Non-traditional drawing techniques for children in kindergarten and school. The technique of drawing with crumpled paper in kindergarten, school: master class

("Finger painting", finger printing, "fingers - palette")

You can come up with a rule: each finger has a certain color, it is especially good to draw when there is no brush at hand. For this, gouache paints are convenient, which are poured into flat plates, lids from gouache jars.

1. Having dipped the PADS of your fingers in paints you can draw: "New Year's Confetti", "Scattered Beads", "Lights on the Christmas Tree", "Cheerful Peas", "Footprints", "Patterns on Dresses", "Fluffy Snow", "Sunny Bunnies", "Dandelions", "Fluffy Willow", "Sweet Berries", "Bunches of Rowan", "Flowers for Mom", "Whistler Haze".

2. If you dip the SIDE SIDE of your FINGER in the paint and attach it to the paper, you get "Traces" of larger animals, "Summer and Autumn Leaves", "Vegetable Salad", "Holiday Leaves".

If, in this way, DRAW LINES OF DIFFERENT LENGTHS, re-typing paint, then you can draw more complex objects: trees, birds, animals, landscape pictures and even decorative patterns, combining with drawing with the fingertip.

3. COMPLETE HAND INTO A FIST AND APPLY IT ON THE PAINT (diluted in an old plate), move it from side to side so that the paint is well smeared on the hand, then RAISE AND APPLY TO PAPER - large prints remain "Flower buds", "baby animals", "birds", and etc.

4. If you attach the side of your fist to a sheet of paper, and then make prints, then on the sheet appear "Caterpillars", "dragons", "body of a monster", fabulous trees and more.

TIPS: Before you start, make a few prints of different parts of your hand on a separate sheet of paper to see what shapes you can get. Swap your hands so that your fingerprints and fist marks curve in different directions.

Monotype

You will need gouache or watercolor, white or black paper, photographic paper (clarified), cellophane, glass, plastic wrap.

Types of work:

1. A sheet of paper is folded in half. ONE OF THE HALF IS SPOTS (warm or cold); the second half is pressed against the first, carefully smoothed into different

sides and unfolds. Guess what happened? Mirroring (butterfly, flowers, animal faces, etc.). IT IS POSSIBLE TO GIVE A READY FORM OF A BUTTERFLY and also fill one side with spots (there was an enchanted white butterfly - invite the children to conjure up - paint it in a monotype method);

2. A SHEET OF PAPER CAN BE FOLDED NOT ONLY VERTICALLY, BUT ALSO HORIZONTALLY - symmetrical images or twins are obtained (twin brothers, "Two chickens", "funny bears", "city on the river" - to draw a city on horizontally bent paper, opened - the city was reflected on the river), "masks" for the New Year and other national holidays.

3. Moisten a paper napkin with diluted paint and press various shapes of objects - blanks - to it. Then, print them on a blank sheet of paper or on a smooth surface.

4. Stains or gouache patterns are applied on glass, mirror, plastic board, paper, plastic film, a sheet of paper is placed on top and imprinted. Start with a small piece of paper, then the size of the 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, on ITS TREY SURFACE IT IS APPLIED WITH A LAYER OF PAINT (gouache) with a RAG TAMPON. Then a white sheet of paper is superimposed on top, on which it is drawn with a sharpened stick or pencil (but do not put your hands on the paper!). The result is an imprint - a mirror repetition of the drawing.

Children love landscape pictures "Night in the Forest", "Night City", "Festive Fireworks" and others. It all depends on the color of the chosen gouache, i.e. the color palette has already been thought out.

Tamponing

You need to make tampons from gauze or a piece of foam rubber.

1. The palette can be a blank stamp pad or just a square piece of flat foam rubber. This exciting activity for children gives the skills of a gentle and light touch to paper with a swab with paint of any color in order to draw something fluffy, light, airy, transparent, warm, hot, cold (clouds, sun, sun bunnies, dandelions - portraits of the sun, drifts, waves at sea, etc.)

2. If you take large tampons, you can draw a lot of curious fluffy chickens, ducklings, funny bunnies, snowmen, bright fireflies (adding the necessary small details).

3. At an older age, you can combine this technique with the technique " STENCIL". First, a stencil is cut out, then, pressing it with your fingers to a sheet of paper, draw around the contour with frequent light touches of the tampon. Carefully lift the stencil - what a crisp and clear mark left 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 them with invitation cards, postcards, napkins, "Scarves" (pavlovo - posadskys), "Flowers on the lawn", "autumn beds", landscape pictures, etc.

It is easy to make stamps and seals from vegetables (potatoes, carrots), an eraser, draw a conceived drawing on the cut or end and cut off everything unnecessary. On the other side of the vegetable or eraser, make an incision and insert a match without sulfur - you get a comfortable handle for the finished seal.

Now you need to press it against the pad of paint, and

then - to a sheet of paper, you should get an even and clear print. You can compose any composition, both decorative and plot.

Older children make up more complex compositions, adding the necessary details to the prints and expanding the items for prints: the soles of children's boots with a grooved pattern (you can depict a huge sunflower, a tree - a giant, etc.). large prints are especially good for decorating a hall, summer playgrounds.

Signet can be replaced with DRY LEAVES from different 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 a color. Turn the dry leaf with the left (convex) side up, paint well, then carefully turn the painted side onto the paper, remembering the composition, and gently press with your finger, remove - we get an imprint, an imprint that looks like a silhouette of a tree or shrub (if it is not a large round leaf forms). The trunk should be slightly finished, and the branches are the printed veins of the leaf.

Using this technique, you can teach children to navigate on a sheet of paper, think over two or three planned composition, laying out dry leaves on a sheet of paper, and then painting and printing them.

Drawing on wet (wet) paper

A sheet of paper is moistened with clean water (with a swab, foam rubber or a wide flute brush), and then apply the image with a brush or fingers.

On raw paper, you can paint with watercolors, starting with the younger age group. Tell the children about the animal painter E.I. CHARUSHIN, who used such a means of expressiveness, depicting fluffy little animals, chicks, funny and curious, like little children. Consider the books he has written and illustrated.

And there is a lot for such a technique: "Magic living clouds"that turn from lines and spots into various animals, “We lived - there were fish in the aquarium”, “Bunnies and rabbits”, “A little good friend (puppy, kitten, chicken, etc.)”.

To prevent the paper from drying out longer, it is placed on a damp cloth. Sometimes the images are foggy, washed out by rain. If you need to draw details, you need to wait until the drawing dries up or draw a very thick paint on a brush.

Sometimes a DIFFERENT WAY OF BLUR IMAGE is used. Take a bowl of water, draw lines on a sheet of paper, for example, the contours of autumn trees, in the upper part - a blue line (sky). Then put this sheet with the image down on the surface of the water, wait a little and lift it up sharply. Water spreads over the paper, eroding the paint, the color hits the color, the result is a bright and unusual picture. When it dries up, you can additionally finish the necessary details, for example, branches, trunk, i.e. any details you need. You can also highlight the outline with a thin black paintbrush.

Another option - STRETCHING THE PAINT - can be prompted to children when they are just starting to paint their picture, landscape or plot and it is necessary to fill the entire sheet, the entire space. Or when a child knows that he will have a two-dimensional composition and the sky will occupy a certain place. To do this, take the desired paint color and draw a line in the upper part of the sheet, then stretch it and blur it horizontally with water.

Drawing on crumpled (pre-crumpled) paper

This technique is interesting in that in places where the paper is folded (where its structure is disturbed), the paint, when painting, becomes more intense, dark - this is called "Mosaic effect".

You can draw on crumpled paper at any age. it is very simple. And the older children themselves carefully crease a sheet of paper, straighten it and draw on it. Then you can insert children's drawings into 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 on the brush, gray (gouache) on the entire pile, and white on the tip. When applying paints to a sheet of paper, the effect is obtained "Volumetric" Images. Flowers are also unusually beautiful and bright, especially fabulous, a miracle - trees or an unusual Ural-Siberian painting, when two paints are taken on a flat brush, and the brush, as it were, dances in the fingers of the master, leaving berries, flowers and leaves on a tree, birch bark, metal.

Drawing "fuzzies"

For this, the contour of the wet pattern is smeared with a dry, hard brush and you get flowers, flowering spring trees, elements of the Ural - Siberian painting, chicks, dandelions, etc.

The same expressive images can be obtained with a dry hard brush (bristles) if you hold it vertically in relation to the sheet and apply with abrupt strokes on dry paper on a sketch made with a simple pencil, or immediately depict animals, their fluffy hair, flowering bushes of lilac, apple or cherry trees and more.

Children are especially good at drawing portraits of their favorite toys, for which they first draw a contour, and then apply sharp strokes, going into the contour of the image. The more often 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 of a young artist - animal painter.

Bitmap

The drawing is applied with the tip of a brush, fingers of different sizes and paints of different colors. It turns out a mosaic pattern or again "fluffy".

Stroke drawing

To quickly depict animals, birds, to come up with and implement unusual fabulous pictures, you can visit an amazing country "GRAPHO". It is not on the geographical map, but it is everywhere where curious children live.

To do this, you just have to pick up a magic wand, which can be any pencil, felt-tip pen, wax or simple crayon, sanguine, pastel, art pencil - sauce.

Touch a sheet of paper and the doors of this country will open "GRAPHO". Everyone here loves to draw, draw, write. This country has its own language: stroke, line, spots, contour, silhouette, decorative line, decorative spot, geometric pattern.

The main 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 line that can be short and long, oblique and even, slightly noticeable and bright, wavy and moving in a circle, intersecting and with an influx of one another.

With the help of a stroke, you can tell about the nature of the object, about the properties of the material, convey its softness, airiness, tenderness, but also heaviness, gloom, harshness, sharpness, aggressiveness and reveal the image of the hero, his attitude to the environment.

A series of exercises "IMAGE »:

stroke, slightly touching the paper;

gradually increasing the pressure;

short and long stroke;

changing pauses - gaps between strokes;

a gradually shortening stroke and changing pauses - gaps;

stroke - zigzag with gradual lengthening and shortening;

changing stroke slope;

tilt to one side;

wavy stroke - zigzag;

a stroke in several rows;

stroke moving in a circle;

stroke going from the center of the circle.

The teacher must depict all these exercises himself, show the children what a stroke can do. Drawing lessons are simple, they are easier to paint and sculpture. Simply, drawing - graphics are very interesting, it develops spatial imagination, extraordinary thinking, which teaches you to think, fantasize, make independent decisions, educates the child to look for more difficult 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.

Aquatipia

Required: plexiglass (glass with smooth rounded corners), a sheet of paper, soap, watercolor, ink, brushes.

Paints are applied to the glass (watercolor using soap or ink), a sheet of paper is applied to 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 finish drawing with pencils, crayons, felt-tip pens.

Cliche

Large print; on a wooden block or cardboard cylinder, a pattern of thick paper or rope is glued on one side, on the cylinder over the entire surface. Paint is rolled and stamped - flowers, leaves, rugs, napkins, wallpaper for doll rooms, cloth for flat dolls, wrapping paper for gifts, etc.

A bar or cylinder has handles to make it easy to hold, stamp or make a poster (cylinder).

Aquatouch

Required: paper, gouache, ink, water is poured into a large flat vessel (basin).

Dilute the gouache and paint the image. When the gouache is dry, cover the entire sheet with one ink (black). After the ink dries, lower the drawing into a basin (bath) with water, i.e. "Show". Gouache is washed off in water, and mascara is only partially washed off. The paper should be thick, the image is large, the effect of a photograph is obtained.

Children are invited to be photographers. In the previous design lessons - to make a paper "camera", walking on the site, you can take a picture of who likes what, and then "show" in the laboratory using the "aquatouch" technique.

Another option for working on a bold layer: a bold layer is preliminarily applied to a sheet of paper - with a candle (you can apply it with your palm), soap (swab), etc. And paint is applied on top.

The drawing turns out "fluffy", as if bristling (hairy).

Mimicry in drawings

In psycho-gymnastics classes, you can train the ability to recognize the emotional state by MIMIK - expressive movement of the muscles of the face, by PANTOMIKE - expressive movement of the whole body, by VOCAL MIMIK - expressive properties of speech.

Let's reveal facial expressions in drawings. You can train the ability to recognize the emotional state along the line with the help of CUTTING TEMPLATES - a kind of PICTOGRAMS. This is a set of cards on which various emotions are depicted using simple signs, 5 pictograms:

First, the children consider, name the mood, then the cards are cut along the line dividing into the upper and lower parts of the face. Mix and find again on assignment, or those that you liked. You can finish painting the body, show facial expressions on yourself in front of a mirror, etc. The process of drawing itself can influence children, they become calmer and more accessible.

Music

After listening to a melody, a piece of music, children should pick up one card (pictogram). At first silently, and then, as if they describe the feelings caused by contrasting musical compositions, correlating them with mood maps. You can use polar definitions: cheerful - sad; cheerful - tired; the patient is healthy; bold - cowardly, etc. Then offer to draw the image seen in the cards, heard in the music.

Children more often collect joyful and cheerful faces, less - sad or with different moods.

These games exercise the ability to interact. Usually, children, without prompting, draw on 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 are especially fond of classes during which various poses are depicted on paper using CONDITIONAL FIGURES. Children call them "Skeletons" and better - "Little men".

Having received a card with a picture of a figure in one or another pose, children finish drawing it, and they remember which pose, which emotional state it corresponds to. Children begin to draw people's poses more quickly and expressively enough, already without reliance on conventional figures.

The new resulting yoke with patterns, conditional figures and blots, children then use in their free and thematic drawings.

Games - "invisible"

Need paper and simple (graphite) pencils.

Older children are invited to close their eyes and, to the music (waltz), draw involuntary lines (squiggles, scribbles - as children call them) on a sheet of paper with a pencil, to the rhythm of a piece of music (1 min.). Open your eyes, look at the lines and find a hidden image among them (animal birds, humans, trees, vehicles). Select them with colored pencils or felt-tip pens, circle them so that it becomes visible - it is understandable, slightly adding elements for the seen image.

The nature of the music can be very different. At first, you can give calm music, and then faster, more fun, and in accordance with this, the rhythm of the applied pencil lines will be different, so the images will already be seen differently.

The imagination of children will tell, their imagination is very vivid. At the first such games, the help of a teacher is needed, because children sometimes get lost, do not always see the hidden invisibles.

Painting with a candle or wax crayons

This way of drawing also surprises children, makes them happy, teaches them to concentrate, to be precise and accurate in drawing. This method has long been used by folk craftsmen when painting Easter eggs.

The bottom line is that the paint rolls off the surface on which it was drawn with a wax crayon or candle. A flute thread or a large swab with paint is taken and carried along the sheet - a drawing appears on a colored background: "Frosty tree", "Forest at night", "Patterns of Santa Claus on the window glass", "Fur coat for the Snow Maiden", "Snowflakes", "Lace napkins, collars, panels", "Northern Queen". Another variant: draw scribbles with a candle or just randomly arrange lines, and then draw an image of an animal, a bird with the intended color; first the contour, and then paint over it all - it turns out "fluffiness" (do not paint over wax), or the shell of a turtle, or stripes in a tiger, cells in a giraffe.

A very funny zoo! Fast, easy and fun!

Painting on fabric

The fabric is glued to the frame (preferably silk, plain).

The drawing is applied with ink, watercolors, 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, delicate, painstaking technique that requires perseverance, patience, and accuracy from children. Artwork for a gift card such as a souvenir (print on the wall).

Plasticine drawing

Rub a thick sheet of paper with the color of the plasticine that was conceived as a background (thickness 1 mm). Then with a swab on top, applying pieces of plasticine, creating a convex image "Bas-relief"

You can suggest scooping out, removing plasticine (as in the scratchboard technique). To arrange in a frame, and get a print for decorating a classroom, as a gift. Such interesting prints - panels are made collectively.

In all the proposed options for conducting classes in a non-traditional drawing technique, the help of an adult (teacher) is needed.

Copy paper handling

Copier paper is placed on top of a white sheet of paper; the drawing is applied over the copy with a finger, fingernail, stick. Then the copy paper is removed and remains - a graphic drawing.

To offer copy paper to children - colored.

Scratchboard

The scratching technique, it 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 with a wide brush or sponge several times. For the density of painting, you can prepare the following mixture: add a little shampoo (or soap) to gouache or ink and mix everything thoroughly in an outlet.

When dry, the pattern is applied by scratching with a knitting needle, a sharp stick and the appearance of white. It looks a lot like an engraving!

The white color of the paper can be painted over with colored spots or tinted with one color, depending on what you intend to depict, then after scratching the drawing becomes colored, children call such paper "Magic" since it is not known what color can show through the black wax layer. They are surprised, delighted and very interested in working. The result is very expressive fairy-tale images: "Magic flower", "fire - bird", "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 - a tree "," Night landscapes "," Visiting the Dwarfs ".

Linotypy

"Colored strings". You need a thread (or several threads) 25-30 cm long, paint 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 halves of the sheet, press on top with your left hand, smooth. Then, without removing your left palm from the sheet, with your right hand carefully pull out one thread after another, or just one. Expand the sheet ..., and there is a magic drawing: "Birds - swans", "huge flowers", "Vologda lace", "frosty patterns"(if the threads are dyed white and laid out on a colored background).

And there is no end to fantasy, imagination. And again, a beautiful exhibition! You can finish drawing only a little - a little, where it is necessary.

Dry leaf applique: butterfly, mushroom, duckling, tree, flowers - the simplest images. Or, attaching a dry leaf from a tree to paper, circle the contour with paint, remove it, and paint over the white spot as you want - it seems.

Blotography

Blot games help develop the eye, motor coordination, imagination and imagination. These games usually help relieve the stress of emotionally disordered children.

1. Put a large and bright blot (ink, watercolor paint), so that the blob - blot was "Live" if you shake a piece of paper, it starts to move, and if you blow on it (preferably from a straw or a straw from juice), then it will run up, leaving a trail behind it. Blow again, turning the sheet in the direction where some image is already visible. You can still drop a blot of a different color and blow again - let these colors meet, cross each other, merge and get a new color. Look at what they look like, if you need to paint on semantic elements a little.

2. You can get a fantastic image without blowing out air, but by shaking the paper, and droplets - blots run along the sheet. And if you first apply wax lines on a sheet of paper with a candle, and then drop paint or ink, then the blot "runs" faster on the paper, leaving many interesting traces.

3. Take a large long sheet of paper (the back of the wallpaper or glued old drawings), lay it on the floor or walkway. Children take a candle (pieces) and draw squiggles, chaotic lines, then take ink (black, red) or color and spray it over the entire surface of the paper path (under the guidance of a teacher), and then, lying on the floor facing each other along the path, begin blow on blots. This is a fun game, improvisation - blots run, roll down, collide, run away, find each other. When you played, painted with air, get up, rest and see what happened? - lace track, fabulous picture, individual images (devil, hare ears, birds, fish, trees, bushes, etc.). If you want, you can finish painting or leave it in this form and decorate the wall in the corridor, passage, in the dressing room, hall.

4. Among the teaching aids, the most effective and organizing is MUSIC... Blotography can be combined with music. Give children small pieces of paper, spray paint or ink. Taking the sheet in their hands, the children move to the music and the rhythm of their body is transmitted to the "live" drop, she also draws while dancing. See what happened and, if necessary, finish drawing. The nature of the music can be different.

Splashing

Or paint splatter. This technique is simple and familiar to many. Its essence is spraying drops with a toothbrush or a brush for cleaning clothes, stacks (wooden or plastic sticks in the form of a scalpel, knife). Paint is collected on the brush, the brush is in the left hand, and with a stack, draw over the surface of the brush with quick movements towards you. The splashes will fly onto the paper, if a stencil is located on it, then they will not splatter - forming white silhouettes.

Over time, the drops will be smaller, they will lay down more evenly and where needed. It is convenient to work with this technique in the summer on the veranda or in a group in the evening with a small subgroup of children or individually. The topic for this technique can be surprises, gift greetings (invitations, cards, posters, announcements): "Napkins for Mom", "Snowfall", "Golden Autumn Spun", "Spring Pictures".

The show is not a dogma, but an impetus to search!

In this case, the VARIANT display is one of the most important stimuli for the accumulation of art experience in schoolchildren. It is advice, help, conversation, praise, teaching and play, story and demonstration. Using the proposed recommendations creatively, you can awaken a steady interest in drawing in children, help them master visual skills.

Unconventional drawing techniques, and there are many more, will help children feel free, give them the opportunity to wonder and enjoy the world, get acquainted with the techniques of many artists and try to create beauty themselves.

Exercise number 1 "Magic spots"

The child is invited to fold the album sheet in half and draw watercolor or gouache spots on one half. Then fold the sheet along the fold and iron it with your hand so that the spots are printed on the other half of the sheet. The resulting symmetrical spots the child is invited to consider and think about what they look like. Then you can take a brush, pencil or felt-tip pen and paint a blot to get a subject drawing: an animal, a person, a plot scene, etc.

Exercise number 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 what it resembles. Then finish painting the image.

Exercise number 3 "Three colors".

Invite your child to take three paints that he thinks are suitable for each other and fill the entire sheet with them. What does the drawing look like? If it is difficult for the child to do this, allow him to finish the drawing a little, if necessary. Now offer to come up with as many names for the picture as possible.

Exercise number 4 "Dorisuy-ka"

2-3 pieces of colored paper are pasted on the card. The shape and color of the pasted drawings are very different.

Task for children: carefully consider the proposed card, you can rotate it in different ways. And then finish drawing the applique so that something recognizable is obtained: the figure of a man, an object, an animal.

Game - relay race No. 5 "Transformation".

Each of the participants in the game draws one element at a time to a given object (for example, a circle) so that this object turns into another (for example, a yacht, etc.).

Examples of transferring properties from one item to another:

Fish - machine

Cup and saucer - ship

Plates - parachutes

Iron - steam locomotive, etc.

Exercise number 6 "Composing an image from geometric shapes"

It is proposed to compose the figure of an animal or a fairy-tale hero from the same sets of geometric shapes. The option of making geometric shapes from a square of colored paper (100x100 mm) is possible. It is cut as follows:

Exercise number 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 motive of the invented landscape can be simple - only 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 drawing.

Game number 8 "Colored Stories"

The game proceeds as follows: children are presented with a colored strip, pointed to the upper extreme square and asked: “What does he look like? What is this color? " Based on the child's answer, the adult comes up with the first sentence, and the children compose the rest based on the associations of each next colored square with the realities of the surrounding world.

One eight-color strip allows you to create many stories. The strip can be transformed into a seven-color flower, and in the future, for writing, it is possible to use sets of scattered colored squares, the choice of a certain number of which can be carried out at random.

Exercise number 9 "What do spots look like?"

The child is invited to paint colored spots on one sheet of paper with gouache or watercolors. Then print these spots onto another sheet. The resulting identical spots need to be completed in order to get different images of objects, plants, animals, etc.

Exercise number 10 "Finishing the plot drawing on

a given fragment "

The child is offered a sheet of paper with a piece of cloth glued to it. The pattern of the fabric will suggest the motive of the future pattern. It can be a landscape, portrait, still life, everyday scene. Having completed your drawing, you must try to include a piece of fabric in it.

Exercise number 11 "Whose thing?"

Students are given a card with a drawing of one detail: a shoe, a key, a broom and other attributes of fairy-tale characters. The student needs to recognize the hero and finish painting Cinderella, Buratino or Baba Yaga, respectively.

Exercise number 12 "Home for a fairytale hero"

The sheet depicts a fairytale hero. Assignment: draw a house for this hero. While drawing, it is necessary to imagine where this hero of the fairy tale lived, to imagine how his habitat looks like.

Exercise number 13 "Funny people"

It is proposed to portray funny people from different numbers or from one. The numbers can be drawn in different directions and in a mirror image. You can draw a family of ones, etc.

Exercise number 14 "Non-existent animal"

The exercise is based on the agglutination method. The child is invited to draw a non-existent animal, combining parts of known animals and come up with a name for it.

Exercise # 15 "Creating Images from Prints"

Using different materials for the stamp - nails, caps, corks, etc. it is proposed to draw animals and men.

Students' interest in this activity may be due to unconventional stamp selection. His role can be played by fingers.

Exercise number 16 "Music"

Children are invited to listen to a fragment of a piece of music, for example, pieces of the play "Song of the Lark" or any other of Tchaikovsky's "Seasons". After listening to music, the child is given four colors: red, green, blue and yellow. He must depict the music he hears with the help of these colors and give the title to his drawing. At the end of the work, we hold a competition for the received drawings and titles to them.

Game number 17 "Drawing a still life by imagination"

Children should paint a still life on a given theme. 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 ground mapping. The theme is the same for all children.

Original themes for still life:

"Butterfly on a blossoming flower"

"Apple on a porcelain platter"

"Autumn Leaves on Cold Ground"

You can come up with your own themes. Upon completion, it is necessary to hold an art competition and choose a winner. You can just arrange an exhibition of children's work.

Exercise number 18 "Search for emotionally adequate images"

An emotional situation (object, being, experience) is set and it is proposed to depict it in the form of a schematic drawing (or to 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 out the following options: a person flies, sparkles, dances, the sun shines in the human body, etc. When summing up, both the total number of proposed answers and originality are taken into account; brainstorming and creativity is possible.

Exercise number 19 "Shifters"

The exercise reinforces the correct, adequate ideas about the world around, which are affirmed in the child's mind, being passed through the prism of imagination.

The children are invited to come up with a city where the opposite exists, let them imagine unprecedented fruits on trees (socks, mittens, etc.), the colors in which the objects are painted. To activate the imaginative imagination, you can read the poem "Soroka" by B. Zakhoder:

Soared forty high.

And here the magpie chatters, That the sugar is terribly salty, That the falcon will not cope with the crow, That crayfish grow on the oak, That the fish walk in a fur coat, That the apples are blue, That the night comes from dawn, That the sea is dry and dry, That the lion is weaker than a fly, Cows fly better than everyone, owls sing better than everyone else, That the ice is hot-hot, That there is dog cold in the stove And that no bird In truthfulness can compare with it! The magpie chirps, chirps - No one wants to listen to her: After all, there is no good in what the magpie talks about!

Exercise number 20 "That's what a hyena"

The exercise develops a recreational imagination based on the poem by S. Cherny "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 nasty:

Her face is impudent,

Wool up on the back of the neck

The back is a bitch

On the sides (for which it is not clear)

Rusty stains

The belly is dirty and bald

She smells like kerosene and rat ...

Will poke into the lattice - the tail is at the foot

Eyes like Baba Yaga.

And I feel sorry for her ...

Doesn't she feel hurt?

Even a moth, even a jackdaw

Pretty and pretty.

Uncle Volodin's bride explained to me,

Aunt Aglaya:

“Why is she angry?

Because she is ugly "

Today we have prepared for you an unusual master class in drawing... Everyone is accustomed to using only new materials for creativity. Our children are even more conservative in this, a painted or crumpled sheet in their opinion is considered unsuitable and put aside.

Let's try to break both our own and children's stereotypes and try draw on crumpled paper... But where can I get it, suitable for drawing and at the same time beautifully dented? Now we will deal with this. It is better if an adult himself carries out this work for a small child, older children, starting from the age of 5, can cope with such work, but it is better to carry it out under the supervision of parents so that there is an opportunity to help and control the process.

Preparing materials: landscape sheet, water, brush, paints and napkins.

Let's prepare our sheet. Let's wet a napkin and rub the album sheet with it. Without waiting for the water to dry, we begin to gradually crumple and crush the leaf. We try to do this carefully so as not to tear the paper.

We straighten the sheet and while it is still damp, its surface has become uneven and, possibly, even rough, and, while it is still damp, we begin to draw whatever we want. The work performed on such a sheet of paper looks very different than on a smooth background. Using water shading can achieve very unusual effects.

You can create a backdrop for future artwork while aging the paper. To do this, wet the sheet with a napkin or brush, apply a few color spots and crease the paper until it has time to dry.

The extraordinary relief with color transitions is ready to become the basis of the future drawing.

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How to draw a crumpled sheet of paper ..... Well, dear admirers of such an interesting, but rather demanding science, drawing, now there will be a task that is not pleasant, but very, very useful. I really understand how you will feel now. This exercise is just highly recommended from time to time, and art students go through it more than once. The exercise allows you to develop an eye, to consolidate the material passed through, and it is very clear from it that at what stage of "drawing development" you are now. In simple terms, you see what you already know how. Today you are doing the exercise for the first time, I hope not the last - it's up to you.

Well, tuned in? Tune in very strongly. 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 are difficult, you can draw crumpled cardboard for a start. There will be fewer kinks and the kink planes themselves are not small.
Crumple a sheet of A3 cardboard a little and lay it beautifully in front of you. Look: each face resembles a face of a cube - and we have already learned how to draw the cube itself and rotated 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 is. In a nutshell and very simple. When you look at a still life with a pencil stretched out in front of you - turning it horizontally and vertically, you measure against the "line" of the pencil. Define conditional angles. This is how your eye gauge doesn't work. The eye meter is your visual skills, something that only your eye remembers and analyzes. Your eye sees the relationships in front of you and helps you transfer them to the paper. But with the help of a pencil or other handy means, you are only checking yourself. Additionally, there is still material - how to develop an eye.

Here is a photo of what we need to convey on paper. Let's get to work. And, probably, we will try to make everything as clear as possible and start, nevertheless, again, with a simple one. First, take a small sheet of white cardboard, I take a thick Whatman paper. Crumple 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 paint on a piece of wallpaper about A3-A2 size. You don't need to pull the paper over the tablet yet, just clip it to your easel. Also, you should sit so that the easel is to the right of what you are going to portray. Otherwise, you will block the painting with your hand (for right-handers). For a left-handed person, it's the opposite.

So, arrange the sheet of paper in paper space. Since we are already starting to draw such a "still life", that is, to draw from nature, it is imperative to show object plane... Our sheet of paper doesn't hang in the air, does it? It is located on the table-object plane. Find the place of the sheet on the object plane with a total volume - height, width, general outline. Then designate our subject more specifically, checking the volume of paper on the table and in your sheet for compliance, and find a place for the largest planes and corners, along the bends of your cardboard. It is best to find proportional relationships using conditional three points. Draw not pressing hard with charcoal on the paper, take care of the light - learn to make a clean drawing little by little.

After you have found the basic volumes and basic proportional ratios of the planes and faces of the crumpled cardboard, you can select smaller kinks and planes.

Already only after all this work done, we begin to lay down the stroke - to separate the light from the shadow with the help of hatching. As well as with the cubes that we rotated in space, the same drawing principle remains here as well. Separate the shadow from the light. Give the entire shadow part of the crumpled cardboard a stroke - you have already learned a little how to lay down a stroke. I begin to designate the darkest shadows - falling 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 picture. Then I put a stroke on the rest of the shadow part. Here, we marked the shadows, separated the light from the shadow. At the corners and intersections of the planes, there is always tension - make accents in these places.

Next, you analyze the light-shadow relations in the same way as with the cubes in lessons 1, 2, 3. The near faces and planes to us will be emphasized more strongly, the far ones weaker. Kinks that are closer to us will be highlighted more. So it is with shadows. The shadows closer to us are darker, those that go into the air, into space are weaker. Draw. A special attitude to 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 hard on the coal rod. Don't redo the work. If you have redrawn, smeared the work and do not 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 will become darker. And the farther 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 lit, the background - the wall will be in shadow. But not in such an active one as the shadow of the object plane - the break of the table. If you project onto a cube, then the darkest shadow of the object plane will be the shadow side of the cube.

The same will happen with a crumpled piece of paper. Kinks - like the edges of the cube will be highlighted, the corners are active, the planality of the edges is clearly defined - the near ones are more active, the distant ones are weaker. Chiaroscuro will be distributed according to the shape of the subject sheet. The light on the object plane will be the most active, as it is closest to the mothers. Moving deeper into the space of the sheet, the light becomes weaker, but it will always be lighter than any shadow.

Now let's see what I got:

So with a soft material, in this case, you can draw a crumpled sheet of paper with charcoal. Now let's analyze what I did ...
Do you see mistakes? Who said I don't see? The foreground is highlighted, that's understandable. The edges and sides are visible, the accents are highlighted. But that's not all.
Let's analyze the errors! I want you to learn to see mistakes. In this case, mine, and then you will disassemble your own on the example of mine. We look at the pictures below and analyze:

Here is what we captured at the very beginning. Let's see what happened:

How does it look like? How are things with my eye gauge? No way. We disassemble:
1. Blue shows that the object plane was not found.
2. Red shows that I have problems with the transmission of light (the light moving away into space gets dark).
3. Green shows how the main planes were found.
4. Yellow shows how the most visible near and active corner is found.
5. Well, brown for a snack - a falling shadow. Enough for now.

In this case, the eye gauge worked very, very little. The primary task has not been solved either - to find the object plane and the main proportional ratios of the crumpled sheet (height-width). Everything else has already gone wrong. And the conduct of the work itself is not true.

Now take some rest and look at your work. Analyze everything the same way. You can use handy tools (pencil, ruler) to determine the appropriate size and proportional ratios. You can control and correct the work of the eye.

We draw a still crumpled sheet of paper - think, analyze and try

Now let's work more seriously and responsibly, taking into account all the previous mistakes. I hope you remember them once and for all.

1. Prepare the paper stretched over the flatbed and lead pencil. Place a crumpled sheet at a distance of 1.5-2 meters, sit down at an easel. Then everything is as usual - find the place of your "crumpled experimental" in the space of the sheet-tablet, determine the main proportions - height and width, angles and place for the largest planes.

When you determine the place in paper space for all the planes and bends-kinks, in other words, you will find the "experimental" design, the constructive beginning, then take a little rest. After a while, look at the work again - maybe you need something to fix. Proportions, proportions and proportions again! Until the proportional ratios of the main parts of the composition and their details have been found, it is impossible to proceed to shading.

2. Already the second stage will be the shading of all the shadows present in our composition with one character, a crumpled sheet. Take and separate all the shadows from the light. With a stroke of one tonality, lightly, analyzing the form, on which planes the light will fall, and which will be in the shadow. If the stroke is difficult to lay down, then you can make short strokes, like mine. Fill all surfaces with them, which one way or another, stronger or weaker, but will be in the shade.

Here I begin to put a stroke on the largest surfaces - the wall, that part of the object plane that is in the shadow. Note that this resembles a cube structure. The object plane is the face of the cube that is in the light. The wall is in partial shade, then a break in the object plane, which will be in the shade.

Now I put a stroke on the 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 hatching. If it's hard to get the stroke straight, lean your little finger lightly on the tablet, or support your hand under your elbow, but don't lean with the back of your hand on the paper.

3. Next, we will try to show how light will behave in our conditional paper space. Let's take again for the largest and most basic surfaces. Our table is the 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 it recedes into space, the light gradually fades out, fades away. So we leave the lightest what will be closest to the light source. And everything else will go out, darken. Moving away from us to the wall, the object plane will go into the air and lose light... Moving away from the light source, the object plane will also receive less light and, naturally, darken.

Then we move on to the wall. The wall is in partial shade. In any case, if side factors are not affected, 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 we turn to the darkest and most saturated shadow - a break in the permeted plane. This area will not be lit in full shade. But naturally, we will not make it black. So it is impossible, this very dark shadow can be influenced by a lot of factors that allow the darkest shadow in our composition to be lively, airy, transparent. But, as before, the darkest. And let that part of it, which is opposite our eyes, be of the darkest tone, and those parts of it that leave us to the sides lose their strength a little. 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. For this very purpose, I authorize you to take a pencil so to speak "native", as you write, and put a stroke of such power, which is worthy of this shadow. But moderately, of course. Do not make a hole;)

I also want to add something. If you've visited the page on color science, then you already know how color behaves in space. We have no color here. But there are clear, unshakable laws in both painting and drawing: the light goes dark, goes out. The receding shadow brightens... But! The darkest tint in the light is still lighter than the lightest tint in the shadow.

In general, as it is considered better, the work must be carried out at once "on all fronts." How to diffuse your vision, immediately perceiving all the work, and to draw not in detail, but to draw, affecting the object plane, and still life objects, and drapery ... This way the drawing will turn out to be whole and so it is more correct to convey light-and-shadow relations. But here we will set the main "atmosphere" in the sheet for now, and then we will subordinate our hero - "experimental" to it. This makes it easier to understand in what tonal "frames" it will be.

Here, now we outline the falling shadows. There will be two of them, one from the overhead lighting, the second from the side lighting, and they beautifully overlap each other, strengthening themselves. Look, when the shadow is closer to us, where it starts, there I make it darker, more active. Moving away, it becomes softer, a little lighter. By the way, this is how it turns out to be "put" on a plane.
The falling shadow will be dark, the darkest of all, except for the shadow of the object plane, where both the falling and its own are superimposed on one another.

4. The space in the sheet is set, the power of the pencil is exhausted, we understand in what tonal gradation the subject will be. Next, we deal with the crumpled sheet itself. Note that the general 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 to find their sizes, turns, slopes is our task. We just try to constructively disassemble the subject, conveying all its nuances with light and shade.

We make accents on the breaks of the shapes, select the corners, and mark the intersections of the planes. Since the light falls in shape, so we also try to lay down the stroke in shape. In general, we analyze more, copy less.

Here's a drawing we get. Much better than the first time, right? The only thing that I have not touched on here at all is glare. But now it is not necessary. To be honest, this is not an easy task for a beginner. But the one who withstood and finished it, even if it didn't work out very well, received the very necessary skills and grew one step, no doubt.
Well done!!!

The drawing master class is designed for lessons with children in art studios and in fine arts lessons. You can work in this technique both from nature and from memory. Images of trees, leaves, vegetables and flowers look advantageous.

Purpose: performance of a competition work in fine art on the theme "Mirror of Nature", which will later become a wonderful decoration of the interior of the room.

For work we need:

• A3 paper (you can take A4 for the first time). I advise you to try it on paper of different texture. For a start, you can take a regular album sheet.
• Watercolor;
• Palette;
• Squirrel or column brushes (set);
• A jar of water.

Progress:

1. With a pencil on smooth dry paper, 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 get dirty.

3. Gently spread the crumpled sheet of paper on the table with your hands.

4. It is necessary to decide in advance on the color scheme of the future work. I suggest using a limited palette. The color of the future work will be cold, respectively, the colors will prevail: purple, blue, lilac, blue. Start painting with lighter colors, gradually moving towards darker and more saturated ones. It is better to work on slightly moistened paper, so the colors will blend smoothly with each other according to your idea. It is necessary to wet the fragment of the drawing that is to be done next.

5. If necessary, you can return to the elements of the pattern already made in color to enhance light and shade and add different shades. Working with a limited number of colors, we concentrate on creating a volumetric image, rather than racking our brains over choosing a color.

6. In order to highlight the center of the composition, it is necessary to perform the background in calmer cold colors. To work out the cores of the flowers with warm colors using the "poke" method, with an intensification of the color in the center.

7. Paint over the crocus leaves one by one. For drawing leaves, all shades of green and some cool notes are suitable. You can use 2 techniques: drawing on pre-wetted paper, and part of the drawing on dry. I decided to make dew drops on the leaves of crocuses. To do this, you must leave these places unpainted.

8. To create an aerial perspective, you need to work more carefully on the flowers in the foreground. During work, do not forget about chiaroscuro. Therefore, on the shadow side of future dew drops, draw falling shadows. During the execution of the work in color, the paint flows interestingly into the created "cracks", creating a beautiful craquelure.

9. It's time to perform in the color of the water droplets. To do this, from the shadow side, using a gentle emerald color, draw a shadow on the drop itself. Attention! Leave the contours of the drop unpainted.

From the lighted side, we show the reflexes of purple and golden colors. Leave the glare intact.

10.Now the drawing needs to be dried and ironed on the reverse side with an iron.

The work is ready. Many cracks allegedly formed on the surface, the picture looks like the canvases of artists of the last century.

Thank you for attention! All new creative victories!

Among the various drawing techniques, one stands out, rather unusual - drawing with crumpled paper. This technique attracts attention for its simplicity and uniqueness. It is also available to little children, although it deserves special attention from experienced artists.

Benefits of drawing with paper

This drawing method is very simple, because the smallest child can crush the paper into a ball. In addition, kids really like this activity, so why not turn it into a useful game.

Any paints are suitable for this type of creativity, but it is better, of course, gouache or watercolor. They need to be diluted with water, which kids will also gladly do.

The main advantage of this method is that drawing with crumpled paper contributes to the development and manifestation of children's imagination. After all, each stroke of a smear of paper will be unusual, unlike the next. And in each of them the child will see completely different things.

Execution technique

It doesn't take much material and effort to create a small masterpiece. The simplest and most accessible materials are enough to start the lesson.

Before starting work, it is necessary to prepare a sheet of paper where the drawing will be created, paints and containers in which they can be diluted with water. It is also worth preparing several napkins, from which you need to create arbitrary lumps. If the drawing is combined, that is, you combine the usual drawing technique and drawing with crumpled paper, you should prepare a brush.

After all the preparations, it is worth considering the details of the future drawing and trying to reproduce them. The most important thing in this type of creativity is imagination. It depends on her how the final result of the work will look.

Care should be taken to ensure that the lumps of paper are of different sizes and degrees of compression. Then the prints that will remain will turn into a wide variety of shapes. It is safe to say that this is the easiest technique. Drawing with crumpled paper can turn common business into fun.

How to create a painting?

To get started, you need to prepare paints. To do this, they are bred in specially prepared containers with a small amount of water. It is worth remembering that the more water, the lighter the tone of the selected color, and vice versa.

The second step is to prepare the "lumps" of paper. It is advisable to make them in advance from a paper napkin or other. It is not advisable to take newspaper sheets - prints of black printing ink may remain on the picture.

When everything is ready, you can safely start drawing with crumpled paper. An adult can show a master class for a child so that the principle of creating a picture becomes clear. But since this is one of the simple and accessible types of creativity, learning is fun and exciting.

Undoubtedly, in order to get a full-fledged drawing, it is necessary to draw some lines or backgrounds with a brush - be it the sky, grass, or parts of an animal's body.

Clouds, the sun, the body of various animals are excellently obtained from crumpled paper.The list is endless, the main thing is fantasy, yours and the child.