Examples of a teacher's description of a child's drawing. Analysis of children's work

Analysis children's drawing

Most children love to draw. They use traditional materials for this: paints, pencils, felt-tip pens, and sometimes the most unexpected ones, for example, mother's lipstick. And as an easel, a wardrobe, furniture, wallpaper can be chosen. Much of what the child cannot yet express in words is reflected precisely in the children's drawing.

Analysis of children's drawing allows you to identify the characteristics of the character of the child, "see" his inner world.

Kids under three years old draw mostly circles, lines, dots. It is difficult to grasp the meaning in such drawings. After the age of four, characters quite recognizable by adults already appear in children's drawings. Most often, the first heroes of a baby’s drawing are mom and dad, the child himself. It is believed that analysis of children's drawing can be carried out from the age of five. Then the children are already drawing everything they see around - people, animals, trees, houses.

If you want to analyze your child's drawing, give him the task of drawing something. At the same time, do not correct the child during work, do not say how to draw correctly, just observe. Give your child a variety of colored markers, and better than pencils. So you will see what colors the baby will prefer for his drawing, and the use of pencils will allow you to see the force of pressure. The stronger the pressure, the more impulsive your child is.

So, if your child has drawn a person in the center of a sheet of paper, then he is confident. And vice versa - the picture at the bottom of the sheet means that he has low self-esteem. If the drawn hero has a large head, this indicates the good mental abilities of the baby, a small one indicates that the child is not sufficiently developed for his age.

Large ears mean that hearing is an important way for him to perceive information. A mouth with protruding teeth indicates aggression, bulging eyes can indicate such a phenomenon as children's fears

Large long arms indicate that the child is well developed physically, and vice versa weak child will draw short arms. Carefully traced fingers indicate aggression. The longer the legs of the drawn man, the more your child strives to become independent. If the legs are wide apart, then the baby is confident. Boys, unlike girls, often draw angular square bodies - a sign of masculinity. A child who feels humiliated, who has very low self-esteem, will draw a disproportionately small torso compared to the rest of the body.

A painted house without doors and windows speaks of the child's isolation, small windows indicate his shyness. A tree with spreading branches stretching upwards, a thick trunk and traced roots indicates that the child is cheerful and self-confident.

Conducting analysis of children's drawing, pay attention to what colors your child uses. The more colors in his drawing, the more emotional and sensitive he is. In the main drawings of the child there are 5-6 colors. The abundance of yellow indicates curiosity, optimism. Blue color, on the contrary, speaks of internal problems. Green is about striving for security and stubbornness. Red symbolizes aggression, eccentricity. If black prevails in the picture, your child is depressed, pay attention to his internal psychological state.

When your kid draws his family, the one who plays in the family will appear first in the picture leading role for the child whose authority is most important to him. If all family members in the picture are holding hands, the baby is sure that he is loved. I forgot to draw someone - it means that this person is unpleasant to him. If, when depicting his family, the child does not draw himself, this is a sign of loneliness, lack of attention. Sibling rivalry to a brother or sister can be expressed in unwillingness to draw one or another family member. This option is also possible: the "artist" will draw them, but separately from the rest.

Take a child's drawing in your hands and ask yourself what emotions it evokes in you more - positive or negative. If the picture has bright colors, smiles on the faces of the people depicted, the sun is shining - most likely your child is happy, feels parental love, friendly.

Dull dull colors sad faces testify to the experiences of the child, perhaps some problems in the family. Therefore, try, as often as possible, to be interested in what your dear little man draws. Perhaps this will help you avoid many problems in the future.

At each lesson visual activity the educator should carry out individual-group work to teach children the analysis and evaluation of their work. This assessment is associated with the quality of the task and takes into account certain criteria, the observance of which is advisable to teach children. Such criteria for modeling, application, subject and plot drawing are figurativeness, compositional expressiveness, color solution images.

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

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

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

It is necessary to say briefly about the forms of conducting classes. Naturally, they should be varied and dynamic. The length of the course should take into account individual characteristics children. Although there is a traditional allocation of a certain amount of time for a lesson (in junior groups for 15-20 minutes, in the senior - 20-25 and in the preparatory - up to 35 minutes), when children are passionate, it is very difficult to stop them from drawing or sculpting. Sometimes the question arises whether to stop. Most likely, this should be determined by tasks corrective work. If the task of forming an interest is set, it is hardly necessary to stop a child who is keen on work, and if the goal is to form the skills of self-regulation and self-control, then apparently the child should be gently offered to complete the work next time and, having shown will and endurance, wait for this next time.

IN organizational plan visual activities are carried out frontally by the educator most often in the afternoon. By curriculum during the week in all age groups a certain number of classes in drawing, modeling and appliqué are planned. However, such a division of classes by type of visual activity is rather conditional for the practical organization of training. Occupations in which work is performed in mixed media, can be attributed by the educator at his own discretion to one or another type of visual activity, which the educator evaluates as leading.

Related questions:

1. What materials and tools are used in the art activity classes in kindergarten? How should they be prepared for classes with children?

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

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

4. What are the indications for introducing a propaedeutic period into education?

5. What is the sequence of work with children in the propaedeutic period? What learning objectives are being addressed?

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

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

8. What is the difference between performing a display task and performing a task in kind?

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

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

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

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

In the process of modeling and drawing from nature, children perceive the spatial relationships of objects, their parts. Representations of spatial relationships are also formed in the word.

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

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

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

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

Following subject drawing and modeling by nature, subject drawing and modeling by representation are carried out. Based on the images of perception obtained during classes using nature, the teacher teaches to depict objects according to the description. These classes contribute to the formation of the ability to operate with existing images, to restore them by word. The value of these activities for sensory and speech development children are hard to overestimate. It is in the process of these classes that control is exercised over whether the child has mastered the words and expressions given to him in the process of drawing and modeling by nature well enough.

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

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

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

The action of imitation involves the synchronous performance of an action simultaneously by an adult and a child.

When performing actions to show the child performs the action delayed, after it is performed by an adult.

In the future, modeling and drawing by nature and by representation became the main types of work. Drawing from nature at first leads to a deterioration in the quality of the drawing compared to drawings made according to the show and the sample. However, this should be done consciously, since the matter cannot be reduced to teaching children the ability to draw lines, hatch, and hold a pencil correctly. It is extremely important to teach children to independently perceive the environment and convey their impressions of what they perceive in the drawing.

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

Ideas about the environment are the basis of any, both realistic and fantastic image. Ideas about surrounding reality in children with developmental problems are incomplete and sometimes erroneous. Self-acquisition of elementary information causes them difficulty. So, U.V. Ul'enkova highlights such a feature of visual representations of 6-year-old children with mental retardation as their lack of systematization and the same shortcomings are characteristic of their drawings.

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

1.perception and representation of the form;

2.perception and representation of the value;

3.perception and representation of color;

4. spatial representations.

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

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

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

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

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

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

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

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

Work on the formation of spatial representations carried out regularly in everyday life. It begins with clarifying the orientation of the child in the parts and position of his body. At the same time, children's ideas about the upper and lower parts, the left and right sides body. Then children are taught to navigate in conditions three-dimensional space. First, in his immediate environment - in a group, and then in a kindergarten, in the nearest forest park, gradually expanding the area of ​​\u200b\u200bfamiliar space. The creation of such a basis makes it easier for children to understand the conventionality of the two-dimensional space of a sheet of paper, as well as the accumulation of images-representations united by a certain situation or situation, which creates the prerequisites for the subsequent depiction of plots.

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

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

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

For example, the first shape that children learn is the round shape. Therefore, when preparing children to create these images, you should spend with them didactic games“What rolls, what doesn’t roll”, “Find a round shape”, “Roll the ball”, teaching kids to focus on an essential feature - shape.

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

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

It is well known that preschoolers rarely pay their attention to the real object they are depicting. Children draw based on their ideas. However, since it is precisely an insufficient number of these ideas that is characteristic of children with developmental problems, then accumulating this stock, improving it - this is the main task of this training. This should be done not only in the classroom. Even while walking, noticing interesting objects- a leaflet, a pebble, a cloud of expressive form, children must (first together with the teacher, and then without the help of an adult) model their shape. At the same time, to finish such an examination of an object, as a rule, it is necessary to ask: “How are we going to draw this?”. And here it is necessary to invite the children to draw - with chalk on the pavement, with a stick on the sand - the object that attracted their attention.

Work on ideas about form and color is carried out in close cooperation with the refinement and expansion of the database of sensory standards. Special attention it is necessary to pay attention to the formation in children of generalized ideas about the form and color. To do this, children must be taught to compare and compare objects and phenomena of the surrounding life, and then convey them in a drawing. characteristics visual means.

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

In conclusion, I would like to dwell on technical matters drawing and sculpting.

Children should be encouraged to rejoice not only expressive drawing, but also to the success of its author, to evoke a desire to console in case of grief and provide, if possible, effective assistance. IN THE PROPOSED MATERIAL, I HAVE MADE A SELECTION OF GAME TECHNIQUES THAT CAN BE USED IN THE ANALYSIS OF CHILDREN'S WORKS.

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The analysis of children's work is included in the methodology of the lesson, as one of the most important components.

Analysis of children's work in progress First of all, from the standpoint of the tasks that were set in the lesson. At the same time, the requirements of a holistic aesthetic perception of the image are preserved, followed by an analysis of the success of the use of visual and expressive means.

Viewing images created by children is of great educational and educational value.

The organization of the discussion of the analysis may be different.

positive emotional condition child in class required condition to develop his creativity.

Praise always pleases, negative evaluation upsets. Therefore, praise and blame should be used very carefully: if you praise the child all the time, he may develop self-confidence and arrogance, and, conversely, if you constantly tell the child that he drew, sculpted or pasted it poorly, he develops uncertainty, a strong negative attitude can be fixed. relation to visual arts.

It is very important to properly organize a collective review of work at the end of the lesson: to teach children to be attentive to the work of their comrades, to fairly and kindly evaluate their work, to rejoice not only in their own, but also in common success.

The children are satisfied that their work was liked, that the comrades expressed their approval and noted it. But the teacher gives a positive assessment according to merit, i.e. for really good quality, expressiveness, beauty.

Of course, one should not forget about the possibilities of age.

The upbringing in children of the desire to do work better, to make it more beautiful in order to bring joy to others is the task of the teacher.

A specially organized playing of children's work allows the teacher to analyze and evaluate them in a lively, convincing and interesting way. At the same time, it is extremely important that game actions not only arouse interest in the product of activity, but also reveal its merits and weak sides helped to uncover the causes of failures and successes.

Even the youngest children understand why the "kolobok" rolled off the drawn path and got lost in the forest - the path turned out to be crooked. With such an analysis, none of the children is offended, moreover, they not only understand that they did not succeed, but willingly repeat the image, correcting mistakes.

As a result of the analysis, children should understand how to sculpt (draw) correctly and what mistakes they made.

Critical remarks that relate to technology, the educator makes kindly, in a recommendatory form.

When reviewing children's work, every opportunity should be taken to stimulate and develop children's sense of empathy and each other's success and failure. It is necessary to encourage children to rejoice not only in an expressive drawing, but also in the success of its author, to arouse the desire to console in case of chagrin and to provide effective assistance if possible. The process of benevolent attention to each other's work should not be formal. Therefore, you should return to viewing and analyzing children's work after class.

Nemenskaya
L.A.

deputy
director of the NHO Center,

candidate
Philosophical Sciences, Associate Professor,

Laureate
Prizes of the President of the Russian Federation

HOW TO EVALUATE
CHILDREN'S DRAWING

A bunch of
children's work in front of the assembled members
jury to choose the winners. Members
competition are children who discovered
their artistic abilities
activities, they are more than others
show their need to draw,
they like to do it - and it
the most important indicator of talent.

Assessing
performed under competitive conditions
work of children, we must remember that
the main goal and value is
child, his developing soul and
maturing personality. Therefore, the choice and
evaluation of children's work requires us to
special responsibility, and should be
understood as a dialogue, a form of communication with
child and his teacher. But, inevitably,
we find ourselves in a situation of guidance and
directions. It must be said that
competition period level
the quality of children's work increases with
every year. This is especially notable
only by the best works, but on
number of works high level and by
the growing artistry of the majority
submitted works. Cause now
we did not choose the "very first", but
allocated over wide circle works
in different nominations.

TO
children's drawing can be approached from different
sides, evaluating it from completely different
positions. The advent of the analytic
interest in children's drawing accepted
attributed to the beginning of the twentieth century, when children's
drawing became the object of research,
most of all psychological, directed
on the ratio of graphic qualities
children's drawing with intellectual
the development of their authors. Drawing process
used, however, as now, in
as a type of psychodiagnostics and
psychotherapy. Our approach is different
content, but should not be ignored.
the degree of revelation of the inner world
children in their drawings.

Other
approach - when the criterion for the analysis of children's
drawing is defined by "skill
images" - that is, the ability to illusory
portray object world V
accordance with professional
learning rules. This position is long
served as a common basis
to judge artistic
inferiority of children's creativity.
Certain rules and techniques, of course,
a necessary part of education, but
each rule must be clear
and demanded, relevant meaning.
Then the rule becomes a means
expressions and means of artistic
knowledge, not as an imposed model
for imitation, not as a reception. Execution
learned reception should not be
the ultimate goal in the process of artistic
child development.

Art
approach to children's creativity directed
to reveal the artistic nature
children's art activities.
Essence child image similar
essence of professional creativity
artists, it lies in the expression
personal experiences of the author, his vision
and relationship to the world. Therefore, the basis
estimates children's work act
such qualities as the activity of the author
positions in relation to the depicted,
expressiveness of figurative content
And visual means, resourcefulness
in their search, sensitivity to character
art materials.

Reveal
and you can evaluate the compositional
solution, general mood, plot selection
through the semantic and emotional
interpretation. The choice of plot is reflected
the interests of the child, his actual
impressions and knowledge. Image tasks
in children, as in the "adult" pictorial
art are not defined by aspiration
more or less accurately represent
subject, but the desire to express their
understanding and emotional attitude To
him. Attentive view of a young artist
highlights personally significant for
him and the essential aspects of the surrounding
world, and if he manages to express them in
drawing, then it becomes real
opening and revelation for the viewer.
Children's works are unique in that
that they embody diverse
experiences of a child's soul opening
for the world around you.

Success
upbringing and education to a great extent
depends on the skill of the teacher
creative approach to learning, and of course
from knowledge developmental psychology. teacher
should seek in their activities,
so that, even educational, lesson, certain
the topic of the assignment, pictorial
child's activities acted for
him as his own need, as
the desire of his soul, which corresponds
real purpose of creative
Images. It shouldn't be work.
"for show", focused only on
successful result, replacing creativity
execution. The specifics of children's drawing
lies precisely in the significance of the
drawing process, during which
develops and changes, grows
its content. This process, which includes
into itself the game as a form of experience and
simulation of reality and it's reflected
on the result and gives the picture quality
particular emotional intensity.
Modeling and Reproducing in Image
impressions of reality
child-author is aware of his individual
experience in the forms of pictorial language,
in which cultural development takes place
and self-knowledge. And as a consequence, the very
transformation.

Sincere
artistic expressiveness of children
works evoke emotional
response and aesthetic empathy
viewer. Competitions and exhibitions for children
creativity is a medium of communication, which
looking for and young artists and their teachers.
The exposition of the exhibition as a result
competitive selection of drawings, under construction
in order to identify the characteristics
children's creativity, organize
interaction between artist and viewer
provide an opportunity to demonstrate
works of young authors of a wide
public. This an important event in life
every drawing child. As part of
exhibitions, seminars and
teacher consultations, open
methodical workshops, which
allow for examples of children's work
discuss art issues
development and education of children in the atmosphere
exchange of teaching experience and
the joys of professional communication.

The analysis of children's work is a very important and responsible part of the visual activity class. The analysis should be based on the implementation of the program content of the lesson, the implementation of its main ideas. During the lesson, the educator sets the task for the children not only to follow this model exactly, but mainly to show independence in the performance of work. For example, in a lesson on decorative drawing the teacher offers to depict one of the patterns of this sample or make a composition of 2, 3 patterns, or, based on these same elements, come up with your own new pattern. By the end of the lesson, the teacher already knows approximately what work should be paid attention to. In the analysis, it will show both made exactly according to the model, and combined, and made independently.

Works for analysis should be placed in a pre-prepared place. For example, drawings and applications can be placed on a board - a stand (see "Methods of teaching drawing, modeling, applications in kindergarten" edited by Sakulina), wet drawings and voluminous works (made of clay, plasticine, natural and junk materials) lay out on tables or stands. At the stand, the works are hung on a ribbon.

Before proceeding to the analysis, the educator should give the opportunity to review all the work, to discuss them. The statements of the children will help in determining children's creativity.

The questions that the teacher will ask should be varied and aim children at a specific answer.

In some cases, the educator invites the children to tell in detail about the content of the work, about the expressive means, offers to critically evaluate the work, pick up lines from the poem.

It is not recommended to take the work of the same people for analysis, because this can lead to the capturing of the child; convince children that they are always doing better than in the previous lesson. The teacher must find in each work something worthy of attention, so that each child is sure that he can do it no worse than others.

When analyzing, it is important to note not only the child completed the task correctly or incorrectly, but to emphasize the expressiveness of the solution, the beauty of color combinations, note the nature of the composition, and pay attention to the drawing technique.

So, having given the children the opportunity to consider their work, the teacher begins the analysis, using various forms of it. Their choice depends on the type of activity. If, for example, the children were faced with the task of conveying resemblance to nature, then the analysis would be comparative. The questions of the educator should prompt the children to compare the work with nature, help to find out whether the structure of the object, its coloring are correctly conveyed, whether its constituent parts are depicted proportionally.

When evaluating subject drawings, the teacher pays attention to the correctness of the image (shape, color, proportions, structure - to the transfer of expressive means).

In plot works, the teacher pays attention to the transfer of composition, movement, how the child conveyed his attitude to the drawing with color, to the relative value between objects.

IN decorative works it is important to note their brightness, colorfulness, ability to combine colors, variety of compositions.

The analysis of collective work begins with a general assessment: to say how the children coped with collective work, to emphasize the ability of some children to act in concert, to help each other, the ability to independently distribute work. Then consider some of the most interesting work. In all cases, it is important to pay attention to the cleanliness and accuracy of the work, the ability to complete it on time.

Depending on the type of lesson, the following can be used forms of analysis:

1. Give overall rating classes.
2. Among the selected works, choose 2-3 best ones and explain why they were selected.
3. Arrange all the works in a certain sequence in accordance with the content of the topic (for example, according to the fairy tale "3 Bears". So you can find out which episode is not in the drawings, which of the 2-3 works is done better.
4. Offer to talk about any work you like.
5. Tell about the work indicated by the teacher.
6. Offer to find a job similar to the sample.
7. Compare your work with a sample.
8. Find 2 various works.
9. Find similar works.
10. Find a job with a mistake.
11. Find a job that shows creativity.
12. Find unfinished work.
13. Tell about your work.
14. Offer to talk about a friend's work.
15. Find nature at work.
16. Select the most accurate work.
17. Find the most interesting work justify why.
18. Find jobs with lucky color combination.
19. Find jobs with the most expressive images(crying hare, sly Fox).
20. In one lesson, you can come up with 2-3 options for analysis. Their choice depends on the topic and program content.