Elena Panina
Target: introduce children to unconventional technology drawing: drawing with crumpled paper.
Tasks: develop creativity, interest in drawing, develop imagination, thinking, fine motor skills and hand coordination. Develop aesthetic perception and imagination. Foster independence, activity and accuracy in work.
Drawing with crumpled paper- this is very interesting and unusual drawing technique. It gives children room for imagination and excellent gymnastics for children's hands and fingers.
Even the process of preparing for a lesson becomes unusual, interesting and exciting.
Preparation paper making lumps is a fascinating activity and children can easily and happily handle it themselves.
After you have prepared all the supplies occupation: paints, jars, paper, containers in which you can dilute paints, brushes, rags. It is necessary to think through the details of the future drawing. Try to reproduce the drawing.
The most important thing in this type of creativity is imagination. It depends on your imagination what the final result of the drawing will look like.
When discussing the upcoming work, the children and I discuss small and large details of the drawing, which means paper We will need lumps of large and small sizes. Accordingly, the prints from them will vary in size.
As a result looms invented by children painting:
In our work we use brushes to draw or complement the elements of the picture. Therefore, the drawings turned out to be combined.
Now I suggest you look at some of our work:
This is how we met unconventional drawing technique -"crumpled paper".
Publications on the topic:
Drawing is a fun and exciting activity. One of the very first tools with which you can create colorful and original.
Master class for teachers “Unconventional drawing technique “scratch” The purpose of the master class: to increase the desire of teachers to master the new non-traditional drawing technique “scratch”. Objectives of the master class: 1. Introduction.
"BOUQUET OF LILAC" Dear colleagues, I would like to present to your attention a master class on unconventional drawing techniques. In my work I.
It is in creativity that you can give your child room for self-expression: help him choose what to draw, what to draw on and how to draw. Nothing.
Master class “Unconventional technique of painting with sand on glass” Slide 1: Dear colleagues! I present to your attention a master class “Unconventional technique of painting with sand on glass.” Slide 2: According to.
Drawing using non-traditional painting techniques fascinates, calms and captivates children. This is a free creative process.
Master class on group work “Non-traditional drawing techniques” Master class on group work “Non-traditional drawing techniques” I, Tatyana Leonidovna Parnacheva, teacher Kindergarten No. 1 was studying.
Master class on drawing “Watercolor craquelure”
Unconventional techniques for painting with watercolors on crumpled paper
The drawing master class is intended for classes with children in art studios and fine arts classes. People can try their hand at this technique: junior schoolchildren, as well as young middle school artists, teachers and parents.
Purpose: execution competition work By fine arts on the theme “Mirror of Nature”, which will subsequently become a wonderful decoration for the interior of the room
Target: Create an extraordinary drawing using watercolor technique on crumpled paper
Tasks:
introduce children to unconventional drawing techniques
improve your watercolor skills
develop creative abilities;
Hello!
In this master class I want to tell you about a simple, but, in my opinion, fascinating technique of painting with watercolors.
The watercolor technique on crumpled paper can be interesting and feasible not only for adults, but also for children. You can work in this technique both from life and from memory. Images of trees, leaves, vegetables, and flowers look advantageous.
For work we will need:
A3 paper (for the first time you can take A4). I advise you to try it on paper of different textures. To begin with, you can take a regular landscape sheet
Watercolor;
Palette;
Squirrel or kolinsky paints (set);
A jar of water.
For my work I chose the image of a lotus.
Snow-white, pink or blue lotus is the sacred royal flower of the East. The lotus symbolizes purity and powerful creative energy. The lotus is an emblem of perfection as its leaves, flowers and fruits form a circle. Lotus petals, reminiscent of the sun's rays, personify the divine source of life, and the seed capsule in culture Ancient Egypt, India, China and Japan is seen as a symbol of fertility, birth and rebirth.
Work progress
1. Using a simple pencil on smooth, dry paper, you need to sketch the selected object. We must try to work with thin lines - cobwebs, and if there is such a need to use an eraser, do it carefully, without spoiling the texture of the paper.
2. The sheet with the finished pencil sketch must be crumpled, crumpled with the image inward, so as not to damage the surface of the drawing and not to stain it.
3. Gently straighten the crumpled leaf papers on the table.
4. Start painting with light tones, gradually moving towards darker and more saturated ones. It is better to work on slightly dampened paper, so the colors will smoothly merge with each other according to your idea. You need to wet the fragment of the drawing that is to be done next.
5. If necessary, you can return to the elements of the picture already made in color to enhance the light and shade and add various shades. My lotus has shades of cool colors, but gently yellow reflections must appear on the petals. This comes from the rays of sunlight.
6. To create a bright, rich pattern, you need to highlight the center of the composition using contrasting colors. To draw lotus leaves, you can use all shades green and some cold notes.
7. Paint over the lotus leaves one by one. You can use 2 techniques: drawing on pre-wetted paper, and part of the drawing on dry paper. I decided to make dew drops on lotus leaves. To do this, you need to leave these places unpainted.
8. During work, do not forget about chiaroscuro. Therefore, on the shadow side from future dew drops, we draw falling shadows.
9. While working in color, the paint interestingly flows into the created “cracks”, creating a beautiful craquelure.
10. Now, using cool colors, we draw the surface of the water.
11. It's time to make water droplets in color. To do this, from the shadow side, using a gentle emerald color, draw a shadow on the drop itself. Attention! We leave the outlines of the drop unpainted.
12. From the illuminated side we show reflexes of purple and golden color. Leave the highlight untouched.
The drops at work look voluminous. After drying, some elements can be modified “dry”.
13.Now the drawing must be dried and ironed on the reverse side using an iron.
The work is ready. Many cracks allegedly formed on the surface; the picture is similar to the paintings of artists of the last century.
Since creating one work will take just over an hour, anyone can try it. Within the framework of the lesson, you can do a two-hour lesson.
Thank you for your attention! New creative victories to everyone!
(“finger painting”, fingergraphy, “fingers - palette”)
You can come up with a rule: each finger has a certain color; it’s especially good to draw when you don’t have a brush at hand. Convenient for this gouache paints, which are poured into flat plates, lids from jars of gouache.
1. By dipping your fingertips in paint you can draw: “New Year’s confetti”, “Scattered beads”, “Lights on the Christmas tree”, “Merry peas”, “Traces”, “Patterns for dresses”, “Fluffy snow”, “Sunny bunnies”, “Dandelions”, “Fluffed willow”, “Sweet Berries”, “Bunches of Rowan”, “Flowers for Mom”, “Whistling Haze”.
2. If you dip the SIDE OF YOUR FINGER in paint and apply it to paper, you get “Traces” of larger animals, “Summer and autumn leaves”, “Vegetable salad”, “Holiday leaves”.
If, therefore, you DRAW LINES OF DIFFERENT LENGTHS, picking up paint again, you can draw more complex objects: trees, birds, animals, landscape pictures and even decorative patterns, combining with drawing with your fingertip.
3. CLEAN YOUR HAND INTO A FIST AND PLACE IT ON THE PAINT (diluted in an old plate), move it from side to side so that the paint is well smeared on your hand, then LIFT IT AND APPLY IT TO THE PAPER - large prints remain “flower buds”, “baby animals”, “birds”, etc.
4. If you attach the side of your fist to a sheet of paper and then make prints, then marks will appear on the sheet. "caterpillars", "dragons", "monster body", fairy trees and more.
ADVIСE: Before you start, make a few prints on a separate piece of paper. different parts hands to understand what shapes you can get. Change hands so that fingerprints and fist prints curve into different directions.
Monotype
You will need gouache or watercolor, white or black paper, photographic paper (lightened), cellophane, glass, plastic film.
Types of work:
1. A sheet of paper is folded in half. STAINS (warm or cold) are applied to one of the halves; the second half is pressed against the first, carefully smoothed out in different
sides and turns around. Guess what happened? Mirror image (butterfly, flowers, animal faces, etc.). YOU CAN GIVE THE READY SHAPE OF A BUTTERFLY and also fill one side with spots (there was an enchanted white butterfly - invite the children to cast the spell - color it using the monotype method);
2. A SHEET OF PAPER CAN BE FOLDED NOT ONLY VERTICALLY, BUT ALSO HORIZONTALLY - you get symmetrical images or doubles (twin brothers, “two chickens”, “funny bear cubs”, “city on the river” - draw a city on paper folded horizontally, open it - the city is reflected on the river), “masks” for the New Year and other national holidays.
3. Moisten a paper napkin with diluted paint and press it against it. various shapes items - blanks. Then, print them on clean slate paper or on a smooth surface.
4. Spots or a gouache pattern are applied to glass, a mirror, a plastic board, paper, or plastic film; a sheet of paper is placed on top and printed. Start with a small piece of paper, then the size of a landscape sheet, etc. The topics of work are very diverse: “Life in the North”, “Aquarium”, “Vase with fruits and vegetables”, “Forest”.
Diatypia
You need a cardboard folder, A LAYER OF PAINT (gouache) is APPLIED onto ITS SURFACE with a rag swab. Then a white sheet of paper is placed on top and drawn on it with a pointed stick or pencil (but do not press on the paper with your hands!). The result is an imprint - a mirror repetition of the drawing.
Children like landscape pictures "Night in the Forest" Night city», « Festive fireworks» and others. It all depends on the color of the chosen gouache, i.e. color palette already thought out.
Tamponation
You need to make tampons from gauze or a piece of foam rubber.
1. The palette can be a clean stamp pillow or just a square piece of flat foam rubber. This exciting activity for children gives them the skills to gently and lightly touch paper with a swab of paint of any color in order to draw something fluffy, light, airy, transparent, warm, hot, cold (clouds, sun, sunbeams, dandelions - portraits of the sun, snowdrifts, waves on the sea, etc.)
2. If you take large swabs, you can draw a lot of curious fluffy chickens, ducklings, funny bunnies, snowmen, bright fireflies (finishing the necessary small details).
3. At an older age, you can combine this technique with the “ STENCIL" First, cut out a stencil, then, pressing it with your fingers to a sheet of paper, trace it along the contour with frequent light touches of the swab. Carefully lift the stencil - what a clear and clear mark remains on the paper! You can repeat it again in a different color and in a different place as many times as you like!
Stamps, signet
They allow you to repeatedly depict the same object, making different compositions from its prints, decorating invitation cards, postcards, napkins with them, "shawls"(Pavlovo-Posad), “flowers on the lawn”, “autumn beds”, landscape pictures, etc.
It’s easy to make stamps and seals from vegetables (potatoes, carrots), an eraser, draw the intended design on the cut or end and cut off everything unnecessary. Make a cut on the other side of the vegetable or eraser and insert a match without sulfur - you get a comfortable handle for the finished signet.
Now you need to press it to the paint pad, and
then - to a sheet of paper, you should get an even and clear print. You can create any composition, both decorative and narrative.
Older children create more complex compositions, adding to the prints necessary details and expanding items for signets: the soles of children's boots with a corrugated pattern (you can depict a huge sunflower, a giant tree, etc.). Large prints are especially good for decorating a hall and summer playgrounds.
Signets can be replaced with DRY LEAVES from various trees and shrubs (leaves for herbarium). Prepare gouache, brushes or a piece of foam rubber, a sheet of paper. Come up with what we want to draw (summer, winter, autumn or spring), i.e. choose color. Turn the dry sheet with the left (convex) side up, paint it well, then carefully turn the painted side onto the paper, remembering the composition, and lightly press with your finger, remove - we get a print, an imprint, similar to the silhouette of a tree or bush (if it is not large leaf round shape). Draw the trunk a little, and the branches are the imprinted veins of the leaf.
Using this technique, you can teach children to navigate on a sheet of paper, think through a two- or three-plan composition, laying out dry leaves on a sheet of paper, and then painting and printing them.
Drawing on damp (wet) paper
A sheet of paper is moistened with clean water (a swab, foam rubber or a wide brush), and then an image is applied with a brush or fingers.
You can paint with watercolors on damp paper, starting with the youngest age group. Tell the children about the artist - animal painter E.I. CHARUSHIN, who used such a means of expression, depicting fluffy little animals, chicks, funny and curious, like small children. Look at the books he wrote and illustrated.
And there is a lot for such equipment: "Magic living clouds", which turn from lines and spots into various animals, “Once upon a time there were fish in an aquarium”, “Bunnies and rabbits”, “Little good friend(puppy, kitten, chicken, etc.).”
To prevent the paper from drying out longer, place it on a damp cloth. Sometimes images appear foggy, blurred by rain. If you need to draw details, you need to wait until the drawing dries or put very thick paint on the brush.
Sometimes ANOTHER METHOD OF BLURRY IMAGE is used. Take a bowl of water and draw lines, such as contours, on a sheet of paper autumn trees, in the upper part there is a blue line (sky). Then place this sheet face down on the surface of the water, wait a little and sharply lift it up. Water spreads over the paper, blurring the paint, color falls on color, resulting in a bright and unusual picture. When it dries, you can additionally draw in the necessary details, for example, branches, trunk, i.e. any necessary details. You can also highlight the outline with a thin brush and black paint.
Another option - STRETCHING PAINT - can be suggested to children when they are just starting to paint their picture, landscape or plot and they need to fill the entire sheet, the entire space. Or when a child knows that he will have a two-plane composition and the sky will occupy a certain place. To do this, take the desired color of paint and draw a line at the top of the sheet, then stretch it and wash it horizontally with water.
Drawing on crumpled (pre-crumpled) paper
This technique is interesting because in the places where the paper is folded (where its structure is disrupted), the paint, when painted, becomes more intense and dark - this is called "mosaic effect"
You can draw on crumpled paper at any age, because... it's very simple. And older children themselves carefully crumple a sheet of paper, straighten it and draw on it. Then you can put the children’s drawings in a frame and arrange an exhibition.
Drawing with two colors at the same time
This technique is characterized by various joyful themes: a spring willow, like a sparrow peeking out of a bud.
Two paints are taken simultaneously onto the brush, gray (gouache) for the entire pile, and white for the tip. When applying paints to a sheet of paper, the effect is "volumetric" images. Flowers are also unusually beautiful and bright, especially fairy-tale ones, miracle trees or unusual Ural-Siberian painting, when flat brush two paints are taken, and the brush seems to dance in the master’s fingers, leaving berries, flowers and leaves on wood, birch bark, and metal.
Drawing "fluffies"
To do this, the contour of the wet drawing is smeared with a dry, hard brush and you get flowers, blooming spring trees, elements of Ural-Siberian painting, chicks, dandelions, etc.
The same expressive images can be obtained with a dry, hard brush (bristles), if it is held vertically in relation to the piece of paper and applied with abrupt strokes on dry paper on the sketch made with a simple pencil, or immediately depict animals, their fluffy fur, flowering lilac bushes, apple or cherry trees and much more.
Children are especially good at drawing portraits of their favorite toys, for which they first draw an outline, and then apply sharp strokes, going over the outline of the image. The more frequent the strokes, the better the texture (fluffiness) is conveyed.
After such classes, you can arrange an exhibition of portraits of your favorite toys or fairy-tale images. Or maybe arrange a personal exhibition young artist- animalist.
Bitmap
The drawing is applied with the tip of the brush or with your fingers. different sizes and different colored paints. The result is a mosaic pattern or, again, a “fluffy” pattern.
Line drawing
To quickly depict animals, birds, come up with and realize unusual fairy-tale pictures, you can visit an amazing country "GRAFO". She's not on geographical map, but it is everywhere where inquisitive children live.
To do this, you just need to pick up a magic wand, which can be any pencil, felt-tip pen, wax or simple chalk, sanguine, pastel, art pencil- sauce.
Touch a piece of paper and the doors of this country will open "GRAFO". Everyone here loves to draw, draw, and write. This country has its own language: stroke, line, spots, contour, silhouette, decorative line, decorative spot, geometric pattern.
The basic laws of beauty are the laws of composition, which include rhythm, balance, symmetry, contrast, novelty, plot and compositional center.
Hatch- this is a line, a feature that can be short or long, slanted and even, barely noticeable and bright, wavy and moving in a circle, intersecting and flowing into one another.
With the help of a stroke, you can tell about the nature of the object, the properties of the material, convey its softness, airiness, tenderness, but also heaviness, gloominess, sharpness, sharpness, aggressiveness and reveal the image of the hero, his attitude to the environment.
Series of exercises “IMAGE »:
a stroke, barely touching the paper;
gradually increasing the pressure;
short and long stroke;
changing pauses - gaps between strokes;
gradually shortening strokes and changing pauses - gaps;
stroke - zigzag with gradual lengthening and shortening;
changing stroke inclination;
tilt to one side;
wavy stroke - zigzag;
stroke in several rows;
a stroke moving in a circle;
a stroke coming from the center of the circle.
The teacher must depict all these exercises himself and show the children what can happen thanks to the stroke. Graphics classes are simple, they are easier than painting and sculpture. Simply, drawing - graphics are very interesting, it develops spatial imagination, extraordinary thinking, which teaches you to think, fantasize, make independent decisions, and educates the child to look for more complex topics : “I” (to myself), “Rain”, “Trees”, “Forest”.
If you draw with a soft pencil (sauce), you can rub it with your finger (shade), which will give softness to the image.
Aquatypia
Required: plexiglass (glass with smooth rounded corners), a sheet of paper, soap, watercolors, ink, brushes.
Paints are applied to the glass (watercolor using soap or ink), a sheet of paper is placed on the dried surface and pressed tightly. You can move the sheet a little on the glass - the print will be more interesting.
In these prints we look for images, landscape images and complete the drawings with pencils, crayons, and felt-tip pens.
Cliche
Large print; on wooden block or a cardboard cylinder is glued on one side with a pattern of thick paper or rope, on the cylinder over the entire surface. Paint is rolled and stamped - flowers, leaves, rugs, napkins, wallpaper for dolls' rooms, fabric for flat dolls, wrapping paper for gifts, etc.
The bar or cylinder has handles to make it convenient to hold, stamp or make a poster (with a cylinder).
Aquatouche
Required: paper, gouache, ink, water is poured into a large flat vessel (basin).
Dilute the gouache and draw the image. When the gouache dries, cover the entire sheet with one ink (black). After the ink has dried, place the drawing in a basin (bath) with water, i.e. "manifest". The gouache is washed off in water, but the mascara is only partially washed off. The paper should be thick, the image large, the effect of a photograph will be obtained.
Invite children to be photographers. In previous design classes, you can make a paper “camera”; while walking around the site, you can photograph what you like, and then “develop” it in the laboratory using the “aquatouch” technique.
Another option for working on the fatty layer: a greasy layer is first applied to a sheet of paper - with a candle (can be applied with your palm), soap (tampon), etc. And paint is applied on top.
The drawing turns out "fluffy", as if bristling (shaggy).
Facial expressions in drawings
In psycho-gymnastics classes, you can train the ability to recognize an emotional state by facial expressions - expressive movements of the facial muscles, by PANTOMIMICS - expressive movements of the whole body, by VOCAL facial expressions - expressive properties of speech.
Let's reveal facial expressions in the drawings. You can train the ability to recognize an emotional state along a line using CUT PATTERNS - a kind of PICTOGRAMS. This is a set of cards on which various emotions are depicted using simple signs, 5 pictograms:
First, children examine, name the mood, then the cards are cut along a line dividing the upper and lower parts of the face. They mix and find again according to the instructions, or those that they liked. You can complete the drawing of the body, show facial expressions on yourself in front of the mirror, etc. The process of drawing itself can influence children, they become calmer and more approachable.
Music
After listening to a melody or piece of music, children must pick up one card (pictogram). First silently, and then as if they describe the feelings evoked by contrasting pieces of music, correlating them with mood maps. You can use polar definitions: cheerful - sad; cheerful - tired; sick - healthy; brave - cowardly, etc. Then offer to draw an image seen in cards, heard in music.
Children more often collect joyful and cheerful faces, less often sad or with other moods.
These games exercise the ability to interact. Usually, without prompting, children fill in the missing details on the card: eyes, hair, ears, sometimes a headdress, bows, glasses, or make a background. Such tasks help in the future to draw a portrait of a friend, mother or yourself.
Pantomime in drawings
Children especially love activities during which various poses are depicted on paper using CONVENTIONAL FIGURES. The children call them "skeletons" or better - "little men".
Having received a card with an image of a figure in one pose or another, the children finish drawing it - they remember which pose corresponds to what emotional state. Children quickly begin to draw poses of people and quite expressively, without relying on conventional figures.
The new ones, obtained as a result of playing with templates, conventional figures and blots, are then used by children in their free and thematic drawings.
Games - "invisible"
You need paper and simple (graphite) pencils.
Older children are asked to close their eyes and, to the music (waltz), draw involuntary lines (squiggles, scribbles - that’s what children call them) on a sheet of paper with a pencil, to the rhythm piece of music(1 min.). Open your eyes, look at the lines and find a hidden image among them (animals, birds, humans, trees, vehicles). Use colored pencils or felt-tip pens to highlight them, outline them so that they become visible - clearly, adding a little bit of elements for the image you see.
The nature of the music can be very different. First, you can give calm music, and then faster, more cheerful music, and in accordance with this, the rhythm of the pencil lines drawn will be different, so the images will be seen differently.
The children's imagination will tell them; their imagination is very vivid. At the first such games, the help of a teacher is needed, because... Children sometimes get lost and don’t always see hidden invisible people.
Drawing with a candle or wax crayons
This method of drawing also surprises children, makes them happy, teaches them to concentrate, be precise and careful in their drawing. This method has long been used by folk craftsmen when painting Easter eggs.
The point is that the paint rolls off the surface over which you ran a wax crayon or a candle. A flute thread or a large swab of paint is taken and drawn along the sheet - a drawing appears on a colored background: “Frozen tree”, “Forest at night”, “Santa Claus patterns on window glass”, “Fur coat for the Snow Maiden”, “Snowflakes”, “Lace napkins, collars, panels”, “Northern Queen”. Another option: draw doodles with a candle or simply randomly arrange the lines, and then draw an image of an animal or bird in the intended color; first the outline, and then paint over it all - it turns out to be “fluffy” (do not paint over the wax), or the shell of a turtle, or the stripes of a tiger, the cells of a giraffe.
A very fun zoo! Fast, easy and fun!
Drawing on fabric
The fabric is glued to the frame (preferably silk, plain).
The drawing is applied with ink, watercolor, felt-tip pens, pens, a sharpened stick, a student's pen, a bird's feather, etc. Then the drawing is ironed with a student's iron.
This is a very elegant, subtle, painstaking technique that requires perseverance, patience, and accuracy from children. Such works for a gift card, as a souvenir (print on the wall).
Drawing with plasticine
Rub a thick sheet of paper with the color of plasticine that was intended as the background (thickness 1 mm). Then use a tampon on top, placing pieces of plasticine, creating a convex image "bas-relief"
You can suggest scratching, removing the plasticine (as in the scratching technique). Frame it and get a print for classroom decoration, as a gift. Such interesting prints - panels are made collectively.
In all proposed options for conducting classes in non-traditional drawing techniques, the help of an adult (teacher) is required.
Working with carbon paper
Copy paper is placed on top of a white sheet of paper; the drawing is applied over the copy with a finger, nail, or stick. Then the carbon paper is removed and what remains is a graphic design.
Offer colored copy paper to children.
Scratch
The scratching technique was used in Russia and was called "drawing on a wax pad."
Cover thick paper with wax, paraffin or a candle (rub the sheet with wax strokes tightly to each other). Apply a layer of mascara several times with a wide brush or sponge. To ensure density of painting, you can prepare the following mixture: add a little shampoo (or soap) to the gouache or mascara and mix everything thoroughly in a socket.
When dry, the design is applied by scratching with a knitting needle or a sharp stick and the appearance of white color. It turns out very similar to an engraving!
The white color of the paper can be painted over with colored spots or stamped with one color, depending on what you are planning to depict, then after scratching, the drawing becomes colored, children call this paper "magical" because It is not known what color can appear through the black wax layer. They are surprised, delighted and work very interestedly. The result is very expressive fairy-tale images: « magic flower"", "Firebird", "Merry Khokhloma", "Underwater Kingdom", " unknown space», « New Year's Eve"", "evening city", "In the underwater kingdom of Berendey", "Palace for the Snow Maiden", "Costume for Santa Claus", "Night moths", "Miracle tree", "Night landscapes", "Visiting the gnomes".
Linotype
"Colored threads" You need a thread (or several threads) 25-30 cm long, dye it in different colors, lay it out as you like on one side of a sheet of paper folded in half. Bring the ends of the thread(s) out. Fold the sheet halves, press them on top with your left hand, and smooth them out. Then, without removing your left palm from the sheet, right hand carefully pull out one thread after another or just one. Expand the sheet... and there is a magical drawing: “swan birds”, “huge flowers”, “Vologda lace”, “frosty patterns”(if the threads are dyed in white and place it on a colored background).
And there is no end to fantasy, to the play of imagination. And again a beautiful exhibition! You can only add a little bit where it is needed.
Application from dry leaves: butterfly, mushroom, duckling, tree, flowers - the most simple images. Or, attaching a dry leaf from a tree to the paper, outline the outline with paint, remove it, and white spot paint it the way you want - it seems.
Blotography
Games with blots help develop the eye, coordination of movements, fantasy and imagination. These games usually help relieve tension in emotionally disinhibited children.
1. Place a large and bright blot (mascara, watercolor paint), so that there is a drop-blot "alive" if you shake a piece of paper, it begins to move, and if you blow on it (preferably from a straw or a juice tube), it will run upward, leaving a trail behind it. Blow again, turning the sheet in the direction where some image is already visible. You can also drop a blot of a different color and blow again - let these colors meet, cross each other, merge and get a new color. See what they look like, if you need to paint on the semantic elements a little.
2. You can get a fantastic image without blowing air, but by shaking the paper, and droplets - blots - run across the sheet. And if you first draw wax lines onto a sheet of paper with a candle, and then drip paint or ink, the blot “runs” across the paper faster, leaving many interesting marks.
3. Take a large long sheet of paper (the back of wallpaper or old drawings glued together), lay it on the floor or path. Children take a candle (pieces) and draw squiggles, chaotic lines, then take ink (black, red) or color and spray it all over the surface of the paper path (under the guidance of the teacher), and then, lying on the floor facing each other along the path, begin blow on the blots. This fun game, improvisation - blots run, roll, collide, run away, find each other. When you played, drew with air, stand up, rest and see what happened? - lace track, fairytale picture, individual images (devil, bunny ears, birds, fish, trees, bushes, etc.). If you want, you can finish it or leave it as is and decorate the wall in the corridor, passage, dressing room, hall.
4. Among the auxiliary teaching aids, the most effective and organizing is MUSIC. Blotography can be combined with music. Give children small pieces of paper and sprinkle drops of paint or ink. Taking the piece of paper in their hands, the children move to the music and the rhythm of their body is transferred to the “live” droplet, which also draws while dancing. See what happened and add more if necessary. The nature of the music can be different.
Spray
Or paint splashing. This technique is simple and familiar to many. Its essence is spraying drops with a toothbrush or a brush for cleaning clothes, stacks (a wooden or plastic stick in the form of a scalpel, knife). Paint is drawn onto the brush, the brush is in the left hand, and the stack is drawn along the surface of the brush with quick movements towards you. The splashes will fly onto the paper; if there is a stencil on it, then they will not splash - forming white silhouettes.
Over time, the drops will become smaller and begin to fall more evenly and where needed. This technique is convenient to work on the veranda in the summer or in a group in the evening with a small subgroup of children or individually. The theme for this technique can be surprises, gift congratulations (invitation cards, postcards, posters, announcements): “Napkins for Mom”, “Snowfall”, “Golden Autumn Spun”, “Spring Pictures”.
The demonstration is not a dogma, but an impetus to search!
In this case, VARIABLE display is one of the most important triggers for schoolchildren to accumulate experience fine arts. This is advice, help, conversations, praise, teaching and playing, telling and showing. By creatively using the proposed recommendations, you can awaken in children a sustainable interest in drawing and help them master fine art skills.
Unconventional drawing techniques, and there are many more of them, will help children feel free, give them the opportunity to be surprised and enjoy the world, get acquainted with the techniques of many artists and try to create beauty themselves.
Exercise No. 1 “Magic Spots”
The child is asked to fold a landscape sheet in half and paint watercolor or gouache spots on one half. Then fold the sheet along the fold line and iron it with your hand so that the spots are imprinted on the other half of the sheet. The child is asked to examine the resulting symmetrical spots and think about what they look like. Next, you can take a brush, pencil or felt-tip pen and complete the blot to create a subject drawing: an animal, a person, a plot scene, etc.
Exercise No. 2 “Magic Line”
The child is asked to draw a “handwriting” on a piece of paper with his eyes closed, look at it carefully and think about what it resembles. Then complete the image.
Exercise No. 3 “Three colors”.
Invite your child to take three colors, in his opinion, suitable friend to a friend, and fill the entire sheet with them. What does the drawing look like? If it is difficult for a child to do this, allow him to complete the drawing a little, if necessary. Now ask them to come up with as many titles as possible for the drawing.
Exercise No. 4 “Complete the drawing”
There are 2-3 pieces of colored paper glued onto the card. The shape and color of the pasted drawings are very different.
Assignment for children: carefully examine the proposed card, you can turn it in different ways. And then complete the application so that you get something recognizable: a human figure, an object, an animal.
Game - relay race No. 5 “Transformation”.
Each of the participants in the game adds one element to a given object (for example, a mug) so that this object turns into another (for example, a yacht, etc.).
Examples of transferring properties from one item to another:
Fish is a machine
Cup and saucer - ship
Saucers - parachutes
Iron - steam locomotive, etc.
Exercise No. 6 “Composing an image from geometric shapes»
From identical sets of geometric shapes, it is proposed to create the figure of an animal or a fairy-tale hero. It is possible to make geometric shapes from a square of colored paper (100x100 mm). It is cut as follows:
Exercise No. 7 “Landscape”
Students are given cards with a two-color background on which they are asked to draw a landscape. The elements of the picture must be matched to the given background.
The motif of an invented landscape can be simple - just two or three trees, a river, a path. But the general mood of the landscape should be interesting, perhaps it will be a landscape with a small plot pattern.
Game No. 8 “Color stories”
The game proceeds as follows: children are presented with a colored strip, point to the uppermost square and ask: “What does he look like? What color is this? Based on the child's answer, the adult comes up with the first sentence, and the rest is composed by the children based on the associations of each subsequent colored square with the realities of the world around them.
One eight-color strip allows you to come up with many stories. The strip can be transformed into a seven-colored flower, and in the future for writing it is possible to use sets of disparate colored squares, a certain number of which can be selected at random.
Exercise No. 9 “What do the spots look like?”
The child is asked to use gouache or watercolor to draw colored spots on one sheet of paper. Then stamp these spots onto another sheet. The resulting identical spots need to be completed to create different images of objects, plants, animals, etc.
Exercise No. 10 “Additional drawing plot drawing By
given fragment"
The child is offered a sheet of paper with a piece of fabric glued to it. The pattern of the fabric will suggest the motive of the future design. This could be a landscape, portrait, still life, or everyday scene. After completing your drawing, you should try to include a piece of fabric in it.
Exercise No. 11 “Whose thing?”
Students are given a card with a drawing of one part: a shoe, a key, a broom and other attributes fairy tale characters. The student needs to recognize the hero and complete the drawing of Cinderella, Pinocchio or Baba Yaga, respectively.
Exercise No. 12 “Home for a fairy-tale hero”
The sheet depicts some fairy tale hero. Assignment: draw a house for this hero. When making a drawing, you need to imagine where this fairy tale hero lived, imagine what his habitat looks like.
Exercise No. 13 “Merry Men”
It is proposed to depict funny people from different numbers or from one. Numbers can be drawn in different directions and in mirror image. You can draw a family of ones, etc.
Exercise No. 14 “Non-existent animal”
The exercise is based on the agglutination method. The child is asked to draw a non-existent animal by combining parts of known animals and come up with a name for it.
Exercise No. 15 “Creating images from prints”
Using various materials for the stamp - nails, caps, plugs, etc. It is suggested to draw animals and people.
Students' interest in this exercise may be caused by the unconventional choice of stamp. Fingers can play its role.
Exercise No. 16 “Music”
Children are invited to listen to a fragment of a musical work, for example, pieces of the play "The Lark's Song" or any other from P.I. Tchaikovsky's "Seasons". After listening to music, the child is given four colors: red, green, blue and yellow. He must depict the music he heard using these colors and title his drawing. Upon completion of the work, we hold a competition for the resulting drawings and titles for them.
Game No. 17 “Drawing a still life from the imagination”
Children must draw a still life on a given topic. Usually artists draw objects from life, but now the child needs to create his own image in his imagination, and then transfer it to paper. Interesting, varied solutions to such a task can be obtained using the technique of gruntography. The topic is given to all children the same.
Original themes for still life:
"Butterfly on a Blooming Flower"
"Apple on a Porcelain Dish"
"Autumn Leaves on the Cold Ground"
You can come up with your own topics. Upon completion, a competition must be held artwork and choose a winner. You can simply arrange an exhibition of children's work.
Exercise No. 18 “Search for emotionally adequate images”
Any emotional situation (object, being, experience) is given and it is proposed to depict it in the form of a schematic drawing (or describe in words the essence of the proposed images). For example, in response to the presenter’s question “how can you portray a rejoicing person?”, the guys can depict or write down the following options: a person flies, sparkles, dances, the sun shines in a person’s body, etc. When summing up, both the total number of proposed answers and originality are taken into account; Possibility of collective discussion and creativity.
Exercise No. 19 “Shifters”
The exercise reinforces correct, adequate ideas about the world around us, which are established in the child’s mind after being passed through the prism of imagination.
The children are invited to imagine a city where everything is the other way around; let them imagine unprecedented fruits on the trees (socks, mittens, etc.), the colors in which the objects are painted. To activate your figurative imagination, you can read B. Zakhoder’s poem “Magpie”:
The magpie flew high.
And now the magpie chatters, That sugar is terribly salty, That a falcon cannot cope with a crow, That crayfish grow on oak trees, That fish walk in fur coats, That apples blue That night comes at dawn, That the sea is dry and dry, That a lion is weaker than a fly, Cows fly best of all, Owls sing better than everyone, That ice is hot and hot, That the stove is dog cold, And that no bird is truthful with she can't compare! The magpie chirps, chirps - No one wants to listen to her: After all, there is no use in what the magpie chatters!
Exercise No. 20 “What a hyena”
The exercise develops reconstructive imagination based on S. Cherny’s poem “Hyena”. This poem is very picturesque and “visible”, so children can easily recreate the image of a hyena in their imagination and depict it.
The hyena is so disgusting:
Her muzzle is cheeky
The fur on the back of the neck is erect,
The back is like a knot,
On the sides (for what purpose is unclear)
rusty spots,
The belly is dirty and bald,
She smells like kerosene and rat...
It pokes into the bars - the tail is at the leg,
Eyes like Baba Yaga's.
And I feel sorry for her...
Isn't she offended?
Even a moth, even a jackdaw
Cute and pretty.
Uncle Volodin's fiancee explained to me,
Aunt Aglaya:
“Why is she angry?
Because she's ugly"
How to draw a crumpled sheet of paper.....Well, dear admirers of such an interesting, but rather demanding science - drawing, now the task will not be pleasant, but very, very useful. I really understand how you will feel now. This exercise is simply highly recommended to be done from time to time, and art school students go through it more than once. The exercise allows you to develop your eye, consolidate the material you have covered, and it also makes it very clear what stage of “drawing development” you are at now. Simply put, you see what you already know. Today you are performing the exercise for the first time, I hope not the last - it’s up to you.
Well, are you ready? Be very determined. We will make a drawing of a crumpled sheet of paper, cardboard, with an analysis of the fracture planes. Simply put, we will analyze the fracture planes of the paper volume.
For those who find it difficult, you can start by drawing on crumpled cardboard. There will be fewer fractures and the fracture planes themselves will not be small.
Slightly crumple a sheet of A3 cardboard and place it nicely in front of you. Look: each face resembles the face of a cube - and we have already learned to draw the cube itself and rotate it in space at different angles. When you understand this, the task does not seem so difficult. But this exercise is very, very useful for developing the eye.
Let me tell you a little more, before starting work, what an eye gauge is. In a nutshell and very simple. When you look at a still life, holding a pencil out in front of you - turning it horizontally and vertically, you take measurements relative to the “line” of the pencil. Determine conditional angles. This is how your eye doesn't work. The eye meter is your visual skills, something that only your eye remembers and analyzes. Your eye notices the relationships in front of you and helps you transfer them to paper. But with the help of a pencil or other handy means, you only test yourself. Additionally, there is also material on how to develop your eye.
Here is a photo of what we have to convey on paper. Let's get to work. And, probably, we will try to make everything as clear as possible and start, again, with something simple. First, let's take a small sheet of white cardboard; I take thick Whatman paper. Wrinkle it roughly as you like, but don't make it too wrinkled. Now let's take a soft material - coal and start drawing. You can draw on a piece of wallpaper approximately A3-A2 in size. There is no need to stretch the paper onto the tablet yet, just secure it to the easel. And yet, you should sit so that the easel is to the right of what you are going to depict. Otherwise, you will block the picture with your hand (for right-handers). For a left-handed person the opposite is true.
So, arrange a sheet of paper in paper space. Since we are already starting to draw such a “still life”, that is, to draw from life, it is imperative to show object plane. Our piece of paper doesn't hang in the air, does it? It is located on the table - the object plane. Find the place of the sheet on the object plane with its total volume - height, width, general outline. Afterwards, designate our experimental subject more specifically, checking the volume of paper on the table and in your sheet for consistency, and find a place for the largest planes and angles - along the bends of your cardboard. It is best to find proportional relationships using conditional three points. Draw without pressing the charcoal too hard on the paper, take care of the light - learn little by little to make a clean drawing.
After you have found the main volumes and the main proportional relationships of the planes and edges of the crumpled cardboard, you can identify smaller fractures and planes.
Only after all this work has been done do we begin to lay down the strokes - to separate the light from the shadow using shading. Just like with the cubes that we rotated in space, the same drawing principle remains here too. Separating the shadow from the light. Give the entire shadow part of the crumpled cardboard stroke - stroke you have already learned a little to lie down. I begin to designate the darkest shadows - the falling ones and the shadow of the object plane, since it will be closest to us, and therefore darker. There will be no darker tones in the drawing. Then I put a stroke on the rest of the shadow part. Now, we have identified the shadows, separated the light from the shadow. There is always tension at corners and intersections of planes - place emphasis in these places.
Next, you analyze the light-shadow relationships in the same way as with cubes in lessons 1, 2, 3. The near faces and planes to us will be highlighted more strongly, the far ones less. The fractures that are closer to us will be highlighted more strongly. The same goes for shadows. The shadows closest to us are darker, those that go into the air, into space, are weaker. Draw. A special attitude towards the falling shadow - it will be stronger than its own, but also, moving away into space, it will weaken.
Try to work slowly, do not press too hard on the coal rod. Don't overwork your work. If you have redrawn or smeared your work and don’t know what to do next, try again, taking into account past mistakes.
The object plane is illuminated, moving away into the air it will lose its activity and become darker. And the further away from the lighting, the less active its light will be. In relation to the wall, the object plane will be lighter. Remember the cube: the vertical object plane is illuminated, the background wall will be in shadow. But not in such an active plane as the shadow—the table breaks. If you project onto a cube, then the darkest shadow of the object plane will be the shadow side of the cube.
The same thing will happen with a crumpled sheet of paper. Kinks - like the faces of a cube will be highlighted, the corners are active, the planarity of the faces is clearly defined - the near ones are more active, the far ones are weaker. The chiaroscuro will be distributed according to the shape of the object - a crumpled sheet. The light on the object plane will be the most active, since it is closest to the mother. Moving deeper into the space of the sheet, the light becomes weaker, but will always be lighter than any shadow.
Now let's see what I got:
So soft material, in in this case You can use charcoal to draw a crumpled sheet of paper. Now let's analyze what happened to me.....
Do you see errors? Who said I don't see? The foreground is highlighted, this is understandable. Edges and sides are visible, accents are placed. But that's not all.
Let's sort out the mistakes! I want you to learn to see mistakes. In this case, mine, and then you’ll understand yours using mine as an example. We look at the pictures below and analyze:
This is what we captured at the very beginning. Let's see what happened:
Well, how does it look? How are things going with my eye? No way. Let's look at:
1. Blue shows that the object plane was not found.
2. Red shows that I have problems with the transmission of light (light gets darker as it moves into space).
3. Green shows how the main planes are found.
4. Yellow shows how the most visible near and active angle was found.
5. Well, brown for a snack - a falling shadow. That's enough for now.
In this case, the eye gauge worked very, very little. The primary task has not been solved - to find the object plane and the main proportional relationships of the crumpled sheet (height - width). Everything else has already gone wrong. And the conduct of the work itself is not correct.
Now rest a little and look at your work. Analyze everything the same way. You can use handy tools (pencil, ruler) to determine the correspondence of sizes and proportional relationships. You can control and correct the operation of the eye meter.
We draw another crumpled sheet of paper - we think, analyze and try
Now let's work more seriously and responsibly, taking into account all previous mistakes. I hope you remember them once and for all.
1. Prepare paper stretched over a tablet and a graphite pencil. Place a crumpled sheet at a distance of 1.5-2 meters from you, sit down at the easel. Then everything is as usual - find the place of your “crumpled experimental subject” in the space of the tablet sheet, determine the main proportions - height and width, angles and place of the largest planes.
When you determine the place in the space of the sheet for all the planes and bends - kinks, in other words - you find the design of the “experimental”, the constructive beginning, then rest a little. After a while, look at the work again - maybe something needs to be corrected. Proportions, proportions and more proportions! Until the proportional relationships of the main parts of the composition and their details are found, it is impossible to proceed to shading.
2. The second stage will be shading all the shadows present in our composition with one character - a crumpled leaf. We take and separate all the shadows from the light. A stroke of one key, lightly, analyzing the shape - on which planes the light will fall, and which will be in the shadow. If it is difficult to lay down a stroke, then you can make short strokes, like mine. Fill with them all surfaces that, one way or another, stronger or weaker, will be in the shade.
Here I begin to lay down strokes on the largest surfaces - the wall, that part of the object plane that is in the shadow. Notice that this resembles the structure of a cube. The object plane is the face of the cube that is exposed to the light. The wall is in partial shade, then there is a break in the object plane, which will be in the shadow.
Now I place a stroke on that part of the crumpled sheet that will be in the shade. I cover absolutely all the necessary areas that will be in the shadow part with shading. If it is difficult to lay down a stroke evenly, lean your little finger lightly on the tablet or support your hand under your elbow, but do not lean back side hands on paper.
3. Next we will try to show how the light will behave in our conditional sheet space. Let us again take on the largest and most basic surfaces. Our table is an object plane. She will be in the light. But we still need to convey its horizontal position. Let us also take into account the factor that, as the light moves away into space, it gradually goes out and fades away. So we leave the lightest that will be closest to the light source. And everything else will fade, darken. Moving away from us towards the wall the object plane will go into the air and lose the power of light. Moving away from the light source, the object plane will also receive less light and, naturally, darken.
Next we move to the wall. Our wall is in partial shade. In any case, if side factors do not influence, its tonality will be darker than the object plane. And, just as in the situation with the object plane, moving away from the light source, the degree of its illumination will decrease and it will receive less light.
Now let's move on to the darkest and most saturated shadow - the bend of the surface plane. This area will not be lit, in complete shadow. But, of course, we won’t make it black. This is not possible, this darkest shadow can be influenced by many factors that allow the darkest shadow in our composition to be lively, airy, transparent. But still the darkest. And let that part of it that is opposite our eyes be of the darkest tone, and let those parts of it that go away from us lose a little of their strength. The most contrasting part will also be in front of us, closer to us.
Note: Surely you are holding the pencil properly in your hand now? Well, it’s difficult, especially at first, to create such dark shadows with this hand position. I allow you to take a pencil for this very purpose, so to speak." native", as you write, and put a stroke of such power that this shadow is worthy. But in moderation, of course. Don’t make holes;)
I also want to add something else. If you visited the page on color science, then you already know how color behaves in space. We don't have color here. But there are clear, unshakable laws both in painting and in drawing: the light gets darker and goes out as it moves away. As the shadow recedes it brightens. But! The darkest half-tone in the light is still lighter than the lightest half-tone in the shadow.
In general, it is considered better that work should be carried out “on all fronts” at once. How to diffuse your vision, immediately perceiving the whole work, and draw not by details, but draw, touching on the object plane, and still life objects, and drapery... This way the drawing will turn out to be integral and this way it will be more correct to convey the light-shadow relationships. But here we will set the main “atmosphere” in the sheet for now, and then we will subordinate our “experimental” hero to it. This makes it easier to understand in what tonal “framework” it will be.
Here, now we outline the falling shadows. There will be two of them, one from the top lighting, the second from the side, and they beautifully overlap each other, reinforcing themselves. Look - when the shadow is closer to us, where it begins, there I make it darker, more active. As it moves away, it becomes softer and a little lighter. By the way, this is how it turns out to “put” it on a plane.
The falling shadow will be dark, darker than everything except the shadow of the object plane, where both the falling shadow and its own shadow are superimposed on one another.
4. The space in the sheet is given, the power of the pencil is exhausted, we understand what tonal gradation the subject will be in. Next we deal with the crumpled sheet itself. Note that the overall shadow of the crumpled sheet of paper will be darker than the half-tone of the wall. But in any case, it is lighter than the falling shadow. We work within this framework.
Do not forget that the crumpled sheet is the same sides, edges, corners. But finding their sizes, turns, and slopes is our task. We simply try to constructively analyze the experimental subject, conveying all his nuances with light and shadow.
We emphasize the breaks in the shapes, highlight the corners, and mark the intersections of the planes. Since the light falls according to the shape, we also try to lay the stroke according to the shape. In general, we analyze more and copy less.
This is the drawing we get. Already much better than the first time, right? The only thing I haven't touched on here at all is the glare. But now there is no need. To be honest, this is not an easy task for a beginner. But the one who endured and completed it, even if it didn’t turn out very well, received very necessary skills and grew one step, without a doubt.
Well done!!!
Goal: to expand teachers’ knowledge about non-traditional methods of drawing, namely, drawing with crumpled paper. Objectives: - to introduce special knowledge and practical skills in the field of visual arts unconventional ways drawing; - increase the level of teachers' skills.
Unconventional drawing attracts with its simplicity and accessibility, revealing the possibility of using well-known objects as artistic materials. And the main thing is that unconventional drawing plays an important role in the overall mental development of children. After all, the main thing is not the final product - a drawing, but the development of personality: the formation of self-confidence, in one’s abilities, and purposefulness of activity. Non-traditional techniques allow you to express feelings and emotions in drawings, give the child freedom and instill confidence in their abilities. Owning different techniques and ways of depicting objects or the surrounding world, the child gets the opportunity to choose.
Visual activities using non-traditional materials and techniques promotes the child’s development of: fine motor skills hands and tactile perception; Spatial orientation on a sheet of paper, eye and visual perception; Attention and perseverance; Thinking; Fine skills and abilities, observation, aesthetic perception, emotional responsiveness; In addition, in the process of this activity, control and self-control skills are formed.
Drawing with crumpled paper The first method: crumple a sheet of paper, straighten it, draw the intended design with any colors. On the folds, the paper absorbs paint more strongly, resulting in an interesting mosaic effect. The second method: crumple a piece of paper, dip it in paint and paint using the “lure” method.
