Running Head: EDUCATING TEACHERS: LESSONS FROM CHILDRENS ART

Educating Teachers: Lessons From Childrens Art Kelly Ivancic University of Missouri-Columbia

EDUCATING TEACHERS: LESSONS FROM CHILDRENS ART Educating Teachers: Lessons From Childrens Art From a young age, children are able to create using just a piece of paper and a writing utensil; though, a childs drawing ability changes over time. Erickson (1998) discusses how the

four Lowenfeldian stages represent a pattern of drawing development from ages four to fourteen. A childs drawings become increasingly more sophisticated and organized as a child continues through the drawing stages. While children will initially begin chaotically scribbling on a page, as the child experiments with drawing, the depictions become more purposeful for the child and discernable to the observer. In class, I took the role as an observer when I worked with Lindsay to place a childs drawing into one of the Lowenfeldian stages. This activity involved identifying characteristics in the drawing that fit within a certain stage and connecting this information to sources in our course packet. Lindsay and I struggled to choose one single stage and found that our pictures used characteristics in both the preschematic and schematic stages. This gave us insight into how childrens drawings do not always fit within the ridged constraints of stage theory. Working with a partner enriched my experience because I was able to think aloud and have someone give directive feedback. Based on the childs drawing I have chosen, I will describe the childs drawing (figure 1), analyze the work using a theoretical foundation, and juxtapose the benefits of understanding a childs art development to the consequences of ignoring this information as an educator. Description and Analysis Dakotas (pseudonym) drawing (figure 1 below) that I analyzed greatly resembles a horse that appears to be outdoors in the sunlight. The child appeared to use a finer-tipped pen, because the lines are consistently dark and thin. The horse is significantly larger than the sun, which

EDUCATING TEACHERS: LESSONS FROM CHILDRENS ART appears to be half the size of the horses head. I am able to distinguish between different body parts and can notice minor details, like a saddle and spots on the horses chest. I have come to the conclusion that Dakotas drawing is best placed at the end of the preschematic stage. My decision is evidenced by Kelloggs (1970) image of an elephant (figure 2 below) labeled in the preschematic stage (p.46). While figure 2 appears less advanced than Dakotas drawing, their

depiction of the body as being a large, whale-like mass is similar. Also, both drawing depict their animals with a smile, which Brittain (1970) describes as a characteristic of the preschematic stage. Additionally, the horses legs are not in proportion to each other, which is another characteristic of this stage. In the drawing I analyzed, the hind legs are very skinny and small, while the front legs appear sturdy. Additionally, the head form that Dakota chose to use, which is round and similar to a humans is characteristic of a younger artist. While communicating the generalization that young artists tend to depict round, human-shaped heads first, Kellogg (1970) discusses how a child used this technique for a horse, which further connects Dakotas work to a more basic Lowenfeldian stage. Figure 1. (Below) Example of Childs Artwork Figure 2. (Below) Example of Preschematic Drawing reprinted in Analyzing Childrens Art (p. 46), by R. Kellogg, 1970, Palo Alto, CA: National Press.

EDUCATING TEACHERS: LESSONS FROM CHILDRENS ART The general age range from the preschematic stage is ages four to seven. I would argue that this drawing indicates that Dakota is nearing the end of this stage. The schematic stage of drawing is more advanced and usually includes more details. The childs inclusion of the sun as a detail is likely referencing the environment in which horses livethe outdoors. However, I would argue that this drawing is not in the schematic stage because there are no other environmental details like a fence or grass. The absence of details suggests that this child is still in an earlier stage of development. Dakotas focus of generating only a horse and sun indicates he may be using the characteristic of embellishing symbols, which emphasize details only of importance to the child (Brittain, 1970). For instance, beyond merely drawing the horse and the sun, which the child may feel are the only necessary components of his drawing; he also adds a wispy mane, small saddle, and special spots on his chest. These characteristics are obviously important to the child and therefore are expressed in his work. Generally speaking, this drawing

is representative of the preschematic stage because it has organized formswhich make it more advanced than the scribbling stagebut lacks fully conceived concepts that one would expect in the schematic stage. Conclusion Both the teacher and the student benefit from the teacher understanding a childs art development. Children often use art to express themselves; therefore I will better understand the unique identities of my students if I observe their artistic expressions. Luehrman (2006) describes how it seems that in the early stages art is much more about imagination and exploration than a finished product (p. 72). Since I am most interested in working with primarylevel students, I thought this insight was very useful. I will not only focus on looking at my students finished pieces, but watch as they pause, erase, or otherwise express themselves through

EDUCATING TEACHERS: LESSONS FROM CHILDRENS ART illustrations. My student will benefit from my deeper understanding of their artistic process because I will be able to offer growth opportunities and guidance that will sharpen their minds and help them advance their own abilities. Since writing workshops in primary grades are often heavily reliant on drawings and details, understanding a childs art process will help me teach literacy more dynamically. Horn (2007) expresses that drawing is one primal way that beginning writers represent and understanding meaning (p. 61). For example, if a student draws a picture about a story we read

and misses an important character or event, I can possibly identify a gap in comprehension. This is a clue from the childs artwork that will help me guide them to be better writers and readers. Expanding on this idea of literacy, Barrett (2003) highlights the importance of teaching visual literacy, which is connected to art education and helps improve communication skills and critical thinking. Therefore, students are learning valuable lessons through the openness of art. The teacher and the student enjoy myriad benefits from having an educator who understands artistic development in children. Those teachers who ignore the lessons from childrens art or are unaware of the childs artistic development are doing a disservice to their students. Students lose the enriching learning experiences when a teacher ignores or is unaware of how to scaffold their students art abilities. One major implication is that students artistic process needs to be supported. Erickson (1996) expresses how older students have poor artistic abilities because visual arts were not as strongly emphasized as other content. Generally speaking, teachers should take the time to nurture the whole child. If teachers ignore art to emphasize math and science content or do not take the time to learn about a childs artistic development, then teachers are not truly holistically educating their students.

EDUCATING TEACHERS: LESSONS FROM CHILDRENS ART References Barrett,T. (2003). Interpreting visual culture. Art Education 56(2) 6-12.

Brittain, W.L. & Lowenfeld V. (1970). Creative and mental growth. New York, NY. MacMillian Co. 474-479 Erickson, M. & Young, B. (1996). What every educator should (but maybe doesnt) know. School Arts. 96(2), 40-42. Horn, M. & Glacobbe, M. E. (2007). Talking, drawing, writing: Lessons for our youngest writers. Stenhouse Publishers. Chapter 3, 51-67. Kellogg, R. (1970) Analyzing Childrens Art. Palo Alto, CA: National Press, 46 & 122. Luehrman, M. & Unrath, K. (2006). Making theories of childrens artistic development meaningful for preservice teachers. Art Education, 59(3), 6-12.

EDUCATING TEACHERS: LESSONS FROM CHILDRENS ART

Hi Kelly! I'm Dainec and I'll be your online tutor for this submission. Thanks for making use of the online writery! I must say I'm kind of at a loss. Your paper is quite good and there aren't any outstanding issues with it. I've highlighted the last sentence and you'll see the errors there immediately. Your paper didn't strike me as too broad. Your consistent reference to the source materials helped to solidify your work and the examination of the drawings (which I can't actually see...they are just blank spaces) is quite comprehensive. Good work!

Educating Teachers: Lessons From Childrens Art Kelly Ivancic University of Missouri-Columbia

EDUCATING TEACHERS: LESSONS FROM CHILDRENS ART

Educating Teachers: Lessons From Childrens Art From a young age, children are able to create using just a piece of paper and a writing utensil; though, a childs drawing ability changes over time. Erickson (1998) discusses how the four Lowenfeldian stages represent a pattern of drawing development from ages four to fourteen (Erikson, p. 41). A childs drawings become increasingly more sophisticated and organized as a child continues through the drawing stages. While children will initially begin chaotically scribbling on a page, as the child experiments with drawing, the depictions become more purposeful for the child and discernable to the observer. In class, I took the role as an observer when I worked with Lindsay to place a childs drawing into one of the Lowenfeldian stages. This activity involved identifying characteristics in the drawing that fit within a certain stage and connecting this information to sources in our course packet. Lindsay and I struggled to choose one single stage and found that our pictures used characteristics in both the preschematic and schematic stages. This gave us insight into how childrens drawings do not always fit within the ridged constraints of stage theory. Working with a partner enriched my experience because I was able to think aloud and have someone give directive feedback. Based on the childs drawing I have chosen, I will describe the childs drawing (figure 1), analyze the work using a theoretical foundation, and juxtapose the benefits of understanding a childs art development to the consequences of ignoring this information as an educator. Description and Analysis Dakotas (pseudonym) drawing (figure 1 below) that I analyzed greatly resembles a horse that appears to be outdoors in the sunlight. The child appeared to use a finer-tipped pen, because the lines are consistently dark and thin. The horse is significantly larger than the sun, which appears to be half the size of the horses head. I am able to distinguish between different body parts and can notice minor details, like a saddle and spots on the horses chest. I have come

EDUCATING TEACHERS: LESSONS FROM CHILDRENS ART

to the conclusion that Dakotas drawing is best placed at the end of the preschematic stage. My decision is evidenced by Kelloggs (1970) image of an elephant (figure 2 below) labeled in the preschematic stage (Kellogg, p.46). While figure 2 appears less advanced than Dakotas drawing, their depiction of the body as being a large, whale-like mass is similar. Also, both drawing depict their animals with a smile, which Brittain (1970) describes as a characteristic of the preschematic stage (Brittain, p. 475). Additionally, the horses legs are not in proportion to each other, which is another characteristic of this stage (Brittain, p. 475). In the drawing I analyzed, the hind legs are very skinny and small, while the front legs appear sturdy. Additionally, the head form that Dakota chose to use, which is round and similar to a humans is characteristic of a younger artist. While communicating the generalization that young artists tend to depict round, human-shaped heads first, Kellogg (1970) discusses how a child used this technique for a horse, which further connects Dakotas work to a more basic Lowenfeldian stage (Kellogg, p. 122). Figure 1. (below) Example of Childs Artwork

Figure 2. (top right) Example of Preschematic Drawing reprinted in Analyzing Childrens Art (p. 46), by R. Kellogg, 1970, Palo Alto, CA: National Press. The general age range from the preschematic stage is ages four to seven. I would argue that this drawing indicates that Dakota is nearing the end of this stage. The schematic stage of drawing is more advanced and usually includes more details. The childs inclusion of the sun as a detail is likely referencing the environment in which horses livethe outdoors. However, I

EDUCATING TEACHERS: LESSONS FROM CHILDRENS ART

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would argue that this drawing is not in the schematic stage because there are no other environmental details like a fence or grass. The absence of details suggests that this child is still in an earlier stage of development. Dakotas focus of generating only a horse and sun indicates he may be using the characteristic of embellishing symbols, which emphasize details only of importance to the child (Brittain, p.53). For instance, beyond merely drawing the horse and the sun, which the child may feel are the only necessary components of his drawing; he also adds a wispy mane, small saddle, and special spots on his chest. These characteristics are obviously important to the child and therefore are expressed in his work. Generally speaking, this drawing is representative of the preschematic stage because it has organized formswhich make it more advanced than the scribbling stagebut lacks fully conceived concepts that one would expect in the schematic stage. Conclusion Both the teacher and the student benefit from the teacher understanding a childs art development. Children often use art to express themselves; therefore I will better understand the unique identities of my students if I observe their artistic expressions. Luehrman (2006) describes how it seems that in the early stages art is much more about imagination and exploration than a finished product (p. 72). Since I am most interested in working with primarylevel students, I thought this insight was very useful. I will not only focus on looking at my students finished pieces, but watch as they pause, erase, or otherwise express themselves through illustrations. My student will benefit from my deeper understanding of their artistic process because I will be able to offer growth opportunities and guidance that will sharpen their minds and help them advance their own abilities. Since writing workshops in primary grades are often heavily reliant on drawings and details, understanding a childs art process will help me teach literacy more dynamically. Horn (2007) expresses that drawing is one primal way that beginning writers represent and

EDUCATING TEACHERS: LESSONS FROM CHILDRENS ART

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understanding meaning For example, if a student draws a picture about a story we read and is missing an important character or event, I can possibly identify a gap in comprehension. This is a clue from the childs artwork that will help me guide them to be better writers and readers. Expanding on this idea of literacy, Barrett (2003) highlights the importance of teaching visual literacy, which is connected to art education and helps improve communication skills and critical thinking (Barrett). Therefore, students are learning valuable lessons through the openness of art. The teacher and the student enjoy myriad benefits from having an educator who understands artistic development in children. Those teachers who ignore the lessons from childrens art or are unaware of the childs artistic development are doing a disservice to their students. Students lose the enriching learning experiences when a teacher ignores or is unaware of how to scaffold their students art abilities. One major implication is that students artistic process needs to be supported. Erickson (1996) expresses how older students have poor artistic abilities because visual arts were not as strongly emphasized as other content areas (Erickson, p.41). Generally speaking, as a teacher we should take the time to nurture the whole child. By ignoring art to emphasize math and science content or not taking the time to learn about artistic development, as teachers we are not truly holistically education our students. References Barrett,T. (2003). Interpreting visual culture. Art Education 56(2) 6-12. Brittain, W.L. & Lowenfeld V. (1970). Creative and mental growth. New York, NY. MacMillian Co. 474-479 Erickson, M. & Young, B. (1996). What every educator should (but maybe doesnt) know. School Arts. 96(2), 40-42. Horn, M. & Glacobbe, M. E. (2007). Talking, drawing, writing: Lessons for our youngest writers. Stenhouse Publishers. Chapter 3, 51-67.

EDUCATING TEACHERS: LESSONS FROM CHILDRENS ART

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Kellogg, R. (1970) Analyzing Childrens Art. Palo Alto, CA: National Press, 46 & 122. Luehrman, M. & Unrath, K. (2006). Making theories of childrens artistic development meaningful for preservice teachers. Art Education, 59(3), 6-12. Thanks again for your submission! Please feel free to resubmit or schedule an in-person appointment for any other assignments you may have.
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