressed.

There is a convenient methodical-playing way, so as not to deal with history, but to see a holistic image of culture: the journey of a fairy-tale hero through these countries (Sadko, Sinbad the Sailor, Odysseus, the Argonauts, etc.).

Each culture is viewed in four ways: the nature and character of buildings, the people in this environment, and the holidays of peoples as an expression of ideas about the happiness and beauty of life.

The image of the artistic culture of ancient Greece

Lesson 1 - the ancient Greek understanding of human beauty - male and female - on the example of the sculptural works of Myron, Polykleitos, Phidias (man is the "measure of all things"). The sizes, proportions, designs of the temples were in harmony with the person. Admiration for a harmonious, athletically developed person is a feature of the worldview of the people of Ancient Greece. Image of figures of Olympic athletes (a figure in motion) and procession participants (figures in clothes).

Lesson 2 - the harmony of man with the surrounding nature and architecture. The idea of ​​Doric ("masculine") and Ionic ("feminine") order systems as a character of proportions in the construction of a Greek temple. Image of images of Greek temples (semi-volumetric or flat applications) for panels or volume modeling from paper.

Lesson 3 - ancient Greek holidays (panel). It can be the Olympic Games or the Great Panathenaic Festival (a solemn procession in honor of the beauty of a person, his physical perfection and strength, which the Greeks worshiped).

materials: gouache, brushes, scissors, glue, paper.

visual range: slides of the modern image of Greece, slides of the works of ancient Greek sculptors.

Literary series In: Myths of Ancient Greece.

The image of the artistic culture of Japan

The image of nature through the details typical of Japanese artists: a tree branch with a bird, a flower with a butterfly, grass with grasshoppers, dragonflies, a branch of cherry blossoms against the backdrop of fog, distant mountains...

An image of Japanese women in national dress (kimono) with the transfer of characteristic facial features, hairstyles, wave-like movements, figures.

Collective panel "Cherry Blossom Festival" or "Chrysanthemum Festival". Individual figures are made individually and then glued into a common panel. The group of the "lead artist" is working on the background.

materials: large sheets of paper for collective work, gouache, pastel, pencils, scissors, glue.

visual range: engravings by Utamaro, Hokusai - female images, landscapes; slides of modern cities.

Literary series: Japanese poetry.

The Image of the Artistic Culture of Medieval Western Europe

Craft workshops were the main strength of these cities. Each workshop had its own clothes, its own insignia, and its members were proud of their craftsmanship, their community.

Work on the panel "Holiday of craftsmen's workshops on the city square" with the preparatory stages of studying architecture, clothing of a person and his environment (objective world).

materials: large sheets of paper, gouache, pastel, brushes, scissors, glue.

visual range: slides of Western European cities, medieval sculpture and clothing.

Diversity of artistic cultures in the world (generalization of the topic)

Exhibition, conversation - fixing in the minds of children the theme of the quarter "Every nation is an artist" as the leading theme of all three quarters of this year. The result is not the memorization of names, but the joy of sharing the discoveries of other cultural worlds already lived by children. Our three "Brothers-Masters" in this lesson should help the teacher and children not to study, memorize monuments, but to understand the difference in their work in different cultures - to help them understand why buildings, clothes, decorations are so different.

Theme 4. Art unites peoples (8-16 hours)

The last quarter of this class completes the elementary school program. The first stage of training ends. The teacher needs to complete the main lines of awareness of art by the child.

The themes of the year introduced children to the richness and diversity of peoples' ideas about the beauty of the phenomena of life. Everything is here: the understanding of nature, and the connection of buildings with it, and clothes and holidays - everything is different. We should have realized that it is wonderful that humanity is so rich in different artistic cultures and that they are not randomly different. In the fourth quarter, the tasks change fundamentally - they seem to be opposite - from ideas about great diversity to ideas about unity for all peoples to understand the beauty and ugliness of the fundamental phenomena of life. Children must see that no matter what the difference, people remain people, and there is something that is perceived by all the peoples of the Earth as equally beautiful. We are a single tribe of the Earth, despite all the dissimilarity, we are brothers. Common to all peoples are ideas not about external manifestations, but about the deepest, not subject to external conditions of nature and history.

All nations sing of motherhood

Every person in the world has a special relationship with his mother. In the art of all peoples there is a theme of chanting motherhood, the mother who gives life. There are great works of art on this subject, understandable and common to all people. According to the presentation, children portray mother and child, trying to express their unity, their affection, their attitude towards each other.

materials

visual range: "Vladimir Mother of God", Raphael "Sistine Madonna", M. Savitsky "Partisan Madonna", B. Nemensky "Silence", etc.

musical series: lullaby.

All nations sing the wisdom of old age

There is beauty external and internal. The beauty of spiritual life. Beauty in which life experience is expressed. The beauty of the connection between generations.

Task for the image of a beloved elderly person. The desire to express his inner world.

materials: gouache (pastel), paper, brushes.

visual range: portraits of Rembrandt, self-portraits of V. Tropinin, Leonardo da Vinci, El Greco.

Empathy is a great art theme

Since ancient times, art has sought to evoke the empathy of the viewer. Art affects our feelings. Depiction of suffering in art. Through art, the artist expresses his sympathy for the suffering, teaches to empathize with someone else's grief, someone else's suffering.

Exercise: a drawing with a dramatic plot invented by the author (a sick animal, a dead tree).

materials: gouache (black or white), paper, brushes.

visual range: S. Botticelli "Abandoned", Picasso "Beggars", Rembrandt "The Return of the Prodigal Son".

Literary series: N. Nekrasov "Crying children".

Heroes, fighters and defenders

In the struggle for freedom and justice, all peoples see the manifestation of spiritual beauty. All peoples sing their heroes. In every nation, many works of art - painting, sculpture, music, literature - are devoted to this topic. The heroic theme in the art of different peoples. Sketch of a monument to the hero at the choice of the author (child).

materials: plasticine, stacks, plank.

visual range: monuments to the heroes of different nations, monuments of the Renaissance, sculptural works of the 19th and 20th centuries.

Youth and hope

The theme of childhood, youth in art. An image of the joy of childhood, dreams of happiness, exploits, travels, discoveries.

Art of the peoples of the world (generalization of the topic)

Final exhibition of works. Open lesson for parents, teachers. Discussion.

materials: paper for paperwork, glue, scissors, etc.

visual range: the best works for the year or for the entire elementary school, collective panels, art history material collected by children on topics.

Literary and musical series: at the discretion of the teacher as an illustration to the messages of the guides.

As a result of studying the program, students:

• master the basics of primary ideas about the three types of artistic activity: the image on the plane and in volume; construction or artistic design on a plane, in volume and space; decoration or decorative art activity using various art materials;
• acquire primary skills in artistic work in the following arts: painting, graphics, sculpture, design, the beginnings of architecture, arts and crafts and folk art forms;
• develop their observational and cognitive abilities, emotional responsiveness to aesthetic phenomena in nature and human activity;
• develop fantasy, imagination, manifested in specific forms of creative artistic activity;
• master the expressive possibilities of artistic materials: paints, gouache, watercolor, pastel and crayons, charcoal, pencil, plasticine, design paper;
• acquire primary skills of artistic perception of various types of art; an initial understanding of the features of the figurative language of different types of art and their social role - significance in human life and society;
• learn to analyze works of art; acquire knowledge of specific works of outstanding artists in various art forms; learn to actively use artistic terms and concepts;
• master the initial experience of independent creative activity, as well as acquire the skills of collective creativity, the ability to interact in the process of joint artistic activity;
• acquire primary skills in depicting the objective world, images of plants and animals, initial skills in depicting space on a plane and spatial constructions, primary ideas about depicting a person on a plane and in volume;
• acquire communication skills through the expression of artistic meanings, expression of the emotional state, their attitude to creative artistic activity, as well as in the perception of works of art and creativity of their comrades;
• acquire knowledge about the role of the artist in various spheres of human life, about the role of the artist in organizing the forms of communication between people, creating a living environment and the objective world;
• acquire ideas about the artist's activity in synthetic and spectacular art forms (in theater and cinema);
• acquire primary ideas about the richness and diversity of the artistic cultures of the peoples of the Earth and the foundations of this diversity, about the unity of emotional and value relations to the phenomena of life.

2.2. The design of the school program of art education.

This scheme reveals the content of the program - its "three stages".

The first stage - elementary school - as if the pedestal of the whole building - is composed of four steps and is of fundamental importance. Without having received the development laid down here, it is (almost) useless to gain knowledge of the next stages. They may turn out to be external, not included in the construction of the personality. We constantly repeat to teachers: from whatever class you start working with unprepared, "raw" children, you need to start from this stage.

And here the content of the first two classes is especially significant - they cannot be bypassed, they lay the foundations of the entire course, all stages of the formation of artistic thinking.

Missing the basics laid down here is like missing an elementary introduction to the existence of numbers in mathematics, with the ability to add and subtract them. Although more complex foundations of the arts are also laid here.

As the diagram suggests, the first stage, the primary classes, are aimed at an emotional familiarization with the links between art and life. In general, this problem is the basis of the essence of the program. Art is cognized precisely in this connection: its role in the life of each of us is cognized and the means are realized - the language through which art performs this function.

At the first stage, the arts are not divided into types and genres - their life roles are learned, as it were, from the personality of the child into the breadth of the cultures of the peoples of the Earth.

The second stage is completely different. Here, links with life are traced precisely to the types and genres of art. A large, at least a year, integral block is dedicated to each. Immersion in feelings and thoughts and awareness of the peculiarities of the language of each type of art and the reasons for this particularity, the uniqueness of the spiritual, social function, role in the life of a person and society. Year - decorative and applied arts. Two years - fine. Year - constructive. Ninth grade - synthetic arts.

And the third stage is the final secondary education. Here everyone needs to be given a fairly serious level of knowledge of art history either in the course of "World Artistic Culture", or in the courses of parallel programs of plastic arts, music, literature, cinema. Each option has its own advantages and disadvantages.

But in parallel with this theoretical course, it would be necessary to give one of the practical courses, at the choice of the student, but to everyone, one of the practical courses: “graphic literacy”, “decorative literacy”, “design literacy”, “fundamentals of spectacular culture”. Only by creating such a dual unity of the theoretical and practical at the stage of completing general education, we will be able to compete in the economy (and in culture) with economically developed countries. This way of completing secondary education, for example, has been operating in Japan for more than fifty years.

Today we are raising the problem of the connection between the arts and the attitude of the world. But no less significant are its links with the economy. It is this side that experts from different countries emphasize, where art is given space (up to six hours a week).

This program is designed for 1-2 teaching hours per topic. Ideally, the implementation of all topics should take at least two hours (double lesson).

However, with a clear use of the developed methodology, it is realistic (albeit weakened) to conduct classes on the topic in one lesson. Everything depends on the school's understanding of the role of art education.

Conclusion

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

Such activities give children the joy of learning, creativity. Having experienced this feeling once, the kid will strive in his drawings, applications, crafts to tell about what he learned, saw, experienced.

The visual activity of the child, which he is just beginning to master, needs qualified guidance from an adult.

But in order to develop in each pupil the creative abilities inherent in nature, the teacher must himself understand the fine arts, children's creativity, and master the necessary methods of artistic activity. The teacher must manage all the processes associated with the creation of an expressive image: with the aesthetic perception of the object itself, the formation of ideas about the properties and general appearance of the object, the development of the ability to imagine based on existing ideas, mastery of the expressive properties of colors, lines, shapes, the embodiment of children's ideas in the drawing , modeling, applications, etc.

Thus, in the process of visual activity, various aspects of education are carried out: sensory, mental, aesthetic, moral and labor. This activity is of primary importance for aesthetic education; It is also important for preparing children for school.

It should be emphasized that it is possible to ensure the comprehensive development of the student only if the attention of the teacher is directed to solving this problem, if the program for teaching visual activity is carried out, and the correct and varied methodology is used.

Bibliography

1. Alekseeva O., Yudina N. Integration in fine arts. // Primary School. - 2006. - No. 14.
2. Arnheim R. Art and visual perception. - M.: Architecture-S, 2007. - 392 p.
3. Bazhov Encyclopedia. Edited by Blazhes V.V. - Yekaterinburg: Socrates, 2007. - 639 p.
4. Bashaeva T.V. The development of perception in children. Shape, color, sound. - Yaroslavl: Academy of Development, 1998. - 239 p.
5. Blonsky P.P. Psychology of the junior school student. - M.: Academy of Psychological and Social Sciences, 2006. - 631s.
6. Bogoyavlenskaya D.B. Psychology of creative abilities. - M.: Academy, 2002. - 320 p.
7. Grigorovich L.A. Development of creative potential as an actual pedagogical problem. - Chelyabinsk, 2006.
8. Gin S.I. World of fantasy (a manual for primary school teachers). - Gomel, 2003.
9. Musiychuk M.V. Workshop on the development of personality creativity. - MGPI, 2002. S. 45
10. Sokolnikova N.M. Visual arts and methods of its teaching in elementary school. - M., 2007.

"Meshchovsky Industrial Pedagogical College"

Kaluga region

Test

by discipline"Fine Arts with Teaching Methods"

Topic:"General position of the methodology of teaching fine arts in primary school"

050709 "Teaching in elementary grades"

Department: external student

Course 3

Zinovkina N.Yu.

Lecturer: Dotsenko E.V.

Grade __________________

Meshchovsk, 2011

Basic methods of teaching fine arts and artistic work 2

Methods of stimulating the educational activity of schoolchildren in the learning process. Methods of formation of cognitive interest 18

Effective methods and principles used in the process of teaching younger students in fine arts and artistic work 22

Methods of control and self-control in training 23

Lesson summary on art 24

Lesson topic: Dymkovo toy 25

References 27

Basic methods of teaching fine arts and artistic work

Methods of teaching artistic work have specific features, due to the cognitive activity of younger students:

the nature of technical processes and labor operations;

development of polytechnical thinking, technical abilities;

the formation of generalizing polytechnical knowledge and skills.

The primary school teacher should give priority to methods that make the work active and interesting, introduce elements of play and entertainment, problematic and creativity.

The lesson of artistic labor and fine arts is characterized by a classification of methods according to the methods of activity of the teacher and students, since two interconnected processes come out more clearly in teaching these subjects: the practical independent activity of students and the leading role of the teacher.

Accordingly, the methods are divided into 2 groups:

Methods of independent work of students under the guidance of a teacher.

Methods of teaching, learning.

Teaching methods that are determined by the source of knowledge gained includes 3 main types:

verbal;

visual;

practical.

The formation of skills and abilities is associated with the practical activities of students. It follows from this that it is necessary to put the type of activity of students as the basis for the methods of forming skills.

By type of student activity(classification according to the type of cognitive activity by I.Ya. Lerner and M.N. Skatkin) methods are divided into:

reproductive;

partial search;

problematic;

research;

explanatory and illustrative.

All of the above methods refer to the methods of organizing educational and cognitive activity (Yu.K. Babansky's classification).

Considering the method of stimulating educational activity in the lessons of artistic labor and fine arts, it is effective to use the method of forming cognitive interest. Also, do not forget to use the method of control and self-control.

Methods of organization and implementation of educational and cognitive activities - a group of teaching methods aimed at organizing the educational and cognitive activity of students, identified by Yu.K. Babansky and includes all existing teaching methods according to other classifications in the form of subgroups.

1. Verbal teaching methods

Verbal methods make it possible to convey a large amount of information in the shortest possible time, pose a problem to the trainees and indicate ways to solve them. With the help of the word, the teacher can bring into the minds of children vivid pictures of the past, present and future of mankind. The word activates the imagination, memory, feelings of students.

The verbal teaching methods include a story, a lecture, a conversation, etc. In the process of their application, the teacher expresses and explains the educational material through the word, and the students actively learn it through listening, memorization and comprehension.

Story. The storytelling method involves an oral narrative presentation of the content of the educational material. This method is applied at all stages of schooling. In fine arts lessons, it is used by the teacher mainly to communicate new information (interesting information from the life of famous artists), new requirements. The story must meet the following didactic requirements: be convincing, concise, emotional, accessible for understanding by primary school students.

Very little time is allotted for the teacher's story in the lessons of artistic labor and fine arts, and, therefore, its content should be limited to a short one, strictly correspond to the objectives of the lesson and the practical labor task. When using new terms in the story, the teacher must pronounce them expressively and write them down on the board.

Several types of story :

introduction story;

story - presentation;

story-conclusion.

The purpose of the first is to prepare students for the perception of new educational material, which can be carried out by other methods, such as conversation. This type of story is characterized by relative brevity, brightness, amusing and emotional presentation, which makes it possible to arouse interest in a new topic, arouse the need for its active assimilation. During such a story, the tasks of the students' activities in the lesson are reported.

During the story-presentation, the teacher reveals the content of the new topic, carries out the presentation according to a certain logically developing plan, in a clear sequence, isolating the main thing, with illustrations and convincing examples.

The story-conclusion is usually held at the end of the lesson. The teacher summarizes the main ideas in it, draws conclusions and generalizations, gives a task for further independent work on this topic.

During the application of the storytelling method, such methodological techniques as: presentation of information, activation of attention, methods of accelerating memorization, logical methods of comparison, comparison, highlighting the main thing.

Conditions for effective use the story is a careful thinking of the plan, the choice of the most rational sequence of disclosure of the topic, the successful selection of examples and illustrations, maintaining the emotional tone of the presentation.

Conversation. Conversation is a dialogic teaching method in which the teacher, by posing a carefully thought-out system of questions, leads students to understand new material or checks their assimilation of what they have already studied.

The conversation is one of the oldest methods of didactic work. It was masterfully used by Socrates, on whose behalf the concept of “Socratic conversation” originated.

In the lessons of artistic work and fine arts, the story often turns into a conversation. The conversation is aimed at obtaining new knowledge and consolidating it through an oral exchange of thoughts between the teacher and the student. The conversation contributes to the activation of children's thinking and is more convincing when combined with a demonstration of natural objects, with their image.

Depending on the specific tasks, the content of the educational material, the level of creative cognitive activity of students, the place of conversation in the didactic process, various types of conversations .

Widespread in the teaching of fine arts and artistic work is heuristic conversation(from the word "Eureka" - find, open). In the course of a heuristic conversation, the teacher, relying on the students' knowledge and practical experience, leads them to understand and assimilate new knowledge, formulate rules and conclusions.

Used to communicate new knowledge informing conversations. If the conversation precedes the study of new material, it is called introductory or introductory. The purpose of such a conversation is to arouse in students a state of readiness for learning new things. The need for an ongoing conversation may arise in the course of practical work. Through question and answer, students receive additional information. Fixing or final conversations are applied after learning new material. Their purpose is to discuss and evaluate student work.

During the conversation, questions can be addressed to one student ( individual conversation) or students of the whole class ( frontal conversation).

Interview requirements.

The success of the interviews largely depends on the correctness of the questions. Questions are asked by the teacher to the whole class so that all students prepare for the answer. Questions should be short, clear, meaningful, formulated in such a way as to awaken the student's thought. You should not put double, prompting questions or leading to guessing the answer. You should not formulate alternative questions that require unambiguous answers such as "yes" or "no".

In general, the conversation method has the following Benefits : activates students, develops their memory and speech, makes students' knowledge open, has great educational power, is a good diagnostic tool.

Disadvantages of the conversation method : takes a lot of time, requires a stock of knowledge.

Explanation. Explanation - a verbal interpretation of patterns, essential properties of the object under study, individual concepts, phenomena.

In the lessons of fine arts and artistic work, the explanation method can be used in the introductory part of the lesson to get acquainted with the execution of various seams, together with the demonstration of the product, when getting acquainted with various methods of working with a brush, etc.

In preparation for work, the teacher explains how to rationally organize the workplace; when planning, explains how to determine the sequence of operations.

In the process of explanation, the teacher acquaints students with the properties of materials and the purpose of tools, with rational labor actions, techniques and operations, new technical terms (at the lessons of artistic labor); with methods of working with a brush and the sequence of drawing, building objects (at drawing lessons).

Requirements for the method of explanation. The use of the explanation method requires an accurate and clear formulation of the problem, the essence of the problem, the question; consistent disclosure of cause-and-effect relationships, argumentation and evidence; use of comparison, comparison and analogy; attracting vivid examples; impeccable logic of presentation.

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