Circle With Arms and Legs Floating Drawing
Drawings
Photo by: dpaint
Definition
Children's drawings are visual representations made with crayons, markers, or pencils that are generated for pleasure but can also exist used for therapeutic purposes or developmental cess .
Description
Children'south art, especially a drawing, represents one of the delights of childhood. The child's artistic endeavors are mainly produced for pleasure and the exploration of fine art media. They tin can also be used for developmental and therapeutic assessment.
Children's drawings plainly prove artistic evolution and expression. In educational and clinical settings, they tin be vehicles for assessing a child'due south personality, intellectual development, communication skills , and emotional adjustment. Children'due south drawings can also assist in helping to diagnose learning disabilities. Police enforcement officers, social workers, and counselors oftentimes take children draw traumatic events, especially when they lack the communication skills to explain what they have witnessed or experienced. Children may also feel distanced from the traumatic issue past drawing it and talking about what is happening in the picture, as if discussing a character in a volume or on idiot box.
Color analysis has often been a means of determining a child's emotional state. A lot of black or red recurring in a child's cartoon may be a troublesome sign. Black frequently is an indication of depression or feeling hopeless or restricted. Crimson may bespeak intense acrimony. Dejection and greens are ordinarily calm colors, and yellows and oranges often indicate cheerfulness. Therapists are not commonly concerned if a kid does i cartoon in one of the troublesome colors, but may want to investigate a series of night drawings, especially if the content is too frightening or disturbing. Therapists may use the therapeutic session as a means of emotional release and may encourage a child to create drawings that limited their deep fears and angers. Drawings in this case are not assessment instruments, but get therapeutic tools.
Stages of creative evolution
In 1975, Viktor Lowenfeld launched a theory of artistic evolution based on systematic artistic and cerebral stages. Each phase demonstrated specific characteristics and had an age range. He encouraged the use of his artistic evolution stages in classrooms and as guides for parents.
These stages are as dependent on a child's exposure to art and fine art media equally they are on a child'due south innate creative ability or fine motor skills . It should exist noted that because a child does not seem to become beyond a specific developmental phase, it does not mean that the child has a cerebral or developmental problem. This apparent arrest of development may be due to limited exposure to art, lack of interest, or fine-motor differences. Cultural values can also affect artistic expression and evolution, influencing content, art media, style, and symbolic meaning as represented in the child'southward view of the world.
The post-obit stages are generalized from Lowenfeld'south work and that of Betty Edwards. Both theories show children moving from scribbling through several stages to realistic art. Children may overlap stages, making drawings with elements of one phase while progressing or regressing to another. Generally, boys and girls will develop similarly in the initial stages. Whether any child progresses to the latter stages unremarkably requires instruction of some kind.
SCRIBBLING STAGE The scribbling stage normally begins around two years sometime and lasts until the child is nigh four years of age. In some cases, it tin begin as before long as a child can concord a fat crayon and make marks on paper, which is sometimes around 18 months old. At beginning, the child is interested only in watching the color period on the paper. Some children are more than interested in the mark itself and may even look away while scribbling. What results on the paper is adventitious and often delights the kid, even though information technology is indistinguishable to adults.
With almost half-dozen months of practice, the kid will be more deliberate and may commencement drawing circles. Afterwards, the child will proper noun the cartoon, saying, "This is a dog." The child may fifty-fifty wait at the cartoon of the dog the adjacent day and say, "This is Daddy." The kid will as well outset drawing people that resemble a tadpole or amoeba (a circumvolve with arms and legs, and sometimes optics).
PRE-SCHEMATIC Stage The pre-schematic, or pre-symbolic, stage begins effectually age four; however, information technology may showtime earlier or afterward, depending on the child's cultural and artistic experience. In this stage, the amoeba or tadpole people may accept faces, easily, and even toes, only no bodies. These figures face front and often have big smiles. Omission of body details is not a sign that something is developmentally wrong. It merely means that other things in the drawing of the person are more than of import. For example, heads are the commencement objects drawn and may continue to exist bigger than other parts of the body. This is commonly done because the kid sees the head as beingness very important. The child eats, speaks, sees, and hears with parts of the head.
Colors are selected on whim and ordinarily take no relationship with what is being drawn. Figures may be scattered all over the page, or the page turned in every direction equally the figures fill the paper. Objects and figures may appear to float all over the page because children practise not however know how to express three-dimensional objects on a two-dimensional surface.
The child's cocky-portrait appears as an amoeba person, just it volition usually be the biggest figure, actualization in the center of the page. The child may test unlike ways to draw a self-portrait before settling on one for a period of time. In this instance, art helps define a child's self image.
SCHEMATIC STAGE The schematic stage usually begins around seven years old and extends through age nine. At this time, the child has developed specific schema, or symbols for people and objects in his or her environment, and will draw them consistently over and over. Human figures accept all necessary body parts. Artillery and legs also fill out, instead of being stick-like. This is normally due to more body awareness and recognition of what body parts do; e.g. parts of the torso help the child run, catch a ball, jump, etc. Adults usually have very long legs considering that is how children see them.
Houses and people no longer float on the page. They are grounded past a baseline that acts as a horizon line. As the child continues to describe, there may be two or more baselines to show distance or topography. Children may also draw a series of pictures, like cartoon squares, to show action sequences over time. This seems to reflect a child's desire to tell stories with the drawings. Past eight or nine years of age, children will often depict their favorite drawing characters or superheroes.
REALISTIC OR GANG STAGE The realistic or gang stage begins around nine years old. Here, the child begins to develop more than item in drawing people and in determining perspective (depth or altitude) in drawings. Shapes at present have form with shadows and shading. The people they draw prove varying expressions. Colors are used to accurately depict the environment, and more complex art materials may be introduced.
Children at this phase are eager to adjust and are very sensitive to teasing or criticism from classmates. They too are very disquisitional of their work, individually or when it is compared to the work of others. Children at this stage can be easily discouraged almost creating art if they are overly criticized, teased past their peers, or become frustrated with art media or problems expressing what they see in their minds. This is the time to brainstorm quality art instruction, where children receive the technical training in mastery of art media, perspective, figure cartoon, and rendering (shading).
Somewhere between ages 12 and 16 years, children face a crisis in artistic evolution. They volition either already have plenty skill and encouragement to continue a want to create art, or they will not. If it is simply a thing of training, finding appropriate fine art classes will help the child through this crunch. If the child has been discouraged past criticism or lack of enough fine art experience or exposure, the child may not continue to draw or partcipate in visual art activities. Some discouraged children may change to a unlike art medium. For example, a kid may not draw or paint again, but may enjoy making clay pots or welding metal sculptures. Other children will find alternate ways to express their creativity . For case, a child may become involved with auto detailing, fly-tying, sewing, or needlework. However others will never participate in any other kind of creative activity and may ridicule or disdain those who do.
Common issues
When to call the dr.
Generally, children'due south drawings are no cause of alarm, despite color choice or content. They are merely artistic expressions and may present a diverseness of emotions, representations, and themes that are explored and and so discarded.
Nevertheless, if a young kid is repeatedly drawing violent pictures, there may be reason to seek out a therapist for the child to see if deeper emotional issues exist. For teenagers, especially those who are artistic, entertaining a night period or fifty-fifty a quasi-violent Goth or vampire series of art work may but be artistic exploration of darker themes. If this menstruation of fine art work is coupled with risky behaviors or depression, it may stand for a cry for help and therapy may be advisable.
Other indicators of possible emotional problems may be drawings of a item object or person much bigger than a drawing the child makes of himself or herself, or a drawing of a man figure in disjointed parts. In these cases, a kid should exist evaluated by a therapist because drawings of this sort usually indicate being overwhelmed by something or feeling fragmented. Drawings with incomplete or hesitant lines may indicate that a child feels unsure or insecure. Children who make these drawings may but need encouragement. Further evaluation may be necessary if these kinds of drawings keep for a long menstruation of time.
Parental concerns
Since artistic expression and appreciation is an element of a balanced life, encouragement past parents and other adults is essential. Adults can encourage art expression past offering art materials to children at an early historic period. Even toddlers tin make drawings with fatty crayons, as crayons are non-toxic. Art materials should be good quality. The materials do non need to be expensive, but they should be skillful enough and then that they perform as they are intended. For example, a child may exist given a set up of colored markers; but if they do not flow well or are dried up, the child can get discouraged because the tools do not function properly.
Children also enjoy experimenting with a diversity of art materials. Using chalks, pastels, charcoal, and pencils of dissimilar softness expands the creative possibilities that crayons and markers begin. This variety allows a child to explore different media and how they behave. No child is expected to become the main of any or all of these media, but the experience with each helps them expand their artistic voice and opens up greater appreciation for artwork by others found in museums or created past their beau classmates.
Adults tin encourage artistic expression by allowing children to apply the media they accept experimented with in ways that are truly unique. Adults can make sure that children know that drawings are non always
Drawing past a immature child depicting a family.
(© Royalty-Free/Corbis.)
supposed to wait like photographs, just are each person's view of the world. Children'south drawings get expressions of how and what each child sees. Adults tin can assist children empathise that art is cocky expression and that there is null wrong with what the child chooses to express. Artistic risk taking, experimentation, and the development of meaning are intrinsic to making fine art, and children can begin to understand these concepts through their own artistic efforts.
Exposure to a variety of visual fine art at an early age tin encourage a child'due south lifelong appreciation of art. This tin can be in the form of quality children's picture books that have beautiful illustrations. Trips to art galleries and museums can augment a child'south exposure to a multifariousness of artists, styles, and content. Visiting artists at art shows or fine art fairs tin can also exist a way to prove children how artists piece of work or handle different media. Adults can extend this exposure through discussions near the art works and talking about media or content.
Children's responses to their own drawings and their perception of the level of their competence is often afflicted by the attitudes of their peers and adults who react to their fine art piece of work. Direct and indirect criticism of a kid'due south drawings should be avoided. When children are very young, it is sometimes difficult for adults to figure out just what a child's cartoon is about. In club to avoid quashing immature talent or a child'south self-esteem by commenting on the beautiful bee the child drew when it actually was a dog, adults can praise the child for having made something wonderful and then ask the child to tell nigh the drawing. From the answer, the developed can then praise the child's work in context. For case, if the child brings a drawing of yellow and bluish scribbles, the adult can say, "What beautiful colors! Tell me nearly your pic." If the child says the drawing is about a flying horse, the adult tin can answer, "What a graceful flying horse! Does he like to fly?" The developed tin can go on to engage the child in discussion about the equus caballus, choices of color, reasons for drawing a flight horse that day, or how the child felt doing the drawing.
Criticism tin can occur constructively when children enroll in technical art classes. There is a context in the fine art educational activity setting for mastery of art media and technique. The normal preschool or elementary classroom is not the place for this kind of critique. Many children accept been so severely criticized past teachers that they never pick up art materials again and some are fifty-fifty turned away from appreciating anyone else'due south art.
Cardinal TERMS
Drawings —Visual representations made with crayons, markers, or pencils.
Perspective —The style an creative person shows depth or distance in a drawing or painting, usually by drawing figures and buildings larger in the front of the motion-picture show and smaller in the back.
Rendering —An artist'southward term for shading or creating texture or shape with markings, usually fabricated with pencil, charcoal, ink, or paint.
Resource
BOOKS
Gaitskill, C., et al. Children and Their Fine art. New York: Harcourt Caryatid Jovanovich, 1982.
Golomb, C. The Child's Creation of a Pictorial Earth. Berkeley and Los Angeles: University of California Printing, 1992.
Levick, Myra. Run across What I'm Proverb: What Children Tell Us Through Their Art. Dr. Myra Levick, 2003.
Malchiodi, Cathy. Agreement Children'southward Drawings. New York: Guilford Press, 1998.
Oster, Gerald. Using Drawings in Assessment and Therapy: A Guide for Mental Health Professionals. New York: Brunner/Mazel, 2004.
Rubin, Judith. Fine art Therapy. New York: Brunner/Mazel, 1999.
PERIODICALS
Burkitt, Esther et al. "Children's Colour Choices for Completing Drawings of Affectively Characterised Topics." Journal of Child Psychology and Psychiatry (2003): 445.
McDonald, Faith Tibbets. "What Drawings Reveal" Christian Parenting Today. 14, no. 18 (March/April 2002): 20.
"Scribbles Tin Measure out Kids' Development." Us Today (Dec 2001).
Janie Franz
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Source: http://www.healthofchildren.com/D/Drawings.html
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