Consultation for teachers: “Analysis of children's works in visual arts. Analysis of visual activity "multi-colored balls"

It is necessary to encourage children to rejoice not only at the expressive drawing, but also at the success of its author, to arouse the desire to console in case of distress and provide as effective help as possible. IN THE PROPOSED MATERIAL, I HAVE MADE A SELECTION OF GAME TECHNIQUES THAT CAN BE USED WHEN ANALYZING CHILDREN'S WORK.

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

The analysis of children's work comes primarily from the perspective of the tasks that were posed in the lesson. At the same time, the requirements for a holistic aesthetic perception of the image are maintained, followed by an analysis of the success of the use of visual and expressive means.

Viewing images created by children has great educational and educational value.

The organization of the analysis discussion may vary.

Positive emotional state of the child during the lesson – required condition to develop his creativity.

Praise always makes you happy, negative feedback makes you sad. Therefore, you should use praise and blame very carefully: if you praise a child all the time, he may develop self-confidence and arrogance, and, conversely, if you constantly tell a child that he drew, sculpted or pasted poorly, he will develop insecurity and a strong negative attitude 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 creativity of their comrades, to fairly and kindly evaluate their work, to rejoice not only in their own, but also in everyone’s success.

Children feel satisfaction that they liked their work, that their comrades expressed their approval and noted it. But the teacher gives a positive assessment according to his merits, i.e. for really good quality, expressiveness, beauty.

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

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

A specially organized performance of children's works allows the teacher to analyze and evaluate them in a lively, convincing and interesting way. It is extremely important that game actions not only arouse interest in the product of the activity, but also reveal its advantages and weak sides, helped reveal the reasons for failures and successes.

Even the smallest children understand why the “bun” rolled off the drawn path and got lost in the forest - the path turned out to be crooked. With this analysis, none of the children are 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.

The teacher makes critical comments regarding technology in a friendly manner, in a recommendatory form.

When analyzing children's work, every opportunity should be taken to stimulate and develop children's sense of empathy for each other's successes and failures. It is necessary to encourage children to rejoice not only at the expressive drawing, but also at the success of its author, to arouse the desire to console in case of distress and provide as effective help as possible. The process of kindly paying attention to each other's work should not be formal. Therefore, you should return to viewing and analyzing children’s work after class.

A new series of drawings was made by 1st grade schoolchildren. The girl's drawing indicates good graphic skills, but most importantly, a good, harmonious family. The child depicted himself in the center, between his parents. The colors chosen are bright, although the gamma is a little cold. Speaks of a calm character and the need for a peaceful environment around.

The drawing belongs to a girl with obvious artistic talent. The child is in the center of the picture, between his mother and teacher, who is holding hands. This indicates a high level of trust in the teacher. The picture shows pets, which the girl perceives as family members. The girl's family is depicted as elves and differs in style from the teacher's figure. This means that the family has its own atmosphere, special, refined, which the girl values. Dad is depicted alone and holding a branch of autumn red leaves in his hands. Their color contrasts with the teacher's blue dress. Beautiful harmonious drawing. reflecting peace in the family and in the soul of the child.

Test "My Family"

Example 1. Boy, 6 years old.

The boy depicted himself between his father and brother, his mother standing a little further away. Next to her is a beautiful, bright flower. Judging by the size, the brother is more authoritative and more important for the author than mom and, even more so, dad, who is depicted on the edge of the sheet and is very small.

The color scheme is bright and sunny, which means that the child perceives his family as harmonious and happy.

On the right, in the future zone, mother and a wonderful flower. Perhaps the child hopes for greater spiritual closeness with his mother.

There is a lot of red in the drawing: anxiety, emotional stress that is experienced in currently child.

Test "My Family"

Example 2. Boy, 6 years old.

The drawing uses predominantly red, black and brown colors. Black is the color of depression. Red - aggression. Blue, a cool color, was used once to depict “grandmother’s room.” The child stands at the table, there is quite a large distance between him and the rest of the family. This speaks of the boy’s disunity and loneliness in the family. The father is drawn sleeping; the boy seems to have tried to neutralize him by placing him further away on the sofa. When asked what black was painted on the heads of two family members, he answered: “these are helmets.” Apparently to protect yourself from verbal aggression. At first the child didn’t want to draw himself, saying that he was “in his grandmother’s room,” but then he drew it anyway. This again indicates conflict, both in self-perception and in family relationships. All human figures are drawn without fingers, which symbolize the ability to interact with people.

The drawing leaves a feeling of anxiety and trouble.

My family

Example 3. Girl, 6 years old.

The first thing that catches your eye is your poor graphic skills. The girl's large family is depicted; she herself is on the right. Between her and the mother’s figure is a tall triangular creature. Upon questioning, it turned out that this was a grasshopper whose name was Elk. He catches people and takes them to the giant's hole, who eats them. The grasshopper himself more than a person and eats cars. This “phantom” appeared when drawing an ordinary family.

What does this mean? The child feels rejected and unworthy of his family. His face and hands are shaded black. Hands - abilities. Perhaps the bar of aspirations set by the parents is too high for the child.

The scary grasshopper is a projection of internal fears. To some extent, these fears are natural: difficult adaptation to new group kindergarten.

Why a grasshopper? Is there really an atavistic fear of insects dormant in every person?

A happy family

Example 4. Girl, 5 years old.

Beautiful drawing of a family. Bright, rich colors are pleasing to the eye. All family members stand close to each other, the details of the face and body are well drawn, and there is solid support under their feet. The house is also nice, with windows for each family member and a door (the handle is visible).

Another me

Example 5. Boy, 6 years old.

Two details attract attention: the blue and green faces of the parents, and the figure of the child, who, according to the author, is “different.” It is unknown where the “family” is, garlands hang from above. May be. This music hall, decorated for the holiday. The child does not identify himself with the boy in the picture. Maybe because the parents are divorced. The pictured family is ideal when mom and dad are together. But this is not the case, the boy realizes this, so he draws a “different family” where everything is fine.

At each visual arts lesson, the teacher should conduct individual and group work to teach children to analyze and evaluate the work they have completed. 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, appliqué, subject and subject drawing are imagery, compositional expressiveness, color scheme images.

IN methodological literature You can find such criteria for evaluating children's drawings as the correctness of the representation of forms and proportions, similarity to 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 transmission emotional state"author". If we take into account the underdevelopment of the technical skills of children with developmental problems, we can immediately say that their work will obviously be weak and primitive. Therefore, you should evaluate children’s work in such a way as not to scare them away from their studies with excessive pedantry and inappropriate severity. To do this, you should pay attention, first of all, to the expressive side of the image and all inevitable technical flaws and inaccuracies should be considered 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’s, and that this is what makes his work special and original.

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

During the learning process, it is necessary to introduce children to ways of combining colors to create an expressive image. It is necessary to form in them the idea that an 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 “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 in 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 “inimitable” color in a drawing expressive and original.

It is necessary to briefly say about the forms of conducting classes. Naturally, they should be diverse and dynamic. The duration of classes 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 15-20 minutes each, in the senior class - 20-25 and in the preparatory class - up to 35 minutes), when children are carried away, it is very difficult to stop them from drawing or sculpting. Sometimes the question arises whether it is necessary to stop. Most likely, this should be determined by the objectives of correctional work. If the goal is to develop interest, it is unlikely that you should stop a child who is passionate about work, and if the goal is to develop skills of self-regulation and self-control, then, apparently, the child should be gently offered to complete the work next time and, showing will and endurance, wait for this next time.

In organizational terms, visual arts classes are conducted frontally by the teacher, 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 quite arbitrary for practical organization training. Classes in which work is performed in mixed media, can be attributed by the teacher, at his own discretion, to one or another type of visual activity, which the teacher evaluates as leading.

Related questions:

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

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

3. Why is it necessary to connect art classes with children’s daily lives? How should this be done?

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

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

6. What changes in children’s behavior indicate that they are ready to learn visual arts?

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

8. How does performing a task by demonstration differ from performing a task by nature?

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 object drawing and modeling in a special kindergarten.(2 hours)

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

In the process of modeling and drawing from life, children perceive the spatial relationships of objects and their parts. Ideas about spatial relationships are also formalized in words.

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

In the process of object drawing, children become familiar with the space of a sheet of paper and 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 and paint over a drawing. In the course of mastering these skills and abilities, fine motor skills(movement of the hand, fingers), the hand is preparing to learn to write.

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

After subject drawing and modeling by nature leads to object drawing and modeling by representation. Based on the images of perception obtained during classes using nature, the teacher teaches how to depict objects according to description. These classes contribute to the formation of the ability to operate with existing images and restore them from words. The importance of these activities for the sensory and speech development children are difficult to overestimate. It is in the process of these classes that monitoring is carried out to see whether the child has mastered the words and expressions given to him in the process of drawing and sculpting well enough.

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

All these types of activities contribute to the development of the child’s memory, in particular voluntary 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 managing them during this time do not remain unchanged. Unlike preparatory stage, in which special attention was paid to the joint actions of the child with an adult, at the stage of object images, attention is first paid to teaching children the actions of imitation, and then showing.

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

When performing demonstration actions, the child performs the action delayed, after the adult performs it.

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

If the teacher, from lesson to lesson, shows the children the object that they will depict, and 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 before his eyes was created piece by piece by the teacher. With this form of conducting classes, the child is limited to making a copy of the product of “alien” perception. At the same time, both sensory and aesthetic perception child. In this regard, it should be emphasized once again , that during sculpting, drawing or appliqué in nature, the sample showing should be excluded.

Ideas about the environment lie at the basis of any image, both realistic and fantastic. Children with developmental problems have incomplete and sometimes erroneous ideas about the surrounding reality. It is difficult for them to independently acquire basic information. Thus, U.V. Ulienkova highlights such a feature of the 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 targeted 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 form;

2.perception and representation of magnitude;

3.perception and representation of color;

4.spatial representations.

Ideas about form are leading in the system of sensory standards. During training, a certain sequence of learning and mastering by children of ideas about form should be highlighted.

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

Development of perception and formation of ideas about size begins in didactic games on the selection, series and classification of objects by size. Special work is carried out by highlighting the value individual parts inside the object itself. Methods of conveying value in a drawing begin with drawing objects that are commensurate with their images on paper (dry fruits, sunbeams, berries). Children can then be taught to create a smaller or larger image in relation to the object being depicted. When organizing this transition, the teacher places the main emphasis on detailed analysis object of the image, highlighting its essential and minor details, taking them into account 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, figurines 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 are somewhat different from each other, which contributes to the formation of a generalized graphic image subject.

Working with color in the correctional and developmental process begins with familiarization with primary colors.

Getting to know any color should take place in three stages. First, the color is compared with a sensory standard, then the child determines the color by name 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.

In the first lessons in object drawing, which has the task of familiarizing oneself 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 - to intermediate colors and the method of obtaining them by mixing primary colors. For example, in a lesson on the topic “Orange”, children need to be taught how to mix red and yellow paint and paint the orange with the resulting color, making the image by increasing the spot. In this case, preschoolers should be taught to take 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 depicted objects, and on the other hand, it is necessary to take into account the inherent preschool age tendency towards color self-purpose. Taking into account this second trend, at certain stages of education children can be offered special exercises using gouache paints, inducing in them the “joy of experimentation” from playing with color. By blowing drops of paint, children can get patterns and unusual images; Fold a sheet of paper with a few drops of paint in half to create an amazing butterfly. To develop their imagination, children are encouraged to add hand-drawn details to the resulting drawings. It should be noted that such tasks initially cause serious difficulties for children. They may feel embarrassed and afraid of doing something wrong. E.A. Ekzhanova conducted such classes with children with mental retardation. She notes that the “stainography” technique turned out to be successful only when children managed to overcome not only the fear of unusual material, but also some personal characteristics that blocked their voluntary and creative activity. It's easy to understand that great importance has here psychological climate in a group, the style of communication between the teacher and children. With the authoritarian behavior of the teacher, children most likely will not be able to overcome the internal barrier and enjoy playing with paints.

When working 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 gradually be taught to distinguish and form names 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 formation of spatial representations carried out regularly in everyday life. It begins with clarifying the child’s orientation in the parts and position of his body. At the same time, children’s ideas about the upper and lower parts, left and right sides bodies. Then children are taught to navigate in three-dimensional space. First, in your immediate environment - in a group, and then in a kindergarten, in a nearby forest park, gradually expanding the area of ​​​​familiar space. The creation of such a basis makes it easier for children to understand the conventions of the two-dimensional space of a sheet of paper, as well as the accumulation of images and representations united by a certain situation or setting, which creates the prerequisites for subsequently depicting plots.

In the process of learning to draw, there are three types of spatial relationships that must be taken into account when creating an image. The first type of spatial relationships 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 between several objects that are part of the plot drawing.

Comprehension of the 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 pencil and paints, have proven themselves well. On them, children practice placing parts of the depicted object, comprehend the generality of the spatial relationships of the object, regardless of the material of manufacture.

The formation of subject images begins with the selection of an object with a certain property intended for examination and subsequent image. At first, only one essential feature is identified in an object. So, kids can be asked to draw paths along which they have already stomped their feet, taken Kolobok for a ride, or taken the Hedgehog to visit the Bunny. Before offering to draw ribbons, the teacher lays them out on a large sheet of paper, then hangs them on the board. Children are invited to run their fingers along them. It’s good if you can then draw them with chalk and a felt-tip pen. It is important for a child to feel his own independence, gain new kinesthetic experience, and see the diverse 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 time with them didactic games“What rolls, what doesn’t roll”, “Find a round shape”, “Roll a ball”, teaching kids to focus on an essential feature - the shape.

Before drawing, children are given the opportunity to play with an object, get acquainted with its functional purpose, highlight its main property - shape, and outline it. So, before asking children to draw a ball, they are given the opportunity to perform a practical and playful action with the ball - roll it, wind a thread around the ball. Children, following the teacher, reproduce the tracing 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 practice children several times in reproducing one form or another.

Methods of examining objects that children are taught at each lesson are feeling before sculpting and tracing an outline before drawing. The technical side of performing these actions becomes the basis for the formation of visual skills. Along with form, children learn to convey such a quality as size in their sculptures and drawings. Initially, children learn the process of examining objects big size, and then, in parallel, they are offered the same small object for examination.

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

Work on ideas about shape and color is carried out in close cooperation with clarifying and expanding the base of sensory standards. Particular attention should be paid to the formation in children of generalized ideas about shape and color. To do this, children must be taught to compare and contrast objects and phenomena of the surrounding life, and then convey them in drawings characteristics visual means.

Gradually, children must learn the procedure for conducting the examination and the sequence of identified signs. On this basis, the children’s existing ideas about the objects of the image and the process of drawing object images are further updated. By bringing the relationship between the image and the background to a conscious level, children are taught to draw large, introduce a reference line into the drawing and appliqué, and select the paper format in accordance with the design and size of the object. In parallel with this, didactic games are carried out aimed at clarifying the orientation of preschoolers on a sheet of paper.

In conclusion of the topic I would like to dwell on technical issues drawing and sculpting.

Nemenskaya
L.A.

deputy
director of the NGO Center,

candidate
Philosophical Sciences, Associate Professor,

Laureate
Prize of the President of the Russian Federation

HOW TO EVALUATE
CHILDREN'S DRAWING

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

Evaluating
performed under competitive conditions
children's work, we must remember that
the main goal and value is oneself
the 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 instruction and
directions. I must say what
period of the competition level
the quality of children's work increases with
every year. This is not particularly noticeable
only by the best works, but on
number of works high level and by
the growing artistry of the majority
submitted works. Because now
we did not choose “the very first”, but
allocated more wide circle works
in different categories.

TO
children's drawings can be approached from different
sides, assessing it from completely different
positions. The emergence of analytical
interest in children's drawing accepted
dates back to the beginning of the twentieth century, when children
the drawing became the object of research,
most of all psychological, aimed
on the ratio of graphic qualities
children's drawing with intellectual
development of their authors. Drawing process
used, however, as now, in
as a type of psychodiagnostics and
psychotherapy. Our approach is different
content, but cannot be ignored
degree of identification of the inner world
children in their drawings.

Other
approach - when the criterion for analyzing children's
drawing is defined by “skill
images" - that is, the skill is illusory
depict objective world V
in accordance with professional
rules of training. This position is long
served as a common basis
to judge the artistic
inferiority of children's creativity.
Certain rules and techniques, of course,
a necessary component of learning, but
Each rule must be clear
and demanded, relevant meaning.
Then the rule acts as a means
statements and means of artistic
knowledge, and not as an imposed pattern
for imitation, not as a reception. Execution
a memorized technique should not be
the ultimate goal in the artistic process
child development.

Art
approach to children's creativity directed
to identify artistic nature
children's visual activities.
The essence of a child's image is similar
the 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
assessments children's work perform
such qualities as the activity of the author
position in relation to what is depicted,
expressiveness of figurative content
and visual media, ingenuity
in their search, sensitivity to character
art materials.

Reveal
and you can evaluate composition in a drawing
solution, general mood, choice of plot
through its semantic and emotional
interpretation. The choice of subject is reflected
interests of the child, his current
impressions and knowledge. Image tasks
in children, as in “adult” fine arts
art are not determined by the desire
more or less accurately convey the appearance
subject, but the desire to express one’s
understanding and emotional attitude towards
him. Close look young artist
highlights what is personally significant for
him and the essential aspects of the environment
world, and if he manages to express them in
drawing, then it becomes real
discovery and revelation for the viewer.
Children's works are unique in that
that they embody diverse
experiences of a child's soul opening
the world around you.

Success
education and training to a great extent
depends on the skill of the teacher, on
creative approach to learning, and of course
from knowledge developmental psychology. Teacher
must achieve in his activities,
so that, even educational, lesson, specific
topic of the assignment, visual
the child's activity was for
him as his own need, as
the desire of his soul, which corresponds
real purpose of creative
Images. It doesn't have to be a job
“for show”, focused only on
successful result, replacing creativity
execution. Specifics of children's drawings
lies precisely in the significance of the
the drawing process during which
develops and changes, grows
its content. This process, which includes
game as a form of experience and
modeling reality and it is reflected
on the result and gives the drawing quality
special emotional intensity.
Modeling and reproducing in the image
impressions of reality,
the child author is aware of his individual
experience in forms of figurative language,
in which cultural development takes place
and self-knowledge. And as a consequence, the very
transformation.

Sincere
children's artistic expression
works evoke emotional
response and aesthetic empathy
viewer. Children's competitions and exhibitions
creativity is a medium of communication that
both young artists and their teachers are looking for.
Exhibition exposure as a result
competition selection of drawings, under construction
in order to identify the characteristic features
children's creativity, organize
interaction between artist and viewer,
provide an opportunity to clearly demonstrate
works by young authors of a wide range
to the public. This an important event in life
every child who draws. Within
exhibitions, seminars and
teacher consultations, open
methodological workshops that
allow using examples of children's work
discuss artistic issues
development and education of children atmosphere
exchange of teaching experience and
the joys of professional communication.

Almost all children are interested in drawing. For them, this is a unique way to express with paints or pencils what they cannot say in words. Drawing makes children free, so they easily trust paper with their feelings. When visiting a psychologist, they often use the drawing technique for children, since this is one of the reliable ways to identify what really worries or worries a child.

Certainly, children's drawing should be interpreted by a competent psychologist, because there is a danger that parents will get too carried away with decoding and come up with something that doesn’t exist. But there is simple recommendations for parents who want to use a drawing to determine psycho-emotional state your child:

1. Invite your child to draw his family, give him enough paper and different pencils.
2. Do not interfere with the process, do not rush or comment.
3. After the child finishes, ask who he drew, what their name is, what they do.

Analysis of children's drawings:

• in order: The sequence of appearance of family members indicates the young artist’s attitude towards them. Usually, children draw their most beloved or most significant family member first. If he forgot to draw someone, this means that the child has a strained relationship with this person. The child often portrays himself in the very center - which means he is confident that his parents love him. And vice versa, he feels abandoned and lonely if he has not painted himself at all;
• by composition: If one of the family members is missing from the group photograph, ask the child why he forgot him. Such an incomplete portrait is a serious reason to think;
• to size: The more authority the person depicted enjoys with the child, the taller and larger his figure will be. Rejected children picture themselves as small, and spoiled children may not be able to accommodate their giant image;
• by distance: when there is peace and quiet in the house, all the characters are depicted almost close to each other. The closer the baby draws himself to one of the parents, the stronger his attachment to this person. Any object drawn between people symbolizes a barrier in the relationship between these family members;
• by color: He will paint everything that the child loves in warm tones. It will express special affection with rich, bright colors. If a child paints someone’s clothes with blue paint, it means that he feels comfortable next to this person. If it is green, it means that this person is respected and significant for the child. Yellow will mean impulsiveness and guidance to action, red will mean aggression, black color will signal emotional rejection of one of the relatives;
• by body parts: carefully drawn facial features signify the love and importance of the parent for the child. If the author of the drawing highlighted his face, this is a sign of narcissism or increased attention to his appearance, but up to 4 years old, such a drawing can be considered the norm. If little artist depicted the mouth of one of the parents as too large, then perhaps this person makes a lot of comments to the child;
• if there is no mouth or it is very small– the character hides his feelings in life. Drawn teeth indicate aggression. Characters with large eyes experience fear, while characters with small eyes are hiding something. Long arms, as well as their complete absence, mean that this person is very powerful and puts psychological pressure on the child. Short arms betray inner weakness. And if a child draws himself with his hands raised up, he wants to assert himself in the family, he lacks attention.