Features of the creative manner (style) of the artist (material, technique, expressive means). The use of expressive and visual possibilities of materials and means of artistic expression

Expressive graphic means, such as line, spot, hatching, are an integral part of mastering artistic literacy in drawing. From the experience of working on a drawing, it is known that different means are used for each object, shape, material, texture. For example, we will transfer a plaster or a portrait with a thin and small stroke, clothes or household items - with a large one, etc. In sketches, we most often use a fast dynamic stroke, reflecting the lightness and momentary nature, the stroke conveys the dynamics or statics of an ongoing phenomenon. Graphite pencil is most often used as a drawing material. Also in ancient era lead and silver pins were used. In the Middle Ages, tin and from an alloy of lead and tin were added to them. In the Renaissance, a slate Italian pencil (black chalk) came into use, which in the 16th century. was finally superseded by graphite. However, the first graphite pencils did not hold well on paper and got dirty. In 1720, the Frenchman N. Conte suggested framing graphite rods with wooden planks to reduce their fragility and make them more convenient to use. So far we are using graphite pencil, but now there are many other materials, such as charcoal, sanguine, sepia, sauce, ink, ink, gel pens, liners and many others. These materials help us achieve great expressiveness in the drawing. It should be noted that this approach is currently reflected in more domestic system of artistic training.

Let's consider more precisely what a stroke is and how it is related to a spot and a line. A stroke is a visual means of graphic art, one of the main elements of a drawing. It is a short line made with one hand movement. Depending on the direction of the lines, strokes can be straight, oblique, crossed, and others. Differences in thickness, length, dynamics of strokes play big role in the formation of expressive features of the picture. The technique of working with a stroke is called hatching or hatching. With the help of strokes, the volume of figures and objects, contour, shape, texture and space are conveyed. With strokes, we can create light and shadow effects. Closely spaced parallel strokes are perceived by the eye as a tone spot.

When using soft materials (pencil, charcoal, sanguine, sauce, pastels), the stroke structure can be destroyed. This technique is called shading. With the help of shading, soft, smooth tonal gradations are created, soft drawing materials are rubbed on paper. In hatching, the most important thing is the gaps that form the intersections of lines or spots. They indicate the movement of form, texture and tone. Classic shape the gap in the stroke is a rhombus; with the help of this oblique cell, you can convey the shape, space and materiality of objects. Depending on the pressure of the pencil, pen and ink, the stroke becomes dark or light, soft or hard. In a line sketch (as in a line sketch), drawing the outline is the first priority, and the dashed line can also serve several functions in this case. Near parallel or intersecting strokes in different directions, a so-called dashed tonal spot of the required strength is created. In addition, the dashed line can be long, short, wide, thin, barely noticeable. The plastic qualities of the stroke give a variety of artistic possibilities. The continuity of the movement of the pencil is essential, since in the process of the artist's work, not only the selection of what is necessary for a generalized image takes place, but also the linking of individual parts, their plastic subordination to the whole. Only after drawing the outline, you can take the pencil off the paper in order to finish the sketch, outline some characteristic details inside or outside it, emphasize volume with strokes or show shading. Special requirements are imposed on the graphic means of depicting sketches: they must be simple, economical and versatile in order to contribute to the speed of work when solving various tasks in field conditions. Such graphic means, which have wide possibilities and are used in the execution of sketches, are the line and its modification - a dashed line, or a stroke.

Let's take a closer look at the line. The richest, inexhaustible possibilities of the drawing are primarily associated with the use of the line, which is the quintessence of the drawing. A line can be called an abstract, conditional means for understanding the boundaries, shapes and breaks in the shape of objects. But this means of drawing is extremely necessary. Ingres told his students that there is even a line drawing of smoke. The lines are different. The line left by the tip of a pencil or drawing pen with ink, the movement of which is directed by some drawing tool (ruler, pattern or compass), is called "drawing". Throughout its length it is the same in width. This is considered her merit. But in a sketch, such a line is unsuitable - it is lifeless.

A line freely drawn with a graphite pencil or other tool with a coloring material is the main graphic tool used in the sketch and conveying the flatness and two-dimensionality of the image. In this case, the line can be long, short, and even turn into a point. Sketches performed by such a line are usually called linear. The line can also have a spatial character: it either intensifies, then weakens or completely disappears, and then reappears and sounds with all the power of a pencil. An example is the drawing of the great artists of the Renaissance. When using the silhouette outline of the figure, one can achieve the perception of the proportionality of the whole, the harmony of the general and the plasticity of the structure of an individual object. The use of lines of different character gives the artist the opportunity to solve plastic and spatial problems.

In addition, in the figure we use a tonal spot. It is called a flat color spot on a darker or lighter background. Spot pattern can be silhouette and non-silhouette. It can use gradations of tone, from light to darker and vice versa. In a silhouette image, you can achieve great expressiveness with the help of shapes, position and illumination of the depicted. A spot with apparent non-plasticity can show an infinite variety of states and plot situations. The tonal spot is used in solving the following problems: when revealing or emphasizing the volume of nature; to convey its illumination; if desired, show the strength of tone, the color of the form and its texture; to convey the depth of space surrounding the shape. The tonal spot is created inside the contour by parallel or crossing strokes. In this case, the strength of the tonal spot is affected by the width of the lines or strokes and the light spaces remaining between them, which must correspond to the size of the executed drawing. When used for sketching "dry" materials (soft graphite and charcoal pencils, ordinary and pressed charcoal, “sauce”, sanguine) a tonal spot of the desired strength is achieved with a hard brush, shading or just with your finger. Ink and ink, ready-made or diluted with water, are placed on paper with a soft or hard brush. It happens that a tonal spot is applied at the beginning of work, immediately, and then the contour of the depicted form is refined by nature. Often, when working on sketches, all graphic means are used: line, stroke and tonal spot, or in combinations: line and tone. It should be borne in mind that the choice of these tools is definitely related to the characteristics of the graphic material. It is also important to know that when evaluating a drawing, it is precisely the possession of expressive graphic means and materials, the ability to be flexible in choosing one or another technical reception drawing, is one of the main criteria.

Thus, all expressive means are an integral part of any drawing. With the help of strokes, the volume of figures and objects, contour, shape, texture and space are conveyed. With the help of them we can create light and shadow effects. The line can be called the most important expressive means of drawing. It can have a spatial character: it either intensifies, then weakens or completely disappears, and then reappears and sounds with all the power of a pencil. With a linear outline, one can achieve the perception of the proportionality of the whole, the harmony of the general and the plasticity of the structure of an individual object. The line, in turn, is supported by a stroke and a tonal spot. Tonal spots of the same strength, made with strokes or watercolors, are different from each other in their sound. Therefore, the same object, depicted on paper with different materials, is visually perceived in a different way, has its own pictorial language, has special artistic qualities.

ISSUES FOR DISCUSSION:

Features of illustration as a type of graphics.
Features of the perception of illustrations by children of preschool age
Goals, objectives and content of the development of children's artistic perception of book illustration.
Organization of the process of perception of illustration by children of early and preschool age.

For preschoolers about artists in a children's book (from work experience): A book for educators kindergarten/ Comp. T.N. Doronova. – M.: Enlightenment, 1991.
Kionova V. Comparison of illustrations as one of the ways of developing aesthetic perception in children aged 5-7 years. // preschool education. - 1973, - No. 2. - P. 30-32. (Electronic application).
Kudryavtseva L.S. Artists of the children's book: A guide for students. Wednesdays, and higher. .ped. education, institutions. – M.: Academy, 1998.

Kurochkina N.A. Children about book graphics. - St. Petersburg: "CHILDHOOD PRESS", 2004. (Electronic supplement).

Miroshkina R.A. Formation of expressiveness of the image in children's drawings.//Preschool education. - 1988. - No. 7. - P.27-31. (Electronic application).

Exercise 1

Analyze the features of the creativity of any illustrator of a children's book. Answer in writing the questions below - enter them in table 1.

Table 1. Features of the use of means of expression

in the illustrations of the artist (full name)

A) How the artist uses the functions of the drawing:

transfer of the form of the object;
quantities;
movement;

proportions;

weight;

volume;

texture;
facial expressions, gestures;
characteristic details, their writing;
situation;
the background on which the image is made;
humanization of fairy tale characters.
Prove on the example of specific illustrations what materials the illustrator uses to create his work? Draw conclusions:

Does the artist use all the functions of the drawing?
Which features are presented best?
What is the basis of the drawing: a line or a spot?
Can this author's illustrations be called fabulous?

B) What colors are typical for the illustrations of this author? Features of the use of the pictorial function of color; expressive; decorative, compositional.

Conclusions:

1. What color function is most clearly used by the author?

2. What color function does the artist not use?

C) Consider the illustrations in order to identify the features of the application of the laws of composition:

Draw conclusions:

What techniques does the artist use to highlight the plot and compositional center?
How is space conveyed in the author's illustrations?
How many plans are in his illustrations?
How is perspective conveyed?
How is the horizon line used?
What determines the choice of format?
How many heroes are usually in one illustration by the artist, and what methods of arranging them does he use?

D) What features of the composition are characteristic only for book graphicsfics?

Draw conclusions:

How are illustrations connected: by location in the artist's drawings?
How does the illustration created by this author relate to the text?
What is richer the text of the author or the illustration created for it? Prove: Find words from the text for which a specific illustration has been created. How does the artist reveal the author's thought? How is the illustration richer (poorer) than the text, in what way does it exactly correspond to it?

Conclusions:

What laws of composition does the artist use?
What laws of composition do not apply?
How are the illustrations of this graphic artist related to the text to which they were created?

Task 2

Analyzing the literature for the lesson, highlight the specifics of the perception of graphics as an art form by children of younger and older preschool age and, based on the characteristics of the perception of illustrations, determine the possible age of children:

Example 1 The child touches, strokes the image, shows a vivid emotional response to the display of familiar objects. Strives with his own movements to show those objects that are depicted; brings game elements in the perception of the picture (performs an action in the picture). He enjoys listing objects, naming colors. Prefers a realistic way of depicting.

Example 2 The child lists interesting details, indicates some aesthetic qualities (color, shape, size, etc.), can perceive the mood conveyed by individual means of expression (facial expressions, gestures, movement): can understand some conventionality of expression, is capable of aesthetic evaluation and judgment.

Task 3

After reviewing the literature, highlight the main components of the methodology for familiarizing preschoolers with illustration in different age groups ah, fill in the appropriate columns of table 3.

Table 2.The method of familiarizing preschoolers with illustration

Age group of children	Purpose and objectives of training	Examples of illustrations from books	Methodological techniques	Children activities	Fragments of classes on viewing book illustrations
younger
average
older

Exercise 4

After analyzing the features of the work of the artist-illustrator of a children's book, compose an art history story based on one illustration of the selected artist, analyze the artistic image created by the graphic artist. Draw up a story on sheet A 4, attach to it the analyzed illustration and an excerpt from the text to which the illustration was created.

Task 5

According to the proposed illustration, make up sample questions for discussion with children of one of the age groups (the illustration is given in class, the task is performed by a subgroup). Choose interesting methods and techniques that contribute to the perception of illustration by preschoolers. Develop recommendations for educators (parents) in organizing the process of perception of illustrations by children. Recommendations can be made in different form(newspaper articles, parenting magazines, memos, essays, interviews with a psychologist, etc.). In the recommendations, you can indicate: the specifics of the content of illustrations, the main semantic elements, the style of the artist, the specifics of the means of expression (composition, color, line, etc.), the size of the illustrations, their number in relation to the text).

Task 6

Determine the work of which illustrators can be characterized by the following features:

His works convey "a folk feeling of the image, the immediacy and naivety of his nature", "emotionally intense color ... has not only a striking, decorative - figurative sound. Color characterizes the state, mood, feelings. Clarity of compositional constructions, simplified language of forms, increased role contour line come from traditional folk foundations";

In his works, each fairy tale begins with an "original headpiece - drawings enclosed in likeness, window casings and shutters finished with rustic handicrafts. There is usually something mysterious, magical in the drawings ... Rhythms of red, brown, ocher, pink, blue, yellow, green, the colors are related to the color of the popular popular print.

(Kudryavtseva L.S. Artists of a children's book. - M .: Academy, 1998.)

5 SEMESTER

INTRODUCING PRESCHOOL CHILDREN

WITH STILL LIFE AND LANDSCAPE (practical lesson 1)
ISSUES FOR DISCUSSION:

Painting as a view visual arts, means of expression and genres.
Features of the perception of still life and landscape by children of preschool age.
Methods for introducing children to different genres painting.
Requirements for the organization of means for the development of artistic perception of paintings by children of preschool age.
The specifics of the methods and techniques of introducing preschoolers to the art of painting (still life, landscape).

Zubareva N.M. Children and the fine arts. - M .: Education, 1969. - S. 71-90. (Electronic application).
Kurochkina N.A. Introduction to still life. - SPb., 1996. (Electronic application).
Kurochkina N.A. Introduction to landscape painting. - St. Petersburg: Detstvo-press, 2000. -S.3-5, 38. (Electronic application).
Kurochkina N.A. Introduction to still life. - St. Petersburg: Detstvo-press, 2000
Nikitina E. V. On some features of aesthetic judgments about the landscape of preschool children (according to the ascertaining experiment) // Herzen Readings. - L .: LGPI, 1976. - S.55-63. (Electronic application).
Chumicheva R.M. Preschoolers about painting. - M .: Education, 1992. - S. 6-10, 30-33, 35-54. (Electronic application).

Exercise 1

The task is carried out by subgroups of students. Each subgroup chooses one of the genres of painting, presents a method of familiarization with painting, developed by one of the researchers.

At the lesson, subgroups of students present the features of children's perception of the chosen genre of painting, in conclusion, they highlight the similar and different in this process.
Task 2

After reviewing the literature, find out the main components of the methodology for familiarizing preschoolers with picturesque paintings. Give a description of the paintings used in the experiment, if possible, have their reproductions or electronic versions. Fill the table.

Table 1. Methodology for introducing children to landscape and still life

Author, purpose research	The purpose of training	Training program	Method. tricks	Organization of children's activities	Requirements for the personality of the educator
Zubareva N.M.
Kurochkina P. A.
Chumicheva R.M.

Task 3

Select and analyze works of art that can be used in work with preschoolers. Justify their availability for perception by preschoolers of a certain age, outline the approximate content of the work on their use, methods and techniques for examining them with children. Make up a story - a “personal relationship” about one of the works of art (any genre of painting) that can be offered for consideration by preschool children (on pages 1-2). In preparation for this assignment, you can use requirements to the selection of works of art presented in the literature.

Task 4

Analyze one of the abstracts of the lesson on introducing preschoolers to the art of painting (abstract in the electronic application). Determine the adequacy of the goals and objectives set for the content and the methods and techniques used to work with children. Select and justify the most effective methods and techniques for developing the artistic perception of children (conversation, dialogue, question, comparison of works of art, “entering the picture”, plastic sketch, selection of associations, art history story, accentuation of details, synthesis of arts, etc.). Predict possible difficulties in the children's perception of the materials under consideration, develop the content of the preliminary work for the lesson, guidelines for subsequent work.

Scheme for the analysis of the lesson on familiarization with the work of art:

Lesson topic.
Program content (types of tasks, accuracy, specificity of their formulations; compliance with the type of lesson, age).
Material and equipment for the lesson, its quality, the principle of location.
Competent selection of works of art.
Organization and structure of the lesson.
Methodology of the lesson:

techniques aimed at creating an emotional mood, a friendly atmosphere;
techniques aimed at developing aesthetic perception, at establishing a connection between the content of the picture and expressive means, at teaching children to understand their unity;
techniques for developing an emotional and personal attitude to a work of art, aesthetic judgments about it;
sequence of viewing a work of art.

The activity of children in the classroom (emotional, speech, mental motor).
Lesson duration.

Task 5

Name the genres of painting and justify which of them are more accessible to children of younger (older) preschool age?

INTRODUCING PRESCHOOL CHILDRENWITH A PORTRAIT AND

GENRE PAINTING(practice 2)

ISSUES FOR DISCUSSION:

The specificity of the portrait and genre painting as a genre of painting.
Features of the perception of portrait and genre painting by preschoolers.
Methods of introducing children to portrait and genre painting.

List of recommended literature

Grigoryeva G.G., Buyakova E.I., Bobrova Z.A. Workshop on visual activity of preschoolers. - M., 2001.
Zubareva N.M. Features of the aesthetic perception of still life by children of senior preschool age // Questions of psychology. - 1965. - .№5. – P.50-58
Zubareva N.M. Children and the fine arts. - M .: Education, 1969. - S. 24-42.
Khalezova N., Chumicheva R. How older preschoolers understand the significance social phenomena, expressed in genre paintings // Preschool education. -1985. - No. 3. - P.52-54. (Electronic application).
Chumicheva R.M. Features of familiarization of older preschoolers with genre painting // Formation of the initial foundations social activity in preschool children / Ed. R.G. Kazakova. – M.: MGPI, 1984. – P.137-145. (Electronic application).
Chumicheva R.M. Preschoolers about painting. - M .: Education, 1992. – pp.6-10, 30-33, 35-54. (Electronic application).

Exercise 1

Based on these materials, develop a summary of familiarizing preschoolers with a portrait, genre painting (optional), indicating the age group, goals and objectives, the course of the lesson with possible questions for children and tasks.

Task 2

Name Russian artists whose portrait and genre reproductions can be viewed with children of the same age group (optional).
What is the specificity of the expressive means of the portrait genre.
Formulate the requirements for the selection of portraits for preschoolers.
Note the advantages of a genre painting for the development of artistic perception and the possible difficulties of preschoolers in this process.

FEATURES OF MASTERING CHILDRENBY MEANS OF ARTISTIC EXPRESSION

(practice 3)

Purpose: To teach students to analyze drawings in terms of children's application of the basic functions of drawing.

TASK №1. Analyze the planning of work on the artistic and aesthetic development of preschoolers, taking into account the specifics of the program implemented in the preschool educational institution.

TASK #2 . Analyze the works (drawings, applications, modeling) of children created in direct educational activities and free activities (at least 10 works). Indicate their subject matter, means of expression, techniques and materials used.

TASK #3 . Organize directly educational activities with children of secondary preparatory groups on the topic "A sad and funny episode of a fairy tale." Analyze the resulting drawings, highlighting the features of the use of the color function by children. Complete table 1.

Table 1. The use of basic color functions by preschoolers

Formulate conclusions: do children know how to use color functions? Which one is the best mastered?

3. Consider the children's drawings on the topic "Children on a walk."

Find what is the main, plot-compositional center (SKC) in each picture?

Complete table 2.

Table 2. Selection of the plot-compositional center

Formulate conclusions: how did the children master the SCC in the picture? Find different ways allocation of SCC. Complete table 3.

Table 3 WaysVhighlighting the plot and compositional center

Formulate conclusions: what methods of isolating SCC do children use more often? Find children in the drawings, as the horizon line is marked.

Fill in table 4
Table 4. Applying the horizon line

Total drawings	No horizon line	horizon lines
Total drawings	No horizon line	low	average	high	double, triple horizon

Complete table 5.
Table 5Correspondence of the choice of the horizon line with the theme of the picture

Formulate conclusions: have the children mastered the choice of the place of the horizon line as an element of the composition. Analyze the drawings and determine if the children convey the depth of space, in what ways.

Complete table 6.

Table 6Ways to transfer space

Formulate conclusions: do children know how to use ways to transfer space. Analyze the drawings, identifying the features of the use of the format by children. Complete table 7.

Table 7Features of the use of the format by children

Note the variety of formats in size.

Formulate conclusions: do children use the choice of format depending on the topic of drawing?

Analyze the drawings, highlighting the number of characters in them.

Complete table 8.

Total number of drawings	One-figure compositions	two-figure compositions	multi-figured compositions

Determine the total number of objects in the picture.

Formulate conclusions: how competently the child uses the method of arranging figures in accordance with the topic of the lesson.

TASK №4. Develop a detailed summary of the conversation to familiarize preschoolers with a portrait, genre painting (optional), indicating the age group, goals and objectives, with possible answers from children and tasks, with musical accompaniment, presentation.

TASK #5

Analyze pedagogical tasks (2 to choose from), compare these features with personal experience management of children's activities.

No.1. Children aged 5 living in the city were asked to draw a house. Most of the children drew a house in the form of a one-story house, at the base of which is a rectangle and a triangle on top. Explain these features, outline directions for corrective work.

No. 2. If you watch the drawing children in front of whom they put an object, then you can set common feature, barely looking at the subject, they continue to quickly and confidently draw on paper. Explain the reason for this fact.

No. 3. Comment on children's statements, determine the age of the children.

Lena; "The picture shows a boy, a girl, a river and a ball."

Zhenya: "Some boys are swimming, others are playing ball, a girl is playing with them."

Mitya: "It was a hot day. The children went to the river. Vasya and Misha are swimming. Tanya plays ball

№ 4 Ilona decided to draw how she went to the forest to pick mushrooms. When the teacher asked why four girls were depicted on the paper, Ilona explained: “It was I who entered the forest. It was me who walked along such a big path. It was I who saw such a big mushroom.

Explain the features of the child's drawing. What is the approximate age of the girl.

Pedagogical tasks are borrowed from the book by B.S. Volkova, N.V. Volkova Tasks and exercises in child psychology. M., Enlightenment, 1991,
TASK 6

Analyze options for development indicators artistic and visual skills and abilities of preschoolers. Choose the option that more fully reflects the level of development of artistic and visual skills.

Option 1: The level is set by observing the child's activity, based on the analysis of its results (4-6 last drawings of the preschooler), as well as on the basis of the preschooler's story about the plot of his images.

Option 2. Diagnostics of the study of visual activity, imagination and self-esteem on the material of drawing by design in children 3-7 years old is carried out in the form of an assessment children's drawing, made according to their own design and conversation. The following parameters are fixed:

I.Drawing Features: The drawing techniques used, the quality of technical skills. 3. Development of shaping movements. 4. The means of expression used. 5-Sustainability of the idea, the reasons for its change. 6. The content of the drawing (the name and number of objects, the presence of a connection between them, the features of the transmitted impressions of the environment). 7. Correspondence of the image to a real object (color, shape, size, ratio of parts, details, location in space). 8. The degree of independence in the process of drawing. 9. Attitude towards drawing (indifference, positive or negative emotions).

2.Features of self-assessment: 1. Evaluation of your own drawing (positive, negative, trim). 2. Motivation of the assessment (quality, content of the picture).

G.A. Uruntaeva Diagnosis of psychological characteristics of a preschooler. Workshop. M.. 1997.

Option 3. Diagnostics of the study of the level of intellectual and aesthetic development of children was carried out in three areas: identifying the features of the development of aesthetic perception, aesthetic assessment and aesthetic activity in the process of comparing two toys (Dymkovo and Filimonov) and painting the silhouette of a toy.

When preschoolers compare two toys (Dymkovo and Filimonov) and painting the silhouette of a toy, they fix:

The level of intellectual and aesthetic development of children

Criterion	high level		average level		low level
Determining the type of painting	names a toy Right		calls wrong		is silent
Description of the toy	describes full enough		calls only some signs		Absolutely not calls signs
Comparison by similarities and differences	comparison is complete and consistent		indicates similarities and differences in one feature		does not carry out a comparison action
Expressing your attitude towards a work of art	pronounced positive justified attitude		positive but not justified attitude		does not evaluate, indifferent attitude
Analysis of the execution of the pattern on the silhouette toys (correspondence of elements for Dymkovo and Filimonovo toys)		full compliance with the pattern, painting made on two silhouettes		partial mismatch. There are errors in color, shape, composition		big mismatch. Significant violations the nature of the painting
toys (level of creative solution)		introduces 1-2 elements in accordance with the style		introduces minor elements		fully copies the product
Analysis of the execution of the pattern on the silhouette toys (level completion)		painting completed on both drawings		completion is two		completeness work is one third
Analysis of the execution of the pattern on the silhouette of a toy (execution technique)		high		average		low

Option 4: The indicators and criteria for the child's mastery of visual activity comprise two groups: the first is used in the analysis of the products of activity, the second in the analysis of the process of activity.

Activity product analysis

2. Form submission:

form passed exactly:
distortion significant shape failed.

3. The structure of the subject:

parts are located correctly;
there are minor distortions;
parts of the object are located incorrectly.

4. Transferring the proportions of the subject:

the proportions of the subject are respected;
there are minor distortions;
The proportions of the subject are incorrect.

5.Composition:

a) location on the sheet:

throughout the sheet;
on the strip of the sheet;
not thought out, is random;

b) ratio in magnitude different images:

proportionality in the image various items;
there are minor distortions;
the proportionality of different objects is conveyed incorrectly.

6.Movement transmission:

the movement is conveyed quite clearly;
the movement is conveyed indefinitely, clumsily;
the image is static.

7.Color: Two groups of indicators: the first - "a" - characterizes the transfer of the real color of objects and figurative decorative arts the second - "b" - creative attitude child to color, free handling of color:

a) color scheme of the image:

the actual color of the item;
there is a deviation from the real color;
the color of the objects is transferred incorrectly;

b) diversity colors image corresponding to the intent and expressiveness of the image:

multicolor range;
the predominance of several colors or shades (warm, cold); indifference to color
The image is in one color.

Activity process analysis:

1. The nature of the line: The criterion includes 4 groups of displaylei:

a) the nature of the lines: - the line is broken; - confluent; - trembling (hard, rough);

b) pressure: - strong, energetic (sometimes pushing through the paper); - average; - weak.

c) coloring: - small strokes that do not go beyond the contour; - large sweeping movements, sometimes going beyond the contour:

d) regulation of the pressure force, range: - regulates the pressure force, coloring within the contour does not regulate the pressure force, goes beyond the contour.
Option 5:

Development of technical skills and abilities in preschoolers

Classification groups	skills	skills
I group. Tool skills and abilities	1. The skill of holding a pencil and brush (starting position). 2. The skill of the position of the hand with a pencil when drawing vertical and horizontal lines. 3. The skill of drawing lines with a brush. 4. Brush holding skill When drawing wide and thin lines.	1. The ability to be fluent in pencil and brush with various drawing techniques
II group Skills related to the development of the quality of movement on which the quality of lines and shading in the drawing depends	1. The skill of arbitrary regulation of the pressing force. 2. The skill of arbitrary movement of the amplitude of the "range of movements." 3. The skill of arbitrary change in the speed of movement (its slowdown and acceleration) 4. The skill of stopping movement at the right point. 5. Skill of rhythmic carrying out of repeated, homogeneous movements.	The ability to regulate movements in accordance with the tasks of the image
III group Skills and abilities that ensure the transfer of spatial items (shapes, structures, sizes, proportions)	The skill of keeping the direction of movement (in a straight line, in an arc, in a circle).	1. The ability to change the direction of movement (at an angle, the transition from movement in a straight line to movement along an arc and vice versa; the transition from movement along one arc to movement along another) 2. The ability to subordinate movements to the proportion of segments along the length (rectangle, square). 3. The ability to subordinate movements to the proportion of images or their parts in size.

Name some visual means that a child can use in a drawing.

Explain what a "friezed" composition is? In the drawings of children, what age does it most often take place?

At what age do the following features more often appear in drawings: "reverse" perspective, lack of obscuration of objects?

NOD SUMMARY AS A FORM OF SELECTIONCONTENTS OF ARTISTIC AND AESTHETICACTIVITIES

(practice 4)
Target: 1. To teach students to determine the program content of a lesson on teaching children visual activity, depending on the type of lesson, topic. 2. Training in compiling a summary of a lesson in fine arts.

Material: abstracts of different types of classes on teaching children visual activity.

Exercise 1

Analyze the notes of classes on the development of visual activity of preschoolers, highlight the structure of the lesson, the logic of its construction. Abstracts are given out at the lesson; work is done in groups.

Abstract analysis plan

1. Structural parts of the abstract (type of lesson, topic, software

holding, preliminary work, the course of the lesson).

2. The tasks of teaching in the classroom, their options:

pictorial:

technical;
developing;
educational.

3.Content of preliminary work.

4. Methods of teaching visual activity used in the classroom.

Issued abstracts are analyzed according to the following work plan:

Familiarize yourself with the course of the lesson, highlight the main parts in it.
Highlight the beginning of the lesson. Determine how the goal is set, motive, write down the options.
Demonstrate methodological techniques implementation of drawing tasks. Write options.
Demonstrate methodological techniques for the implementation of tasks in color, composition. Add options.

5. Demonstrate the solution of technical, developmental and educational tasks. Write options.

Provide an analysis of the second part of the lesson.
Show how to organize the third part of the lesson. Write options
analysis of children's work.

Task 2

Based on these materials, draw up a summary of the GCD for one type of visual activity for the selected age group. Develop the structural parts of the abstract. Use a variety of techniques that contribute to the learning of preschoolers and stimulate creative manifestations in visual activity.

INDEPENDENT WORK OF STUDENTS

1. At the beginning of the course, the student must choose one "Route", tasks are performed in a self-chosen form. The student informs about its implementation: speaks with a message at the lecture, practical lesson, provides material for the final control (exam). The order in which tasks are performed is determined by the order in which they are located in the Route.

2. The task called "Route" is an individual complex task, consisting of 6 theoretical and practical tasks-questions, similarly called "route". These questions cover the problem of each of the modules of the academic discipline. The sequence of tasks coincides with the order of presentation of the content educational material in the program "Theory and Methods of Child Development fine arts”, which allows us to call such tasks the route of discipline.

3. When completing the task, each route is associated with any one type of art and the visual activity of children adequate to it, it is supposed to study the psychological and pedagogical aspects artistic development preschool children.

4. The fulfillment of tasks of a specific route involves the assimilation of the content of each module of the academic discipline, as well as interdisciplinary knowledge academic disciplines cultural and psychological-pedagogical cycle.

Route 1

Features of artistic perception in preschool children.

Children's Perception Researchers artistic image in painting.

The use of expressive means of the art of painting by children when creating an artistic image in a drawing.

Develop methodological foundations formation of an artistic image in the drawing of preschool children:

means of formation;
forms;
methods and techniques.

Route 2

The art of painting, its types and genres.

Expressive means of the art of painting.

Researchers of the problem of children's perception of an artistic image in a drawing.

Drawing is a type of visual activity of children in kindergarten.

The role of children's knowledge of the fine arts (painting) on the creation of an artistic image in the drawing.

Methodological foundations of the artistic development of preschool children by means of fine arts (scheduling classes for the calendar year).
Route 3

The art of graphics, its types.

Artistic analysis of children's book illustration.

Analysis of research on the problem of familiarizing preschool children with the art of graphics.

Methodological bases for the formation of a graphic image in preschool children:

means of formation;
forms;
methods and techniques.

Route 4

The art of graphics, its types.

Expressive means of graphic art.

Types of graphic art used in working with preschool children.

Illustrative drawing of children.

Elements graphic technician as a means of expressiveness of children's drawings.

The influence of knowledge about the art of graphics on the visual activity of preschool children.
Route 5

The art of sculpture, its types and genres.

Expressive means of sculpture.

Familiarization of preschool children with the art of sculpture.

Creation of an artistic image by children in modeling.

methodological foundations for familiarizing preschool children with the art of sculpture (planning for a year of work to familiarize older children / preparatory group with the art of sculpture).
Route 6

Sculpting for preschool children. Types of molding, their features.

Expressive means of modeling and ways of creating an image for children in modeling.

The role of imagination in the creation of an artistic image by children in modeling.

Research of the problem of content and organization of modeling for preschool children.

Types of folk toys, their plastic variety.

In a number of works by psychologists and educators, the features of the perception of illustrations in a children's book by children of different age groups are analyzed. Young children prefer brightly colored objects, some objects artistic expressiveness cause them to misunderstand the depicted (incompletion, sketchiness, transfer of volume dark spot, complex angles, sharp deformation of the object, complex perspectives). Schematic pictures do not satisfy either younger or older children: children want to see in the picture all the essential features of the object.

One of the indicators of artistic perception is the ability to understand the expressiveness of the image, the characteristic given to it by the artist. If special work is not done with children, then they have a weak, one-sided interest in illustrations in books: illustrations are for them only a means of recalling a book, and only a few children, when asked by an adult, pay attention to the expressive means of book graphics.

The following tasks of the experimental study were set:

1. To study the features of compositional construction in the drawings of children of middle preschool age;

2. Design a series of development sessions plot compositions in the drawings of children using illustrations by Yu.A. Vasnetsov, which can be used in practical work.

3. To reveal the effectiveness of the conducted classes on the development of plot compositions in the drawings of children 4-5 years old.

The experiment consisted of three stages:

1. Ascertaining;

2. Formative;

3. Control.

Determining the level of development of plot compositions in the drawings of children of middle preschool age

4-year-old children who come to the middle group from the younger one are familiar with various types visual activity, therefore, as a rule, they have developed an interest in drawing.

The purpose of the ascertaining stage of the experiment was to identify the initial knowledge, skills and abilities in the compositional construction of the picture.

Scientists V.A. Ezikeyeva, R.N. Chudnova, V.Ya. Kionova and others note that if special work is not carried out with children, then they have a weak, one-sided interest in illustrations in books, children do not pay attention artistic expression. This factor has a negative effect when children create plot compositions in their drawings.

The ascertaining stage of the experiment had the following tasks:

1. Reveal the level of perception of artistic illustration in children.

2. Determine the level of children's mastery of visual activity.

The study was conducted on the basis of preschool educational institution No. 57 in Syzran. 16 children were selected for the experimental and control groups. middle group(Annex 1). The experiment took place between December 2007 and March 2008.

The ascertaining experiment consisted of two stages.

The first stage of the experiment included diagnosing the level of artistic perception of illustrations by children of middle preschool age.

The main indicators of the artistic perception of book illustration by children of middle preschool age are as follows.

o Sustained interest, passion, desire to carefully consider illustrations. Emotional response to the artistic image, empathy for the hero, association of his feelings with his own.

o Correct correlation of the illustration with the text and genre of this literary work. Understanding the unity of the content and means of artistic expressiveness of book graphics: a drawing that conveys the nature of the image (with the help of lines, strokes, the image of an object, animal, person, posture, movement, gesture, facial expression is transmitted); color - color consistency as a means of conveying the mood of the characters, the season or time of day, emphasizing the main thing; highlighting the main thing in the composition. Understanding the features of the means of expression used by the artist, depending on the genre and style of a literary work. Vision of an individual creative manner of the image.

o Ideas about book graphics, its features (connection with the text), knowledge of the means of artistic expression, the names of 2-3 illustrators and the works they illustrated.

Diagnostics was carried out in a confidential, natural environment for children. The children were divided into subgroups.

Diagnostic technique.

The experimenter read the fairy tale "Gingerbread Man" to the children with illustrations by Y. Vasnetsov and E. Rachev (Appendix 2).

At the end of the reading, the children were asked to carefully consider the illustrations and compare them.

The teacher asks questions:

Who drew these illustrations?

If there were no these pictures, would the fairy tale be just as interesting?

What is shown in these illustrations? Who is shown as the main one?

What are the personalities of the characters in the illustrations?

How are the characters depicted by the artists? Is it the same or not?

What time of year is shown in the illustrations? How did you determine?

Criteria for the perception of book illustrations by children:

Understands - 3 points;

Understands not fully - 2 points;

Does not understand - 1 point.

Awareness of the meaning of various expressive means of illustration (poses, gestures, facial expressions, colors):

Aware of everything - 3 points;

Aware of some - 2 points;

Not aware - 1 point.

Emotional attitude to the content expressed in the illustration:

Pronounced emotional attitude-3 points;

Slightly expressed - 2 points;

Not expressed at all - 1 point.

Understanding the expressive means in the illustration, making it possible to understand the experiences of the characters:

Understands all means - 3 points;

Understands basically - 2 points;

Does not understand - 1 point.

According to these criteria, three levels of children's perception of book illustrations were established.

III - High level (9-12 points) - the child has a steady interest, enthusiastically looks at illustrations with desire. Emotionally responds to the artistic image, empathizes with the characters. Correctly correlates illustrations with the text of this literary work. Understands the unity of content and means of artistic expression. Has an idea about book graphics, its features. Aware of all familiar means of expression (posture, gesture, facial expressions, color). understands emotional condition heroes, characters. Lists all objects and highlights the main one. There is an idea about the illustration and its meaning in the book.

II- Intermediate level (5-8) - the child has an emotional attitude to the illustration, he enjoys the familiar illustrations, understands the content of the illustrations, correlates it with the text. Understands some means of expression. Doesn't quite understand the emotional state of the characters. Understands the nature of the characters if they are vividly conveyed by the artist, or situations are clear and familiar, or objects are depicted that clarify the character of the characters. The illustration is not complete. Lists the objects located in the illustration, but does not highlight the main one. The child cannot express an aesthetic assessment of the depicted.

I - Low level (less than 5 points) - the child has no interest in illustration, or he is unstable, superficial. There is no emotional response. When perceiving objects, it proceeds from the enumeration of details, does not highlight the essential. Does not correlate the means of expression with the meaning of the depicted, with the content. Of the means of expression, he sees one or two, rarely notices the color characteristic, does not pay attention to the composition. There is no idea about the illustration, its purpose.

Based on these levels, we compiled a table (Appendix 3), which reflected the results of the 1st stage of the ascertaining experiment.

Thus, we see that, according to the results of the first stage of the ascertaining experiment, children with high level there is no perception of book illustrations, 14 people are at the average level and 2 children have a low level. This can be seen more clearly in Figure 1.

Fig 1.

After analyzing the answers of the children, we can conclude that all the children, to one degree or another, understood the content of the illustrations, according to the text of the work. But not all children were able to choose a suitable illustration for a particular plot of a fairy tale. For example, Alina M., at the suggestion of the educator to choose those illustrations where the artists drew the result of the fairy tale, chose the illustration by E. Rachev, “The wolf ate the bun,” the girl explained, to the words of the educator: “But in the fairy tale, the fox ate the bun,” the girl said "The artist painted the fox good, and the wolf evil, so he ate the bun." Sasha R. to the question “How are the characters depicted by the artists? ” was able to answer only by emphasizing the characteristic features of a particular character (a gray wolf, a large bear, a white hare), while the child could not single out the expressive means that the artists used to convey these images. The child did not notice that the animals in Yu. Vasnetsov's illustrations are more realistic than those in E. Rachev's illustrations. This artist gave his characters a more human look. Just like Sasha R., 10 more children (62.5%) did not notice this either. 6 children (37.5%) were able to find a difference in the depiction of animals by E. Rachev and Yu. Vasnetsov, but did not pay attention to the color of the characters. The season in the illustrations was determined by all the children. Only 6 children (37.5%) identified the characters of the characters according to the expressive means of illustrations, and the remaining 10 children (62.5%) characterized the heroes of the fairy tale according to previously established stereotypes (the fox is cunning, the wolf is evil, the bear is clumsy, the hare is cowardly).

Most children have an idea about book illustrations, about the purpose of illustrations in a book. But not all children were able to answer the question "Who drew these illustrations?". So, for example, when answering this question, Ildar M. answered that “the pictures were drawn by some adults,” and Lena F. explained that these pictures were drawn by their teacher.

13 children (81.2%) could not quite correctly tell about the characters drawn in the illustrations. Children listed such objects as trees, flowers, stump, sun, sky, not noticing the main thing in these pictures.

Children did not pay attention to the fabulousness, the unusual character of the fairy tale. Of all the means of expression used, the children noted only the actions of the character (running, sitting, standing, rolling). Gesture, posture, facial expressions most often went unnoticed. Children called them if they were brightly presented. 7 children (43.7%) expressed their emotional attitude to the content expressed in the illustration slightly. So Lena F. clearly showed her emotional attitude to the illustration, where the gingerbread man sat on the nose of the fox. The girl especially liked the fox outfit, "she is like a lady." 9 children (56.2%), when looking at the illustrations, did not show any emotional response in relation to this or that illustration.

The second stage of the experiment included the following task.

This rear is carried out with a subgroup of children.

Material. Paint, gouache, a piece of paper with a silhouette of a swan painted on it, for each child.

The experimenter reads the nursery rhyme "Swan".

The teacher shows the children an illustration by Yu.A. Vasnetsov for this nursery rhyme (Appendix 4).

Appeals to children:

What swan did the artist draw? (important, white, beautiful).

How does a swan carry its head? (above the shore, proudly).

The teacher invites the children to consider how the swan is drawn. What kind of wings does she have? Like a swan shakes some water on the flowers.

What season do you think is depicted in the picture?

Why do you think the painting depicts a warm day?

It is explained to the children that the artist painted beautiful flowers because a swan waters them.

Then the teacher gives the children a sheet of paper with a silhouette of a swan drawn on it (Appendix 5) and offers to draw their own picture for a nursery rhyme.

An analysis of the children's activities showed the following, that not all events described in the nursery rhyme contribute to the emergence of the idea, but only those that interested the children, caused surprise, struck their imagination.

In the process of drawing for some children (Galya R., Sasha K., Pasha B., Tanya K., Inga B.), the idea was not based on the original, quite distinct sensual images. The children planned to draw something, but their ideas about the intended objects were not clear. Having a clear idea of the object, phenomenon, the children did not know what pictorial actions should be taken in order to depict in the drawing what they had in mind, and this is necessary condition embodiment of the idea.

For example, Julia R., when asked by the teacher what she would draw, answered: “The sun.” The girl drew energetically, in concentric lines, without closing them in a circle, large in the middle of the sheet, blocking the silhouette of a swan with her image. This suggests that the girl does not own the composition. The lines were broken, with strong pressure. The girl painted the sun yellow, the pressure force when coloring did not regulate.

Venus S., not being able to draw a round shape well, put a spot in the middle of the flowers, and from it she drew trembling, faintly noticeable lines in all directions. The girl painted the flowers with large sweeping movements that went beyond the outline.

Boris Z. painted over half of the sheet with blue paint, thereby depicting a river along which a swan swims. At the suggestion of the educator to draw wavy lines, which will depict the waves, the boy did not react and continued to paint further on his work. He couldn't draw anything else.

Based on the nature of this task, we have developed criteria and indicators for assessing the level of a child's mastery of visual activity.

Criteria and indicators for assessing the level of mastery of visual activity

1. Form submission:

The form is passed accurately - 3 points;

Form failed - 1 point.

2. The structure of the subject:

Parts are located correctly - 3 points;

There are minor distortions - 2 points;

Parts of the object are located incorrectly - 1 point.

3. Transferring the proportion of the subject in the image:

The proportions of the subject were respected - 3 points;

There are minor distortions - 2 points;

The proportions of the object are transferred incorrectly - 1 point.

4. Composition.

A) the location of the images on the sheet:

All over the sheet - 3 points;

On the strip of the sheet - 2 points;

Not thought out, is random - 1 point.

B) the ratio in size of the different images that make up the picture:

Proportionality is observed in the image of different objects - 3 points;

There are minor distortions - 2 points;

The proportionality of different objects is transferred incorrectly - 1 point.

The real color of objects is transferred - 3 points;

There are deviations from the real color - 2 points;

The color is transferred incorrectly - 1 point.

According to the developed criteria and indicators, we have compiled a summary table (Appendix 6).

The highest score a child could receive was 18 points. On the basis of the accumulated amount, we differentiated children according to the level of mastery of visual activity. To do this, we have compiled a ranking series (Appendix 7).

We conditionally divided the ranking series into three groups. Each of these groups was assigned to the highest, middle, low levels (according to the number of points scored).

So we determined that:

the highest level will include children who scored from 13 to 18 points;

to the average level - 7-12 points;

to low - children who scored less than 7 points.

The level of children's mastery of visual skills can be seen in Figure 2.

Fig.2

We see that there are no children with a high level of mastery of visual skills, there are 14 people (87.5%) at the average level, 2 children or 12.5% with a low level.

Based on the results of the completed tasks, we compiled a summary table to determine the average level of development of visual knowledge, skills and abilities of the child (Appendix 8).

Based on the results of the ascertaining experiment, out of 16 children, we identified two groups of children that make up the experimental and control groups. We distributed the children so that each had approximately the same number of children by gender and developmental levels.

We have the following groups (table 1 and 2).

	Name of the child	State of the art	Name of the child	State of the art



	Alexandra K.
	Ruslan b.
	Series M.		Ildar M.
			Venus S.

Table 1. List of children in the experimental group.	Table 2. List of children in the control group.

Thus, we have identified further prospects for the development of plot compositions in children. The formative stage of the study was carried out with an experimental group of children.

Composition is a way of arranging an image in space. This is a means of expression that helps to understand the idea of the work, i.e. intent. In fine art, composition implements several laws. The laws of composition in planar and volumetric forms of art are presented in different ways.

Planar - highlighting the plot and compositional center. The artist uses several methods to highlight the main thing: the location of the main thing in the center, the selection by size or color, the isolation of the main character, the direction of gestures, the views of the main character. hero, motion dynamics, vivid additional details. Used in painting and graphics.

7. Graphics as a form of fine art. Children's book illustrators.

Graphics is an art form based on writing, drawing is an image on a plane when the world shown schematically. The artist does not strive to convey globality, the main ones are used without shades and transitions. Appeared in the 15th century as an independent art form. For a long time it was black and white, with the development of technology, colors began to be used. Any printed work is an original. Graphic image created in two stages: creating an impression and printing.

There are two types of printing: letterpress graphics - the image protrudes above the background, and low print graphics - the image is depressed.

By appointment - book, poster, applied (stamps, wrappers)

According to the technique - woodcut (wood), etching (metal), lithography (stone), linocut (linoleum).

Graphics as a form of art is characterized by the fact that the images are spatial in nature, transmitted on a two-dimensional surface and perceived directly only with the help of vision. Graphics uses different means to create an image - lines, light spots. Acquaintance of children with art is recommended to start with works of graphics and, above all, with illustrations for children's books. Simplicity, conciseness of graphics allows children to grasp the main thing, to determine the storyline.

Through the perception of illustrations, children are introduced into the world of conditional, graphic images.

Every year the number of artists who give their strength is growing. preschool book. Artists do a lot of work on the design of books. Memorable illustrations are created in the illustrations of Lebedev, Vasnetsov, Rachev, Konashevich. Each artist expresses the content of the illustrated works in his own way.

In the illustrations of Konoshevich, the artist's love for fiction is visible, plot and decorative ingenuity, humor, and a certain convention of form, corresponding to the nature of the fairy tale, are characteristic. Its pages are entertaining, with many small drawings.

Lebedev gives a clear, sharp image of objects, gives great importance details, his compositions are complete, spatial, occupy the entire page of the book.

Unusually sharp characteristics are given by the artist Rachev in illustrations for fairy tales. The artist usually reveals in them the nature and experiences of animals by analogy with human ones, but at the same time preserves the habits of animals, their true temper and habits.

Vasnetsov approaches the fairy tale as a folk fantasy, connects its images with folk toy. Using hyperbolicity, repetition of images, fantasy, conventionality.

1.1 The specifics of the means of artistic expression in the works of illustrators in illustrations for a children's book

Main artistic medium illustration art for children is a figurative realistic disclosure of the ideas of literature and the phenomena of life, the meaning of everything that surrounds us. It relies on imagery children's thinking. The artist comes to the child when he still cannot speak, and the artist helps him understand the content of the book.

At first, the child will happily recognize his toys, a kitten or a dog in the picture. Then the book tells him about what an African elephant, the sea, an airplane, a satellite, a rocket look like. The child will not only hear about what is good and what is bad: illustrations will make these concepts visual, personified.

The image of the hero is one of the most important points in illustration for children. In a book for little ones, the artistic image carries the child with a wide variety of concepts about the world around him, serves as the first measure of life phenomena.

The creation of an artistic image in an illustration for children is carried out with the help of a complex of specific means of artistic expressiveness of graphics - drawing, color, composition book page, book layout as a whole.

Color in a children's book chief assistant artist. He plays important role in the process of perception by the child of illustrations. This is due to the special emotionality of children, their increased responsiveness to color.

The complexity of the relationship of children to color is clearly visible in their drawings, where color acts as a way to distinguish objects, express emotions; often color also performs a game function. For an artist who addresses not only color perception, but also to the "color imagination" (definition by S. Eisenstein) of children, it is important that this imagination is controlled both by the impressions of the visible world, and by the emotional reaction to them, as well as by the specific game logic of the child. The task of the artist is to satisfy the need for the laws of color harmony. Introducing children to comprehend the laws of color harmony, the artist not only develops their aesthetic feelings, but also prepares his viewers for a full perception of many other phenomena of reality.

Different ways V. Lebedev, V. Konashevich, Yu. Vasnetsov and others achieved complex color harmony. V. Lebedev prefers spectacle, “front exit” colors - open, bright, saturated. The live interaction of colors, their struggle - all this happens in front of the viewer. The drawings for "The Circus" by S. Marshak, made in 1924, are a typical example of Lebedev's ability to build virtuoso color compositions. In the Circus, the intensity of the colors triumphs; the artist reveals the dynamic structure of the spot, striving for confrontation with another local spot. This technique creates the dynamics that pervades the entire book. The drawings give the impression of elegant colorful, meanwhile, the only truly “bright” color is red. But the color orientation of the book is so subtle and skillful that the other colors (gray, lemon yellow, green, black) sound next to red in full force.

The principle of V.Konashevich is the principle of consistency, color matching. The artist has the rarest ability to "instill" colors into each other, making all colors sound elusive, common to all of them, barely audible shade - and with the help of this technique he achieves unity color solution.

In the illustrations by Yu. Vasnetsov, the proportions of real and fantastic color are surprisingly accurately defined; this principle of balance is of great importance for the correct perception of the book. Vasnetsov's color is "tied" to the subject: his wolf is gray, geese - white, the fox is red. In addition, its color is specific, simple, easy to name. This is, in a sense, a color alphabet that helps the child comprehend the color and its meaning.

Drawing in a children's book exists on an equal footing with color. Drawing is a means of artistic expression, the perception of which for children is a new stage in development. It is the drawing that makes the book a book, at the same time it is the restriction that is imposed on color by the laws of the book and which introduces color into the system of book construction - the layout.

You cannot ignore the characteristic features of an object: if you need to draw, for example, a ball in a children's book, then it simply must be round, since this is its main feature, common to all balls. Such common feature each group of objects has, but, starting from it, the artist endows the object with the concreteness of existence in specific environment.

When drawing a person and trying to convey the nature of the character or his state of mind, you should also keep in mind some features. children's perception. In the book, a constant and close to the child way of depicting and expressing the manifestations of mental life, psychological state is a gesture, imprinted moment of movement.

The gesture carries a rich semantic load, but only an observed gesture, sharp and generalized to a certain limit: it contains a valuable living grain of movement.

A feature of drawings for children is their close connection with the text, placing them next to the corresponding lines. Particular attention is paid to the artistic accessibility of the drawing, which is caused by the peculiarities of children's perception.

specific feature children's book graphics is the highlight in the illustration of the most basic, the special integrity and clarity of the composition. General laws compositional constructions are expressed at the same time more sharply, obeying the peculiarities of children's perception, the tasks of a children's book.

In a book for young children, the external and internal design is specific, requiring thoughtfulness, harmony, and entertaining solutions that can captivate the child.

The layout of the book combines all the means of expression. There are different layout methods. The skillfully realized dynamics of the book structure gives rise to the original spatial and color rhythm of the book. The types of book layouts for young children are different - from a book - a toy, a book - an image, a book - a screen to a book - a notebook. The design of the children's book also has special features. There is no need to preserve the entire structure of a book for adults in a book for children (dust jacket, binding, flyleaf, frontispiece, title page etc.).

The special nature of the design - its visibility, harmony, entertaining - distinguishes book graphics for children.

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