Color perception in children of primary school age. Formation of color perception in children of primary preschool age. Exercises and games to develop children's color perception

According to biblical legends, the first person to see a rainbow was Noah, who survived the Flood. The appearance of a multi-colored miracle in the sky became a harbinger for him that all the troubles were behind him and everything would be fine in the future. Probably from that very moment color began to be associated with life.

Color is a powerful means of influencing a person: it revives and gives strength, delights and depresses, gives happiness and brings sadness, creates a feeling of warmth and cold, crampedness and spaciousness.

The human eye is capable of distinguishing about 1.5 million shades, and women are more sensitive in this regard than men, and children and young people under 25 can distinguish a greater number of colors and shades than thirty-year-olds and older people.

Scientists claim that a child is able to perceive color not only with the brain, but also with the whole body, even with the skin. For example, in a room where red tones predominate, a child’s pulse (even if he is blindfolded) increases; in a yellow room it returns to normal, and in a green room it slows down.

In a modern comprehensive school, more attention is paid to the issues of social adaptation of children in the process of their education than to the color scheme and harmony of classes, although, of course, one is integrally connected with the other. The digestibility of the material, the relationships between children, and, possibly, academic performance in general depend on the color scheme of the interior. In this regard, the problem of developing color perception and color reproduction in primary school students who differ in their individual psychophysiological characteristics of color perception becomes relevant.

IN primary school Children who are studying are a heterogeneous group. Among them there are schoolchildren with a lack of development of color perception abilities, as well as with psychophysiological characteristics of vision and color reproduction. The priority of the interests of the individual for this contingent of students involves the formation, formation, and development of color perception as one of the important conditions for their social adaptation, which can be fully implemented in fine arts lessons.

Primary school age is a crucial period in the development of children. This is a time of active formation of ideas about the world around us, in which color is given great importance as important feature objects and phenomena. fine perception color game

In this regard, the issues of pedagogical management of the processes of visual activity become relevant. junior schoolchildren and, above all, the problem of developing color perception abilities.

This problem is of particular relevance due to the insufficient development of questions aimed at determining pedagogical conditions, methods, and methods for the effective formation of color perception in children of primary school, with individual characteristics of color perception.

Teachers working with primary schoolchildren often find it difficult to organize the process of teaching fine arts to children with individual psychological characteristics of color perception. These difficulties are associated with the lack of development of practical methods for identifying individual psychological characteristics of color perception, ignorance of the methodology for developing color perception in younger schoolchildren, and the lack of pedagogically correct assessment of children's work performed by students with color vision impairments. These and related issues have not yet received adequate coverage.

The solution to this problem acquires special importance in the context of the development of a child’s personality through the means of fine art, since in art lessons color carries social-adaptive and communicative, artistic-figurative, aesthetic, emotional and other functions.

All of the above is a justification for the relevance of the problem and research topic. The scientific literature has accumulated certain data that makes it possible to pose and solve the problem of developing color perception in primary schoolchildren of secondary schools.

The works of scientific physiologists S.S. are of undoubted value for our research. Alekseeva, K. Auer, L. Terek, V.P. Ershakova, I. Itten, S.V. Kravkov, L. Luckhard, V. Ostwald, P.A. Shevarev, who studied the process of color perception by the human eye and revealed individual characteristics human color perception. Such educators and teachers as Jan Amos Comenius, Johann Heinrich Pestalozzi and Friedrich Froebel paid attention to the issues of familiarizing children with color and teaching them the elements of painting at the initial stages of education in a comprehensive school.

Based on the humanistic paradigm of schoolchildren’s education, primary school teachers need to theoretically substantiate, model and experimentally test the process of teaching color perception and color reproduction, which allows for the development of schoolchildren, including those with color perception disorders, in order to ensure their full existence and activity.

The main idea of ​​my work is “do no harm.” After all, “a child is a parchment covered with hieroglyphs, only part of which you can read, and some you can erase or “cross out” and add your own content” (Jan Korczak).

Preschool age is an important stage in the development of a child’s psyche, which creates the foundation for the formation of new mental formations that will develop in the process of educational activities. This period not some isolated stage in a child’s life, but one of the stages in the course of mental development, interconnected with other stages of development.

For the development of any mental process there is “its own” sensitive period. It is very important not to miss a favorable moment in the development of a particular mental process in a child.

D.B. Elkonin emphasized that “the development process is, in a certain sense, an irreversible process; “complaints” are impossible here; it is impossible to return the young man to school for “finishing work,” “additional development.” (Elkonin D. B., 1980, p. 60)

Therefore, it is very important to notice early forms of deviations from the normal course of child development.

The need for early diagnosis is determined by the most important property of the nervous system, such as plasticity.

Research by Ivan Petrovich Pavlov showed that the younger the organism, the more plastic the nervous system is and reacts flexibly to external influences.

The importance of modern correctional and developmental work is given a lot of attention in the works of Lev Semenovich Vysotsky. He proved that in the development of a child there are age periods in which a certain process, a specific function is formed more quickly, and, what is even more valuable, they have a high level of internal structuring and rich interfunctional relationships. It is almost impossible to achieve such completeness in any other period.

Guided by these beliefs, I worked on developing perception and its properties in younger children preschool age.

IN early age In the process of acting with objects, the child has accumulated certain experience, vocabulary, and understands speech addressed to him. Thanks to these achievements, the youngest preschooler begins to actively master the world around him, and in the process of this mastery, perception is formed.

Perception younger preschoolers(3–4 years) is of a subject nature, i.e. all properties of an object, for example, color, shape, taste, size and others, are not separated from the object in a child. Children see them together with the object and consider them to inseparably belong to the object.

During perception, children do not see all the properties of an object, but only the most striking, and sometimes one property, and by it they distinguish the object from other objects. For example, the grass is green, the lemon is sour. Acting with objects, children begin to discover their individual properties, the variety of properties in an object. This develops their ability to separate properties from the object itself, to notice similar properties in different objects and different ones in the same object.

In developmental classes, this principle of interaction with objects and their properties was taken into account. In this connection, visual, demonstration and handout materials were selected and prepared for each lesson.

This work with children is also relevant for another reason: in the city’s preschool institutions, a significant percentage of teaching staff (educators) are primary school teachers.

The specifics of elementary school and kindergarten are seriously different from each other, teachers experience difficulties working with children, thereby missing a sensitive period of perception development.

I have selected diagnostic methods for this age category of children - these are “Catch a ball”, “Box of shapes”, “Construction according to a model”, “Disassembling and folding a nesting doll”, “Disassembling and folding a pyramid”, “Paired pictures”, “Constructing from sticks", "Draw".

Having analyzed the content and requirements of the program in which the kindergarten operates, the level of preparedness of teachers, the results of diagnostic examinations, taking into account the age, psychological and physiological characteristics of children, a program of developmental classes was drawn up for the second junior group.

Purpose of the program:

Teaching children basic actions and rules of perception, developing the ability to distinguish individual properties of objects, their features and purpose.

1. Teach children to combine the properties of objects into a holistic image of the object.
2. Learn to recognize familiar objects, notice their differences and similarities.
3. Continue familiarization with new unfamiliar objects and phenomena, using perceptual (examination) actions in practice.
4. Develop the perception of shape, color, size, space.
5. Expand children's horizons.
6. Teach children how to handle objects, help them discover the basic properties of objects, their purpose, and features.
7. Form cognitive activity and curiosity.

Taking into account the unique development of the psyche of children of this age, the peculiarities of perception, the involuntary development of mental processes, in particular, attention, I used the following general structure of each lesson.

Lesson structure.

1. Game to develop shape perception
2. Game to develop color perception
3. Game to develop the perception of size
4. Game for developing fine and gross motor skills
5. Additional games that develop the perception of taste, space, to relieve emotional stress, or conversations about the seasons, about fruits and vegetables, about holidays, about home recreation, that activate children’s speech, memory, and thinking.

In the proposed program, the goals of games that develop the perception of shape, color, and size are not indicated, because in all classes, taking into account age, these goals are similar. Additional games describe the purpose of each game.

For each type of perception (color, shape, size), a system of didactic games has been developed and selected, which gradually become more complex in accordance with the level of development of perceptual actions.

Classes are conducted in a playful way, sometimes the games are united by a single plot: “The bunny came to visit; “Travel,” “We are visiting,” etc.

Class duration is 15–35 minutes depending on the mood of the group, fatigue, number of children, etc.

The program includes 20 lessons; for better learning, the lessons that children like the most can be repeated.

Diagnostic examinations were conducted at entry and exit from the program. The results of the final diagnosis were positive. Games and activities had a particularly effective effect on the development of size perception: at the beginning of the year, 41% of the examined children showed a low level, after the secondary diagnosis - 8% of children; forms – low level in 39% of children and 5% at the exit; colors – initial diagnosis – 48%, final – 3% of children.

Holistic perception developed less effectively, work on the development of which will become a priority in the middle group.

The children with whom this program was used for the first time in practice were able to be brought to graduation from kindergarten; almost all children have a high and average level of psychological readiness for school; This is due to the work carried out with them for 3-4 years.

As a sample, I offer you three lessons of the program for your reference.

Lesson 1

Goal: creating an emotional, prosperous microclimate in the group, strengthening children’s ability to introduce themselves to a stranger, and continuing to familiarize themselves with geometric shapes.

A game “Magic Ball”

Goal: to consolidate the ability to stand in a circle, create emotional comfort for communication between an adult and children, and teach them to say their first and last name in the process of communication. Create a feeling of joy and self-worth.

The adult asks the children to stand in a circle. He has a ball in his hands: “Guys, this morning I found this ball in my office. He's magical. He can talk. When the ball found out that I was coming to visit you, he began to ask to take him with me. That’s why we both came to you today. I know your name, but the ball doesn’t. We'll get to know him now. Get your hands ready. Whoever I give the magic ball into his hands will say loudly and clearly what his name is.” An adult goes around all the children in turn with the ball.

Finger gymnastics, sitting in a circle on a rug.

A game “Hide from the rain”(form).

Geometric shapes and three patterns of umbrellas are pre-made. An adult places one geometric figure under each umbrella; this is a sample for children.

Game situation: “On a warm sunny day, geometric figures went out for a walk. Suddenly a huge gray cloud appeared in the sky, covered the sun and it began to rain. Squares, circles and triangles need to hide from the rain so as not to get wet. Where can I hide?”

Children: “Under the umbrellas.”

Adult: “That’s right, but look, we’ll only hide circles under the red umbrella, squares under the green umbrella, and triangles under the blue umbrella.

Children perform actions one by one.

A game “Collect the droplets in a glass”(color)

Cut out colored circles of different colors are laid out in front of the children on the table. Ask the children to collect droplets into a glass, but before that, the adult put one drop of a different color in each glass, pronouncing his actions: “I will put a drop of blue in this glass, we will collect a full glass of identical droplets.” The colors used in this lesson are: red, blue, yellow.

A game “Mushrooms and hedgehog”(magnitude).

On the flannelgraph there is a forest, three mushrooms of different sizes. A hedgehog appeared. He asks the children to help him figure out where the biggest, where the big, and where the small fungus is. Children need to name, show and put in order.

Lesson summary: The hedgehog thanks the children for their help, calling them by name.

Lesson 2.

Goal: creating a favorable emotional background; formation of perception of individual properties of objects: shape, color and size.

A game “What does this figure look like?”

Purpose: to teach children to group objects by shape.

Children are offered geometric shapes - circle, triangle, square. The adult names them. Asks children to find objects in the room or on the street that are similar to these figures. If possible, allows children to trace the outline of these objects with their hands (ball, hoop, cube, plate, aquarium, etc.).

A game “Help the fish”(on flannelgraph)

On the flannelgraph there is the sea, large fish - mothers of three colors (yellow, red, blue) and many small fish of the same colors. An adult tells the children that mothers went out with their children for a walk, suddenly a wind rose in the sea, the sea became noisy and agitated, small fish got tangled in algae and got lost. “Guys, let's help the fry find their mothers. What color is the mother fish, so are the fry.”

A game “Big and small object”

Goal: develop the perception of size, teach comparison.

Children are shown paired objects that differ in size, calling it: “This is a big ball, this is a small ball (table, mushroom, cube, doll, bucket, shovel, etc.)

Adult:

Where is the big fungus? Where's the little fungus?

Bring a small ball, bring a big one.

Then the adult points to the object, the children name the value.

Finger gymnastics

Goal: development of fine motor skills of the hands.

Exercises:

picking berries;
fingers say hello;
fingers bathe;
lock;
fingers go to visit, walk;
binoculars;
bunnies in the forest.

Joint examination of pictures in the book “Where We Were in the Summer” from the series “Krapuz”

Goal: to expand children’s knowledge about the world around them, to activate children’s speech and attention, and to develop the emotional world of children.

encouraging children to find and show certain images;
encouraging children to construct simple phrases;
encouraging children to sympathize and empathize;
attracting children's attention to the causes and consequences of emotional states (a boy is happy because he found a mushroom, plays with a dog, etc.)

Result of the lesson: verbal encouragement for each child, words of gratitude.

Lesson 3.

Goal: consolidation of knowledge about the signs of autumn acquired in speech classes; learn to name colors, consolidate the ability to compare objects by color.

Conversation about autumn

Adult:

Spreading wide wings,
Above the yellow expanse of fields.
A squadron floats in the skies
Cranes hurrying south.
Autumn diligent wind
Leaves are being blown along the road.
AND gray clouds in the sky
Will fall with autumn rain.

What time of year is it now?
How has nature changed in autumn?
What color are the leaves on the trees?
Where do birds fly to for the winter?
What's the weather outside?

A game “Pick up the ball”(color)

Teacher: “Guys, we have a holiday today, we’re in a great mood, let’s decorate our group. Take each flag (cut out of colored cardboard). Now select a balloon in color similar to your flag. Tell me what color your ball and flag are. Let's decorate the group."

A game “Sit on your bench”(form).

Pre-prepared geometric shapes and cardboard benches (on the table).

Teacher: “Children, while we were decorating the group with you, someone here became noisy. Let's take a closer look and see what's going on here. Ah, everything became clear to me. These geometric figures went for a walk, running, jumping, frolicking. It seems they are already tired, let's invite them to rest on the benches. We will place the triangles on this bench, the circles on another bench, and the squares on the third. And now everyone will take a figurine and “place” it on the one on which exactly the same geometric shapes are sitting.”

A game “Pick your buttons”(magnitude).

The teacher, together with the children, arranges the buttons into groups: the largest, the largest, the smallest, etc. Considering the sizes of buttons, compares and applies button to button. The adult activates the children's speech.

We recite poems with our hands.

Goal: relieving tension, monotony of speech, observing speech pauses; formation of correct pronunciation; develop imagination; activate the mental activity of children.

The branches on the apple tree hung from sadness
Apples hung on the branches and were bored
Girls and boys shook the branches
The apples clattered loudly on the ground.

For modern teachers The direction of my work on the development of cognitive processes will seem like a very simple task; someone will think that a “bicycle”, invented long ago, is being invented. I would like to quote the words of the famous scientist Tsiolkovsky: “First we “discover” what we know ourselves, then we “discover” what everyone knows, and only then we “discover” what no one knows.”

For elementary school students, the process of perception is often limited only to recognition and subsequent naming of an object. At the beginning of their studies, students are not capable of a thorough and detailed examination of the subject. The perception of students in grades 1-2 is weakly differentiated. First-graders often confuse objects that are similar to each other in one way or another. For example, the numbers 6 and 9, the letters 3 and E, etc. A common mistake is the mirror inversion of figures, letters, and numbers when depicting. To prevent younger schoolchildren from making such mistakes, it is necessary to teach them how to compare similar objects and teach them to find the differences between them.

With age, children must master the technique of perception, learn to look, listen, highlight the main, essential features of objects, and see many different details in an object. For schoolchildren studying at the secondary level, perception turns into a purposeful, controlled, conscious process.

In the development of voluntary perception, the word is of great importance. For 1st grade students, the word completes the process of perception. Having named an object, children stop analyzing it in detail. Students in grades 2-3, having named an object, continue to describe it in words. If in the 1st-2nd grades the perception of verbal material needs clarity and demonstration, then in the 3rd-4th grades this is required to a lesser extent.

Already when preparing children for school, it is necessary to develop the perception of such spatial means as the shape of objects, as well as color.

In younger schoolchildren, the accuracy of discrimination and the correctness of naming increases geometric shapes(square, circle, triangle). But they have difficulty naming three-dimensional figures. In the development of the perception of form and space, lessons in natural history, labor, and physical education play a significant role.

At primary school age, the perception of the plot picture is improved. Children can already establish spatial connections between parts of the picture. German psychologist W. Stern identified three stages of children’s perception of pictures:

Transfer (from 2 to 5 years),

Description (from 6 to 9-10 years),

Interpretation or explanation (after 9-10 years).

These stages depend on the children’s experience and the degree of development of perception.

It is very important what question adults ask the child when looking at the picture. If the question “What is in the picture?” is asked, then the child begins to list the objects. And if the question is asked “What events are depicted in the picture?”, then a higher perception, explanation, interpretation is required.

In the process of teaching a student in elementary school, “perception becomes thinking” (Elko-nin D.B.). Perception becomes:

a) more analytical;

b) more differentiating;

c) takes on the character of organized observation;

d) the role of the word in the perception of objects and phenomena changes.

The development of perception cannot happen on its own. The role of the teacher and parents is very important, they can organize the activities of children in the perception of certain objects or phenomena, teach them to identify essential features, properties of objects and phenomena.

Psychological research has shown that one of the effective methods the organization of perception and education of observation is a comparison. At the same time, perception becomes deeper, the number of errors decreases.

In elementary school, children begin to perceive time more correctly. Moreover, the perception of minutes from class to class becomes more correct. According to psychologist Shabalin N.S., most students underestimate the actual duration of a minute, but they exaggerate the duration of such periods of time as 10-15 minutes. It is necessary to teach primary schoolchildren to perceive such periods of time as an hour, a day, a week, a month.

INTRODUCTION……………………………………………………………………………….3

Chapter I. THEORETICAL ASPECTS OF COLOR STUDY………………….5

1.1. Methodological information about color……………………………………………………….5

1.2. Elements of color science in fine arts lessons

in primary school (individual approach)…………………………….8

1.3. Methods for forming figurative perception of color in younger children

schoolchildren in fine arts lessons………………………...10

Chapter II. FORMATION OF FIGURATIVE PERCEPTION OF COLOR

FOR JUNIOR SCHOOL CHILDREN……………………………………………………………..20

2.1. Features of the structural construction of a visual arts lesson

art for the formation of figurative perception of color ………………….20

2.2. The use of fairy-tale game methods in the formation

figurative perception of color in younger schoolchildren………………………..23

2.3. The effectiveness of the technique of forming figurative perception of color

in fine arts lessons for 3rd grade schoolchildren……….…28

CONCLUSION…………………………………………………………………………………..32

LIST OF REFERENCES……………………………..35

APPLICATIONS……………………………………………………………………………….….38

INTRODUCTION

The science of color has a long history. Even ancient Greek scientists - Democritus, Aristotle and others - tried to establish primary colors, explain the origin of the color of bodies and many color phenomena. Aristotle's student Theophrastus wrote a whole special treatise on flowers.

The long-standing interest in the purely scientific aspects of color has been replaced in recent decades by the intensive development of all areas of color science. In a number of countries there are color institutes, color centers, societies and other color groups, but with one goal - to unite national work in the field of color, expand knowledge about it, centralize and disseminate information.

Over the centuries, people have perceived and experienced colors in different ways. It can be assumed that ancient people did not see all the colors that we see. It is believed that they first learned to distinguish between more bright colors- red and yellow, and then blue and green. It is known, for example, that the palette of ancient Greek painters consisted of only four colors: red, ocher, black and white. Gradually, the palette became richer, but artists continued to confuse green and blue colors for a long time, and they began to distinguish between lilac and violet colors even later. But these are just assumptions.

Much has been done to study the nature of color and its characteristics. We see the world thanks to sunlight. The light emitted by the sun is perceived by us as white. In reality it consists of a series of colored rays. Every object is capable of absorbing and reflecting sunlight. If sunlight hitting a body is completely reflected and scattered, we see this body as a eyesore. If all the rays of the visible part of the spectrum are absorbed by a body, we see it black. If a body absorbs any part of the rays of the visible spectrum and reflects the rest, we see this body as colored, and its color is determined by the colors that were reflected from it.

The object of the course work is the process of forming figurative perception of color in primary schoolchildren during fine arts lessons.

Subject of research: methodology for constructing a color science lesson in fine arts classes in elementary school.

The purpose of the course work is to consider the structural features of a fine arts lesson on the formation of figurative perception of color.

Research hypothesis: to develop color perception in children in fine arts lessons, using various methods and forms.

The practical significance of the course work lies in the construction of a fine arts lesson for a new perception of color among 3rd grade schoolchildren.

The subject and purpose of the study determined the need to solve the following problems:

1. Study the theoretical aspects of color science.

2. Determine methods for forming figurative perception of color in primary schoolchildren.

3. To study the features of the structural construction of a fine arts lesson on the formation of figurative perception of color.

4. Familiarize yourself with the use of fairy-tale-game forms and methods in the formation of figurative perception of color in primary schoolchildren.

5. To determine the effectiveness of the method of forming figurative perception of color in fine arts lessons for 3rd grade schoolchildren.

Chapter I. THEORETICAL ASPECTS OF COLOR SCIENCE

1.1. Methodological information about color

Color has its own characteristics - hue, saturation, lightness.

Hue refers to the quality of color and is designated by words such as red, orange, yellow, green, purple, etc. The color tone characterizes the specific features of a particular color and is determined by the composition of the rays that act on the eye, i.e. determined by one or another wavelength of light rays that are reflected

from the subject.

Saturation refers to the greater or lesser intensity in a color of its hue. The most saturated colors include, in particular, spectral colors. And colors such as white, black and gray can be called colors of zero saturation.

The difference in lightness is that some colors are darker and others are lighter. The lightness of the color is determined by the brightness of the stimulus and. sensitivity of the eye to it. If we also take into account a surface that reflects light, then in this case the lightness of the color is determined by the reflection coefficient of the rays incident on this surface. So light surfaces reflect much more light rays and absorb relatively little, while dark objects, on the contrary, absorb a lot and reflect very few rays.

Due to the qualitative characteristics of color - hue, saturation and lightness - all visual sensations of colors can be divided into two groups. The first group consists of colors that differ from each other only in lightness, the so-called achromatic colors, this includes black, white and all grays from the darkest to the lightest.

The second consists of chromatic colors that differ from each other in color tone and saturation. This includes all other colors: red, orange, blue, blue, purple, pink, brown and

Having learned to create paints, a person received an extraordinary opportunity to decorate and transform himself.

Folk art, being a faithful guardian of ancient traditions, shows the important role color plays in the costumes of various peoples. The most common concepts of beauty in folk aesthetics are related to color; they are reflected not only in folk arts and crafts, but also in metaphors, for example, in Russian folklore, such as “red fellow”, “fair maiden”, “clear sun”, “blue sea” and others. The change of day and night, the alternation of seasons, the sun, moon and stars created a certain sense of light in a person.

Any color, to one degree or another, can have a psychological effect on a person. Let us isolate the generally accepted color associations that arise when perceiving an isolated color, as well as their meaning:

1. Weight: light and heavy colors.

2. Temperature: warm and cold.

3. Textured: smooth, prickly, soft.

4. Acoustic: quiet, loud, dull, voiced, etc.

5. Spatial: protruding and receding colors.

As well as emotional associations caused by flowers:

1. Positive: cheerful, cheerful, lyrical, pleasant.

2. Negative: sad, tragic, angry.

3. Neutral: calm, indifferent, balanced.

Taking into account the psychological impact of colors, it is possible to give a certain characteristic to any color.

So, yellow color is light, warm, smooth, sonorous, kind, attractive. Red (purple) - heavy, prickly, sonorous, exciting, revitalizing, active, energetic, rich in associations. However, any absolutization and canonization, even if it had sufficient grounds in past centuries, looks quite controversial and doubtful.

The choice of colors that the artist uses, together with his favorite mixtures, form his palette. A painter must know his palette well. This explains the attempts to use the color wheel to understand one of the aspects of the creative process. The artist sees in the color wheel an analogy of his intellectually comprehended palette. But the color wheel and the artist's palette are two different things. The palette does not contain purely spectral colors. A palette is a kind of color “dictionary”, limited in comparison with the full variety of colors and powerful in terms of visual and expressive possibilities.

It is known that a painter almost never uses a wide range of paints. He strives to translate the infinite variety of colors of nature into the limited vocabulary of his palette. As some of the late canvases of the greatest colorist of the Italian Renaissance, Titian, show, the palette can be very spare and at the same time very powerful. The method of applying paint is closely related to the impression of it. Loose, dense or transparent application of paint changes color even in cases where the paint itself does not change.

The well-known proposition that an artist paints with relationships,

suggests a degree of development of his color sensitivity and the ability to create various technological techniques in the picture, his own special “color system”. And it is precisely in this “color structure”, which follows primarily from the figurative structure of the painting, that the expressive and unifying power of color is realized. In a picture constructed by color, we see the forces of the internal interweaving of spots and their mutual influence. Removing any spot from such a picture is impossible; this would immediately lead to a noticeable change in the color of other spots, changing the color structure.

Such color unity, in which all spots of color influence each other, enriching the image, and not one spot can be superfluous, is called the color of the picture. The beauty of color and color combinations is an important, but not obligatory, component of paintings. But the expressiveness and figurativeness of color is a prerequisite for any coloring of the picture.

The history of the artistic use of color also embodies the history of society: in particular, the history of man’s comprehension of the color laws of color perception, the history of taste, the history of man’s view of art.

Learning a craft does not yet create an artist, nor does it form a person’s value guidelines. Modern education, which includes a system of art education from preschool age, must work on cultivating imaginative thinking, and therefore the problem of artistic culture, in particular the problem of the connection between color and image, is now gaining serious influence.

1.2. Elements of color science in fine arts lessons in primary school (individual approach)

Fine arts, as a subject of the school curriculum, is the main discipline that actively develops the ability for color perception and color reproduction in younger schoolchildren.

An art lesson should not only be a lesson, it should be a celebration. Children love to create, to create something new, unusual, different from others. This love can be ignited, but it can also be extinguished. The fruits will come when they become those islands everyday life, where you can play, dream, fantasize, forget yourself and be completely free from external circumstances and failures. For this purpose, you can use a fairy-tale-game form of presenting educational material.

Color has long been considered one of the important properties of objects and phenomena in the surrounding life. Already in the ancient world, people tried to determine the effect of color on humans. It was believed that color affects a person’s mood and well-being, that it can not only please, but also cause irritation, anxiety, feelings of melancholy or sadness. Some colors calm the nervous system (green, blue, cyan), others, on the contrary, irritate and excite (red, orange, purple, yellow colors). In other words, color has an emotional effect on us. The perception of color as a property of an object has not yet been discussed here, since a person did not act as a subject of perceptual activity.

It should be noted that usually the study of color is carried out in a complex manner and enriches the science of color - color science, which includes the physical, physiological and psychological aspects of the study of color.

Familiarity with the color of objects, objects, phenomena of the surrounding life and the color scheme of images by children in their drawings and applications contributes to the development of their aesthetic perception and sense of color. Introducing children to art and nature plays a big role in solving these problems. The Czech teacher J.A. wrote about this at one time. Kamensky.

Interest in color, according to Ya.A. Kamensky, is formed gradually among younger schoolchildren and should be built taking into account age-related capabilities. The color of objects is of great importance in the development of aesthetic perception and can act as one of the characteristics of an object for a child.

It is necessary to use only those colors that are characteristic of objects and natural phenomena surrounding the child, and it is necessary to allow schoolchildren to choose one color or another themselves.

Children love bright and pure colors; red is most often cited as their favorite color. The first three colors are in the following order: red, blue, yellow, and the remaining faded colors are rejected. Brightness and variegation, characteristic of children's drawings, often indicate little experience of the child, insufficient development of color perception and culture of using colors. Such a drawing can be drawn under the impression of a colorful toy, book illustration, natural phenomena, and so on.

When solving a visual problem using colors, elementary school students begin to show increased activity. Through color they begin to express their attitude towards what is depicted; color begins to serve as a means of evaluating objects and characters, giving them a color characteristic that is associated with the real image.

The child is very receptive to color, often with its help he conveys his attitude towards the depicted hero: mother, grandmother, favorite cat, dog are depicted in children’s drawings with bright, joyful colors, and at the same time, dark tones predominate in the depiction of negative characters. Color has a strong impact on the emotional state. Children are very pleased with the ringing brightness, elegance, and festive nature of the painting, that is, bright, clean colors on a white background.

Children intuitively grasp the color image, naming colors and comparing them with combinations of good and evil, cheerful and sad. Children give warm, joyful colors (paints) to the images of light, beloved, good heroes, and to evil ones - cold, dark and even black tones. Dark colors symbolize evil, fear, and bright colors symbolize goodness, joy, happiness, and so on.

1.3. Methods for forming figurative perception of color in primary schoolchildren during fine arts lessons

The perception of works of fine art involves active activity, which requires appropriate preparation. The development of artistic perception includes solving the following main educational tasks:

a) development of responsiveness to the work;

b) development of the ability to express one’s attitude to the work;

c) expanding the volume of knowledge and ideas about art.

Despite the possibility of an emotional response to a work of art, children in elementary school do not yet have the ability to adequately talk about their experiences that arose as a result of their acquaintance with art (especially children in grades 1 and 2). This is evidenced by their often very stingy, poorly developed characteristics and assessments of works. The latter are extremely unstable, few and often come down to judgments “like” or “dislike”, “beautiful” or “ugly”.

A special method of introducing the visual arts is needed, aimed at developing different ways for children to express their thoughts and experiences about perception. The objectives of this technique are as follows:

1. First of all, the teacher must develop in children the ability to talk about works of art, responding to expressive means.

2. Communication skills about art and the ability to think in the field of art should be developed. It is important that a conversation about art is the result of an organized process of perception, which should be built on the basis and taking into account the age-related characteristics of children’s perception.

3. It is important to teach children to use their impressions of observing reality when talking about works, their own artistic experience.

4. It is important to develop the ability to compare a work of art with similar phenomena from the field of other arts, and to simply feel their common connections.

5. In the process of perception, it is important to teach children “graphic speech,” that is, the ability to tell and convey the impression of a work using an image (quick sketches from memory). This method is directly related to the development of imaginative thinking, visual figurative memory, and the mobility of perception reactions.

For such a lesson to be effective, it is necessary to carefully consider the number of works selected for display and the possibilities for their perception by students. The lesson should not be overloaded with visual impressions, since the educational role of art is determined by the strength of the emotional impact that it has on the child, by the entire set of content and expressive means. This impact depends on the freshness of perception and the interest of children. You should not show more than 3-4 works per lesson. At the same time, it is important for the teacher to remember that a lesson in the perception of art should not be empty, sluggish and supposedly “easy”. It should be meaningful and filled with tasks that children can overcome.

At the same time, lessons in the perception of art should be to a certain extent independent; in a number of cases, they are the leading link in determining the content of the child’s education and development in other subjects. Practice shows that children receive a lot of information from various fields of knowledge in such lessons in elementary school: information from the history of our country, about nature and the surrounding world, about labor and production.

Every peculiarity of the thinking of younger schoolchildren is that detailed verbal reactions to works of art arise in them under the influence of the teacher’s question, which activates perception, while when independently familiarizing themselves with the work, the need to speak may not arise. Students can limit themselves to silent examination, paying attention only to the appearance of the work - whether it is large or small, laugh if they like something, or come closer to the work to look at it and touch it with their hands, if it is a sculpture or decorative and applied art.

The questions, their nature and sequence depend on the age of the children and the objectives of the lesson. In elementary school, they relate to the content of the work, its mood, character, connection with the phenomena of reality, means of expression, as well as to the assessment of works by children. The teacher directs the course of the lesson by actively asking “why?”, “why?”, so that the students themselves can come to the necessary conclusions.

In children's assessments, an important place is occupied by the quantitative assessment of a work of art; it is given in comparison, for example: “I don’t like this picture, there are fewer colors and fewer people in it” (2nd grade), or: “Not everything here is painted over, there are white stripes” ( 1 class). Children do not like “empty” places in the picture. Quantitative assessments replace specific generalizations for schoolchildren. This most often occurs from the inability to find generalizing words that correspond to the experiences that have arisen. When a child says: “Not everything is painted over here, there are white stripes,” it is clear that from his point of view the work is not finished, and this causes dissatisfaction - “I don’t like the picture.”

In the practice of fine arts classes, it is useful to work on identifying opportunities and activating the response to a work of art with the help of music and poetry (short poetic texts).

So, we can conclude that the perception of works by children is an intellectual and emotionally creative activity, during which a complex interaction of figurative components occurs. The nature of the connection between these components is important to consider when developing a methodology for fine arts lessons and organizing children’s perception of works.

The very specificity of fine art, the processes of visual creativity and perception is expressed in the constant operation of visual, visual images, in the constant sensory perception of objects and phenomena of reality.

Fine arts lessons should purposefully develop the sensitive apparatus of the student’s eye and his color-distinguishing abilities.

The teacher will be helped with this during the lesson by a set of visual aids on color, including stands for classroom design, demonstration tables on the main sections of color science, color tables for primary schoolchildren “Magic Paints”, as well as colored game cubes for students and teachers.

Of course, making visual aids by color is associated with certain difficulties, the work is painstaking and time-consuming, but it will pay the teacher with its effective help in the lesson.

The teacher should take a comprehensive approach to the design of the office, thinking through in detail how to fill each wall with information, while taking care of the holistic image of the fine arts office.

Stands placed on the walls of the classroom must state some general principles in teaching the subject of fine arts and at the same time have certain specifics in order to assist the teacher in communicating educational material during the lesson.

The design of the entire office is based on the need to present and characterize three types of artistic activity - visual, constructive and decorative.

A whole series of stands can be dedicated to the topic “What and how an artist works.” The stands will introduce students to the expressive features of various artistic materials and techniques: graphic - pencil, ink with pen and stick, charcoal, chalk, sticker engraving, linocut, monotype, blotography and some others; with colored art materials and techniques, such as oil, gouache, watercolor pastel, wax crayons, colored paper; with art materials used in constructive arts - clay, plasticine, plaster, metal, wood, natural materials, concrete, unexpected materials.

In addition to the general design of the office, the teacher needs to have didactic visual aids that would be explanatory in nature and illustrate a specific lesson. To this end, we propose to use eight “Magic Colors” tables to help teachers work with elementary school students.

The tables suggest a playful form of communication with students in the lesson. The very name of the tables “Magic Colors” already contains an element of a fairy tale game. The main characters are five “magic colors” - red, yellow, blue, white, black.

On the tables, “Fairy Tales” appear before the viewer in the form of small, cheerful people with big heads - these are wizards who can do miracles by mixing with each other and forming new shades of colors. The tables reveal the color-forming abilities of five colors as a result of their mutual mechanical mixing, so it is far from indifferent which colors will participate in the design of the tables. After all, not every red in a mixture of blue or cyan will result in purple. Poster gouache paint - ruby ​​red (or artistic purple) with almost all blue (blue) when mixed gives good shades purple color. We recommend using this particular paint in lessons with primary schoolchildren. Ruby red paint has a cold tint, but warm red paint can be obtained by mixing ruby ​​red with yellow, which has a warm tone.

1. Ruby red (poster) or purple (art).

2. Zinc yellow (poster) or light yellow (poster), crown yellow (art gouache) or any other yellow that has a warm tone.

3. Cobalt blue: light (art) or blue (poster); It is undesirable to use dark blues such as ultramarine or iron blue.

4. Zinc or lead whitewash (poster or artistic).

5. Gas soot or any other black.

On the tables, ordinary gouache paints seem to come to life, turning into little cheerful colorful people, little wizards. Each beautiful little person has its own appearance, its own mood. The nature of the colors is dictated by the impressions that arise when perceiving the color of these paints.

The most cheerful white paint - she is the brightest of all, the smile never leaves her face. The white beauty appears before the audience in the guise of a girl with two pigtails sticking out in different directions. Yellow paint appears to us no less cheerful and mischievous, it also almost never loses heart, only when mixed with black does surprise appear on its face, because there is a reason

The tables demonstrate not only the production of additional colors - green, orange, purple, formed as a result of pairwise mixing of red, blue and yellow, but also the production of a different tone of green as a result of mixing yellow and black, brown - by mixing red and black, and blue, red, yellow.

Table No. 1 should be used by the teacher in the first introductory lesson of the first grade, when the student becomes familiar with the organization of the workplace when working with gouache paints. By revealing possible options for working with a brush, the table can be used as a reminder in any other lesson.

Table No. 2 - “Mixing three primary colors” demonstrates the pairwise mixing of three primary colors - red, yellow and blue. On the palette, in free batches, the process of learning composite colors is recorded - green, orange and purple, as well as dark gray, which is obtained by mixing all the colors at once. The form of free-mixing makes it possible to trace the gradualness of the color-forming process, the movement of color from pure yellow through yellow-orange to orange, from it through red-orange to pure red, from red to violet-red, and so on through blue again to yellow.

Table No. 3 - “Achromatic colors” demonstrates the mixing of two colors, black and white. The colors show the viewer a palette on which, as a result of free mixing, a variety of gray shades is obtained. There is more white in the mixture than black and the result is light gray shades, more black - dark gray shades. The result of mixing black and white is the appearance of medium gray, which is equally different from both colors.

Table No. 4 - "Warm colors" - gives possible ways to obtain warm shades. All five colors take part in color-forming processes: yellow, blue, black, red and white,

The main character is yellow paint; out of the three colors, it has a warm tint in color impression, so it occupies a special place in the overall composition of the sheet. Yellow paint sits in front of the palette in the foreground. Blue and red paints, which have a cold tone, are not completely visible, they hide behind the palette and only slightly peek out from behind it, thereby declaring that they also take part in obtaining warm flowers, even though they are not flowers themselves. Black and white paints are not completely visible, but they also take part in obtaining warm shades. The palette can produce various warm greens as a result of mixing yellow with blue, yellow with black, yellow with gray. Here all kinds of orange colors, formed by mixing yellow and red, white, gray and black, attract attention - from light, bleached yellow-orange to almost earthy, ocher brown. The fact that the blue and red colors are not fully depicted embodies a technological technique: to obtain a warm shade, the batch must contain fewer cold than warm colors.

Table No. 5 - "Cool colors". Five colors also take part in the mixing - blue, red, yellow, white, black. The main color here is blue, like paint, with a pronounced cold tint. It is very visible and takes an active part in color formation. After all, shades of blue predominate in cool colors. Warm yellow, although it takes part in obtaining cold shades, is involved in small quantities in the batches, so it is not depicted in full - only the top of its head peeks out from behind the palette. Black is also not completely visible, because mixing colors with black warms the shades.

On the palette, the colors are presented in free mixing, but cold blue-greens, obtained as a result of mixing blue and yolk, are visible, purple ones appear in all their diversity as a result of mixing blue, red, white, gray, black, white paints appear quite actively, mixing with it takes on a cold tint.

At first glance, it may seem that this manual, consisting of five tables, reflects only technological techniques for working with gouache paints. But this is not so, with skillful use of tables, taking into account their figurative form, the teacher can organize an atmosphere of enthusiasm in the lesson, arouse interest among schoolchildren in studying gouache material, which will contribute to the formation of their creative activity. The tables also convey an emotional tone based on their overall impression.

Tasks of artistic and creative development of junior schoolchildren:

1. develop methods of visual and tactile examination of well-known objects to clarify ideas about the appearance of toys, dishes, clothing, small sculptures (small plastic).

2. introduce schoolchildren to folk toys (Filimonovskaya, Dymkovskaya, Semyonovskaya, Bogorodskaya) to enrich visual impressions and show a conditionally generalized interpretation of artistic images.

3. learn to find connections between well-known objects and phenomena of the surrounding world and their images in drawing, modeling, appliqué, and in pictures in books.

4. teach to see an integral artistic image in the unity of visual and expressive means (color, shape, line, spot, background format, etc.);

5. encourage children to create, in imitation of an adult and at their own request, emotional, vivid, expressive images of well-known objects.

6. arouse students’ interest in co-creation with the teacher and classmates when creating collective compositions.

7. create conditions for the systematic, gradually becoming more complex development by children of elementary techniques for depicting well-known objects based on the available means of artistic and figurative expressiveness (color, spot, line, shape, rhythm, dynamics).

8. integrate types of visual activities into different options their combinations with each other.

9. advise parents on the development of their children’s abilities for visual arts.

Chapter II. FORMATION OF FIGURATIVE PERCEPTION OF COLOR IN JUNIOR SCHOOLCHILDREN

2.1. Features of the structural design of a fine arts lesson on the formation of figurative perception of color

A person perceives the world in color. An endless change of color sensations accompanies his entire life. All types of fine and applied art widely use the possibilities of its influence. The main discipline for artists in the field of color is painting. Only it is capable of reflecting on a plane all the richness of color and light relationships in their diverse transitions and contrasts. Painting is capable of fully developing what we call the “artist’s eye.” The outstanding Russian painter K.S. Petrov-Vodkin wrote: “A painter who studies the colors of natural things, thereby comprehends their relationships, determines the location of a thing in the world.”

How to conduct an art lesson at school? What role should it play in the school education system? What main goal should you pursue?

A fine arts lesson can and should shape the artistic and creative activity of an individual. But most importantly, an art lesson with all its content should become a means of transmitting human values ​​as a result of communication between a person and a person, with the world around him, with art. A lesson that develops moral and aesthetic responsiveness to the beautiful and the ugly in life and in art, the aesthetic position of a person, his artistic taste, his attitude towards nature, man and society.

Program "Fine Arts and artistic work" comes from the pedagogical concept of forming artistic culture in students as an integral part of spiritual culture. This goal can be achieved provided that the student is emotionally involved in art, which is the main condition for the implementation of the educational impact of art.

The program provides only a guideline for the lesson - approximate, visual, musical and literary material for each topic, the material, of course, has been tested in the practice of experimental teachers more than once, but much in the lesson depends on how it is used by the teacher. There is not and cannot be any one recipe. Each teacher is individual. And when preparing for a lesson, it is necessary to take into account the characteristics of each given class, the team as a whole and its individual students.

The new program is a holistic system in which a lesson is an inseparable link in the chain of lessons of the year. Problem situations of a particular lesson arise from the goals and objectives of the previous and subsequent lessons, depending on the topic of the quarter of the year.

The teacher needs to direct the creative scenario to create an emotional atmosphere of the lesson. The teacher must captivate the children, excite them, and, having excited them, make them think.

This, first of all, will be facilitated by a fine arts classroom, designed taking into account the personal preferences and tastes of the teacher, equipped with all the necessary equipment (TSO, slides, disks, original works, children's works, natural resources, visual aids, etc.) The art classroom should turn into an artist’s workshop, which has everything for the creative development of children, a place where the drama of the lesson will be played out.

The dramaturgy of a lesson is a complex and truly creative problem for a teacher, directly related to the development of students’ interests and visual activities, and the formation of a passion for art. The dramaturgy of a lesson is a kind of action, the success of which depends on the highly qualified ability of the teacher to construct a lesson.

As in any performance, in a lesson you can identify the main supporting points, such as the beginning, the formulation of the problem, its joint solution, the climax, the aftereffect.

The plot is the organizing part of the lesson, in which the teacher, in any form of narration, poses a problem to the students, captivates them with it, gives instructions for the perception of works of art or nature, and skillfully and unobtrusively leads to the topic of the lesson.

Solving a problem together is an important part of the lesson, which should contribute to the learning of the topic. The topic of the lesson is presented to students as the main question or as a problem situation of the lesson. The answer to this question and the solution to this problem must be given by the schoolchildren themselves. Around these two sides - the formulation of the problem and its solution - the attention and creative approach of the teacher in the lesson are concentrated.

The climax is that basic state of the child’s soul, when he is deeply worried about the situation being considered in the lesson, when the student has a need to express and realize all his emotional charge in creative activity. This is the pinnacle of the lesson, which should give the child the strongest, indelible impression and leave a deep imprint on his heart.

The climax needs to be carefully thought out. So, for example, when showing a visual series, the teacher must identify for himself a work of art that, in terms of the power of its emotional impact, expressive and vivid images, will have the greatest impression on the students. During the show, you can hold the attention of schoolchildren on this work, and use music or a poetic word to enhance its emotional impact.

The student can experience this peak part in any part of the lesson, not only in the process of perception, but also directly in the process of practical creative activity, when the student experiences the highest pleasure from the creative process. It can also shift to the end of the lesson, this happens during collective activities, when the installation of collective work is completed and the children see the final composition, its holistic image. It can be experienced by children when discussing children's works at the time of organizing an exhibition.

Aftereffect is the final part of the lesson, in which the experienced situation must also be comprehended. The forms of its implementation are also different. This could be a short analysis of the students' activities in the lesson made by the teacher. This is an exhibition of children's work organized at the end of the lesson; both students and the teacher take part in its discussion. Demonstration of children's work can also take place individually, when the student, going to the board, holds it in his hands at chest level. This part of the lesson can be silently contemplative, with music playing in the background of the exhibition.

Almost every lesson in primary school ends with a practical activity. Completeness of work is very important for a primary school student. He wants to see the final version of his drawing at the final stage of the lesson. Teachers' attempts to provide the opportunity to complete the drawing in the next lesson create in children the need to change the plan or start working again.

These examples once again draw attention to the need to carefully think through the entire dramaturgy of the lesson - its course and structure, to the teacher’s ability to isolate the main thing in the lesson, to adjust the entire course of the lesson to the realization of its leading goal.

2.2. The use of fairy-tale-game methods in the formation of figurative perception of color in primary schoolchildren

An art lesson should not only be a lesson, it should be a celebration. Children love to create, to create something new, unusual, different from others. This love can be ignited, but it can also be extinguished. The fruits will come when they become those islands of everyday life where you can play, dream, fantasize, forget yourself and be completely free from external circumstances and failures.

For this purpose, you can use a fairy-tale-game form of presenting educational material.

A fairy tale is a special situation in the lesson, into which the child “immerses” with great desire. A fairy tale is an expectation of a miracle, magic, and it is very important not to deceive the student in his expectations. Unusual transformations - mixing of colors, new acquaintances, unexpected journeys (to the fairy-tale land of three magical masters), carried out in line with a fairy-tale narrative, are perceived by children emotionally and deeply experienced. The fairy tale plot is quickly remembered, and with it everything the student needs to know. Fairy-tale characters personifying the forces of evil (the sorcerer “Disorder”) and the forces of good (the good fairy “Muse”) can be used as figurative means of influence that stimulate the creative process. You can play out fairy-tale situations in a variety of ways.

So, the fairy tale works wonders. It makes you empathize: cry or laugh. She brings joy, she educates the soul. She always takes us to a distant magical amazing world where good always triumphs over evil.

A lesson can be a game. Play provides joy in life and instills in children a love and interest in it. An important condition for the impact of the game is the participation of the children themselves not only in conducting the games, but also in their creation.

You can talk to children about natural phenomena, about the specifics of the artistic image in art, without using game situations, bypassing figurative comparisons, but then we will be faced with sluggish perception, and therefore sluggish work of the mind and feelings. Game situations must be present in everything. Children can become like characters in a picture, heroes of works, and act in imaginary conditions.

To activate the process of perceiving a work, a situation of “imaginary presence in the picture” can be used, when the student is asked to mentally transport himself from the classroom to the world of images and pictures, take a walk through the depicted places of nature, and experience some event or state of mind with the hero. A dialogue form of communication can activate the processes of perception, but children should not be forced to impose the will of others. This can lead to mistrust of one's own intuition and rejection of one's own impressions.

The teacher, depending on his creative imagination, can invent and use a variety of activities. But no matter what the teacher does, it is important to take into account that the variety of activities of students in itself does not ensure their activity, if it is not determined by the purpose of the lesson and is not its expression.

And most importantly, in order to intensify the activities of students, the teacher himself must first of all be a creative person, love his job and live in the interests of the children. The teacher's mood is always transmitted to the children.

How to influence a child in a lesson so that his feelings are aroused, so that he is deeply worried about the situation in question? The new program proposes to do this by implementing the principle of learning with passion, using the influence of emotional forms that organize the attention of schoolchildren, including the use of musical works, poetic and artistic slides, and works of literature.

Studying with passion in any subject is many times more effective. In art, obtaining genuine knowledge, i.e. understanding without joy, without pleasure is absolutely not real, not achievable. This knowledge turns out to be dead and brings more anti-aesthetic than aesthetic development.”

And here a fairy tale comes to the rescue. The creation of an emotional atmosphere of the lesson is facilitated by a fairy-tale-game form of presenting the material.

Fairy tale images accompany a person in early childhood...

A fairy tale in the classroom is a special situation organized by the teacher, into which the child “immerses” with great desire. The fairy-tale premise in the lesson quickly and easily organizes children's attention on the desired problem...

The educational value of the fairy tale cannot be underestimated. After all, they always end happily. The child is waiting for a good ending in a fairy tale.

A fairy tale can come as a guest for one or two lessons, or it can become a methodological device, an organizing moment in each lesson of the quarter or the whole year.

Another great technique is the use of gaming technology. What wonderful results can be achieved in the process of a seemingly ordinary game. Knowledge consolidated by emotion, as a rule, is the basis of beliefs, since this knowledge is not only known to the student, but also experienced by him.

Lesson application problem situations during the game it helps to solve them quickly. The game, used by the teacher as a means for mastering the material being studied, helps organize the perception of students in the right direction, organizes an atmosphere of passion for the subject, and promotes free creative activity.

However, the lesson should not be allowed to turn into an entertaining game; the dramaturgy of the lesson should combine both exciting and serious forms of working with children.

When preparing a lesson for primary classes, the teacher must plan physical education lessons; you can organize them in such a way that their content reflects the theme of the lesson and is an organic part of it. So, in dynamic, playful forms, invite children to act out, perhaps to music, images of the objective world - trees swaying in the wind, leaves, flying birds, etc.

Already from the first lessons, the student compares his actions, experiencing two states - a creator-artist, on the one hand, and a critic-spectator, on the other.

Taking the position of an artist, performing practical work with the same artistic materials as a real artist, the student learns to understand the creative process of creating works by a master, because as a result of visual activity, he goes through the same stages as a real artist.

Reflecting real images of life phenomena, the little artist creates his own world, using the same language of conventions as the adult artist. With a line, a spot of color, he finds his way to solve the image, doing it at the level of his age-related artistic abilities.

A completely different situation is the role of the spectator. When perceiving works of art and expressing one’s opinion, a value judgment, the ability of aesthetic knowledge, is formed. While learning artistic advice and discussing exhibitions of children's works, the teacher introduces the student to the situation of a critic.

When organizing the process of perceiving works of art, you can use the situation of “imaginary presence” in the picture. The student is invited to mentally transport himself from the classroom to the world of the images of the painting, take a walk through the corners of nature depicted in the painting, try to feel the unique atmosphere of the painting, the power of the influence of its sometimes unusual coloristic solution. Taking the position of this or that hero of the work, experience this or that event with him.

Nowadays, new opportunities are opening up for the fine arts teacher for the creative organization of the lesson and the choice of means of pedagogical influence. However, work experience shows that without the ardent enthusiasm and passionate attitude of the teacher himself to the tasks, principles and methods of teaching fine arts, it is impossible to achieve those wonderful results that were obtained during the experimental testing of the methodology for the formation of figurative perception of color.

2.3 The effectiveness of the method of forming figurative perception of color in fine arts lessons for 3rd grade schoolchildren

A little artist in the process of realizing his artistic vision of the physical-optical properties of colored materials: uses colored paper in a cut or cut appliqué, uses pastel or a wax fine end, flat or rubbing, applies paint either in impasto strokes, or in a thin layer of paint, or with a stroke, or point, then rubbing over the surface, then mixing with each other; At the same time, I must remember that a stroke, a line, a stroke in itself does not yet represent any aesthetic value, if they are not in a certain way connected with each other, are not organized, and are no longer subordinated to each other. common task. As a means of expression, they receive their full aesthetic content only in the image system.

The teacher’s task in the lesson is to ensure that in the hands of the student this or that colored artistic material begins to live a special life, in the process of visual activity it is transformed into color - the actual language of the artist, used as a means of expressing his feelings and thoughts.

Each colored artistic material has its own artistic properties, and therefore potential expressive capabilities. Each material, so to speak, has its own character and often resists the artist in fulfilling his creative plan, enters into an argument with him, corrects the plan, and sometimes significantly changes the direction of the author’s creative thinking.

The little artist in his work also takes into account the “resistance” of the material. Mastering this or that technique is not an easy matter. The teacher will largely depend on how younger schoolchildren develop the skills to work with them from lesson to lesson.

It is advisable to prepare color patterns simultaneously for manuals and game colored cubes, since the color content of the latter follows from the main themes of the tables.

Each table, in addition to the main color models and exercises, has two reproductions from paintings by artists that reflect the content of the table. However, instead of stationary reproductions, you can stick pockets on the principle of a passport and insert works into them as needed. Or make a removable album with reproductions and children's works.

Color plays the role of the main expressive language of painting, with mastery of which a child’s introduction to the fine arts begins. It is through mastering the language of color, which is more accessible and organic to the child than the language of shape, line, volume, etc., that children discover the diversity and semantic content of pictorial images. Children's perception and use of color is not limited to image tasks. The ability to perceive and express in the color of mood, the author’s attitude towards what is depicted allows a child to see and feel the value and joy of goodness through beauty.

The formation of color perception in children is carried out on the material of fairy tales (attitude towards fairy-tale characters and expression of their attitude in color), on personal observations, on works of art and takes place in three stages.

Destruction of existing and borrowed stereotypes of color perception (color of the sea, sky, snow, face, etc.) by identifying the causes of color variability. To do this, first of all, it is necessary to wean children from the usual stereotype of perception, for example, the sky is blue, the snow is white, the sea is blue. We observe and draw the sky at different times and seasons. From an early age, children know that all plants are green, but they have a lot of shades, and we learn to distinguish between them. And the snow, although it is white, turns blue in the evening, pinkish when the sun sets, etc. Such observations contribute to the development of a more accurate and subtle perception of color in children.

The discovery of the connection between color and mood, as well as the symbolic role of color in art, the meaningful perception of color in painting, the creative use of color to express mood and personal relationships with fairy tale characters in drawings. We learn to see, observe and notice the colorful world around us, seeing it in all its richness of shades, feeling the magic of ordinary colors.

The method of forming figurative perception of color in fine arts lessons for 3rd grade schoolchildren is quite effective for further development color perception, color reproduction and color perception in schoolchildren.

CONCLUSION

Color is one of the important means of artistic expression, conveying attitude towards the image being created; it helps to identify the basic properties of objects and gives each child the opportunity to show his or her individuality in the process of drawing.

Children of primary school age see painting differently than adults, amazing us with their drawings.

A faster and more durable assimilation of the theory of material on the elements of color science and the basics of pictorial literacy depends on a flexible combination of preparatory, short-term and long-term exercises. Each exercise offered to children has a specific purpose. Completing them is impossible without previously completed tasks. All tasks are built according to the principle from simple to complex with consistent, gradual complication of the educational material. While maintaining the main objectives, the topic of the lesson and the form of its delivery can be changed. For example, the same laws (warm and cool colors, primary and composite colors) require different presentation, and their implementation depends on the age of the children.

Visualization is widely used in teaching visual arts. It is impossible to teach a single lesson without using visual aids. Visualization significantly complements oral explanation and provides a connection between learning and life.

Introduction to the fine arts not only through perception, but also through practical activity, spiritually enriches. The first lessons of beauty and goodness associated with artistic creativity can remain in the child’s memory for a lifetime. Careful attitude towards children's creativity and at the same time tactful management of this process are the main components of success.

First of all, it is necessary to create conditions for the creative development of the child - to teach him to work with a variety of artistic materials, to teach him to understand the language of fine art, and to use means of artistic expression. At the same time, it is necessary to constantly enrich children’s visual perceptions and update their existing experience.

Then, gradually, through the development of visual literacy in an interesting and accessible, sometimes playful, form, the child is prepared to solve creative problems. Such training using a variety of modern techniques helps everyone to reveal themselves in the best possible way. Some are more inclined to graphically embody images, others choose painting materials to create them, while others prefer to create decorative or design compositions. It is important that both are given the opportunity to improve their skills in one of the activities and at the same time gain knowledge in the subject “Fine Arts”.

The teacher’s task is to develop a sense of proportion and the child’s aesthetic taste in order to avoid thoughtless copying of samples, excessive stylization in work, and to help each student find a creative face.

With a variable approach to creative tasks, it is possible to search for new ways. Various forms of lesson organization, for example, collective completion of tasks, significantly activate children's creativity.

The desire to educate children on the basis of the laws, principles and rules of fine arts is fruitful. This is not an attempt at vocational training, but a general education that includes elements of knowledge about the work of professionals. Fine art at school is largely a game, improvisation; children's drawings are so expressive, bright, and original!

The main goal of fine arts classes in a secondary school is the spiritual and creative development of the individual, the education of a literate viewer who loves art.

Time flies very quickly, information flows become more and more saturated, some values ​​come to replace others, and all this is reflected both in the fine arts and in the perception of this art by children. The proposed system of working with students is built on classical examples of painting, graphics, and on the traditions of folk and decorative arts, which are not afraid of time. But the most modern teaching methods may gradually become outdated.

Only the creativity of the teacher, his constant desire to improve the educational process will guide him in choosing a methodological system. The author hopes that students of pedagogical schools, having become primary school teachers, will master the secrets of teaching fine arts, become professionals in their field and bearers of national culture.

LIST OF REFERENCES USED

1. Alekhin A.D. Fine arts: artist, teacher, school. Book for teachers. - M.: Education, 1984.

2. Alekhin A.D. When does the artist begin? Book for students. - M.: Education, 1993.

3. Alfonsov, V. Words and colors / V. Alfonsov. - St. Petersburg. : SAGA, ABC-classics, Science, 2006.

4. Beda, G. Painting / G. Beda. - M.: Art, 1971.

5. Ber, U. All the secrets of color / U. Ber. - Rostov-on-Don: Phoenix, 1997.

6. Volkov I.D. Art studio at school. Book for teachers: From work experience. - M.: Education, 1993.

7. Goryaeva N.A. First steps in the world of art. From work experience: A book for teachers. - M.: Education, 1991,

8. Dragunsky, V. Color personality test / V. Dragunsky. - Minsk: Harvest, 1999.

9. Painting: A book for students. (compiled by L.A. Shitov, V.N. Larionov. - M.: Education, JSC "Educational Literature", 1995.

10. Zubareva N.M. Children and fine arts. Still life and landscape in the aesthetic education of children aged 7-9 years. - M.: Education, 1969.

11. Itten, I. The Art of Color / I. Itten. - M.: publisher Aronov, 2001.

12. Art in the lives of children: experience of art classes with primary schoolchildren. A book for teachers: from the work experience of A.P. Ershov, E.A. Zakharova, T.G. Penya and others - M.: Education, 1992.

13. Kantor, A. Fine art of the 20th century / A. Kantor. - M.: Art, 1973.

14. Kandinsky, V. About the spiritual in art. / V. Kandinsky. - M., 1911.

15. Kirtser Yu.M. Drawing and painting: A practical guide. - M.: Higher school, 1992.

16. Komarova T.S. Teaching children drawing techniques. Ed. 3rd revision and additional, M.: JSC "Century", 1994.

17. Kuzin B.C. Methods of teaching fine arts in grades 1 - 3: A manual for teachers. - M.: Education, 1979.

18. Kuzin B.S., Kubyshkina E.I. Art. I - 2 classes Textbook for general education institutions. - M.: Prosveshchenko, 1988.

19. Kuzin, V. Psychology / V. Kuzin. - M.: Agar, 1997.

20. Kuznetsova L.V. Harmonious development personality of a junior school student. Book for teachers. - M.: Education, 1988.

21. Leonardo da Vinci. Judgment about science and art. - St. Petersburg. : ABC-classics, 2006.

22. Luscher, M . Luscher color test / M. Luscher. - M.: AST, St. Petersburg. : Sova, 2005.

23. Markov, P. About watercolors or painting with water paints / P. Markov. - M.: Moscow State School of Watercolor S. Andriyaki, 2001.

24. Masters of art about art. - M.: Art, 1966.

25. Mironova, L. Color science / L. Mironova. - Minsk: Vysh. school, 1984.

26. Mironova, L. Color in fine arts / L. Mironova. - Minsk: Belarus, 2002.

27. Mikheishina M.B. Drawing lessons for younger schoolchildren 6 - 9 YEARS OLD. - MP: Literature, 1997.

28. Methods of teaching visual arts and design. T.S. Komarova, N.P. Sakulina, N.B. Khalezova and others. Ed. T.S. Komarova –

3rd ed. edited - M,: Education, 1991.

29. Nemensky B.M. A program with brief methodological recommendations. Fine arts and artistic work 1-8 grades. - M.: Education, 1992.

30. Nikologorskaya O.A. Magic colors. A book for children and parents. - M.:AST - PRESS, 1997.

31. Psychology of artistic creativity. - Minsk: Harvest, 1999.

32. Rappoport, S. From artist to viewer. Problems of artistic creativity / S. Rappoport. - M.: Soviet artist, 1978.

33. Rozhkova E.E. Fine arts in elementary school. – M.: Education, 1980.

34. Rostovtsev N.N. Methods of teaching fine arts at school. – 3rd ed., add. And reworked. – M.: Agar, 1998.

35. Sokolnikova N.M. Fine arts and methods of teaching it in elementary school: A textbook for students. ped. Universities. – M.: Publishing Center “Academy”, 1999. – 368 pp., 12 sheets. ill.: ill.

36. Fetisov, I. Western European painting of the 20th century / I. Fetisov. - M.: Fine Arts, 1998.

37. Khizhnyak Yu. N. How beautiful this world is. From work experience in morals and aesthetics. education of schoolchildren. Book for teachers. - M.: Education, 1986.

38. Shanina N.F. Fairy tale in the works of Russian artists. – M.: Art, 1969.

39. School of Fine Arts: In ten issues. – 3rd ed., rev. and additional – M.: Izobr. Art, 1986-1996.

40. Shorokhov E.V. Methods of teaching composition in fine arts classes at school. – 2nd ed. – M.: Education, 1977.

41. Shpikalova T.N. Fine arts in 2nd and 3rd grade. Manual for teachers. - M.: Education, 1984.

ANNEX 1

Exercise on color science in 3rd grade “In the world of color”

APPENDIX 2

Lesson topic :"Flower"- arbitrary colorful print.

The purpose of the lesson: Purchase properties of complementary or composite colors.

Learn to use gouache paints creatively in an experienced way to express your thoughts and feelings. Learn to work with free color, and not paint over the outline of the picture. Develop imagination and fantasy.

Materials: Gouache, paper, brushes.

Equipment: Visual aids - tables on color science (primary and composite colors, contrasts).

Lesson Plan

1. Organizational moment.

2. Repetition.

3. Explaining something new in class.

5. Viewing, discussion.

Conducting a lesson

1. Organizational moment.
2. Today we have an amazing transformation of colors. But first you need to remember everything about color. We already know a lot about the fact that there are main colors - basic ones.
- Which? There are also double or compound ones.
- Which?
Using a curious property, if you mix two colors together, you get a third. And you also know that all colors are divided into warm and cold. With the help of paints you can paint whatever you want: sea, sky, desert, day, night, storm and blizzard. Artists have long noticed that, when placed next to each other, certain colors make each other brighter. They are called additional.
The color of an object changes depending on the background on which the object is located. Let's check it ourselves. There are several yellow circles in front of you. Let's put them on blue, yellow and red paper. You can see that a yellow circle on a blue background will appear brighter than on a red and yellow background. If you do the same with green circles, it turns out that on a red background they will look greener than on yellow and blue. This experiment can be done with other colors on a different background. A person who wants to learn how to draw needs to know the dependence of colors on each other. But knowing how to use paints does not mean being an artist. Now I will tell you one legend,
"...Once upon a time there lived two artists in Ancient Greece. Everyone considered them great and worshiped them. Only the artists were not happy with this. Everyone wanted only him to be recognized as great. They decided to organize a competition. Which of them would paint the best picture , he will be the winner. And then one of them painted a basket with apples on the wall. And he painted it so closely that birds flocked to the picture and tried to peck at the apples. The other artist painted the folds on the doors so precisely. The glitter of gold on the brushes accurately conveyed that people, entering the room, tried not to touch them. Time passed, but for some reason no one admired the artists’ paintings. People, busy with their own affairs, passed by indifferently. They simply did not notice the paintings. We thought it was all real."
- Absolutely right. If they were asked whether they liked the first painting, they would answer: “We are amazed at the artist’s skill, as well as his patience. But this work is absolutely priceless. It would be much easier to put a real basket of apples in front of us. it would be more beneficial, because the apples could be eaten."
It turns out that in order to draw a picture, so that it attracts attention and evokes some feelings in us, it is not enough to accurately copy a piece of life. Something else is needed. And this “something” is the artist’s ability to show the world from a new, unknown side to us. And for this you need a sense of color, imagination, and imagination. You all need to learn this.
3. Today you have to complete a very exciting task, and it’s called: “FLOWER”. This is a colorful print that will be made as follows: we apply paint of different colors in random order onto a white sheet of paper. Preferably the main ones: red, blue and yellow. Then fold the sheet in half or overlap it with another sheet. We press the sheets with our palm and open them - the print is ready. Show the children practically. Now let’s turn on your fantasy and imagination and finish drawing your “FLOWER”. The sheet can be rotated. But the condition: as few additional lines as possible.
The main task is to draw what you see in a flower, to imagine the image.
This is where you can use the “secret” of primary colors to obtain composite colors, as well as additional ones, enhancing one color with another.
4. Practical work students.
5. At the end of the lesson, there is a summary of the work and a collective review of the work.

APPENDIX 3

Lesson summary for third grade

Lesson topic : "Living Drop"

The purpose of the lesson: Exercise promotes the development of creativity, fantasy, and imagination.

To consolidate knowledge about color and its laws.

Materials: Paper, brushes, paints.

Equipment: Tables: Primary and composite colors. Contrasts.

Lesson Plan

1. Report the topic of the lesson.

2. What does it mean to be able to fantasize.

3. Explanation of the task.

4. Practical work of students.

5. Group viewing

Conducting a lesson

1. In the last lesson, we worked with free color, through the spot to the form, without using the outline “the fundamental principle of the drawing. But everything that you get, we compare with what surrounds us: animals, birds, etc. Artists do the same they work, even if they fantasize, then only on the basis of what they saw. And the more the artist sees, the more characteristic he notices, the more interesting his drawing.

2. Many years ago, or rather 500 years ago, a very talented man lived in Florence. His name was Leonardo da Vinci, Vinci is the town where the artist was born. He was not only an artist, but also a sculptor, architect, and scientist. At the age of 28, Leonardo the painter was known far beyond the borders of Florence. They knew about him in his hometown of Vinci. One day, his father, Signor Piero, came to Leonardo and brought him a round wooden board.
- Giovani gave this to you. Do you remember him?
- How can I not remember old Giovani! Is he still fishing?
- Now he decided to open a shop with his brother and sell fish. That's why he sent this board. Giovani really asked me to draw something on it, but it had to be something scary. He wants to hang the drawing in front of the shop as a sign. People will be interested in looking at the drawing, and they will come to the store more often. When Signor Piero left, Leonardo thought: “What could he draw? What kind of “bogeyman”? And he came up with an idea! Leonardo began collecting grasshoppers, lizards, snakes, butterflies. He studied insects and animals well and combined them in such a way in his imagination that it turned out to be an extraordinary monster.
When Signor Pierrot arrived and saw the drawing, he was very frightened and began to run from the room. Leonardo had difficulty catching up with him. Of course, to make such a drawing you must have imagination. An artist must have a rich imagination.
What is imagination? Look out the window. There are clouds in the sky. Take a closer look and you will see that one cloud looks like an elephant, the other like a camel. This is imagination. People without imagination are boring people.
It is a great art to see. And even more art is to be able to talk about what you saw. If you are a poet or writer, you will tell it in words. The composer will convey his impression of what he saw in music, and the artist will depict it on paper. And today you will also invent and fantasize.
3. Show the children how to do it. One or several drops of liquid paint (can be colored ink) are placed on a sheet of paper. By unfolding and tilting the drop, we make it move, forming a bizarre pattern. Next, with a little imagination, complete the drawing. Then come up with a name and complete the environment.

4. Practical work of students.
5. At the end of the lesson - viewing of works. Summarizing.
So, while playing, children make their first experiments in color science and remember the “names” of paints, learn to work with free color, and not paint over the outline of the picture.

We live in a bright, colorful world, filled with hundreds of colors and shades. It is common and familiar to us; we rarely pay attention to the color of the evening clouds, the play of shadows in the treetops or the lush green of young grass.

But a child is just discovering this world, a luxurious wealth of colors, changeable, fickle and amazing. The task of adults is to help the child get comfortable with this multicolor, teach him to understand the essence of color, to feel its beauty.

The mental activity of an adult is largely subordinate to the mind and is regulated by the rational sphere of our consciousness. But the child is completely open to the world, he lives by sensory perception. This is the main thing for him, and the baby, like a sponge, absorbs all external influences: light, sounds, smells, visual images, tactile sensations and, of course, color, which has a huge impact on the child’s development.

The world of a child is a world of direct, sensory images, and color impressions are perhaps the most vivid impressions of childhood. Light and color are one of the first phenomena of reality that children pay attention to. If the reaction to light, especially in a newborn, is largely reflexive, then highlighting the color requires concentration and a sense of interest. The baby seems to catch his eye on a bright toy or curtain.

Color and development of the sensory-sensory sphere

Color is the same light, just at different wavelengths. Reflecting from objects, it hits the retina of the eye, causing a nerve impulse that gives rise to a color image in the visual part of the brain. And the development of a baby’s visual perception is largely related to his color environment. After all, a newborn begins to distinguish color before recognizing the shape of objects.

Studies have shown that babies begin to see colors in the warm part of the spectrum first:

• orange,

And it is they who have the greatest positive impact on the formation of the child’s psyche. The famous color psychology researcher B. A. Bazyma called these shades color vitamins necessary for the development of children.

Other colors are no less important:

• calming;
• cool;
• soft and warm beige.

But children do not like dark shades, and their impact can be negative.

The influence of the color environment on children is so great that a long-term lack of “colorful vitamins” can lead to problems in the development and condition of the child’s body as a whole:

• general health worsens;
• anxiety, irritability, moodiness appear;
• mental development delay occurs;
• general activity decreases.

Unlike adults, children are not irritated by bright colors; they stimulate their physical and mental activity, and have a beneficial effect on their mood and reaction to the environment.

Color and emotions of children

Color has the greatest influence on emotional sphere. Even adults notice this, not to mention children. Children have an unstable nervous system; they do not yet know how to control their feelings and are sensitive to everything that happens around them. They also cannot yet control their emotions with the help of volitional efforts - their volitional sphere is poorly developed. This is not a disadvantage, but an objective fact, a feature of their age that an adult must take into account.

It is precisely the color environment of children that in many ways acts as a regulator of their emotional state. True, from an emotional point of view, children’s color perception differs from that of adults. It is a well-known fact that red and orange excite and blue calms. But if we talk about children, then everything is not so simple.

Features of color effects cannot be mechanically transferred to children.

• For example, in some popular publications or on Internet sites you can find advice to decorate the children's rooms of overly excitable, hyperactive children in cold blue tones. However, psychologists who seriously study the effects of color on children do not recommend overusing colors such as blue and purple around children. After all, they depress their sensitive nervous system and can even lead to depression.
• But red and orange, which have a stimulating effect on adults, often calm children and bring a feeling of warmth and comfort.

According to B. A. Bazyma, a leading expert in the field of color psychology, the nervous system of a healthy child “objectively needs the energetic influence of the long-wave part of the spectrum (red, orange and yellow); bright, light shades have an effect on the central nervous system that it cannot do without.”

Color and intellectual activity of children

Color affects not only the emotional, but also the intellectual sphere of children. This influence is due to two factors:

• Firstly, there are shades that are associated with the intellectual activity of an adult and stimulate it even at the psychophysiological level. These colors include green, blue and purple. Children also need them, but in the form of softer, lighter, delicate, “whitened” shades: yellow-green, light green, light emerald, soft blue, light lilac.
• Secondly, color attracts the attention of children so much that it stimulates all their cognitive processes. The development of figurative thinking and imagination, memory, the ability to compare and analyze is difficult to imagine outside of a child’s color perception. What color is an orange and what color is an apple? Why are the leaves green in summer and orange and yellow in autumn? A green frog hides under a green leaf, and a white bunny hides unnoticed in the snow in winter. All knowledge of the surrounding world, its connections, interdependencies is in close contact with color perception. It is color that makes this cognition objective, alive, and realistic.

Features of the development of children's color perception

We all want our children to grow up healthy and well-developed, so parents are often worried when their children have difficulty distinguishing colors, do not know their names, and cannot say what color this or that object is. This anxiety is understandable, but often unfounded, because the development of color perception in a child is gradual.

From birth to 3 years

This is a very responsible age not only in terms of physical development, but also in terms of children’s knowledge of the world around them. The brain of such a baby receives and processes a huge amount of varied information. There is such a point of view: if all the knowledge, all the experience accumulated by a person during his life is divided into two, then half will be in the first three years of life.

In the first months of life, the baby's perception is still very imperfect. For example, visual perception develops gradually over 6–8 months. This is not due to the imperfection of the visual organs, but to the ability of the brain to analyze images. And in the development of this ability, a child’s diverse environment, including color, plays a huge role:

• bright toys;
• rattles;
• colorful wallpaper on the walls of the children's room;
• curtains;
• cloth.

All this attracts the baby’s gaze, forces him to concentrate, examine, and develop his visual perception.

However, until the age of 3, the baby does not yet use his vision to its full potential; color attracts his attention, but is not associated with objects, which the child distinguishes by shape and not by color. And the baby still sees few colors, mainly shades of yellow, orange and red. And he will learn to distinguish other colors from the many colors of the world only by the age of 5.

3–4 years

This is the age of active games in which the baby masters the objective world. It is at this age that color becomes an important characteristic of things and part of ideas about the world. True, for now, for a child, the brightness of the shade is more important than realism. So red horses, green dogs, and blue pussies appear in children's drawings. After all, brown, gray and black colors are so boring!

However, it is at this age that correct ideas about the color scheme of objects should be formed. Because this is an important period for the formation of sensory standards - stable ideas developed by humanity about the characteristics and properties of things and phenomena. This also applies to flowers.

By the age of 3–4 years, a child is able to distinguish between 5–6 colors and begins to pay attention to the color characteristics of objects. Therefore, he can explain the “wrong” coloring of objects in his drawing in a very original way, with imagination: the green horse is like that because it was lying in the grass, and the blue one drank some water; a pink pussy because she wants to be beautiful, and an orange bunny because you can’t see white on a piece of paper.

At this age, kids are interested in the color of toys (“I don’t want a green car, but I want a red one!”), look at colorful pictures in books with pleasure, and enjoy bright clothes. And when they paint the walls or their arms and legs with felt-tip pens, children sincerely want everything around them to be beautiful.

Although children are good at distinguishing colors, they may still confuse their names, especially when it comes to similar colors, such as red and orange or yellow and orange. And sometimes people get confused about the colors themselves. So, for most children of primary preschool age, red and orange are the same color. And dark blue and light blue are completely different. The first is perceived as dark, does not evoke positive emotions and is rarely used in drawing. But blue is rated as light and positive, although in popularity it undoubtedly loses to red and yellow.

Some children under 5 years of age have difficulty remembering colors. Until the age of three, children often do not associate the name of a color with the color itself. And a blue or green ball can be called red. And often the word “red” for kids becomes synonymous with “beautiful”, or even “pleasant”, “good”. A stable connection between the names of colors and a specific color has not yet been formed. But this is a temporary phenomenon.

5–7 years

By the age of 5–6 years, the child’s cognitive sphere is already quite developed, he knows a lot, knows how to analyze information, compare, and draw conclusions. It’s not for nothing that children of this age are called little thinkers and dreamers. The inexhaustible curiosity of children is manifested in everything, including the desire to know the color of objects, the reasons for its change, and the peculiarities of mixing colors. Thus, children are delighted with the discovery that by mixing blue and yellow paint they get green.

In addition to primary colors, a 6–7 year old child distinguishes many shades and strives to know their names. After all, the process of cognition is closely related to speech activity.

Along with the cognitive function, color begins to perform an aesthetic function at this age. It becomes an important part of ideas about the beauty of the world around us. This is noticeable in the children’s drawings, in their choice of clothing, and in their speech. The child also tries to go beyond color stereotypes and with great pleasure invents his own colors by mixing paints.

Our world is amazing and bright with its variety of colors and shades. The ability to see this diversity will not only fill a child’s life with color, but will also contribute to the development of his perception, intelligence and creative abilities.

Exercises and games to develop children's color perception

The development of perception in general and color in particular is a natural process. However, its purposeful organization by adults will make this process not only more effective, but also more exciting and interesting for the baby. Moreover, many bright, colorful and positive phenomena in a child’s life are associated with color.

Each child perceives the world differently. Therefore, the formation and development of the sense of distinguishing color tones occurs in a variety of activities:

• drawing,
• design,
• getting to know nature,
• works of art.

But the most effective means of developing color perception is play.

Colorful games

The effectiveness of children's educational games largely depends on the degree of participation of adults in them. These are games that require interaction, because your child is a social being, and contact with you is the best stimulus for his development. And many games with color also involve the joint production of “manuals”. Give your child the joy of creativity - create with him.

Game “Colorful Meadows” (2.5–4 years)

Place a mat (napkin, diaper or sheet of colored paper) of a certain color on the floor. It is better that it is a pure color, without complex shades (red, green, blue, yellow). This will be your clearing. Ask your child to find and bring toys of the appropriate color.

At first, we may need your help. Not even because the child does not understand what is required of him, but because he is bored playing alone and does not feel the “taste” of the game. He needs to be captivated. You can even arrange a fun competition to see who can find and bring the most toys of the right color. (Of course, here you need to play along with the baby.) During the game, do not forget to name the color of the things.

Game “Flowers and Butterflies” (2.5–4 years)

Cut out red, blue, yellow and green flowers from colored paper and glue them onto a white sheet. Ask your child to name the colors. If the child is already familiar with these four colors, then you can add orange and purple flowers.

Ask where the flowers grow, and what paint should be used to paint the clearing? Invite him to draw the grass in the desired color (pencil or felt-tip pen).

Then cut out butterflies from paper of the same colors. Butterflies have flown into your clearing, and you need to plant them on flowers of the desired color. Ask your baby to do this.

Don't forget to encourage your child to name the colors. If he finds it difficult, don’t insist, just call it yourself. Knowledge of colors will come with time.

Game "What's wrong?" (3–4 years)

We take coloring books with objects familiar to the child and color them incorrectly, using colors uncharacteristic for these objects, for example, a cucumber in red, a strawberry in blue. We show the child and ask if everything is drawn correctly? What's wrong? It should be?

Game “Colors of Nature” (4–6 years old)

This game can be played both at home and on a walk. It is very diverse, so you can come up with new variations of this game yourself. Here are two examples.

1. Exercise “What color is the world in winter (summer).”

Ask your child to remember or just look out the window and say what color is the main color in winter. He will undoubtedly say white, but you will ask him to take a closer look (at the same time, look for yourself). And, of course, you will notice blue, lilac, gray shadows, and brown tree trunks, and a blue or pearl-blue sky, and many, many different shades on the white snow. The same exercise can be done in summer, spring, and autumn.

1. Exercise “What color grows in the garden?”

But really, which one? Children remember with pleasure the “garden” colors: green cucumber, orange carrot, yellow melon, purple plum, etc.

You can also come up with a lot of such exercise games, focusing on the interests and hobbies of your children. For example, play with a girl in the colors of flowers, and with a boy in the colors of cars.

But when playing with your child, remember that any games will only be useful and interesting to him when you yourself play them with interest and enthusiasm. Our children are very emotionally sensitive, and we feed them with our emotions, setting them up for activity, study, and creativity.