Artistic woodworking woodcarving. Material according to the technology "artistic processing of various materials". The main types of materials used

Man has been engaged in the artistic processing of wood since ancient times. Carved wooden products brought him both beauty and benefit. Dwellings were decorated with ridges on the roofs, carved doors and platbands. Three examples artistic processing wood - dishes and souvenirs, which our ancestors traditionally did.

A huge number of palaces and temples scattered throughout Russia are decorated with wooden carvings. The ensemble built on the Kizhi of Lake Onega in 1714 serves as a classic example of a masterpiece of such architecture.

The production of turned and carved wooden utensils in Russia had a wide scope. It was customary to impregnate it with drying oil, paint it with oil and natural paints, and finish it with gold and silver. good example Khokhloma painting known to all can serve as artistic processing of wood products.

Let's look into the past

All artistic processing of wood could be carried out in a variety of styles. For example, the style called baroque is characterized by dynamism in the form of mobility of forms, festive lush decor, numerous images of cupids, flower wreaths, stylized birds and animals.

Massive wood furniture looked luxurious, being decorated with mosaics, inlaid with bone or metal, as well as covered with colored lacquer or having sophisticated carvings.

In the retro style, luxurious copies of products from the era of classicism and baroque were made. And today there are also samples of unconventional solutions of designers of new forms and designs, popular among young people.

Nowadays, artistic woodworking is a creative direction of specialized work, which is taught in many educational institutions. Nowadays, interest in this topic does not dry out. As part of the school course, the boys learn the basic techniques of working with wood, allowing them to create simple products. The technology of artistic wood processing is taught as part of the profile course of art universities.

Let's talk about hand carving

In the artistic processing of wood, a special place is given to the process of hand carving. There is a great variety of the most different types. Speaking about the most common, we should first of all mention the flat thread. Further - geometric, slotted, contour.

A characteristic feature of the first variety (flat-pitched) is the making of recesses of various shapes on a flat surface. Geometric refers to one of its modifications and is a series of square, triangular, rounded elements. The model in this case is a cutting board with repeating decorative details.

Contour carving is performed by cutting thin bilateral or dihedral recesses of small depth along the contour of a certain pattern. It is used mainly in the process of depicting figures of animals, birds, floral ornaments and leaves.

What is the easiest?

The simplest type of thread is slotted. It is performed with a jigsaw, which cut out the contours of a variety of shapes where you need to see something through the slots (doors, screens, sideboards, window trims). There is no background for such a wooden product. In some cases, it can be replaced with a bright fabric.

The technology for performing artistic processing of wood (woodcarving of this type) is quite simple: a pattern is transferred to a workpiece with a surface prepared in advance (polished or planed). It is also possible to use tracing paper.

Several holes are drilled along the contour of the future drawing, into which a jigsaw file is inserted and the entire contour is carefully sawn through on a special table called sawing.

How the woodworker worked

Such in the artistic processing of wood as contour, slotted and flat, have long been used to decorate Russian furniture. Openwork is a variety that has a relief pattern. As a rule, craftsmen working in the Rococo and Baroque styles decorated it with furniture.

If the products made using the slotted carving technique were nailed or glued to a wooden base, it was called an invoice.

The classification of artistic woodworking equipment has always been carried out depending on the type of work performed. How, for example, did the workplace of a carver working with wood look like? It could be the most ordinary table with a chair or a system of workbenches equipped specifically for this purpose.

The height of their covers was at the level of the master's elbows. The light fell on the left and in front. On workbenches, workpieces were fastened with screw clamps or wedges. Chisels were mainly used as cutting tools.

Tools for different types of artistic woodworking

Chisels can be straight flat, with which they protect the background when performing relief or contour carving. Grooved is useful for almost every type of work. Cranberry with a long curved neck and a short blade is used if you need to cut a recess in a hard-to-reach place. A chisel-corner is taken for cutting grooves. With the help of cerasic, narrow veins or grooves are applied.

For geometric carving, flat chisels are taken, called jambs, cutters or kosyachki. They can be short or long with a different bevel angle of the cutting edge. The most rough types of work are performed with a chisel.

Each of the tools must have a quality handle. The blades must be well sharpened with fine-tuning on the whetstone. In the case of a well-made tool, it is possible to get a high-level work.

How is the process

Wood carving begins with the markup of the selected pattern. To do this, use a ruler, square, protractor, compasses, stencils, as well as ballpoint pens or pencils. The drawing for geometric carving is a set of squares, rectangles and triangles.

Each of the recesses (recesses) is cut with a joint across the fibers, and then along them. At the same time, the joint is held in the right hand and the toe of the blade is placed with a slight inclination on the marked line. The blade is cut into the wood and a line is made by moving towards itself.

Thus, all middle lines are performed. If a slanted cut is required, the jamb should be tilted to the left or right at an angle of 30 to 40 degrees. The marking line should not be cut. The carving process must be carried out smoothly and slowly, pressing evenly on the jamb. The tool is firmly clamped in the right hand. Sometimes you need to hold it with your left to avoid leaving in the direction of the fibers. Those who have just begun to master the process of carving are allowed to hold the tool with both hands.

The procedure for cutting trihedral recesses is reduced to processing the sides of the drawn triangles with a joint, which is held vertically in the hand. The cut goes from top to bottom. These tricks are very simple. Mastering them will not take much time and will allow you to move on to cutting out other, much more complex shapes.

On safety rules for the artistic processing of wood

1. It should be remembered that chisels are dangerous cutting tools and require careful handling.

2. Do not keep your left hand near the cutting tool.

3. Too much effort when working with a chisel is prohibited.

4. If it is necessary to strike the handle of the chisel, it should be taken in the left hand, and the mallet in the right. The tool is placed in place of cutting, then light blows are applied to its handle.

5. Chisels should be stored in specially designated places (in cabinets, workbench drawers, etc.).

Learn and learn again

Anyone who decides to achieve results in wood carving should not rely only on their own creative abilities. A serious occupation with the artistic processing of wood includes constant training with the development of its various nuances.

There are a huge number of methods that allow you to create wonderful carvings. An example of one of them is the Tatyanka style. It is based on the technology of performing floral ornament. The peculiarity of the style of carving that appeared as a result of a creative experiment is that the product is processed only once. Re-finishing is not allowed, and, in principle, it is not needed, since all elements come out from under the cutter ready, not requiring additional processing. Therefore, in this case, special tools are used.

Using the "Tatyanka" style saves time in comparison with the execution of forms in other types of artistic wood processing related to relief carving. The tool in each case is selected taking into account the characteristics of the tree species. It is known that it can be hard or soft. Each of the devices needs to be sharpened well.

Style "Tatyanka" refers to multi-layered. Each of the layers is processed in turn, and quality assurance is important at any of the stages, otherwise the subsequent work loses all meaning. Before any detail can be reproduced, its location and design must be carefully considered. If the element is cut incorrectly, it cannot be restored.

Products made in this style are quite popular among buyers. Therefore, a master who has mastered this method will never be left without work.

Other methods of working with wood

Recall once again that each carving technique requires an appropriate tool. For example, through carving, the result of which looks voluminous, requires the use of a saw, jigsaw or chisel. Such openwork carving is widely used in decorating houses - the relief form gives additional volume.

In the technique of flat-relief carving, the background is selected and pillow.

These days it has become fashionable to create with a chainsaw. Sculptural carving is one of the most complex of all available artistic woodworking techniques. At the same time, it is very interesting. By processing the original piece of wood with the correct proportions, you can realize your plan to turn it into a figurine of an animal or a person. Volumetric details make the sculpture extraordinarily alive.

Another type of artistic woodworking is wood burning. This is also a whole layer of the most interesting skills and artistic techniques that require a separate story. By burning it is possible to obtain a rich variety of patterns of various subjects.

Before starting complex work for educational purposes, you should work on any of the simple sketches for carving, familiarize yourself with special literature, view classic diagrams and sketches with their detailed description. It does not hurt to look into GOSTs for the artistic processing of wood.

Beginner carvers should start carving small figures with minimal detail. To move to products of complex shape and master the art of wood carving, constant hard training will be required.

Types of flat notching

It can be geometric, contour, nail-like or black-gloss. Each of these techniques will require its own sketches and a set of tools in the form of a knife and chisel.

The process of creating a carved geometric pattern consists in cutting out squares, rhombuses, hexagons, etc. at predetermined angles. If the pattern is created using circular or triangular grooves, we are talking about the contour carving technique. If the surface is coated with black paint or varnish before starting work, the finished drawing will look extraordinarily impressive.

Master's workplace

If you decide to work in the Tatyanka technique or in any of the above, you will need a wooden plane with a flat surface. It can be a workbench, a table, a window sill or even a stool. A table or workbench is best because they are heavy and have a wooden top.

If the table is polished, it can be covered with a piece of plywood or a drawing board. This protects the tool from breakage in the event of an accidental break. Lime blanks are quite soft in themselves, it is customary to rest them against something solid.

The wood carver's workplace requires good natural light or artificial light with a wide spectrum. This is due to the painstaking nature of the work and the increased requirements for accuracy and accuracy. Ideally, a table with a lamp should be located next to the window.

A workflow training board needs constant moisture. The required humidity is about 12-15%. You can moisten the board in advance by washing its ends.

Thread material

The wood used for the carving process must have a smooth, even surface without knots and other flaws. If you deliberately take a tree with knots, then in the process of work you can beat them artistically and make a decorative composition based on them.

An excellent material for creating wooden compositions (especially in the Tatyanka style) is linden. This type of wood is easy to cut in any direction, which makes it ideal for beginner carvers. When choosing a board, pay attention to its end. According to it, you can choose a sample of dense, homogeneous and not loose wood.

It is best to choose a board sawn from the edge of the log, close to the bark. In this case, the layers are placed hollow with respect to its surface. This board is easy to cut. If it is necessary to take a break between the stages of work, it is not worth moistening the training board by wrapping it in a wet cloth or placing it in a wet bag, since a wide variety of bacteria may appear and multiply, followed by darkening of the board and mold formation.

It is best to store such boards in rooms where there is no heating, for example, in sheds, hallways, bathhouses, on balconies and loggias. It is not recommended to store educational material in the bathroom, basement, refrigerator or in the sun.

Which tool is better?

There is a special tool for the "Tatyanka" style with parameters designed to work with plastic wood species. If your tool is homemade or factory, it may be of little use due to a mismatch in size and other parameters.

Working with unsuitable ones greatly complicates the process of learning to carve and reduces its effectiveness. The first simple educational ornaments are made using the most common student set, consisting of chisels No. 6 and No. 17 (semicircular medium diameter) and a joint knife. The blade of semicircular chisels in cross section looks like part of a circle. If you place such a tool end face on the board and then turn around the axis, the blade closes the circle, cutting through the wood.

An important quality of the chisel, which allows you to make deep cuts, is maneuverability. The knife-jamb is one of the main tools. The name comes from the shape of the blade with an oblique cut. Its size, as a rule, is suitable for a medium-sized hand.

Among the works of art in our country, woodcarving and mosaics have long been the most common and beloved among the people.

Mosaic on wood - one of the types of decorative applied arts with strong aesthetic impact. The decorative qualities of wood make it possible to create a wide range of mosaics, from small souvenirs and decorations on furniture to monumental panels.

The art of wood carving is just as rich and varied in its possibilities. Carvings decorated dwellings and ships, furniture, dishes, tools - spinning wheels, sewing machines, rollers. Folk wooden toys are distinguished by the brightness of images, accurate observation, subtle humor and genuine beauty.

The centuries-old culture of artistic wood carving has national traditions that are passed down from generation to generation when decorating wooden houses with carvings and creating household decorative items. The best samples of such products, created by folk carvers, are carefully stored in the museums of our country.

The art of artistic processing of wood, which has deep traditions in our country, is widely developed in the regions and regions. Studying the course of artistic wood processing allows young people to acquire general labor and partly special knowledge, as well as provide them with intellectual, ethical and aesthetic development. These goals can be achieved if the necessary attention is paid to the quality of work and readiness for self-education, restoration and preservation of family, national and regional traditions and universal values.

The program is directly related to the integrative educational area "Technology" of the general education school.

The program explores three different areas of artistic woodworking: sawn carving, marquetry, geometric carving. The result of the training is the implementation of the project. A project is a creative, completed work that corresponds to the abilities and capabilities of the student.

The main goals of the program

Teaching woodcarving in the system of additional education for children involves the following goals:

• the formation in students of the qualities of a creatively thinking, active and easily adaptable personality, which are necessary for activities in new social conditions, from determining the needs for the manufacture of artistic products to its implementation;
• preparing students for conscious professional self-determination and achieving life goals through self-realization;
• formation of an aesthetic attitude to the surrounding world;
• formation of a creative attitude to the qualitative implementation of labor activity;
• the formation of artistic culture among students as an integral part of material and spiritual culture, artistic and creative activity, to help them master the figurative language of arts and crafts. The proposed program is designed to give students an idea about the various types of arts and crafts and its significance in the life of every person.

Main objectives of the program

Tutorials:

• formation of polytechnical knowledge and ecological culture;
• development of cognitive interest in work and arts and crafts;
• acquisition of serious knowledge and skills in handling hand tools and machine tools;
• development of technological methods;
• solving problems aimed at creating a complete product that meets both functional and aesthetic requirements,
• the ability to build interdisciplinary connections.

Educational:

• education in students, by means of program material, respect for natural resources, diligence, humanity, decency;
• the formation of an aesthetic attitude to work;
• the formation of social activity among students, social role(worker, producer, consumer);
• obtaining healthy lifestyle skills (acquaintance with design developments, an atmosphere of harmony, working with environmentally friendly materials);
• education of patriotism through the study of the history of traditional folk crafts.

Developing:

• development of such business qualities as independence, enterprise, accuracy, diligence;
• formation of the need for self-development;
• development of interest, imagination, fantasy and creative possibilities schoolchildren,
• development of aesthetic taste.

Program features

Decorations on furniture and other wood products have a long history. The most common types of decoration in the past were carving, turning, wood mosaic and painting.

Mosaic on wood is one of the types of arts and crafts that has a strong aesthetic impact. The decorative qualities of wood make it possible to create a wide range of mosaics, from small souvenirs and decorations on furniture to monumental panels. Just as rich and varied in its possibilities is the art of wood carving, which was the most widespread and beloved artistic work among the people. Carvings were used to decorate dwellings and ships, furniture, utensils, tools.

The centuries-old culture of artistic wood carving has national traditions that are passed down from generation to generation when decorating wooden houses with carvings and creating decorative household products. The best samples of such products, created by folk carvers, are carefully stored in the museums of our country.

Artistic wood processing provides a unique opportunity to combine labor training with aesthetic education, without which it is impossible to achieve a high work culture.

Analyzing the “PROGRAMS of educational institutions on “technology”, recommended by the Ministry of Education of the Russian Federation, I am faced with the fact that in the module “Artistic processing of materials” (B.I. Orlov, K.A. Skvortsov, O.A. Kozhina) the 3rd quarter in the 7th grade for boys and the 3rd quarter in the 8th grade for girls are allotted to study the program. This amounts to only 20 hours for the entire "technology" course in the basic part of the curriculum. Moreover, artistic processing of wood and artistic processing of metal is available to choose from. That is, the material is presented in an overview, fact-finding form. In the variable part of the curriculum, artistic processing of materials maybe studied in grades IX-XI. But, it is possible to really interest and captivate a child in any activity precisely in the early adolescence, that is, at 12-13 years old.

In my opinion, the existing program pays unforgivably little attention to the artistic processing of wood, which has deep traditions in our country.

In the existing bank of educational programs TsRTDIY of the Moscow Region for 2007, there are ten programs in this area. Let's list them:

• Vinokurova N.I. Wood carving program, 1997.
• Glozman E.S., Glozman A.E. Exemplary program "Artistic woodcarving", 2001.
• Karpov Yu.V. The program “I teach woodcarving”, 2001.
• The program "Wood carving" (for secondary general education educational institutions), 1997.
• Slipak V.P. The program of the circle "Woodcarving", 1994.
• Wood carving program, 1997.
• Khvorostov A.S., Khvorostov D.A. Wood carving program, 1997.
• Program "Artistic and Applied Wood Processing" (program for general educational institutions, grades 5-7), 1993.
• The program "Manufacturing of artistic products from wood" (programs for secondary educational institutions), 1992.
• Ryazanov L.V., Kosogorova L.V. Program "Artistic processing of wood", 2005.

Of the above programs, seven are focused on additional education.

The listed shortcomings of programs for educational institutions and the analysis of additional educational programs prompted me to create an additional educational program of the artistic association "Artistic Woodworking", which provides great opportunities for studying the subject.

The main differences from these programs are:

• The outlined program has a period of implementation - one year and is a course of introduction to activities. Pupils of creative associations, for acquaintance, are provided with three directions of artistic processing of wood. The result of the annual training is the child's choice of the direction he likes.
• Along with practical training, pupils receive theoretical information about professions related to woodworking, which can help take the first step in choosing a future profession.
• The introduction to the program of additional education is also new. project activities, and the project is carried out in the direction chosen by the student.

Making beautiful and functional objects with your own hands causes an increased interest in work and brings satisfaction with the results of labor, arouses a desire for further activities.

For the further development of the artistic abilities of students, further classes in a creative association are recommended in subsequent years of study. Programs for these classes are being developed by me at the present time.

Wood remains a favorite material for artists to this day. Sculpture, carved decorative and utilitarian-decorative objects are created from it. In the field of artistic processing of wood, folk craftsmen and professional artists work, training of personnel is organized in an organized manner. And even though not every child studying in creative associations of additional education in the art of woodworking will become a professional, he will receive not only work skills, but also readiness for a reasonable choice of profession.

Age of students and features of the group:

• the program is designed for students aged 12-13 years, which corresponds to grades VI-VII of general educational institutions (it is not recommended to start classes at an earlier age due to the increased danger of the cutting tool and the child’s not yet fully formed coordination of movements);
• the composition of the group is recommended permanent;
• student enrollment is free.

Age psychological features

Adolescence is a sharply flowing transition from childhood to adulthood, when contradictory trends are convexly intertwined. On the one hand, this difficult period is indicative of negative manifestations, disharmony in the structure of the personality, curtailment of the previously established system of interests of the child, causing the nature of his behavior towards adults. On the other hand, adolescence is also distinguished by many positive factors: the child’s independence increases, relations with other children and adults become more diverse and meaningful, the scope of his activity expands significantly, etc. The main thing is that this period is distinguished by the child’s entering a qualitatively new social position in which his conscious attitude towards himself as a member of society is formed.

Adolescents have a desire to understand themselves in more depth, to understand their feelings, moods, opinions, relationships. The life of a teenager should be filled with some meaningful relationships, interests, experiences. In adolescence, a certain circle of interests begins to be established, which gradually acquires a certain stability. The range of interests is the psychological basis of the adolescent's value orientations. During this period, there is a switch of interests from the private and concrete to the abstract and general, there is an increase in interest in issues of worldview, religion, morality and aesthetics.

It is at this age that a serious passion for arts and crafts can form and the task of a teacher of additional education is to provide the child with various types of folk crafts and crafts in all their beauty.

Class organization mode:

• the time allotted for training is 144 hours per academic year;
• 2 classes of 2 hours are held per week;
• form of study under the program - full-time;
• workshops make up the bulk of the program.

Expected results.

Students should know:

• general information about folk crafts;
• principles of shaping and composition;
• the basics of carpentry (manual and mechanical) preparation of the wood surface for finishing;
• features of wood finishing with paints and varnishes (staining, waxing, varnishing, polishing).
• types of mosaic (intarsia, inlay, marquetry)
• types of woodcarving (carved, flat-notched, flat-relief, embossed, sculptural, brownie).
• tools and materials for artistic woodworking;
• design stages and procedures;
• project evaluation criteria.

Students should be able to:

• choose and independently develop drawings for the artistic processing of the product;
• prepare the surface of the product for artistic processing;
• to carry out artistic finishing of the surface of the product (cut-out, geometric carving, marquetry, coloring);
• plan, organize and execute the project taking into account all evaluation criteria;
• protect the completed project.

Students should have the competencies to:

• on the general principles of artistic design;
• by profession a master cabinetmaker;
• wood carver by trade;
• for the implementation of the project.

As a result of training, the following is expected: the formation of independence, accuracy, diligence, and the need for self-development in children; developed imagination, fantasy, awareness of their creative possibilities.

The result of the year of study is an independent creative work (project) from the idea and development of design, ornament, to the complete manufacture and finishing of an integral product, both functional and meeting aesthetic requirements, as well as economic and marketing criteria.

Municipal budgetary educational institution

"Mikhailovskaya middle comprehensive school»

Nizhnegorsky districtRepublic of Crimea

Lesson outline

Lesson topic:“Artistic processing of wood. Wood carving.

Summary of the lesson on the subject "Technology" in the 6th grade. Lesson objectives: to familiarize students with traditional types of decorative and applied arts and folk crafts when working with wood, professions related to the artistic processing of wood; formation of ideas about equipment and tools for wood carving; familiarization with the rules safe work when performing artistic and applied works with wood; the formation of students' knowledge of the types of wood carving, the technology for performing openwork, geometric, relief and sculptural carving; the formation of skills and abilities to perform artistic woodcarving techniques; production of products of decorative and applied art according to sketches and drawings; education of aesthetic taste, accuracy, diligence.

Expected learning outcome:

General idea about the technologies of artistic and applied wood processing, tools for woodcarving;

Acquisition of experience in independent selection and processing of blanks for subsequent artistic woodcarving;

- acquisition of woodcarving skills;

Development of attention, diligence, accuracy of execution, independence in decision-making, aesthetic thinking;

- acquisition of experience of joint work, development of communication skills, skills of self-assessment, reflection.

Didactic teaching aids: samples of artistic woodworking products; posters depicting products with artistic carving; equipment and tools for wood carving, sketches and drawings of products with decorative carving, wood blanks, carbon paper, pencils, drills, drills, chisels, jigsaws, files, needle files, sandpaper, awl, varnish, brushes, workbook, technology textbook.

Formed UUD: personal, regulatory, cognitive, communicative.

Lesson plan:

From the history of artistic woodworking

Practical work.

During the classes I Organizational part

Attendance control.

Checking the readiness of students for the lesson.

Reporting the topic, goals and objectives of the lesson

Updating students' knowledge.

Teacher:

- Tell us briefly about the previously studied technologies for sawing with a jigsaw and wood burning

- What is the aesthetics of the product?

Do you have decorative carved wood products (furniture, kitchen utensils, toys) in your home?

- Name the scope of wood products processed with artistic carving;

II Theoretical part

From the history of artistic wood processing. Artistic wood processing is one of the most ancient types of folk decorative art. Making many household items from wood, people tried to make them beautiful and pleasing to the eye. The most ancient way of decorating wood products is woodcarving. Carvings were used to decorate houses, dishes, furniture, ships, musical instruments, cradles for babies, toys and souvenirs were carved from wood.

Woodcarving belongs to the old Russian crafts. The word "fishing" comes from the verb "to provide", that is, to think, think about how you can earn. Our ancestors did not wait for someone to give them bread, but looked for any opportunity to earn it in order to feed themselves and their families.

Thus, folk crafts arose. Their rapid development gave rise to many directions. These are carving and painting on wood, chasing and pottery, making toys, etc.

Wood products with a weak texture were most often painted or decorated with carvings.

Many temples and palaces decorated with wood carvings have been built in Russia. A masterpiece of wooden architecture is the ensemble of buildings on the island of Kizhi in Lake Onega with the twenty-domed Church of the Transfiguration.

The greatest development was wood carving in the late XIX - early XX in the ancient Abramtsevo and Kudrino. The Abramtsevo-Kudrin technique is characterized by a combination of plant motifs (tree shoots, garlands of leaves, branches, flowers, berries) with images of birds, fish, animals, horsemen. In this technique, decorative items are created: salt shakers, trays, scoops, ladles, croutons, candy bowls, dishes, vases.

Currently, carving is used in the decoration of houses to decorate stairs, doors and windows of garden houses, summerhouses, playgrounds. In the manufacture of household utensils: caskets, vases, candlesticks; kitchen utensils: bread bins, crockery, cutting boards, coasters.
Types of woodcarving and technology for their implementation.

There are many types of woodcarving. The simplest is openwork carving. This is a thread in which the background is completely removed, and the pattern is through. Openwork carving is called slotted if it is cut with chisels, or sawn if sections of the background are cut with a jigsaw or saw. Openwork slotted carvings with jagged and stepped ornaments (Fig. 6) decorated the platbands, pediments of houses, and also framed the entrances above the doors, the railings of the stairs and the cornices of the porches.

Flat thread is characterized by the fact that the flat surface of the workpiece is the main background, and all elements of the pattern are cut out in this background, that is, they are below its level. Flat threads are conventionally divided into contour and geometric threads.

Images made using the contour carving technique have a flat graphic pattern with straight, curved, spiral and other shapes. The pattern is created by notches cut along its contour. A variety of contour carving is black-lacquer carving. Here the surface of the workpiece is covered with black varnish, and then lines are cut on it. This is how a pattern is created.

One of the types of flat notched thread is a geometric thread, all elements of which are geometric shapes formed by straight and curved lines - triangles, squares, circles, etc.

Geometric carving is the oldest way to decorate wood products. Carvings were used to decorate wooden ships, huts, furniture, crockery, looms and spinning wheels. It is made in the form of recesses: two -, three - and tetrahedral, the combination of which gives a fancy pattern on the surface of the wood.

This type of thread is relatively easy to learn, does not require the use of a complex and diverse tool. All the variety of elements of geometric ornament is performed with one knife, the so-called "knife-jamb"

The main element of geometric carving is a triangle, the faces of which form a pyramid, topped down.

Triangles can have a wide variety of shapes and sizes. The sides of a triangle can be not only rectilinear, but also be part of an arc of a circle.
The combination of different triangles forms geometric carving motifs
Let's look at each shape individually:
Pegs -
Rhombus and viteika -
Pyramid -
Asterisk and socket -
Combining different shapes, you can create different compositions.
Relief carving is conditionally divided into flat-relief and Kudrinskaya, or Abramtsevo-Kudrinskaya. The founder of Kudrinskaya carving is a Russian master carver
V. Vornoskov, who opened a school in 1906 - a workshop for teaching woodcarving.
Flat-relief carving forms a relief on the surface with the same height of all parts of the pattern and the same background depth.
Initially, a pattern is copied onto the surface of the board, the contour is cut and trimmed. After that, the entire background is cut out between the notches, first with sloping and semicircular chisels, and then with straight chisels and cranberries to a depth of 4 ... 5 mm. Then work out the relief of the picture.
Sculptural carving has many directions. One of them is forest carving, which is often used in city parks. Figures of people, fairy-tale characters, and animals are carved from the trunks of standing dried trees. Such figures adorn the natural interior.
Another direction of sculptural carving is Bogorodsk carving. It got its name from the village of Bogorodskoye, where woodcarving has been practiced since the 15th century. In Bogorodsk carving, the resulting sculpture is not polished, but traces of the knife and chisel are left, which allows you to see the beauty of the wood and the skill of the carver.
Equipment and tools for woodcarving.

Wood carving tools are divided into main (cutters, chisels) and auxiliary (saws, drills, mallets, hammers, planes, rasps, files, marking and measuring tools). Cutters are used to make straight and rounded lines of the cut out pattern. They are made from high quality steel.

ІІІ Practical part

Induction training.

Safety rules for carving.
1. You can only work with a well-sharpened tool.
2. During carving, press the workpiece against the stop on the workbench.
3. Do not spliff with a cracked or loose handle.
4. During operation, do not bend low over the workpiece.
5. When carving with a joint knife, do not hold your free hand in front of the cutting tool.
6. Start carving only with the permission of the teacher.
7. Do not walk around the workshop with a cutting tool, if necessary, carry it in a case or edge down.
8. During work, do not be distracted, speak quietly and only about business.
Carving.
Demonstration by the teacher of the basic techniques of working with cutting tools.
First, the cut out elements are pricked. The knife is held in a fist, the tip of the knife is thrust into the tree in the center of three angular rays in such a way that the knife deepens more in the center, and the blade comes to the surface to the top of the triangle. The tattoo is done on all rays. Then, without changing the position of the knife, only by tilting the hand to the right or left and turning the plank, the pricked elements are trimmed along the sides of the triangles. Trihedral figures are extracted from the surface of the wood. Hence the name of this type of carving - trihedral notched. Trihedral-notched, geometric carving consists of a number of elements that have arisen as a result of the centuries-old experience of folk carvers: triangle, rhombus, snake, viteika, herringbone, square, honeycomb, asterisk, radiance, rosette, etc. The composition of patterns in geometric carving is mainly created from a combination of these elements. But those who are engaged in carving can also develop their own patterns. When cutting triangles, it is not indifferent in what sequence to do it. First of all, cut off the triangle, which is located on the layer. If, however, first two other triangles are removed, then this one will not be cut off, but chipped, because. everything around him will be deepened. The plane will be fibrous, rough, untidy. It will be necessary to make a repeated cut to achieve a smooth surface. When the triangle is cut first, located along the fibers, along the layer, then it has a support. Therefore, without chipping, it is cut off normally.

It should be borne in mind that the difficulty of performing different elements depends not only on the hardness of the wood, but also on the location of the pattern pattern in relation to the annual layers.
The most difficult thing is to perform various kinds of radiance. There are a number of features here. They pierce the lights when carving in different ways. If the rock is soft, homogeneous (linden, aspen, alder), you can tattoo only along the short rays of the triangle. Then, cutting off this small triangle, immediately without a central incision, long triangles are removed. If the thread is made on brittle or hard rocks, then a central incision along the long ray of the triangle is also needed. Only the incision must be made so that the knife gradually and evenly emerges from the depths of the tree to the surface to the center of the radiance. Near the center, where narrow triangles converge, in no case should a deep incision be made. Otherwise, in this place the fibers will chip and the center of the radiance will be jagged. Correcting this defect will be very difficult.

An expressive effect arises from the play of chiaroscuro on inclined faces. The deeper the carving and the greater the angle of inclination, the denser the shadow areas and the sharper the pattern stands out.

When carving wood, you need to work with two hands. The right one produces the main efforts during piercing and cutting, and the left one holds the plank, directs the knife edge, restrains movement, or, conversely, supplements the effort of the right one.
Reminder of strict observance of labor safety rules.

Independent work of students - the implementation of the received task.
Each student is given a blank with dimensions of 200x100x20 mm and a joint knife to perform practical work
The students' choice of a geometric carving ornament (from the samples presented by the teacher) or the independent execution of the ornament.
Application (copying) of the carving ornament.
Dynamic pause
Practicing techniques and skills for performing geometric carving

(under the supervision of the teacher)
Checking the organization of workplaces, compliance with safe working practices;

Checking the correctness of the execution of geometric thread elements;

Teaching self-control and mutual control.

IV Organizational and final part: 1.Questions for fixing:

Define geometric thread;
- name the types of geometric carving;
- list the main types of patterns in geometric carving.
2. Acceptance by the teacher of completed work 3. Final briefing (summarizing the work for the lesson, analysis common mistakes, disclosure of their causes, additional explanation and demonstration of working methods).
4. Reporting the grades of each student's work.

Introduction

1. Technological foundations of artistic processing of various materials

1 Characteristics and classification of artistic processing of various materials

2 Artistic woodworking

3 Non-standard drawing techniques in the visual arts

The technology of manufacturing an artistic product from wood on the example of nesting dolls

1 Sketch and description of the appearance of the product, choice of materials

2 Technology system making nesting dolls

Experimental work on the study of artistic woodworking in extracurricular activities

1 Goals and methodology for organizing experimental work

2 Implementation of the circle program on the artistic processing of wood at the formative stage of the experiment

3 Analysis and interpretation of experimental results

Conclusion

List of used literature

Introduction

At present, there is a growing interest in the study of arts and crafts, folk crafts, and the artistic processing of various materials.

A wide variety of materials can be subjected to artistic processing - wood, metal, fabric, leather, paper, clay, etc. There is a wide variety of techniques and technologies with which this type of material processing is performed - carving, painting, inlay, marquetry, embossing, weaving, origami, papier-mâché. In the process of studying artistic processing, one should reveal the variety of types of artistic processing of materials, acquaint students with the history of their development and implementation technology, teach techniques for performing the most common types of artistic processing of materials, develop aesthetic taste, cultivate the desire to improve the knowledge, skills and abilities acquired in the process of studying subject.

There is a fairly large amount of popular publicistic literature on arts and crafts, however, the methodological support of the process of studying the artistic processing of materials remains at a low level.

Thus, there is a contradiction between the growing interest in the study of artistic processing of various materials and the insufficient level of scientific methodological support this process. This contradiction determines the relevance of the chosen topic of our graduation research "Studying the artistic processing of various materials in extracurricular activities."

The purpose of the thesis is to study the technological foundations, develop and experimentally test the methodological support for the artistic processing of various materials in extracurricular activities at school.

The object of research is the educational process of a secondary school.

The subject of the research is the process of artistic processing of various materials in extracurricular technology classes at school.

The hypothesis of our study is as follows: the development and implementation of methodological support for the artistic processing of various materials in extracurricular activities at school will increase the effectiveness of the formation of significant personal qualities schoolchildren, such as creativity, aesthetic taste and achievement motivation.

In accordance with the purpose and hypothesis of the study, we set the following research objectives:

1. perform an analysis of scientific literature in order to study the technological foundations of the artistic processing of various materials;

Develop a technology for manufacturing an artistic product from wood;

Develop methodological support for the artistic processing of materials in extracurricular activities at school;

Experimentally test the developed methodological support and its impact on the personal qualities of schoolchildren.

The following research methods were used in the thesis work: literature analysis; modeling; observation; questioning; testing; studying the work of students; method expert assessments; pedagogical experiment.

Experimental work was carried out on the basis of a secondary school.

The scientific novelty of the thesis is that the methodological support for the artistic processing of materials in extracurricular activities at school has been developed.

The practical significance of the study is determined by the development of a technology for manufacturing an artistic piece of wood, which can be used as an object of labor in extracurricular activities at school.

The structure of the thesis includes an introduction, two sections, a conclusion, a list of references, applications. The text occupies 61 pages, contains 9 tables and 15 figures. The list of used literature includes 36 sources.

1. Technological foundations of artistic processing of various materials

.1 Characterization and classification of artistic processing of various materials

The artistic processing of various materials is aimed at manufacturing decorative and applied art products that have both aesthetic and utilitarian aesthetic purposes. At the same time, both the materials used for the manufacture of decorative and applied arts and the techniques for their implementation differ in a significant variety (Appendix A).

Consider the features of artistic processing of various materials.

Artistic processing of paper is carried out in the technique of origami or papier-mâché.

Origami is the Japanese art of paper folding.

The history of origami is rooted in the deepest antiquity.

The beginning of this art, according to the "Japanese chronicles" ("Nihonchi") dates back to 610, the method of making paper was brought to Japan from China.

Initially, paper was obtained from silkworm cocoons. The cocoons were boiled, laid out on a mat, washed in river water, ground into a homogeneous mass, which, after straining the water, was dried. The top layer, or silk wadding, was removed, leaving a thin fibrous layer on the mat, which, after ironing, turned into a sheet of paper. Soon it was possible to replace expensive raw materials with cheap ones - bamboo stalks, tree bark, hemp, rags. So a unique material was invented that could be folded!

The ancient technology of paper production is preserved in Japan to this day. Together with the largest factories producing annually kilometers of paper in rolls, there are small workshops where individual and expensive sheets of “Vashi” paper are made by hand. They are very durable - they can withstand several thousand folds (plain paper begins to tear much faster) and therefore are often used instead of glass in Japanese homes.

After the end of the First World War, the Treaty of Versailles was signed on the paper "Yours". The Japanese have great respect for paper, not only as any object made by the hands of a master, but also because the word "kamy" in Japanese means not only "paper", but also "deity".

What is origami for?

In Japan, origami is part of the culture, tradition, history, philosophy of life at last.

In England, the art of folding has been developing for more than a quarter of a century. Origami for the British is another type of club activity. Twice a year they get together to talk about business, hear new rumors and gossip, drink beer with friends, look at newcomers, chat informally with each other, and at the same time demonstrate their new job or learn to fold someone else's.

In America, the situation is exactly the same, only everything is staged on an American scale. Not a hundred participants in Organic gatherings, but a thousand and a half from all over the world.

The Dutch, with their love of decorating life with pretty trinkets, went their own way: they use origami as a purely applied art. Even simple models made of high-quality colored paper turn into interior decorations in the skillful hands of Dutch housewives. Origami in the land of tulips is akin to embroidering pillows and weaving rugs.

What is origami in Russia? These are paper airplanes, accordions, boats, chickens, caps, etc. It is authentically known that back in the 19th century, Leo Tolstoy and the young Russian Emperor Nicholas II folded paper figures. The question is whether the current origami is sufficiently diverse - in terms of complexity, subject matter, labor intensity, etc. Are they enough to systematically study origami as a separate subject and satisfy the individual needs of students? It should be noted that the necessary and sufficient diversity in cybernetics is one of the most important signs of the viability (success) of systems of very different origin - from technical to social.

Indeed, you cannot build any solid course on 5-10 paper models. And so it was until the middle of the 20th century, until many hundreds of models known in Japan had descriptions only in Japanese, and until one of the Japanese workers of the defense plant, and part-time a big fan of origami, invented a graphic language for describing the sequence of folding figures. His name is Akira Yogiizawa. He is our living contemporary. In October 1999, Japan solemnly celebrated his 88th birthday (anniversary of "Weci") with a large exhibition of the master's products.

The graphic language, consisting of several types of lines and arrows, turned out to be so accessible, concise and complete that translation from Japanese became unnecessary. The result of the invention was revealed immediately. The art of folding quickly spread throughout the world. The missionary trips of Akira Yoshizawa and other Japanese masters to Europe and America were a huge success.

Symbols, a set of typical folding techniques and blanks (basic forms) - made origami accessible and understandable to everyone. Moreover, like chess openings, the first stages of folding the vast majority of pieces are made according to a certain standard scheme until one of the basic forms is obtained. Further, a set of combinatorial options leads to the appearance of an innumerable number of origami models. This is very similar to origami, not only with the ancient game, but also with mathematics. Accordingly, origami strengthens the foundations of abstract thinking, the ability to see the visual scheme of the task, a sufficiently long chain of achieving results, without which it is unlikely to be interested (and, accordingly, successfully) to engage in many sections of mathematics, physics, etc.

However, in itself the idea of ​​folding, of course, is not new. In the culture of most peoples of Europe and Asia, folding of fabrics has long been known. First of all, in clothes: Greek tunics and Indian saris, various turbans and turbans, dresses and collars. Note that the Spaniards, who many centuries ago folded not only collars, but also paper birds-paharit, still challenge the Japanese for the right of primacy in the homeland of origami. The Germans “woke up” too: in the middle of the 19th century, their compatriot Friedrich Fröbel, better known as the creator of the first kindergartens, first proposed introducing the production of paper figures into widespread pedagogical practice (although their purely verbal description in Old German, frankly, is not easy for perception ).

The universal character of this type of art is also confirmed by how quickly it acquires a national look in a particular country. In Russia, for example, already in the first years of the release of the magazine “Origami. The Art of Paper Folding” origama samovars and matryoshka dolls, cartoon characters and folk tales, composite (modular) stars with optical effects appeared (we are the birthplace of astronautics). In the USA and South Africa, the not-quite-classical modular origami has gained great popularity, when one figure (for example, a cube is simple, or with various reliefs on the faces) is made up of several (in this case, 6 or 12) paper blanks - modules. In Brazil and in the south of Europe - in Italy and Spain, models of butterflies and other insects were especially carried away.

Thanks to a generally understandable graphic language (it can be compared with musical notation, but incomparably more accessible), and truly global efforts of origamists, many thousands of origami of a very different thematic focus, complexity, and laboriousness are now known. All of them are published in various origami books. If we confine ourselves only to literature in Russian, these are “Zoo in a Pocket” (animals), “Origami Farm (birds and domestic animals), “Magic Origami Garden” and “Legends of Oppressions”, “It's in the Hat” (headwear), "Ships and planes", "Kusudama" (decorative volumetric balls, usually based on a dodecahedron or a cube with transformed faces), "Useful items and decorations for a desk", "Universal paper origami constructor", "Starry sky" (models of transparent stars ), "Christmas origami" (figures of stars, angels and other decorations for the Christmas tree), "Origami toys", "Russian folk tales" (characters "Teremka", "Turnip" and a number of other fairy tales, cartoons), etc. d. right up to the “Origami Bank”, where models are presented for those who like to fold from blanks of non-standard proportions and banknotes.

Papier-mache as a kind of artistic processing of materials is widely used, for example, for interior decoration.

Currently, interior design issues are of particular relevance. Paying tribute to fashion, the interior of the house began to be decorated with various figures, masks, figurines. Empty walls look uncomfortable, "wall cabinets" are a thing of the past, and wall decorations are sometimes too expensive. So we offer you to make your dream come true at no special cost - to create your own exclusive decoration using papier-mâché.

Papier-mache (French - chewed paper) - a plastic mass made from crushed paper, cardboard and other fibrous materials with additives - fillers (chalk clay, gypsum glue). Papier-mâché is used for shaping (using a wooden or plaster model) and pressing household and artistic items. Papier-mâché is used to make architectural details, ornaments, visual aids, dummies, masks, and so on; caskets, caskets, cigarette cases and other items are especially valued. From the 16th century papier-mache is known in Europe, in the XVIII century. lacquered snuff boxes, caskets, ink devices covered with paintings were made. In Russia, papier-mache products became popular in the 18th - 19th centuries. paint on the varnish covering them. In Fedoskino since the beginning of the XIX century. large papier-mâché toys, which were produced in Sergiev Posad, were also famous. In order to make a figure, you need the following materials:

PVA glue (paste)

Thin soft paper (you can use newsprint)

Plasticine

Oil paints or tempera

Any fat (sunflower oil)

Piece of chipboard (if you want to make a mask)

Scalpel The manufacturing process of the product is as follows:

Let's make a shape.

We put plasticine on a piece of chipboard in the shape of a mask (if it is a mask), or we simply fashion a shape for a future product (here you need to use your imagination). To begin with, it is better to make the shape simple, for example, a streamlined vase.

We tear the newsprint into pieces (the smaller the pieces, the more accurately you will repeat the shape of the figure) and soak in a container with warm water.

We cover the form with a small layer of fat and impose the first layer with pieces of dry paper.

Lay out the second layer with wet paper, previously liberally smeared with glue. We let it dry for 1-1.5 hours in a warm room, 2-3 in a cold one. And so we perform 8-10 layers. After laying out the last layer, the form must be left to dry for one day.

After the form is completely dry, cut the form into two or more parts with a scalpel (depending on the complexity of the form) and carefully remove the plasticine.

We assemble the parts again and apply 3 more layers of shredded paper, with which we fasten the parts.

After drying for a day, the form can be painted. The main background is applied with a swab or spray gun. After painting, the product can be varnished.

Thus, with the help of papier-mâché, you can get a variety of decorative figurines, toys and souvenirs. The use of papier-mache not only allows you to diversify the interior of the room, but also helps to express the artistic intent and mood of the creator.

A fairly wide range of techniques for the artistic processing of textile materials. Without dwelling on their characteristics in detail, we confine ourselves to their presentation in Appendix A.

The most common woodworking techniques include carving, marquetry, painting, and intarsia. They will be discussed in detail in the next section of our work.

Techniques of artistic metal processing - forging, chasing, notching.

Forging is a method of processing metal by pressure, in which, as a result of repeated intermittent impact of a tool on a workpiece, mainly heated, it acquires a given shape and size; produced on presses, hammers or forging machines. The main technological operations of forging: upsetting, upsetting, broaching, running, rolling, piercing.

Chasing is one of the oldest types of artistic processing of sheet metal with the help of embossing - metal rods with various forms of the working part. Chasing of gold and silver was widely used by the peoples of the Black Sea and the Caucasus long before our era. In the museums of the country, one can find chased ornaments, amazing in their beauty and technique, made by Scythian masters of the 7th-4th centuries BC. In pre-Mongol Russia, several varieties of chased works were known: planar, relief compositions. The richest form of ornamentation was obtained by chasing in jewelry, cult, household and decorative and applied works of art in the 18th - 19th centuries, during the period of extensive palace construction. Many museums around the world have preserved hardware masters ancient world, medieval and renaissance. The chasing technique was used to create utensils, icon settings, weapons, and even sculptural monuments. The heyday of ancient Russian crafts can be considered the 16th-17th centuries. During this period, outstanding works of chasing, niello, engraving, enamel were created in Yaroslavl, Kazan and Kostroma: magnificent silver and gold bowls, brothers, goblets, caskets, frames for mirrors. The pattern covered elegant armor, horse harness. Caucasian coinage, originating from the ancient art of Svaneti and Khevsureti, is more than three and a half thousand years old. Ancient icons have been preserved, as well as women's jewelry, bracelets, rings, silver necklaces. The art of Georgian coinage has passed through many centuries, preserving the best traditions of the ancient masters. In the XVIII - XIX centuries. In Georgia, in rich houses, silver vessels for wine were popular, on the surface of which hunting scenes were depicted. A deer in the claws of an angry leopard, a fight between a goose and a kite, and hares pursued by a dog were also traditional subjects. Folk festivals and weddings were often reproduced. In the XVIII - XIX centuries. chased women's belts created in Yakutia attracted attention. They consisted of 15-16 plates with a semi-geometric - semi-vegetative pattern. Two or three larger plates were decorated with hunting scenes or riders, lions and birds. Buryat jewelry of those times in the technique of chasing, engraving, notches, filigree, niello, enamel, as well as dishes - bowls, jugs, dishes, incense burners, buttons, have been preserved. The Yakuts used alloys of brass and bronze.

Chasing is not only flat-relief patterns on jewelry or household items. A technical type of coinage - difovka (cold working technique) sheet metal produced directly by hammer blows) - have been used since ancient times for knocking out shields, helmets, knightly armor. Later, this method was used to create huge monumental sculptures.

A notch is a type of metal-on-metal inlay or "a technique for artistic processing of metal, wood, bone, horn".

"Inlay" comes from the Latin word incrustatio - covering with a layer of something. It is used in two meanings. Firstly, this is a technique for decorating products by cutting into the surface pieces of various materials (metal, bone, mother-of-pearl, etc.) that differ from the surface being decorated in color or texture. Secondly, this is an independent area of ​​decorative and applied art, including works created using the inlay technique. In this case, the mortise elements and the surface of the object must form a single plane. Inlay on wood has many centuries in its history. Even in ancient Egypt, there were special workshops. On one of the frescoes of the tomb of Pharaoh Rekhmir, four masters are depicted inlaying the casket with figures of the god Osiris. Masters of Ancient Egypt made inlays from tree bark, leather, iridescent beetle wings, cedar and ebony wood, ivory, faience, precious stones, gold foil. Thanks to excavations, it was found that the technique of inlaid furniture with bronze, gold, ivory and colored glass was widespread in Assyria and Babylon. In the Middle Ages, a special kind of inlay appeared - the Certosian mosaic (from the name of the Italian monastery Certosa of Pavia, where this art flourished). She covered the objects with a small elegant pattern. Several long thin bars of different sections and colors were glued together so that a geometric pattern formed at the end of the resulting bar. Then this bar was sawn across into thin plates, with which the decorated planes were pasted over. In the Chertozian mosaic, wood coexisted with mother-of-pearl, metal, and ivory. Of the Russian inlay masters, the gunsmiths of the Moscow Kremlin Evtikhy Kuzovlev, Grigory and Leonty Vyatkin, who created their works in the 17th century, are known. Artists decorated the bed of “screwed pissers” with mother-of-pearl, ivory and walrus ivory, and gold carnations. Among the images embedded in butts, there are human faces, riders, animals, birds, and plants. Having a long history, the art of inlay is successfully developing today. Masters of the Baltic prefer inlaying wooden products with polished and untreated amber. Hutsul craftsmen combine woodcarving with inlaid colored (etched and natural) wood, sheet copper, brass, cupronickel, beads, bone, mother-of-pearl, thin wire. At the exhibitions there are souvenir Hutsul axes, various forms of caskets and bottles for wine, dishes and plates, photo frames and women's jewelry. For many years of the existence of the craft, craftsmen made inserts from silver, copper, horn, ivory, and turquoise. Now they use silver cupronickel more often.

In modern applied art, artistic processing of other materials is also widely used: beads (Appendix B), leather (Appendix C), clay (Appendix D).

Beads - “(from Arabic beads - glass beads), small multi-colored glass beads with holes, used mainly for embroidery (on small household items, women's clothing etc.". Beads (beads) - small decorative objects with a hole for stringing on a thread, fishing line or wire; "small glass, metal or plastic balls with a through hole", the shape of the beads can be different: oval, round, cylindrical, with edges.

Beadwork - a kind of arts and crafts, needlework; creation of jewelry, art products from beads<#"863057.files/image001.jpg">

Figure 1. Shelves for kitchen towels

Instructional map of practical work

Artistic processing of material with elements of DPI.

Equipment, tools, fixtures and materials: Workbench, lighting, clamps, as well as fixtures wooden bars - holders, bars-clamps or brackets of various shapes. Sharpening machine, table for sharpening and straightening tools.

Cutting tool: a set of chisels for woodcarving.

Marking tool: carpenter's square, yerunok, thickness gauge, compass with a ruler, compass - measuring instrument.

Auxiliary tools include: mallet and drilling tool.

Order of execution:

We take the harvesting of conifers.

We draw a pattern.

We drill holes, file corners (Figure 2).

Figure 2. Shelf blank.

We fix the workpiece on the workbench with the help of fixtures.

We apply types of patterns in geometric carving (Figure 3).

Figure 3. Types of geometric carving patterns on a shelf.

Starting the carving, they put the toe - a joint in the center of the triangle so that its heel is directed to one of the corners. Holding the cutter vertically, press the handle and make an incision from the center to the corner.

Cutting is performed with one hand, the other hand holds the workpiece.

The edges of the rays are cut from the center of the outlet by moving towards themselves with the joint tilted to the right and left.

All beams in width and depth should be the same.

Finishing products manually (grind, remove pile and clean from dust). Carving with a predominance of a flat surface (geometric, contour) grinding is carried out using a pad with sandpaper with a grain size of 5 and 6 in the direction along the wood fibers.

Figure 4. Finished product "Shelf for kitchen towels"

A shelf is attached to the bottom edge of the board (using glue and screws screwed in from the back).

Hanging hooks are made from 2-4mm thick wire and are inserted into pre-drilled holes. The hooks in them should be held tightly, not rotating. To do this, drive straight wires into the hole and only then bend them up.

It is better to use non-ferrous metal for hooks (copper, brass, bronze).

Preparing the material before driving in (grind with a fine-grained sandpaper, polish with GOI paste, etc.).

Coat the product with furniture varnish or wax mastic.

The product is attached to the wall with screws or with the help of "ears".

Test questions.

1. What devices are used to secure the workpiece.

What auxiliary (measuring) tools are used to mark ornaments and patterns.

What cutting tools are used for geometric carving.

What tools are used to finish the product.

An interesting type of wood finish is marquetry - “a type of mosaic of figured plywood plates (different in color and texture) that are glued to the base (wooden furniture, panels, etc.)”.

Mosaic called an ornamental or specific image, typed from pieces of one or more colored materials on any surface.

A variety of materials can be used in a mosaic, including wood. A set of wood occupies a special place in the mosaic. The tree has been used by man since ancient times for construction and decoration of everyday life. The richness of the decorative qualities of wood has been noticed by people for a long time, and the methods of processing wood for mosaic work, known for a long time, constantly improving, have come down to our days.

Mosaic made of wood refers to the works of decorative and applied art. It serves to decorate our household items: furniture, boxes and souvenirs, typesetting compositions and panels, portraits. Using different types of wood in the work, the natural play of color and the pattern of the material even of the same type, one can achieve great expressiveness.

Mosaic works made of wood are the most widespread and simple in technique. To learn how to make a mosaic means to join the beauty, to get aesthetic pleasure. The process of creating a mosaic is closely related to drawing, drafting and carpentry. This is work that develops a sense of beauty and a desire to bring joy to people. Having mastered the techniques of work and having completed an interesting mosaic on your own, it is difficult to stop. As a rule, there is a desire to learn more about this amazing art.

Mosaic made of wood can be made in the form of inlay, I together with wood, other finishing mats are used, as well as in the form of intarsia, marquetry when only wood mosaics are used.

Inlay- most known species artistic craft mosaics. Inlay is understood as a mosaic covering of any surface with a set of one or different materials. It was used to decorate items made of ivory, tortoiseshell, mother-of-pearl, metals and gemstones.

All types of inlaid work are very laborious, the station is performed using the cutting technique. According to the prepared drawing, the inserts are cut into the base flush with the surface without any gaps. The method of sawing inserts and cutting them into the plane of the set was first used by the French master of artistic furniture Andre Charles Boulle -1732. Buhl's workshop eventually became a large furniture enterprise. Boule style furniture was a luxury item and is now carefully preserved in many museums around the world.

The “boule” technique consists in the fact that several plates of different materials of the same thickness, for example, tortoise shell and metal, are glued through paper, clamped with clamps and cut out with a jigsaw according to the y applied on the top plate. The sawn parts of the plates are the same image in two versions. By inserting the pattern of the upper plate into the background of the lower one and vice versa, various sets can be made to cover the details of furniture or caskets.

intarsia- a kind of inlay, in which the material is only wood of various species. Intarsia differs little from inlay and manufacturing method. In intarsia in the array of the product (table, chair, etc.), a recess is selected according to the drawing to the thickness of a pre-made set of mosaics from thin wood plates. The finished mosaic is put into this recess and carefully cleaned. The technique of intarsia, like inlays, is very laborious and is now considered obsolete. It is used only by restorers who restore the products of previous masters, strictly observing all the methods of their work.

Marquetry- a type of mosaic composed of thin plates of valuable wood species, different in color and texture. Marquetry mosaic can be used in intarsia, i.e., pasted into a recess made in the product, but the execution technique differs from the intarsia technique.

Marquetry mosaic is most widely used in the creation of various still lifes, compositions of a fairy tale or patriotic plot, panels on the theme of a sea or city landscape, and even portraits.

For a long time, marquetry mosaic was used very rarely. The sawn veneer was too thick (1.5-2 mm) to cut. I had to use the cutting technique. Only with the advent of machines for the production of sliced ​​veneer with a thickness of 0.7-0.8 mm, marquetry mosaic was revived, having received great advantages compared to inlay and intarsia.

A mosaic set in the marquetry technique can be collected from waste of valuable non-ferrous wood species. A specially sharpened knife is used as a tool.

The technique of marquetry mosaic is available for mastering, it takes relatively little time to complete the set. Products from this mosaic are beautiful and durable, the finish of the set is quite affordable and can be easily restored. They go well with modern furniture in apartments and public spaces (Appendix H).

Of great interest is wood painting (Appendix I), which can be done traditionally or using non-standard techniques, which will be discussed below.

1.3 Non-standard drawing techniques in the visual arts

In the visual arts, there have always been many trends in painting, various kinds of trends, new ones were introduced, which also introduced a new technique for performing work, because. pointillism, abstraction, avant-gardism, hyperrealism, etc. The artist is often compared to a child, and this is no accident. After all, young children with ease, with great imagination and ease, sometimes come up with new methods and techniques that help to see the world through their eyes.

Currently, much attention is paid to both non-standard methods and new technologies.

1. Pointillism (from French pointiller - to write with dots), pointillism (from French pointel - writing with dots) is an artistic technique in painting: writing with separate clear strokes (in the form of dots or small rectangles), pure paints applied to the canvas based on their optical mixing in the eye of the viewer, in contrast to the mechanical mixing of colors on the palette. Pointillism was invented by the French painter J. Seurat on the basis of the scientific theory of complementary colors. Optical mixing of three pure primary colors (red, blue, yellow) and pairs of secondary colors (red - green, blue - orange, yellow - violet) gives a much greater brightness than a mechanical mixture of pigments.

According to many critics, new method nullified the creative individuality of the artist and turned his work into a boring mechanical application of strokes. It wasn't like that. The pointillistic technique helped to create bright, contrasting in color landscapes by P. Signac and subtly conveying the nuances of color in the canvas of J. Seurat, as well as to increase the decorativeness of the paintings for many of their followers, for example, the Italian painter J. Balla.

Pointillism is a pictorial method, and a movement that arose on its basis in post-impressionism painting.

Another name for pointillism is divisionism (from the Latin divisio - division, crushing).

Abstraction. One of the main ways we think. Its result is the formation of the most general concepts and judgments (abstractions). In decorative art, abstraction is the process of stylization of natural forms. In artistic activity, abstraction is constantly present; in its extreme expression in fine art, it leads to abstractionism, a special trend in the fine arts of the 20th century, which is characterized by the rejection of the image of real objects, the ultimate generalization or complete rejection of form, non-objective compositions (from lines, points, spots, planes and others), experiments with Color, spontaneous expression of the inner world of the artist, his subconscious in chaotic, unorganized abstract forms (abstract expressionism). Paintings by the Russian artist V. Kandinsky can be attributed to this direction.

Representatives of some trends in abstract art created logically ordered structures, echoing the search for a rational organization of forms in architecture and design (the Suprematism of the Russian painter K. Malevich, constructivism, etc.). Abstractionism expressed itself less in sculpture than in painting. Abstractionism was a response to the general disharmony of the modern world and was successful because it proclaimed the rejection of the conscious in art and called for "giving up the initiative to forms, colors, colors."

Avant-gardism (from the French avant - advanced, garde - detachment) is a concept that defines experimental, modernist beginnings in art. In every era, innovative phenomena arose in the visual arts, but the term "avant-garde" was established only at the beginning of the 20th century. At this time, such trends as Fauvism, Cubism, Futurism, Expressionism, Abstractionism appeared. Then, in the 20s and 30s, avant-garde positions were taken by surrealism. In the period of the 60-70s, new varieties of abstractionism were added - various forms of actionism, work with objects (pop art).

Hyperrealism (English, hyperrealism) is a direction in painting and sculpture that arose in the United States and became an event in the world fine arts of the 70s of the XX century. Another name for hyperrealism is photorealism. Artists of this trend imitated a photo with pictorial means on canvas. They depicted the world of a modern city: shop windows and restaurants, metro stations and traffic lights, residential buildings and passers-by on the streets. Wherein Special attention turned to shiny, light-reflecting surfaces: glass, plastic, car polish, etc. The play of reflections on such surfaces creates the impression of interpenetration of spaces. The goal of the hyperrealists was to depict the world not just reliably, but super-likely, super-real. To do this, they used mechanical methods of copying photographs and enlarging them to the size of a large canvas (overhead projection and scale grid). The paint, as a rule, was sprayed with an airbrush in order to preserve all the features of the photographic image, to exclude the manifestation of the artist's individual handwriting.

In addition, visitors to exhibitions of this direction could meet human figures in the halls, made of modern polymeric materials in full size, dressed in ready-made clothes and painted in such a way that they did not differ from the audience at all. This caused a lot of confusion and shocked people.

Photorealism has set itself the task of sharpening our perception of everyday life, symbolizing the modern environment, reflecting our time in the forms of "technical arts" that have become widespread precisely in our era of technological progress. Fixing and exposing modernity, hiding the author's emotions, photorealism in its programmatic works found itself on the border of fine art and almost crossed it, because it sought to compete with life itself.

Conceptualism is an international movement in the art of the 20th century, which was realized in the field of plastic arts and in literature. Since the late 60s, a conceptual trend has been formed in Moscow culture. Conceptual works cause a certain discomfort in the audience, not so much due to an unusual or annoying appearance, but mainly due to other rules for their perception that violate the ingrained habit of communicating with art. They do not rely on direct perception, do not appeal to emotional empathy, and deny traditional aesthetic assessments.

Conceptualism is a direction that unites the process of creativity and the process of its research. In accordance with these attitudes, works of conceptual art take on the most unexpected form - photographs, texts, copiers, telegrams, figures, graphs, diagrams, reproductions, objects that do not have a functional purpose - and are realized as a pure artistic gesture, free from any plastic forms.

The environment in which the works of conceptualism are demonstrated or of which they are a part is a street, road, field, forest, mountains, sea coast, etc. Many conceptual works use natural materials in their pure form - earth, bread, snow, grass, cinders and ashes from a fire.

Painting, object, performance, installation are the main areas of realization of conceptualism. Silence, doing nothing, empty spaces - these are the forms in which conceptualists try to draw attention to the possibility of existence in culture of spaces free from ideology. The type of conceptual creativity confirms the life, the existence of man. Conceptualist works are often only gestures or projects that point only to the possibility of the emergence of art. Aimless play is an important component of conceptual art. Such a game simply activates life itself, confirms human existence, because "art as an idea" arises and exists only as a product of human life.

6. Cubism (French - cubisme, from cube - cube) - an artistic trend in European fine arts of the early 20th century, which aimed to reveal the geometric structure of visible three-dimensional forms, decompose real objects into parts in accordance with their internal structure and organize them into in a different order new form. The name of this direction was given for the outward resemblance of Cubist painting with simple geometric bodies - a ball, a cone, a prism, a cube. Cubism originated in French art 1900-1910. Its founder was P. Picasso. In the history of cubism, it is customary to distinguish three periods: the so-called Cezanne, analytical and synthetic.

In the paintings of the Cezanne period, the geometrization of forms emphasizes the stability, objectivity of the world, massive volumes seem to be laid out on the plane of the canvas, color highlights individual facets of the object (P. Picasso "Three Women", 1909; J. Braque "Estac", 1908) .

In the next analytical period, the object is broken up into small facets and planes converging at an angle, which are clearly separated from each other, a limited set of colors is used. The image of the same object is shown from different sides simultaneously in many angles. This leads to a rhythmic play of shapes, planes, volumes.

In the last synthetic period, preference is given to the decorative beginning; the picture turns into a colorful planar panel (P. Picasso "Guitar and Violins", 1913; J. Braque "Woman with a Guitar", 1913). The collage technique becomes the main one. The object, as it were, is assembled, synthesized from various fragments or signs - words, numbers, notes, scraps of newspapers, colored paper, wallpaper, schematic drawings and colorful strokes. The rejection of the image of space and volume is, as it were, compensated by applying real three-dimensional structures to the surface of the canvas.

At the same time, cubic sculpture appears with geometrization and shifts in forms, deformation of figures, designation of only their external contours with metal stripes, etc.

Cubism set as its goal the knowledge of reality, the disclosure of the inner, philosophical essence of objects with the help of new means. It marked a rejection of realism and a challenge to the standard prettiness of official salon art. In the paintings of P. Picasso of the cubic period, a tragic image of a grandiose broken, collapsing world is created.

7. Surrealism (French, surrealisme - super-realism) - a trend in literature and art of the 20th century that developed in the 1920s. Originating in France on the initiative of the writer A. Breton, surrealism soon became an international trend. Surrealists believed that creative energy comes from the subconscious, which manifests itself during sleep, hypnosis, delirium, sudden insights, automatic actions (random wandering of a pencil on paper, etc.). The surrealist program in the visual arts was carried out mainly in two directions. Some artists introduced the unconscious principle into the process of creating paintings, in which freely flowing images predominated, arbitrary forms turning into abstraction (M. Ernst, A. Mason, J. Miro). Another direction, which was headed by S. Dali, was based on the illusory accuracy of reproducing an unreal image that arises in the subconscious. His paintings are distinguished by a careful manner of writing, accurate transmission of chiaroscuro, perspective, which is typical for academic painting. The viewer, succumbing to the persuasiveness of illusory painting, is drawn into a labyrinth of deceptions and unsolvable mysteries: solid objects spread, dense objects become transparent, incompatible objects twist and turn inside out, massive volumes become weightless, and all this creates an image that is impossible in reality. General features of the art of surrealism: fantasy of the absurd, alogism, paradoxical combinations of forms, visual instability, variability of images.

The main goal of the surrealists was through the unconscious to rise above the limitations of both the material and the ideal world, to continue rebellion against the emasculated spiritual values ​​of bourgeois civilization. Artists of this trend wanted to create reality on their canvases, non-reflective reality, prompted by the subconscious, but in practice this sometimes resulted in the creation of pathologically repulsive images, eclecticism and kitsch. Separate interesting finds of the Surrealists were used in the commercial areas of decorative art, for example, optical illusions, which make it possible to see two different images or plots in one picture, depending on the direction of view.

At the same time, artists turned to imitating the features of primitive art, the creativity of children and the mentally ill. For all their programmatic fun, the works of the surrealists evoke the most complex associations. They can simultaneously be identified in our perception, both with evil and with good. Terrifying visions and idyllic dreams, violence and humility, despair and faith - these feelings in various versions appear in the works of the surrealists, actively influencing the viewer. With all the absurdity and even a certain amusingness of some works of surrealism, they are able to stimulate consciousness, awaken associative imagination.

Surrealism was a controversial artistic phenomenon, which largely explains the wide orbit of its distribution. Many seeking artists, who subsequently abandoned surrealist views, went through him (P. Picasso, P. Klee, and others). The poets F. Lorca, P. Neruda, the Spanish director L. Bunuel, who made surrealistic films, adjoined surrealism.

The above directions and those not mentioned in this work include a rather large number of non-standard drawing techniques and methods listed and described below.

Painting with threads.

A sheet of paper is folded in half and unfolded. On one of the inner sides, a thread is randomly placed, half-dipped in ink, paints or gouache. Its clean end is displayed outside the sheet. The wetted part of the thread is pressed down by the other part of the sheet, and in this position the thread is slowly squeezed in. Opening the sheet, we find an intricate image left by a thread, in which you can imagine a lot of interesting things.

Difficult technique. Its essence is in spraying drops with the help of a special device that replaces a toothbrush and a stack. With a toothbrush in the left hand, we will pick up a little paint or gouache, and with a stack we will draw on the surface of the brush - with quick movements towards ourselves. The splashes will fly onto the paper. Over time, the drops will be smaller, they will lie down more evenly and where they are needed. This technique has existed for a long time, but is more often used in labor lessons.

Candle painting.

On a sheet of paper, the students draw up the composition of the drawing with a light pressure of the pencil. Along those lines that are drawn with a pencil, students draw candles with strong pressure. From the candle on the sheet remains a trace. Then the entire sheet is painted with paints. The drawing is very unusual and interesting.

Packing.

An exciting activity! Let's make a tampon from gauze (it can be replaced with pieces of foam rubber). The stamp pad will serve as a palette. Let's pick up paint and with light touches on paper, we will draw something fluffy, light, airy, transparent.

And now a little more difficult. Cut out the silhouette in the center of the sheet, attach the sheet to another sheet and use a swab to “paint over” the silhouette.

Painting with fingers.

Let's dip the fingers, the whole palm or part of it into the paint and leave an imprint on the paper, or you can “paint” the palm in different colors. What will happen? We not only see the color, we also feel it! One or two fingerprints can be added to the palm print in different combinations. At first timidly, then bolder and bolder.

Inkblot.

Ordinary blots can be turned into funny people, animals and other items. We take a blank sheet of paper and put a blot of paint or ink on it. Then we take a straw for a cocktail, direct its end to the blot, and blow into the other. Paths ran from the blot in different directions, none of them is similar to the other. It turned out to be an intricate figure. Now let's take a paint brush, paint this blot as our fantasy tells us.

Monotype.

We need gouache of different colors, glass and a sheet of paper. On glass, you can depict any geometric figure, or a rainbow, or a fish, or a butterfly wing, using gouache of different colors. Then a sheet of paper is superimposed on the glass. It must be pressed tightly against the glass and smoothed out with your hands. Then the sheet is "pulled" off the glass. Let's see what happened? And again, children connect their imagination, their creativity. They take gouache and a brush or felt-tip pens and finish thinking, finishing the picture that has turned out when performing the technique - a monotype.

The essence of this technique, which has long been used in Russia and was called drawing on a wax pad, is scratching.

Let's apply a colored background with watercolors and dry the paper. The entire background is completely covered with wax, paraffin or just a candle. Pour black gouache into the socket, add a little shampoo and mix them thoroughly. Then cover the paraffin sheet with this mixture. Canvas is ready.

Now let's take a pointed stick and start scratching the drawing. Why not engraving!

Painting on a sea sheet in watercolor.

To draw in this technique, we need a damp cloth and a container of water. Wet the paper and place it on a damp cloth (so that the paper dries). Take a watercolor crayon and draw whatever your heart desires.

Painting on a wet sheet with ink.

Spreading mascara gives interesting swims, texture. You can depict a given image or find an image in the resulting spots and finish drawing. The technique is complex but very effective.

Painting on a crumpled sheet. This is called the mosaic effect.

Drawing on crumpled paper is very easy and can be started at any age. Children themselves can prepare the "canvas" by carefully crumpling a piece of paper.

Painting with poplar fluff.

Unfortunately, the teacher will be able to apply this drawing technique in art lessons only if the children prepare poplar fluff in the summer. This technique is interesting in that the work performed in it turns out to be voluminous.

The fluff is partially or completely wetted in paint and superimposed on paper, where pencil sketches have already been made.

Even more interesting work are obtained if a sheet of paper is painted over with any color.

Painting with manganese.

A drawing is applied to a clean sheet with a brush dipped in clean water. Potassium permanganate is sprinkled on the water. Reacting, the manganese etches the paper, resulting in a tone-on-tone image with an interesting texture.

Herbarium.

A herbarium of various plant forms is used. Plants are superimposed on the painted linoleum, and an impression is made. We get a white image on a black background. The herbarium leaves are removed from the linoleum and placed with the painted side on a clean sheet, an impression is made through the machine or rolled on top with a photo roller. We get black image on a white background, which can be finished with ink.

Charcoal painting.

The sheet is painted over with charcoal. Cotton wool removes everything superfluous. Then, with the help of an eraser, erasing what is necessary and where necessary, white strokes and lines are obtained. From these strokes and illlines, a conceived drawing is formed.

Soap painting.

How this technique decorates the seascape! Whipped foam soap with a brush is placed on the crests of the waves, getting white airy lambs. Soap suds can also be mixed with paint for an air bubble effect. Soap foam must be obtained with the help of hands, a brush and water are enough, just like with paint.

Marble painting.

It is an exercise in finding an image in spots obtained by transferring onto a sheet of paper a paint layer consisting of turpentine and oil paint, which covers the surface of water poured into a photobath with a film. This image is known as a "marbled" texture.

Painting with matches.

To perform this technique, students must prepare matches, on which cotton wool will be wound in a thin layer. Dipping matches in paint, students lay them out on a sheet, thus obtaining an image of a drawing. Matches are removed from the sheet as long as the paint has time to dry.

Extremely generalized, as a rule, contour, concise image, general form, preliminary sketch

One of the types of monumental art. In a mosaic, images and ornaments are made up of pieces of multi-colored natural stones, glass (smalt), ceramics, wood and other materials. There are two types of mosaic works: those composed of small cubes of smalt or stone (the technique of the so-called Roman mosaic dating back to antiquity) and obtained from thin layers of multi-colored marbles and jaspers, cut and composed along the contours of the image (the so-called Florentine mosaic). Similar to the latter, the method of making a mosaic set from various types of wood is called inlay (intarsia). Antique mosaics developed from simple, pebbled patterns to complex black-and-white or color exquisite compositions (“Dionysus on a Panther”, 4th century BC). In Byzantium, mosaics occupied a dominant position in the system of pictorial decoration of temples (the Church of San Vitale in Ravenna). The famous Ravenna mosaics had an exceptional power of impact, their shimmering surface, golden backgrounds enriched the space of the temple. The mosaics of the Sophia Temple in Constantinople were distinguished by a special figurativeness, depth and sonority of color. The art of classical smalt mosaic knows two ways of making: “direct set”, when the image is laid out from pieces of smalt or stone directly on architectural surfaces and fixed in an unhardened plaster layer; "reverse set", when the mosaic is laid out face down on the tracing paper of the future picture, and after fixing the back side of the mosaic set, its front surface is finally processed, sometimes polished and coated with wax.

Raster (Italian, rastro, from Latin, rastrum - rake) - in applied graphics, an image or ornament obtained using dots and lines of various densities. The raster originated as a printing technique, but then began to be used by book and poster artists for their design, as well as when making picturesque canvases by photorealists.

Environment (English, environment - environment, environment) - an extensive spatial composition, covering the viewer like a real environment, one of the forms characteristic of avant-garde art of the 60-70s. The naturalistic type of environment imitating an interior with figures of people was created by sculptures by D. Segal, E. Kienholz, K. Oldenburg, D. Hanson. Such repetitions of reality could include elements of delusional fiction. Another type of environment is a play space that presupposes certain actions of the audience.

Encaustic (from the Greek enkaustike, from encaio - burn, burn) - wax painting, made in a hot way. The encaustic technique was created in the 5th century. BC e. in Ancient Greece and became one of the most durable and durable. Preheated paints (wax, resins, oil, pigment) were applied to the heated base with a brush and a red-hot bronze tool, after which the painting was melted down using a brazier.

Faiyum portraits (1st century BC - 15th century AD, Egypt) were made on wooden boards using this technique. The earliest of the Faiyum portraits are close to antique paintings, they are characterized by bright vitality of images, three-dimensionality, light-and-shadow modeling of forms, and a three-quarter turn of the head. The artist accurately conveyed the external features of the person being portrayed, the color of the eyes, the expressiveness of the face, the texture of the hair and the golden radiance of the jewelry. In the late Faiyum portraits, the painting style was inferior to the more conventional, graphic, planar, with the frontal position of the head. Wax paints were replaced by tempera, as the artist focused on the inner, spiritual side.

Lithography (from the Greek lithos - stone and grapho - I write, draw) is a type of lottery graphics based on the flat printing technique. The artist performs lithography by drawing on the grainy surface of the stone (dense limestone) with a black bold lithographic pencil. After etching the stone with an acid that acts on a surface not covered with fat, the pattern is washed off. Instead, printing ink is applied to the moistened stone with a roller, adhering only to the unetched parts of the stone, exactly corresponding to the pattern. Lithography is printed on a special machine.

Thus, on the print, the pattern turns out to be dark, and the background remains white. If it is necessary to make color lithography, then separate stones are prepared for the three primary colors and black, and printing is done on one sheet sequentially from each of them, taking into account mechanical mixing of colors. As a rule, the artist performs only a drawing, while the processing of stones and the printing process is carried out by another person - a master. Sometimes the artist himself performs the entire chain of lithography production - from grinding the stone with a mixture of sand and water to the final stage of printing. In this case, the technique itself and the resulting print are called autolithography.

Lithography has great freedom in the transfer of texture and other means of artistic expression, large circulation, and each print is and has an independent artistic value.

Thus, an unconventional drawing technique is a combination of traditional techniques that use a sheet of paper, paints, brushes, and new drawing tools that are not directly related to painting - a candle, thread, manganese, herbarium, poplar fluff, matches, soap , coal, toothbrush, etc.

When and where can a primary school teacher apply this technique? The answer to this question is given by the program on fine arts and artistic work, a distinctive feature, which is the focus on the intensive development of the creative imagination and fantasy of the younger student. However, the content of the program cannot fully reflect the solution of all the tasks facing the teacher in the course of teaching children the fine arts. Therefore, the time allocated in the program for the study of sections and topics of the course is approximate. The teacher is granted the right to change the number of hours allotted for their study within the academic quarter. In addition, the program allocates up to 25% of the study time for a teacher. It stands out by reducing individual questions and topics of the main course and can be used by the teacher at his own discretion. Many teachers today combine programs, add something of their own, individual, and also take into account the characteristics of the class, that is, they develop the most optimal version of the program. And a non-traditional drawing technique can serve as a huge help for primary school teachers. The teacher can use this technique not necessarily in class work, but also in extracurricular activities.

According to Vygotsky: creative imagination depends on the combinatorial ability and exercises in this activity, the embodiment of the products of activity in a material form (for example, a drawing): envy depends on the technical skill of the drawing technique and on traditions, that is, on all patterns of creativity that affect a person . All of these factors are huge opportunities.

Based on the words of Vygotsky, we note that one of the factors influencing the development of creative imagination is the drawing technique, in this case, non-traditional. It can be used not only in the primary grades, but also in the middle school, as well as in working with preschoolers, but it is also necessary to take into account the experience of children, their needs and interests.

This work presents a small number of non-traditional techniques, while there are much more of them, and the teacher himself, looking at everyday things through the eyes of an artist, will be able to create non-traditional drawing techniques. To use them in your practice, there would be only a desire to develop students' imagination, creativity, flexibility and speed of thinking, originality and individuality of each child.

In this way:

The non-traditional drawing technique is a new phenomenon in the visual arts, which is based on the traditional technique, plus new drawing tools and techniques.

An unconventional drawing technique can find its application both in the classroom and in extracurricular work in the visual arts. It is designed not only for younger students, but also for preschoolers and teenagers.

An unconventional drawing technique is one of the factors that influence the creative imagination of children.

A child draws - it means that he thinks independently. Drawing is the first opportunity to realize your ideas and possibilities. Childhood is remarkable in that it has its own treasures belonging to one. Real riches, which, as you know, do not get bored and do not age. Drawing comes to the rescue to express your thoughts and feelings. It is always interesting to watch how children draw. The first karakulina causes stormy joy. It does not mean anything, but it is important for the child that he drew this wonderful, absolutely meaningless line himself. Adults are inaccessible to children's naivety and looseness. Thanks to them, a little artist is able to create the incredible. For an adult image, this is almost every time a precious find worth a lot of effort. And for a child - just one of the means to more accurately convey their impressions. Artists claim that children have an amazing sense of color and form. Many artists work in their studios with children. This has its own logic; artists are eternal children, children are always artists. Children hardly think about the aesthetic value of their creations. At an early age, drawing is a game: something comes out of nothing.

The main thing is not to make the child a hostage of the complexes of an adult, concerned about how to protect the child from mistakes. In no case can not say how and what to draw.

An interview conducted at the school with teachers made it possible to find out that few of them use non-traditional drawing techniques in practice, and most of them are not even familiar with such drawing techniques.

Of all the educators, only one named non-traditional drawing techniques as a way to stimulate creative imagination.

Of all the teachers, only a few used the non-traditional drawing technique in practice, the rest did not hear or read anything about this technique and, therefore, are not familiar with it.

Fine art teachers of the school believe that it is necessary to form and develop creative imagination in children of primary school age. Teachers of fine arts and elementary grades identified such factors that stimulate the creative imagination of students: a figurative explanation of the teacher, acquaintance with the history of art, visiting exhibitions, and the use of non-traditional drawing techniques. In their lessons, each of them used about 10 techniques, among which were listed: monotype, scratching, painting with soap, iron, matches, watercolor on wet.

The use of this technique not only increases the level of creative activity of children, as noted by these teachers, but also activates mental activity, increases interest in work.

Thus, comparing the responses of elementary and art school teachers, i.e. fine arts, one can answer that the elementary school remains in terms of teaching fine arts from art. But this is not surprising, since the art school solves the problem of teaching children the fine arts much broader and deeper than general education. But, despite this, elementary school teachers cannot diversify fine arts because:

Unfamiliar with the new that appears in art;

They are afraid to retreat from the program, although they have 20% of the reserve time.

They do not treat the lesson of fine arts as responsibly as they treat the lessons of mathematics, the Russian language, and natural science. The question arises:

Is it necessary to use this technique at all in a secondary school in fine arts classes?

In our opinion, it is necessary to use such a technique in order to develop children's drawing abilities and creative imagination of children.

Having considered the technological foundations of the artistic processing of various materials, we especially singled out the artistic processing of wood as one of the most common and accessible materials for processing and studying it.

Consider the manufacturing technology of one of the wood products using the example of nesting dolls. This product can act as an object of labor in extracurricular activities for the artistic processing of materials. Therefore, the next section of our work, which presents the technology of manufacturing an artistic product from wood using the example of a nesting doll, is part of the methodological support we have developed for the artistic processing of materials in extracurricular activities at school.

2. Technology for manufacturing an artistic product from wood using the example of a nesting doll

.1 Sketch and description of the appearance of the product, selection of materials

The sketch of the matryoshka is presented in the appendix.

Matryoshka is a surface of revolution formed by a curvilinear generatrix of a complex and smooth shape.

Its dimensions may vary depending on the creative intent of its creator.

Made from wood for lathe.

On the surface of the product traditional painting, which creates an aesthetic perception of the product and conveys a certain mood.

When choosing materials, consider the following.

Various types of wood are used for turning. The first work is recommended to be done from soft rocks: aspen, alder and linden. Easily sharpened for example aspen. Pre-steamed, it becomes soft, like a turnip; finished products dry evenly and do not crack. Pine, spruce, as well as conifers, have a pronounced pattern. If you lightly burn their wood with a blowtorch, and then clean it with a brush, you will get an expressive relief pattern.

Birch has a harder wood than the named species. It is also widely distributed and available. Being strong enough, birch is indispensable for turning handles and products with an internal contour: glasses, goblets, plates, bowls, vases.

Beautiful openwork products can be carved from hard wood: dogwood, boxwood, juniper, elm. Beautiful in texture, elm wood has dense, non-falling knots that look like hearts on the surface of the turned product.

Preparation of materials for turning is carried out depending on the region, the capabilities of the base enterprise. At the same time, one should not forget such methods of timber harvesting as spring (autumn) pruning of trees, sanitary felling, felling when widening roads, in construction, the use of packaging containers, etc.

We must remember about the economical use of material. There are many methods for this - from rational marking to gluing a workpiece of valuable wood species onto another, which will go to waste (it is hammered into a cartridge or pressed against the fork of the case).

wood properties.

Properties that determine the appearance of wood. These include color, luster, smell, and texture.

The color of wood depends on age and environment. The trunks of young trees are lighter in color than older ones. If the bark of a tree is lagging behind, then the wood quickly darkens, the tree begins to age.

The gloss depends on the density, number and size of the core rays and the cut plane. Oak, beech, elm, maple have a beautiful sheen. Decay leads to loss of luster. The gloss of wood is taken into account in the manufacture of products without tinting.

The smell depends on the content of resinous essential oil, tannins and aromatic substances in the wood. Coniferous trees have the strongest odor.

Humidity is a physical property of wood that characterizes the amount of moisture it contains.

The ability of wood to absorb or release moisture is called hygroscopicity. It is this property that causes two mutually opposite phenomena in wood - shrinkage and swelling. Uneven shrinkage or swelling of wood leads to its cracking, curvature, deformation of parts. Therefore, before you start working with wood, you need to let it dry well.

Density of wood. Density is important, as products made from dense wood are more durable. Trees with a high density (beech, maple, pear) are highly valued. Since they are easy to process, and the products made from them are of high quality.

Wood texture. If the wood is sawn into boards, then you can see the vertical lines formed from the annual rings in the form of a pattern. This pattern is called wood texture. When sawing wood along the axis, the wood grain is more beautiful, and the resulting lumber is durable.

This texture in some types of trees (oak, beech, maple, birch, elm) has decorative properties. These properties are taken into account when harvesting wood and working with it.

Thermal conductivity. This is the ability of wood to conduct heat through its thickness from one layer to another. It depends on a number of factors, the main ones being temperature, humidity and wood density.

Electrical conductivity. This is the ability of wood to conduct electricity. The electrical conductivity of wood mainly depends on its moisture content, species, grain direction and temperature. Wood in a dry state does not conduct electricity, i.e. is a dielectric. Wood is heterogeneous in its chemical composition and contains cellulose, lignin, oils, natural resins, coloring tannins.

Some substances interfere with the process of film formation of paints and varnishes (polyester) materials applied to the surface of wood.

So, when finishing wood species containing phenolic substances, it is necessary to first apply a layer of insulating primer. The resins that make up coniferous wood degrade the strength of the bond between the paint and varnish material and wood, and contribute to the formation of stains on transparent coatings. To prevent these phenomena, the wood is deresined.

The coloring tannins contained in the wood can be used by the action of special substances to give the surface, the product of durable brown colors of different tones.

Each type of wood has its own natural color, which must be taken into account when finishing. The color of a number of species (mahogany, oak, walnut, plane tree) is inappropriate to change if the surface is evenly colored; when the uniformity of color is disturbed, the product should be tinted.

Mechanical and technological properties of wood.

They are very closely related. When choosing a material for a particular product, first of all, it is necessary to take into account its hardness, wear resistance, strength, splitting. The hardness of wood is understood as its ability to resist the penetration of another, more solid body of a certain shape. In industrial laboratories, the hardness of wood is determined using special instruments. Depending on the rate of immersion of the material during testing, static and impact hardness are distinguished. In reference books, only the parameters of static hardness of different types of wood are given.

The hardness is directly related to the density of the wood and varies from place to place. The hardness of the end surface exceeds that of the side (tangential and radial) by an average of 30% for hardwoods and 40% for conifers. Yes, and the moisture content of wood has a significant effect on its hardness, since with an increase in humidity by 1%, the hardness on the end surface decreases by 3%, and on the tangential and radial cuts - by 2%. Table 1 shows the average hardness values ​​of some tree species.

According to the degree of hardness on the end surface (at a moisture content of 12%), rocks can be divided into three groups; soft (hardness 40 MPa or less), hard (40.1-80 MPa) and very hard (more than 80 MPa).

Table 1. Hardness of tree species

Hardness is of great technological importance, since cutting tools for woodworking have to be selected and sharpened taking into account this parameter. Although softwood cutting requires less force, exceptionally high-quality and sharp tools are needed. It is especially difficult to obtain a smooth surface on a softwood part by sanding. Solid wood species are more suitable for mechanized processing (drilling, turning). Soft rocks, it is advisable to process with hand tools such as knives, cutters, chisels, i.e. those that can be sharpened at an acute angle.

The wear resistance of wood is directly related to its hardness. This provision must be taken into account when choosing a material for the manufacture of tools and fixtures (for example, squares, planers, etc.).

Strength is the ability of a material to resist destruction, as well as an irreversible change in shape under the action of external loads. The strength of wood depends on the direction of application of force, the type of wood, its moisture content, and the presence of defects. There are tensile strengths (the moment of destruction of the sample) in compression, tension, bending, torsion, shear. The values ​​of these parameters largely depend on the direction of the fibers in the part on which the load acts.

So the tensile strength of wood when pressed across the fibers is 20 times lower than along the fibers.

There are not very many parts and products that are subjected to heavy loads during operation in school workshops. But in the manufacture of, for example, handles for hammers and axes, it is necessary to choose wood that has a high flexural strength and high hardness, monitor the direction of the fibers and the presence of knots in the workpiece.

Strength is associated with another technological property of the material under consideration, the ability to resist splitting. Splitting refers to the ability of wood to separate along the fibers under the action of a wedge and load. This property is of practical importance in the preparation of material from thin-bore rocks; it must also be taken into account when choosing parts to be joined on nails and screws, since with low splitting resistance they can break. You should know that the resistance to splitting along the radial plane in hardwood is less than in the tangential plane. In conifers, the opposite is true: splitting along the tangential plane is less than the radial one.

The remaining mechanical and technological properties of wood, such as elasticity, plasticity, ability to bend, and others, are not essential in the manufacture of small products in school workshops. But sometimes (for example, when gluing with bending or when weaving), some of them have to be considered. In this case, you must refer to the relevant manuals.

We will only say that ring-vascular and scattered-vascular tree species bend better. Conifers have this property to a lesser extent. Wet wood bends more easily than dry wood.

We took these properties into account when choosing materials for the manufacture of nesting dolls, taking into account the technology of its manufacture. Since the matryoshka is made in the process of turning on a wood lathe, the material for its manufacture must have a sufficient degree of hardness. In our conditions, the most accessible material that meets these requirements is birch.

.2 Technological scheme for the manufacture of matryoshka

Before presenting the technological scheme for the manufacture of nesting dolls in the work, we will consider the main technological operations for its manufacture - turning and surface finishing by grinding.

turning technology.

There are three types of turning on the machine: in the centers, in the chuck and on the faceplate. In the first case, the workpiece is mounted in a fork or chuck and supported by the center of the tailstock.

Workpieces of small diameter, which cannot be fixed in a fork, are installed in a hollow square wrapped instead of a fork.

When turning in the centers of cylindrical parts, the required size is first turned on a small part of the workpiece 5-10 mm at the rear center. This section serves as a reference point for students.

To obtain a product with an internal cavity, the workpiece is machined in a chuck without back center support. For fixing in the cartridge, one end of the workpiece can be processed with an ax, but taking into account safety precautions, it is better to process relatively long workpieces this way. Under the cartridge, the workpiece can also be machined in the centers. It must be screwed into the chuck, supporting the other end with the rear center to avoid runout. The part inserted into the chuck can be moistened with water, then the workpiece is held stronger.

In products such as buckets, salt shakers, where there are no thin transitions, necks and other openwork elements, the outer surface is first processed, including its finishing. Then a hole is drilled in 2 - 3 steps, gradually increasing the diameter of the drill. After obtaining a hole of the required depth, a handpiece is placed across the guides and the inner cavity is bored with a fine or one of the special cutters, gradually removing the layer of wood. The cutter must move from the center to the periphery. When finishing the inner cavity, the abrasive skin should be screwed onto a stick, and not held with your fingers, as students sometimes try to do.

On the faceplate, products of large outer diameter are sharpened, such as a plate, tray or socket. To fix the workpieces, several methods are used. Firstly, the workpiece can be screwed to the faceplate.

In another case, the pre-processed bottom of the workpiece is glued through a sheet of paper to a flat blank fixed on a faceplate. After manufacturing, the product is carefully chipped off, and the remnants of paper and glue are washed off with warm water and cleaned with an abrasive sandpaper. The sequence of turning products such as plates is the same as in the processing of cups. Be sure to first process the outer contour of the product, and only after rearranging the handpiece parallel to the faceplate, they begin to grind the inner surface, moving the cutting tool from the center of the product to its edge.

Turned products finishing.

The most common and acceptable is grinding on the machine. As an additional treatment after finishing turning, polishing with a block of wood of a harder species is widely used.

If pre-finishing by burning, painting, etc. is not provided, then, depending on the possibilities and desire, the products are primed and varnished. Since wood is a very hygroscopic material, its porous surface must be primed. According to the consistency, primers are divided into liquid (for finely porous) and thick (for large porous) wood species. In stores you can buy fillers KF - 2 - for processing light wood, KF -3 - mahogany wood.

Sometimes, before varnishing, turned products are covered with a stain that imitates the color of wood of a more valuable species: mahogany, oak, walnut, etc. On the stained surface, patterns cut with chisels or grooves, grooves, stripes machined on the machine look good.

Turned products can be decorated with burnt belts. To do this, the edge of a bar or plywood of a harder breed is pressed against a product rotating on a machine. From friction on the surface, dark brown stripes are obtained; red color can be obtained by pressing a piece of sealing wax to a rotating part.

Products painted with aniline dyes (designed for dyeing cotton and woolen fabrics) look bright and elegant. They are diluted in water and applied with a brush. The product must be primed before this. As a primer, you can use a paste, which is applied with a swab or sponge. Turned products can also be painted with oil paints, but in this case a special primer is used, consisting of 1 part gelatin (carpentry glue) and 5 parts tooth powder (fine whitewash).

The turning of shaped surfaces, which includes the surface of the matryoshka doll, has the features presented in Appendix K.

Turning shaped surfaces

Various parts with complex shaped surfaces are turned on woodworking lathes: skittles, chess pieces, decorative plates, bowls, candlesticks, souvenirs, etc.

In conditions of mass industrial production parts with shaped surfaces are machined on copy machines or using shaped cutters. The cutting edge of the shaped cutter exactly follows the contour of the part (Figure 5).

Figure 5. The cutting edge of the shaped cutter

In school workshops, simple shaped surfaces are obtained using a rail and a meisel. Required (Figure 6) can be obtained with the same depth of cut in several passes. The figure shows the processing of the workpiece in three passes. In this case, the cutting edge of the cutter repeats the required curvilinearity of the surface with each pass.

Figure 6. Surface curvature pattern

When turning concave curved surfaces, the cutter should be moved from the edges to the middle of the workpiece.

To check the correctness of the shaped surfaces, radius gauge templates are used (Figure 7):

BUT- for a concave surface, B- for convex.

Figure 7. Templates-radiometers

During the rotation of the workpiece, it is strictly forbidden to check the dimensions.

Shaped surfaces are carefully sanded and varnished. Small parts are dipped in a jar of varnish and hung to dry.

In the manufacture of matryoshka, turning of internal surfaces is also performed, the features of which are presented in the appendix.

Turning of internal surfaces.

The appearance of wood products is influenced by many factors: the correct choice of wood species, the absence of defects in it, the cleanliness of surface treatment, the degree of surface preparation for finishing, the thoroughness of finishing, and much more.

The beauty of the appearance of the product largely depends on the texture of the wood. And it depends not only on the type of wood, but also on the part of the tree trunk from which the product is made. So, for example, a decorative bowl made of wood will have a beautiful texture if the blank for it is cut out of the trunk at an angle. In this case, the growth rings on the treated surfaces of the bowl will give a unique natural pattern. The texture of wood becomes more noticeable if the surface of the product is covered with a transparent varnish.

Products made from a “composite blank” have an original external appearance. It is pre-glued from bars of wood of various species carefully fitted to each other (Figure 8).

Figure 8. Wood of various species.

To fix workpieces 0 50 - 230 mm on a lathe, a faceplate is used (Figure 9).

Figure 9. Faceplate.

Holes are drilled on the plane of the disk of the faceplate, into which the screws for fastening the workpiece pass. Screws should be placed in the thickest parts of the future product so that they do not fall under the cutter when turning and cutting off the product;

The outer contour of the workpiece is filed into 8 - 16 faces and screwed, the faceplate onto the machine spindle.

Turning begins with the processing of the outer contour. First, the handpiece is installed parallel to the plane of the faceplate. Along the marking line on the plane of the workpiece, an incision is made with the tip of the maizel. An incision is needed in order not to chip off the protruding edges of the workpiece.

When turning internal surfaces, the handpiece is set perpendicular to the center line. The cutter of the rail during internal turning is mixed from the edge of the end to the center.

When the outer contour is obtained, proceed to the finishing of the product. The surface is polished with a fine sandpaper. Gloss on the surface can be obtained by pressing a lump of soft chips or softwood planks against the surface of a product rotating on a machine.

After grinding, the surface is coated with a colorless varnish. A swab moistened with varnish is lightly pressed against the rotating workpiece, moving it over the surface of the product. Usually 3-5 coats of varnish are applied.

The technological scheme for the manufacture of nesting dolls on a woodworking lathe is presented in Appendix L.

3. Experimental work on the study of artistic woodworking in extracurricular activities

.1 Goals and methodology for organizing experimental work

In order to test the hypothesis put forward at the beginning of the study that the development and implementation of methodological support for the artistic processing of various materials in extracurricular activities at school will increase the effectiveness of the formation of significant qualities of the student's personality, such as creativity, aesthetic taste and achievement motivation, an experimental experimental work in high school.

The experiment involved two groups of 10th grade students - control and experimental, 15 people each. The students of the experimental group attended the classes of the circle of artistic processing of materials, the students of the experimental group did not attend the classes of this circle, their acquaintance with the artistic processing of various materials took place at the lessons of technology in accordance with the program for this subject.

The experiment took place in two stages - ascertaining and forming. At the ascertaining stage of the experiment, the initial level of formation of significant qualities of the student's personality, such as creativity, aesthetic taste and achievement motivation, was assessed among students in the control and experimental groups.

Creativity characterizes the predisposition of the individual to creativity, the ability to effectively perform creative activities.

Creativity is defined as "a process of human activity that creates qualitatively new material and spiritual values"; "an activity that generates something qualitatively new, never before"; "an activity that generates something qualitatively new and is distinguished by originality, originality and socio-historical uniqueness" .

Thus, creative activity involves the creation of unique, original and unique things. Moreover, the result of creative activity can be both material and spiritual values.

We examined the ability for creative activity in students of the experimental and control groups using the following test.

This quiz will test your creativity. Read the test questions carefully. For each answer, give yourself from 1 to 10 points, focusing on the following criteria:

points mean that the correspondence to what is said is very great;

9 points - significant compliance;

points - compliance relatively;

4 points - in this part your level is below average;

point - there are no correspondences at all.

Are you inquisitive? Are you worried about what is happening around, how it happens and why? Do you like to collect information on a topic that interests you? Do you ask questions? Do you tend to doubt what is obvious to most?

Are you observant? Do you quickly notice that the house at the end of the street has been recently repainted; that the store has a new sign; that your colleague got a new haircut; that the newspaper has changed the width of the columns?

Are you able to perceive other people's points of view? When you disagree with someone, are you able to understand the person with whom you disagree? Can you look at an old problem in a new way?

Can you learn from your mistakes? Can you recognize your failure and still not give up? Do you understand that until you give up, all is not lost?

Do you use your imagination? Do you say to yourself: “What will happen if…”?

Can you spot similarities between things that at first glance have nothing in common? (For example, what do a desert plant and a reluctant person have in common?) Do you use old things in a new role (a beautiful wine bottle as a flower vase on a festive table)?

Do you believe in yourself? Do you go into business with the confidence that you can do it? Do you consider yourself capable of solving problems?

Do you try to refrain from judging other people, other people's ideas, new situations? Do you wait until you have enough information to come to a definite conclusion?

In addition to testing with the help of the above test for assessing the creative abilities of students, we used such methods of pedagogical research as the analysis of students' work and the method of expert assessments.

The complex use of the above methods for studying the creative abilities of students made it possible to establish that the students of the experimental and control groups at the ascertaining stage of the experiment were approximately at the same level in terms of the level of formation of this quality, as evidenced by the numerical data shown in Table 2 and Figure 10.

Table 2. The level of formation of students' creative abilities at the ascertaining stage of the experiment

Figure 10. The level of formation of students' creative abilities at the ascertaining stage of the experiment

Aesthetic taste characterizes the formation of the aesthetic culture of the individual.

The formation of an individual's aesthetic culture should be viewed as "a process of purposeful development of an individual's ability to fully perceive and correctly understand beauty in art and reality" . From the standpoint of the axiological approach, "beautiful" as a category of aesthetics characterizes "phenomena that have the highest aesthetic value" . A distinctive feature of the beautiful is its connection with a certain sensual form and appeal to contemplation or imagination, as well as the disinterested nature of the relationship, in contrast to the utilitarian-useful. The beautiful is a category of aesthetics, a science that studies "the sphere of the aesthetic as a specific manifestation of the value relationship between a person and the world and the area of ​​\u200b\u200bthe artistic activity of people." Aesthetic values ​​have a complex structure, which is determined by the variety of forms of creation, existence and manifestation of the aesthetic, considered as a social phenomenon. At the same time, the structure of aesthetic values ​​covers the aesthetic features of the natural environment, the social material-objective and spiritual environment, as well as social relations.

To assess the aesthetic taste of students, we used such methods of pedagogical research as the analysis of students' work, the method of expert assessments.

The results of evaluating the aesthetic taste of students at the ascertaining stage of the experiment are presented in Table 3 and Figure 11.

Table 3. The level of formation of the aesthetic taste of students at the ascertaining stage of the experiment

Figure 11. The level of formation of students' aesthetic taste at the ascertaining stage of the experiment.

Achievement motivation - the desire to achieve high results and mastery in activities; it manifests itself in the choice of difficult tasks and the desire to complete them. Success in any activity depends not only on abilities, skills, knowledge, but also on achievement motivation. A person with a high level of achievement motivation, striving to get significant results, works hard to achieve his goals.

Achievement motivation (and behavior that is aimed at high results) even for the same person is not always the same and depends on the situation and the subject of activity. Someone chooses difficult problems in mathematics, while someone, on the contrary, limiting himself to modest goals in the exact sciences, chooses complex topics in literature, striving to achieve high results in this particular area. What determines the level of motivation in each specific activity? Scientists identify four factors:

The importance of achieving success;

hope for success;

Subjectively assessed probability of success;

Subjective standards of achievement.

The achievement motivation of students was studied by us using testing and self-assessment methods.

To assess achievement motivation by testing, we used the “Achievement Needs Assessment Scale” test.

Achievement motivation - the desire to improve results, dissatisfaction with what has been achieved, perseverance in achieving one's goals, the desire to achieve one's goal at all costs - is one of the core personality traits that affect all human life.

Numerous studies have shown a close relationship between the level of achievement motivation and success in life. And this is not accidental, because it has been proven that people with a high level of motivation are looking for situations of achievement, are confident in a successful outcome, are looking for information to judge their successes, are ready to take responsibility, are decisive in uncertain situations, are persistent in striving for a goal. , I enjoy solving interesting problems, do not get lost in a competitive situation, show great perseverance when faced with obstacles.

You can measure the level of achievement motivation using the developed scale - a small test-questionnaire. This scale consists of 22 following judgments, about which two possible answers are possible - “yes” or “no”. Answers that match the key ones (by code) are summed up (1 point for each such answer).

I think that success in life depends more on chance than on calculation.

If I lose my favorite occupation, life for me will lose all meaning.

For me, in any case, the most important thing is not its execution, but the end result.

I believe that people suffer more from failures at work than from bad relationships with loved ones.

In my opinion, most people live for distant goals, not close ones.

I have had more successes than failures in my life.

I like emotional people more than active ones.

Even in normal work, I try to improve some of its elements.

Absorbed by thoughts of success, I can forget about precautions.

My relatives consider me lazy.

I think that my failures are due more to circumstances than to myself.

I have more patience than ability.

My parents controlled me too strictly.

Laziness, and not doubt in success, forces me to often abandon my intentions.

I think I am a confident person.

For the sake of success, I can take risks, even if the chances are slim.

I am a diligent person.

When everything goes smoothly, my energy increases.

If I were a journalist, I would rather write about the original inventions of people than about accidents.

My relatives usually do not share my plans.

My standard of living is lower than that of my comrades.

It seems to me that I have more perseverance than ability.

Unlike many previously described test-questionnaires, the achievement need scale has decile (wall) norms. Therefore, the specific result can be evaluated using the following table 4:

Table 4. Evaluation table

Code: “yes” answers to questions 2, 6, 7, 8, 14, 16, 18, 19, 21, 22; answers “no” to questions 1, 3, 4, 5, 9, 11, 12, 13, 15, 17, 20.

The use of this test, as well as the self-assessment method, made it possible to establish that the achievement motivation of students in the control and experimental groups at the formative stage of the experiment is at approximately the same, mostly low level. Experimental data on this indicator are presented in Table 5 and Figure 12.

Table 5. The level of students' achievement motivation at the ascertaining stage of the experiment

Figure 12. Level of students' achievement motivation at the ascertaining stage of the experiment

Thus, the experimental work at the ascertaining stage made it possible to establish that in terms of the level of formation of such significant personal qualities as creativity, aesthetic taste and achievement motivation, the students of the experimental and control groups are at approximately the same, mostly low level. This made it possible to include them in the experiment at the formative stage in order to study the influence of the methodological support of artistic processing of various materials in extracurricular activities at school on the effectiveness of the process of forming significant qualities of a student's personality, such as creativity, aesthetic taste and achievement motivation.

.2 Implementation of the circle program on artistic wood processing at the formative stage of the experiment

At the formative stage of the experiment in the experimental group, classes were held for the artistic processing of materials according to a program specially developed by us. This program includes a general introduction to the artistic processing of various materials and a more detailed study of the artistic processing of wood.

The study of artistic woodworking was chosen by us as the main topic of the developed program, since, firstly, the study of woodworking is provided for by the technology program for boys in all classes; therefore, students have an idea about its processing, and in the classes of the circle it is supposed to expand students' knowledge of the artistic processing of this material and improve the skills and abilities of performing various kinds its artistic processing. Secondly, this material is accessible; it can be purchased in special stores, as well as used for its production of gardening waste obtained in summer cottages and household plots (branches, missing trees, etc.). Thirdly, the technological processes of artistic woodworking are accessible and feasible for high school students to study and master, and the equipment and tools are available in school workshops.

Therefore, the program developed by us contains information about the artistic processing of various materials, and a separate part of it is devoted to the study of various types of artistic processing of wood. This program is shown below.

Explanatory note

The study of the artistic processing of materials forms the aesthetic taste of students, allows them to equip them with technical and technological knowledge, develop labor skills, and conduct psychological and practical training for work.

The main objective of the artistic processing of materials course is to reveal the variety of types of artistic processing of materials, to acquaint students with the history of their development and implementation technology, to teach the methods of performing the most common types of artistic processing of materials, to develop aesthetic taste, to cultivate the desire to improve the knowledge, skills and abilities acquired in the process. studying the subject.

As a result of studying the course of artistic processing of materials in extracurricular activities, students should know: features of drawing and composition in arts and crafts; compositional means - proportions, scale, rhythm, contrast, nuance, color; issues of ornament and its use in the artistic processing of materials; types of artistic wood processing - inlay, intarsia, marquetry, carving, painting; issues of finishing joinery; types of artistic processing of metal - inlay, notch, chasing, engraving and etching; blacksmith work in the artistic processing of metals; decorative finishing of metals; issues of manufacturing decorative wire products; history, methods and technology of artistic weaving; issues of artistic processing of glass and ceramics, stone and bone, leather and other materials; artistic design of clothing and costume composition; embroidery; knitting and crochet.

Students should be able to: make a scale of achromatic colors and a color wheel using watercolor; develop a composition of ornaments and make patterns for making ornaments; to make volumetric products from parts sawn with a jigsaw; perform weaving products using the macrame technique; convey the texture of the fabric in the drawing; develop sketches of clothes and ways of artistic design of clothing models; do embroidery.

Form of control - final creative work on the artistic processing of wood.

Table 6. Thematic plan

Topics of theoretical classes

Introduction. Artistic processing of materials as a result of the creativity of many generations of craftsmen. The connection of artistic processing of materials with nature and life. A variety of natural materials and types of artistic crafts.

Topic 1. Drawing and composition in arts and crafts.

Picture. Features of drawing in arts and crafts. Use of material properties in drawing development. Factors of visual perception of the mass of the product being created. Principles of artistic design of subject forms. Compositional properties: proportions, scale, rhythm, contrast, nuance, color. Achromatic and chromatic colors.

Topic 2. Ornament and its use in the artistic processing of materials.

Ornament. Types of ornament. Linear, mesh, compositional-closed ornament. Rapport. Motives and symbolism of the ornament. The ornament is geometric, zoomorphic, cosmogonic, symbolic. Ornament composition. Ornament composition. Kazakh national ornament, motifs and symbols. History of development.

Topic 3. Artistic processing of wood.

Fundamentals of artistic facing of joinery with veneer. The history of veneer. Essence of cladding. Marquetry. marquetry technology. Inlay. Intarsia. Materials for inlay. Inlay rules.

Joinery finishing. Requirements for carpentry. Grinding. Staining. Varnishing. Polishing.

Woodcarving. The history of the development of wood carving and its current state. Thread types. Contour, flat-relief, in-depth and openwork carving. Materials, tools and devices for the manufacture of threads. Thread technology. Sawing with a jigsaw is one of the most common types of artistic wood processing.

Painting on wood. Khokhloma painting. Gorodets painting. Matryoshka and turning products with painting.

Topic 4. Artistic processing of metal.

Blacksmith's work in the artistic processing of metals. Hood. Draft. Blacksmith's cabin. Firmware. Bending. Twisting. Smoothing. Hood. Varieties of hood: punch (manually) and hood on a lathe.

Chasing. History of coinage. Materials, equipment and tools for stamping on sheet. Mining technology. Chasing without resin. Chasing on resin. Coinage design. Safety rules.

Inlay. notch. Materials, tools and technology of knurled inlay. Safety rules.

Engraving. Etching. Material preparation. Tool. Technology.

Decorative metal finish. Grinding. Polishing. Chemical finish.

Decorative wire products. Scan.

Decorative painting on metal. Ural and Zhostovo trays. Enamel. Blackening.

Topic 5. Artistic weaving.

History of the art of weaving. Weaving methods. Varieties of weaving: birch bark, reed, wicker, macrame, weaving leather products.

Rules for the preparation of material for weaving. Rules for safe work with cutting tools. Technology of production of products in the technique of macrame.

Topic 6. Artistic processing of glass and ceramics.

Varieties of ceramics. Terracotta, majolica, faience, porcelain. Product range.

Topic 7. Artistic processing of bone and stone.

Bone carving. History, Geography of crafts. Materials.

The art of stone processing. History. Hard and soft stone. Crafts for the processing of soft stone. Artistic products from amber.

Topic 8. Artistic design of clothes and costume composition.

composition tools. Color harmony in a suit. Texture and decor in the composition of the costume. Artistic modeling of clothes.

Methods for finishing garments. Hand and machine puffs as one of the finishing methods. Schemes of puffs "honeycombs", "ear", "flowers". Manufacturing technology of hand puffs.

Kazakh national costume. Cloth. Hats. Shoes. Decorations.

Topic 9. Embroidery as one of the types of arts and crafts.

History of embroidery. Ornament and color in embroidery. Tools and accessories for embroidery. Choice of fabric and thread. Workplace of an embroiderer. Types of seams.

Topic 10. Knitting and crocheting as one of the types of arts and crafts.

History of knitting. Materials, tools and devices. Types of loops. patterns.

Topic 11. Artistic processing of leather.

Leather is a material for applied arts. Technological information on leather processing. Workplace and placement of tools. Safety rules.

Topic 12. Technology for the manufacture of art products from paper.

Origami. History of origami. The art of paper folding. Festive table decoration.

Making flowers from paper as one of the types of arts and crafts. Materials, tools and devices. Flower technology.

Papier mache. History, use of products and manufacturing technology.

Topic 13. Technology for the manufacture of art products from natural materials.

Straw products. Material processing. Technology for the manufacture of art products from straw.

Floristics. The art of making bouquets. Ikebana. Panel of seeds and dried herbs.

Topic 14. Technology for the manufacture of art products from fabric and textile materials.

Patchwork mosaic. Composition. Execution technology. Application. Fabric appliqué technology.

Carpet weaving. History. Materials. Technology.

Batik. Painting on fabric. Materials, tools, execution technology.

Making flowers from fabric as one of the types of arts and crafts. Materials, tools and devices. Flower technology.

Topic 15. Artistic processing of various materials.

Decorative dough products. Composition of raw materials. Manufacturing technology.

Beading as one of the types of arts and crafts. Materials, tools and devices. Beadwork technology.

Practical work.

Drawing up a scale of achromatic colors and a color wheel using watercolor.

Ways to transfer the texture of the fabric in the figure

Development of the composition of ornaments. Template making.

Sawing with a jigsaw. Production of bulk products.

Weaving products in the technique of macrame.

Development of sketches of clothes. Artistic dressing.

Production of manual puffs of various types. Development of sketches of clothes and interior items decorated with puffs.

Performing counted embroidery.

Making patterns on knitted fabric with knitting needles and crochet.

Making a panel from seeds.

Folding napkins for the festive table.

Making flowers from various materials.

Development of a composition and production of a product from shreds of fabric.

This program was implemented in the course of extracurricular activities in the experimental group. The students of the control group did not attend classes in the artistic processing of materials, they studied the artistic processing of materials as part of the school technology course.

After carrying out the experimental work at the formative stage, we performed the analysis and interpretation of the experimental results.

3.3 Analysis and interpretation of experimental results

A quantitative assessment of the personal qualities of students in the experimental and control groups, such as creativity, aesthetic taste and achievement motivation, at the formative stage of the experiment was carried out using the same methods of pedagogical research as at the ascertaining stage.

To assess the creative abilities of students, we used testing methods, analysis of students' work and the method of expert assessments.

The complex use of the above methods for studying the creative abilities of students made it possible to establish that the students of the experimental and control groups at the formative stage of the experiment were at different levels in terms of the level of formation of this quality, as evidenced by the digital data shown in Table 7 and Figure 13.

Table 7. The level of formation of students' creative abilities at the formative stage of the experiment

Figure 13. The level of formation of students' creative abilities at the formative stage of the experiment

As can be seen from Table 7 and Figure 13, at the formative stage of the experiment, the students of the experimental group, in terms of the level of formation of creative abilities, were mainly high level, and the control group - evenly distributed over the middle and low levels, the number of students with a high level of formation of creative abilities in the control group also increased, but slightly. At the same time, the number of students with a high level of development of creative abilities at the formative stage of the experiment in the experimental group increased significantly and amounted to more than half of the total number of students in the group. This indicates the effectiveness of their participation in the group work on the artistic processing of materials.

Aesthetic taste in students at the formative stage of the experiment was assessed using such methods of pedagogical research as the analysis of students' work, the method of expert assessments.

The results of evaluating the aesthetic taste of students at the formative stage of the experiment are presented in Table 8 and Figure 14.

Table 8. The level of formation of the aesthetic taste of students at the formative stage of the experiment

Figure 14. The level of formation of students' aesthetic taste at the formative stage of the experiment

The data in Table 8 and Figure 14 indicate that in the experimental group the level of formation of the aesthetic taste of students has significantly increased: almost all students (12 people) turned out to be at a high level, an insignificant part of the students remained at an average level of formation of aesthetic taste, and none remained at a low level. one student. In the control group, there was also an increase in the level of formation of the aesthetic taste of students compared to the formative stage of the experiment. However, it is less significant than in the experimental group: the students of this group were approximately equally distributed across all levels of the formation of aesthetic taste (4 people turned out to be at a high level, 5 people - at an average level, and 6 people - at a high level). This testifies to the effectiveness of the participation of schoolchildren in the experimental group in circle work on the artistic processing of materials.

Students' achievement motivation was investigated using testing and self-assessment methods. Experimental data on this indicator are presented in Table 9 and Figure 15.

Table 9. The level of student achievement motivation at the formative stage of the experiment

Figure 15. The level of student achievement motivation at the formative stage of the experiment

The data in Table 6 and Figure 6 show that achievement motivation increased significantly in the experimental group, where the majority of students (14 people) turned out to be at a high level of achievement motivation, only one student was at an average level, a low level of achievement motivation was not recorded in the experimental group.

In the control group, the level of achievement motivation also increased compared to the corresponding indicator at the ascertaining stage of the experiment. However, there was no significant increase in achievement motivation; students were evenly distributed among three levels of achievement motivation - high, medium and low (5 people at each level).

Thus, the experimental work at the formative stage made it possible to establish that in terms of the level of formation of such significant personal qualities as creativity, aesthetic taste and achievement motivation, the students of the experimental group were significantly ahead of the students of the control group. This confirms the hypothesis put forward at the beginning of our study that the development and implementation of methodological support for the artistic processing of various materials in extracurricular activities at school will increase the effectiveness of the formation of significant qualities of a student's personality, such as creativity, aesthetic taste and achievement motivation.

Conclusion

pupil artistic wood matryoshka

Our graduation research is devoted to the study of artistic processing of various materials in extracurricular activities.

The paper explores the technological foundations of the artistic processing of various materials. The characteristic and classification of artistic processing of various materials is presented. The types and technology of artistic wood processing are considered in more detail. Studied non-standard methods of drawing in the visual arts.

A technology for manufacturing an artistic product from wood has been developed using the example of a matryoshka. A sketch and description of the appearance of the product, the choice of materials, as well as a technological scheme for the manufacture of nesting dolls are presented.

Experimental work on the study of artistic processing of wood in extracurricular activities and approbation of the methodological support of this process was carried out on the basis of a secondary school. The experiment involved 30 students - 15 students of the experimental group and 15 students of the control group.

In the course of the experiment, the influence of classes in the circle of artistic processing (and specially developed methodological support for classes) on the effectiveness of the process of forming such significant personality traits as creativity, aesthetic taste, achievement motivation was checked. The experiment showed that with approximately the same level of formation of these indicators at the ascertaining stage at the formative stage in the experimental group, the level of formation of the listed personal qualities is significantly higher in the experimental group than in the control group. This confirms the work put forward at the beginning of the study.

Thus, the goal of the work was achieved, the tasks were solved, the hypothesis was confirmed during the experiment.

The study has broad prospects for its continuation following directions: the study of the technological foundations of the artistic processing of various materials (by type of materials) and the methods of their study in extracurricular activities; study of the influence of extracurricular activities on the formation of personal qualities of students; study of the mechanisms of development of the personality of students in the process of extracurricular work on the artistic processing of materials.

List of used literature

1. Alekhin A.D. On the language of fine arts, M 2003

2. Afonkin S.Yu., Afonkina E.Yu. - "Origami lessons at school and at home."

Afonkin S.Yu. - "Origami on the festive table."

4. Trouble G.V. The basis of fine arts, M 1993

5. Belim S.N. - "Problems in geometry, solved by the origami method"

6. Volkov N.N. Perception of the picture, M 2000

Vygotsky L.S. Psychology of art / Ed. M.G. Yaroshevsky. -M: 1987.

Dzhanibekov "Echo", A.-A., 1997

Kirillo A.A. teacher about fine arts, M 2001

Kuzin V.S. Methods of teaching art in grades 1-3, M 2001

11. Kuryshev V. M. Fixing blanks on the machine STD - 120 // School and production. 1989. No. 8. S. 32.).

Little home encyclopedia. - M.: Knowledge, 1992. - 256 p.

Mukhin B.I. Manufacturing wooden mosaic: Practical recommendations. - Leningrad: Stroyizdat, 1999. - 144 p.

Nazarova V.I. Weaving: birch bark, straw, reed, vine and other materials. - M.: RIPOL classic, 2011. - 288 p.

15. Fundamentals of aesthetic education: a guide for teachers / ed. N. A. Kushaeva. - M.: Enlightenment, 2006. - S. 240

Fundamentals of aesthetic education: tutorial/ ed. A. K. Dremova. - M.: Higher. school, 2005. - S. 327

Pechersky M.S. Aesthetic education in labor lessons. M..2001.- S. 99

18. Pechersky M.S. Aesthetic education, M 2006

19. Pechko L.P. School teaches to dream, create and try. SPb. 2001.- p. 110

20. Pechko L.P. Aesthetic culture and education of a person. M., 1999.- P.124

21. Podlasy I.P. Fundamentals of Pedagogy. M.: Science. 1999. - S. 125

22. Rihvk Metal processing in school workshops, M., 1994

23. Rostovtsev N.N. Methods of teaching Art at school, M 1990

24. Rose K.S. Identification of the levels of formation of the aesthetic culture of students / K. S. Rose // Average professional education. - 2010. - N4. - p.97

25. Rukavitsyn M. M. Personality-oriented learning. M. 1999.

27. Samokhvalova V.I. Aesthetic education: questions of theory and practice. M., 2002. - S. 120